Anathema: The Globe, Cardiff
There are some gigs that you just have to take a bit of time after to reflect on what you have just witnessed. This was one of those evenings. On Bonfire’s Night in a cramped 350 capacity venue in the Welsh Capital, the Liverpool outfit delivered a fantastic two hours which left the audience soaked in emotion and gasping for air.
You could tell it was going to be a special night when 55 minutes before doors opened the queue was already snaking down Albany Road. A real mix in the audience, mature couples standing next to battle jacket clad metal heads, gothic ladies next to dapperly suited gents. Such is the allure of this brilliant band that I’m sure they could have sold it out again.
Taking our place on the centre of the balcony, the tone for the evening was already set with the background music mixing Porcupine Tree with much of Opeth’s Damnation. At 8:30 the band sauntered on to the stage to a heroic welcome. It’s rare to see Anathema (10) in these parts so it was bloody great to see them in our home city. I’ve seen Anathema several times in a variety of settings, from the third stage at Download to their triumphant homecoming at Liverpool Cathedral last year but this was probably as good as they’ve ever performed. With a quarter of their 16 song set brand new tracks which have yet to be recorded properly, the band displayed a confidence which never flipped into the arrogance that can sometimes happen.
Musically it was stunning. Daniel Cavanagh, the main songwriter and artistic creator permanently restless stopping a couple of songs before they got going in order to get everything spot on. His guitar work astonishing, solos flowing out of him as he got into his stride whilst he constantly monitored pedals and loops whilst dipping back and fore from the keyboards. To his left his brother Vincent, the focal point of the band. Clad in tight black shirt and jeans, his tousled hair making him every inch the rock star, voice more impressive than I’ve ever heard, his rhythm guitar work solid and his overall approach so impressive, drenched in emotion, combining beautifully with Lee Douglas, whose own vocal performances just keep getting better and better. Whilst this trio may be the more well-known members of Anathema, the backline provided by Vincent’s twin brother Jamie on bass, Lee’s brother John on drums/percussion and multi-instrumentalist Daniel Cardoso was just splendid. The drumming on tracks such as Thin Air and Distant Satellites was magnificent.
With the four new tracks sounding very promising, especially the guitar driven Bricks which was part of a four song encore, the other 12 tracks were always going to be amazing. The band didn’t disappoint, picking a handful each from Weather Systems and We’re Here Because We’re Here and a couple from 2014’s Distant Satellites and A Natural Disaster. Opening with a new track (Gotyou To) it was quickly into the emotionally charged beauty of Untouchable Part I and Part II. Looking around The Globe it was clear that these songs tug at the heartstrings of many of the Anathema faithful and you can easily understand why. Weather Systems is such a delicately balanced and important album that nearly every member of the audience holds it dear for individual and personal reasons. There were tears in the eyes of many in the crowd as these tracks were played.
New track number two was Springfield, sandwiched between the other two tracks from Weather Systems. The first, a quite blistering The Storm Before The Calm which allowed the band to build atmosphere and let rip whilst The Beginning And The End maintained the momentum. As the evening built, the interplay between the band and the crowd intensified, with lyrics being sung with gusto by the crowd and the band really looking happy. References to the Welsh football team earned a rousing cheer, although Danny’s Welsh accent won’t win him any awards.
Set closer Distant Satellites saw Vincent add some venomous percussion as the song moved to an exploding climax with Daniel’s drumming off the chart. A quick break allowed everyone to catch their breath before the final four songs. After new songs Bricks and The Optimist, penultimate track A Natural Disaster allowed Lee to really let go and she didn’t disappoint with a quite amazing vocal performance. Traditional set closer Fragile Dreams brought the place to an emotional crescendo and with the applause still ringing in their ears the band left the stage after what was one of the most beautifully composed, structured and delivered evenings I’ve ever witnessed in Cardiff.
Wednesday, 9 November 2016
Tuesday, 8 November 2016
A View From The Back Of The Room: Saxon (Live Review By Paul)
Saxon: O2 Academy Bristol
Lemmy’s sad death in January this year meant that the opportunity to see Saxon and Girlschool perform on a bill with their natural peers was denied. This tour was no substitute for what would have been a pretty unforgettable night but the introduction of ‘Fast’ Eddie Clarke’s Fastway to the main support slot made the trip to the O2 for a night of both nostalgia and new material. It’s been two years since Saxon played at the O2 but the queue that stretched up the hill as we arrived demonstrated that the band’s popularity remains high. Thankfully the O2 carrying members of the Musipedia crew used the priority entrance and we could secure our regular spot on the balcony and place our trusty Ddraig Goch in full view of the stage and the numerous countrymen who had made the trip across the bridge. Just once guys, play in fucking Wales.
It’s been a couple of years since we saw a rather shambolic Girlschool (7) play in the early hours of the morning at Hard Rock Hell. For a band who were part of the NWOBHM movement, they’ve aged well. Musically they are never going to be anything special, with their binary approach to songwriting and rather clunky delivery. What they do have is the right to be on the bill and to deliver hard rock in their own inimitable style. To have maintained their passion and belief through the macho sexist 1980s and on is a testament to just why these four ladies are so admired and loved by the metal fraternity. With Enid taking more of the vocals than I’d seen for a long time, Girlschool put in a solid shift which ended with the nice retro combo of Race With The Devil and Emergency.
A short turnaround was followed by the arrival of Fastway (8), complete with Toby Jepson on vocals, John McManus (Who I remembered from Northern Irish 80s outfit Mamas Boys) and Steve Strange on drums. Whilst the focus of the band is obviously Fast Eddie, whose sublime blues soaked playing still oozes class, Jepson once again gave it his all up front and is the ideal foil for the much more reserved ex-Motorhead man. An eight-song set list comprised four tracks from the corking 1983 self-titled debut, including Another Day, Feel Me, Touch Me and the obvious set closer Easy Livin’. For an old rocker like me, who hadn’t seen Fastway for a long time this was a lovely trip down the nostalgia road and bloody magic it was too.
As the strains of AC/DC’s homage to baked goods (It’s A Long Way to The Shop … If You Want a Sausage Roll) blasted out of the PA, the excitement notched up another level. It doesn’t matter how many times I see Saxon (9), they always leave me feeling good and enthused. Opening with Battering Ram, Saxon do what they do and they do it well. Heavy as hell live, something you don’t always appreciate when listening to the boys on record, they work the audience from start to finish. Sure, Biff uses the same lines he used in 1981 but hey, it works. With an audience who warmed up quite epically as the evening wore on, the temperature started to bubble from the moment that Never Surrender kicked in. A well-paced set comprising some of the newer tunes (The Devil’s Footprint and Queen Of Hearts from Battering Ram and Sacrifice amongst them), some rarer stuff (Terminal Velocity from Unleash The Beast a favourite) and of course, enough classics to fill those denim and leather clad concert halls.
What is interesting to observe from the balcony is just how much work bassist Nibbs Carter gets though. Although he’d be the first to admit that his bass lines aren’t the most complex in the world, he is also responsible for all the pedals that cue the effects which flesh out some of the songs, as well as using them to instigate some other aspects of the show. He works incredibly hard, all the time raising the devil horns and rampaging around the stage. At the back of the stage Nigel Glockler demonstrated that he is fully recovered from the harrowing brain complications that threatened his life a mere two years ago. His drumming is brutal and a big part of the reason why Saxon can still hold their own with anyone in the live arena. Guitar is a huge part of the Saxon sound and Paul Quinn and Doug Scarratt are beasts, shredding insanely throughout. Of course, it’s the gravitas that Biff exudes that makes Saxon the metal machine they are and even when he’s not on top form, his voice is still top quality.
As the classics cascaded through the Academy, the sight of hundreds of middle aged bald men losing their shit was hysterical. In the pit, the arrival of 747 (Strangers In The Night) heralded much bad moshing and some incredible ‘dad dancing’ whilst on the balcony one over enthusiastic punter was in danger of toppling off the top tier such was his enthusiasm. It was unsurprising to see him mixing it up in the pit for the encores. Toby Jepson joined Biff for a rendition of Wheels Of Steel which the Fastway frontman strangely needed lyrics for, before the first encore saluted Lemmy with a cover of Ace Of Spades, the band joined on stage by Fast Eddie to a huge ovation. Denim And Leather, full of audience participation moved the evening towards the inevitable set closer, the mighty Princess Of The Night. The Saxon juggernaut shows no sign of slowing down. Long may it continue.
Lemmy’s sad death in January this year meant that the opportunity to see Saxon and Girlschool perform on a bill with their natural peers was denied. This tour was no substitute for what would have been a pretty unforgettable night but the introduction of ‘Fast’ Eddie Clarke’s Fastway to the main support slot made the trip to the O2 for a night of both nostalgia and new material. It’s been two years since Saxon played at the O2 but the queue that stretched up the hill as we arrived demonstrated that the band’s popularity remains high. Thankfully the O2 carrying members of the Musipedia crew used the priority entrance and we could secure our regular spot on the balcony and place our trusty Ddraig Goch in full view of the stage and the numerous countrymen who had made the trip across the bridge. Just once guys, play in fucking Wales.
It’s been a couple of years since we saw a rather shambolic Girlschool (7) play in the early hours of the morning at Hard Rock Hell. For a band who were part of the NWOBHM movement, they’ve aged well. Musically they are never going to be anything special, with their binary approach to songwriting and rather clunky delivery. What they do have is the right to be on the bill and to deliver hard rock in their own inimitable style. To have maintained their passion and belief through the macho sexist 1980s and on is a testament to just why these four ladies are so admired and loved by the metal fraternity. With Enid taking more of the vocals than I’d seen for a long time, Girlschool put in a solid shift which ended with the nice retro combo of Race With The Devil and Emergency.
A short turnaround was followed by the arrival of Fastway (8), complete with Toby Jepson on vocals, John McManus (Who I remembered from Northern Irish 80s outfit Mamas Boys) and Steve Strange on drums. Whilst the focus of the band is obviously Fast Eddie, whose sublime blues soaked playing still oozes class, Jepson once again gave it his all up front and is the ideal foil for the much more reserved ex-Motorhead man. An eight-song set list comprised four tracks from the corking 1983 self-titled debut, including Another Day, Feel Me, Touch Me and the obvious set closer Easy Livin’. For an old rocker like me, who hadn’t seen Fastway for a long time this was a lovely trip down the nostalgia road and bloody magic it was too.
As the strains of AC/DC’s homage to baked goods (It’s A Long Way to The Shop … If You Want a Sausage Roll) blasted out of the PA, the excitement notched up another level. It doesn’t matter how many times I see Saxon (9), they always leave me feeling good and enthused. Opening with Battering Ram, Saxon do what they do and they do it well. Heavy as hell live, something you don’t always appreciate when listening to the boys on record, they work the audience from start to finish. Sure, Biff uses the same lines he used in 1981 but hey, it works. With an audience who warmed up quite epically as the evening wore on, the temperature started to bubble from the moment that Never Surrender kicked in. A well-paced set comprising some of the newer tunes (The Devil’s Footprint and Queen Of Hearts from Battering Ram and Sacrifice amongst them), some rarer stuff (Terminal Velocity from Unleash The Beast a favourite) and of course, enough classics to fill those denim and leather clad concert halls.
What is interesting to observe from the balcony is just how much work bassist Nibbs Carter gets though. Although he’d be the first to admit that his bass lines aren’t the most complex in the world, he is also responsible for all the pedals that cue the effects which flesh out some of the songs, as well as using them to instigate some other aspects of the show. He works incredibly hard, all the time raising the devil horns and rampaging around the stage. At the back of the stage Nigel Glockler demonstrated that he is fully recovered from the harrowing brain complications that threatened his life a mere two years ago. His drumming is brutal and a big part of the reason why Saxon can still hold their own with anyone in the live arena. Guitar is a huge part of the Saxon sound and Paul Quinn and Doug Scarratt are beasts, shredding insanely throughout. Of course, it’s the gravitas that Biff exudes that makes Saxon the metal machine they are and even when he’s not on top form, his voice is still top quality.
As the classics cascaded through the Academy, the sight of hundreds of middle aged bald men losing their shit was hysterical. In the pit, the arrival of 747 (Strangers In The Night) heralded much bad moshing and some incredible ‘dad dancing’ whilst on the balcony one over enthusiastic punter was in danger of toppling off the top tier such was his enthusiasm. It was unsurprising to see him mixing it up in the pit for the encores. Toby Jepson joined Biff for a rendition of Wheels Of Steel which the Fastway frontman strangely needed lyrics for, before the first encore saluted Lemmy with a cover of Ace Of Spades, the band joined on stage by Fast Eddie to a huge ovation. Denim And Leather, full of audience participation moved the evening towards the inevitable set closer, the mighty Princess Of The Night. The Saxon juggernaut shows no sign of slowing down. Long may it continue.
Monday, 7 November 2016
Reviews: Stick Men, Skewered, Alone With Wolves (Reviews By Rich)
Stick Men: Prog Noir (Iapetus)
Being only a casual listener of prog rock, Stick Men are one of those bands that have completely slipped my radar. After a little reading up on their background I discovered that they are made up of he rhythm section of King Crimson and use a variety of weird and wonderful instruments such as the Chapman Stick (from which the band gets its name) and the touch guitar in place of traditional guitars, bass and keyboards. My interest suitably piqued I headed into their sixth album Prog Noir with no preconceptions of how it was going to sound other than it is definitely going to be interesting.
Only a handful of tracks contain vocals with the majority of the album being instrumental meaning you get some fantastic compositions on here which veer and meander through the virtuostic, atmospheric and avant-garde. This is a very quirky and unusual approach to progressive rock although very enjoyable. As to be expected from members of King Crimson the musicianship is just utterly fantastic. The vocals are fairly unremarkable with an almost spoken word approach taken but they are kept to a minimum. This is recommended to prog fans but this weird approach to the genre will definitely take a few listens to get to grips with. 7/10
Skewered: Deathmethyltryptamine (Stillbirth Records)
With a band name like Skewered you pretty much know what you are in for and that is 40 minutes of viciously brutal death metal which is just what is needed to unwind after a day in the office. Skewered hail from Dublin and the virtually impossible to pronounce Deathmethyltryptamine is their second full length album. Despite some silly song titles such as Organ Donor Kebab, Red Knob Warts and Fucked With A Stump Skewered have produced a very mature sounding and polished piece of death metal.
Emphasis is placed on brutality on this record with a barrage of razor sharp riffs, rumbling bass and devastating drumming with blastbeats and double kick galore. Especially impressive is vocalist Mark Dolan who growls and snarls with impressive range and clarity. Skewered are another in a vast ocean of brutal death metal bands and whilst they are indistinguishable from a lot of their peers it is impossible not to enjoy this album as it is performed with such passion, conviction and a true love for the genre shines throughout. 7/10
Alone With Wolves: Solid Ground (Self Released)
Only a handful of tracks contain vocals with the majority of the album being instrumental meaning you get some fantastic compositions on here which veer and meander through the virtuostic, atmospheric and avant-garde. This is a very quirky and unusual approach to progressive rock although very enjoyable. As to be expected from members of King Crimson the musicianship is just utterly fantastic. The vocals are fairly unremarkable with an almost spoken word approach taken but they are kept to a minimum. This is recommended to prog fans but this weird approach to the genre will definitely take a few listens to get to grips with. 7/10
Skewered: Deathmethyltryptamine (Stillbirth Records)
With a band name like Skewered you pretty much know what you are in for and that is 40 minutes of viciously brutal death metal which is just what is needed to unwind after a day in the office. Skewered hail from Dublin and the virtually impossible to pronounce Deathmethyltryptamine is their second full length album. Despite some silly song titles such as Organ Donor Kebab, Red Knob Warts and Fucked With A Stump Skewered have produced a very mature sounding and polished piece of death metal.
Emphasis is placed on brutality on this record with a barrage of razor sharp riffs, rumbling bass and devastating drumming with blastbeats and double kick galore. Especially impressive is vocalist Mark Dolan who growls and snarls with impressive range and clarity. Skewered are another in a vast ocean of brutal death metal bands and whilst they are indistinguishable from a lot of their peers it is impossible not to enjoy this album as it is performed with such passion, conviction and a true love for the genre shines throughout. 7/10
Alone With Wolves: Solid Ground (Self Released)
I fully admit that when it comes to my personal taste in metal that I am a bit of a traditionalist and also a bit of an elitist and bar a few exceptions I generally despise modern mainstream metal. One minute into the first song of this album I realised that this was going to be a bit of a struggle but here goes... Alone With Wolves are a five piece band from Hertfordshire and Solid Ground is their debut full length album having previously released a couple of EP's. They play a very generic mainstream metalcore with chuggy groovy guitar riffs, hardcore breakdowns and sickly sweet melodies.
The vocals are standard for this genre with a combination of hardcore barks and melodic singing. It's all played very well and some of the choruses are very ear pleasing but in the end completely forgettable and dispensable. This style has been utterly done to death and unfortunately Alone With Wolves add nothing new to it nor do they have anything about their sound which makes them stand out among of a legion of sound alike bands. When metalcore is done right it can be very good indeed but this sadly is just utterly generic. 2/10
The vocals are standard for this genre with a combination of hardcore barks and melodic singing. It's all played very well and some of the choruses are very ear pleasing but in the end completely forgettable and dispensable. This style has been utterly done to death and unfortunately Alone With Wolves add nothing new to it nor do they have anything about their sound which makes them stand out among of a legion of sound alike bands. When metalcore is done right it can be very good indeed but this sadly is just utterly generic. 2/10
Sunday, 6 November 2016
Reviews: Hammer King, Joanovarc, Angelcrypt
Hammer King: King Is Rising (Cruz Del Sur Music)
For the lovers of hammers, Templar, kings and everything that entails November is a great month as it sees not only the releases of the new record by Hammerfall (reviewed recently) but also the new album by Hammer King. Lyrically it's still the continuation of the story of the eponymous Hammer King with focus on the power and glory of the fantasy story-line. The King Is Rising starts off in fine style with huge swinging Teutonic dual guitar harmonies from Titan Fox and Gino Wilde that look to Accept and Helloween as influence.
The rhythm section of K.K Basement and Dolph A Macallan boom with the thunder of the gods much like DiMaio and co, Last Hellriders speeds things up as the double kick drums bring the power. It's a nonstop classic metal record that takes from the best in the genre and brings it all together in one place yet again, the playing is superlative with trade off solos duel throughout as Titan Fox's vocals soar above the power metal backing he shows his talent on the slower Warriors Reign as you can hear that he is able to deal with this just as well as the faster, louder heavier tracks.
Yet another record packed full of fist pumping classic metal that blew up in the 1980's and thankfully for those of us that enjoy it, is having a glorious resurgence. King Is Rising is another extremely confident slice of traditional metal. 8/10
JOANovARC: Ride Of Your Life (Red Vixen Records)
In the mid 2000's there was an all female rock band called The Donnas, they took their cues from the glam rock stomp of The Runaways and for a brief time they shined brightly before sadly fading away, now you can give many reasons for this but personally the reason why I lost interest in the band is that they had an American sheen to them that almost made them seem manufactured much like The Runaways themselves (they are currently on hiatus) they lacked a sense of grit or realness that acts such as Girlschool & Rock Goddess possessed.
In more recent times there have been a fair few all female bands bringing the shut up and play attitude of their predecessors most recently it has been The Amorettes, but hot on their heels are London based quartet JOANovARC who have been referred to by producer Gil Norton (Foo Fighters) as 'one of the hardest working bands I know". Kudos indeed and definitely true when you see the bands intense touring schedule along with numerous festival appearances, tracks featured on Rock Band and in a Chinese Film. Ride Of Your Life is the bands debut full length and sees them avoid the pitfall of The Donnas by relying on punchy, riff driven hard rock but with a down-to-earth give 'em hell attitude.
It's music rooted in the 70's hard rock glory days where female bands didn't rely on flaunting their sex appeal they plugged in and rocked your face off and any sexism was met with right hook. JOANovARC take the Thin Lizzy set up of Laura Ozholl and Shelley Walker on rhythm and lead guitar, Deborah Wildish on drums and Sam Walker on bass and vocals and my can they play, this debut is full of buzzing classic meets modern rock music with big choruses and guitar hooks. As far as tracks go the title track is great opener, Dragon In The Sky takes a punchy/punky route, White Trash is a pumping percussive feast and Live Rock N Roll a furious hard rocker. A great debut from this foursome that has a tonne of guts and more importantly some should be anthems. 7/10
Angelcrypt: We Are The Dead (Self Released)
A few months ago I reviewed the debut record from Blind Saviour, Malta's first power metal band, well Angelcrypt's guitarist Campos Gellel and drummer Robert Friggieri are also in the power metal band showing the cross pollinating nature of the Maltese metal scene. Here though they aren't in the power metal realm at all this is crunchy thrash metal with some guttural death metal vocals from Joseph Greech. Now I did like Blind Saviour's album but this record is just a little bit too generic for me, the songs move between fast thrash riffs and stomping breakdowns however it never really takes off. I think at least two of the band would spend their time better in the power metal realm. 6/10
For the lovers of hammers, Templar, kings and everything that entails November is a great month as it sees not only the releases of the new record by Hammerfall (reviewed recently) but also the new album by Hammer King. Lyrically it's still the continuation of the story of the eponymous Hammer King with focus on the power and glory of the fantasy story-line. The King Is Rising starts off in fine style with huge swinging Teutonic dual guitar harmonies from Titan Fox and Gino Wilde that look to Accept and Helloween as influence.
The rhythm section of K.K Basement and Dolph A Macallan boom with the thunder of the gods much like DiMaio and co, Last Hellriders speeds things up as the double kick drums bring the power. It's a nonstop classic metal record that takes from the best in the genre and brings it all together in one place yet again, the playing is superlative with trade off solos duel throughout as Titan Fox's vocals soar above the power metal backing he shows his talent on the slower Warriors Reign as you can hear that he is able to deal with this just as well as the faster, louder heavier tracks.
Yet another record packed full of fist pumping classic metal that blew up in the 1980's and thankfully for those of us that enjoy it, is having a glorious resurgence. King Is Rising is another extremely confident slice of traditional metal. 8/10
JOANovARC: Ride Of Your Life (Red Vixen Records)
In the mid 2000's there was an all female rock band called The Donnas, they took their cues from the glam rock stomp of The Runaways and for a brief time they shined brightly before sadly fading away, now you can give many reasons for this but personally the reason why I lost interest in the band is that they had an American sheen to them that almost made them seem manufactured much like The Runaways themselves (they are currently on hiatus) they lacked a sense of grit or realness that acts such as Girlschool & Rock Goddess possessed.
In more recent times there have been a fair few all female bands bringing the shut up and play attitude of their predecessors most recently it has been The Amorettes, but hot on their heels are London based quartet JOANovARC who have been referred to by producer Gil Norton (Foo Fighters) as 'one of the hardest working bands I know". Kudos indeed and definitely true when you see the bands intense touring schedule along with numerous festival appearances, tracks featured on Rock Band and in a Chinese Film. Ride Of Your Life is the bands debut full length and sees them avoid the pitfall of The Donnas by relying on punchy, riff driven hard rock but with a down-to-earth give 'em hell attitude.
It's music rooted in the 70's hard rock glory days where female bands didn't rely on flaunting their sex appeal they plugged in and rocked your face off and any sexism was met with right hook. JOANovARC take the Thin Lizzy set up of Laura Ozholl and Shelley Walker on rhythm and lead guitar, Deborah Wildish on drums and Sam Walker on bass and vocals and my can they play, this debut is full of buzzing classic meets modern rock music with big choruses and guitar hooks. As far as tracks go the title track is great opener, Dragon In The Sky takes a punchy/punky route, White Trash is a pumping percussive feast and Live Rock N Roll a furious hard rocker. A great debut from this foursome that has a tonne of guts and more importantly some should be anthems. 7/10
Angelcrypt: We Are The Dead (Self Released)
A few months ago I reviewed the debut record from Blind Saviour, Malta's first power metal band, well Angelcrypt's guitarist Campos Gellel and drummer Robert Friggieri are also in the power metal band showing the cross pollinating nature of the Maltese metal scene. Here though they aren't in the power metal realm at all this is crunchy thrash metal with some guttural death metal vocals from Joseph Greech. Now I did like Blind Saviour's album but this record is just a little bit too generic for me, the songs move between fast thrash riffs and stomping breakdowns however it never really takes off. I think at least two of the band would spend their time better in the power metal realm. 6/10
Saturday, 5 November 2016
A View From The Back Of The Room: UFO (Live Review By Paul)
UFO – Tramshed Cardiff
I've reviewed UFO a couple of times for the Musipedia so regular readers will be aware of my unrestrained love for Mr Mogg and co, from way back in the early 1980s when Pete Way was still holding it together and Paul Chapman filled Michael Schenker’s shoes. Every time band tour and hit the Welsh Capital, I feel it is my duty to trot along for an evening of high quality classic rock.
One thing UFO also manage to deliver with clockwork regularity is a pretty weak support act and this show was no exception. Now I have no real understanding about the rock scene in Russia and in some respects, based mainly on my stereotypical prejudices, I would imagine that any band from that part of the world has to work very hard to get a supporting slot with a band as established and well respected as UFO. Nevertheless, we speak as we find and St Petersburg outfit Reds’Cool (5) were not only hampered by a pretty dire moniker but also a sound last heard in about 1988. Competent enough, the band were pretty routine with singer Slava Spark (oh really?) demonstrating that he had not only read but thoroughly digested the Sebastian Bach book on front man phraseology and posturing. Dedicating Stranger’s Eyes to “all the pretty ladies” was hysterical, given the demographic of the UFO audience whilst 2013’s title track Bad Story at least garnered a bit of rock painting by numbers audience participation. The band received a pretty appreciative reception but did nothing to get my flotilla moving.
At the reasonable hour of 8:45pm, the legends that are UFO (9) ambled onto the stage and proceeded to deliver an hour and three quarters masterclass in classic rock. Opening with the timeless We Belong To The Night, the band threw a couple of older rarities into the set including second track Ain't No Baby from Obsession. Whilst Vinnie Moore always catches the eye with his sublime soloing, frontman Phil Mogg is the focal point for much of the evening. Whether he is slightly intoxicated or just showing signs of typical old age is a matter to debate, but his banter between songs is at times entertaining and at other times a little irritating. The latter as a result of his tendency to talk away from the mic to the front row to the expense of half the audience.
Regardless of his banter and chat, Mogg retains the voice that has always been the UFO sound and on oldies like Lights Out, which received a massive response and Only You Can Rock Me his voice was superb. The newer stuff got an airing too, with a couple from last year’s excellent Conspiracy Of Stars, Burn Your House Down from Seven Deadly and a special treat with Venus from 1995’s Walk On Water. As ever, the reliable Andy Parker, Rob Da Luca and Paul Raymond played a solid supporting role and by the time Rock Bottom rolled in, the crowd were fully engaged and clapping along. Encores of the inevitable Doctor Doctor and Shoot Shoot closed the set as UFO once again proved that with age comes great quality. Always entertaining, always fun. This is a band who are always worth a watch.
I've reviewed UFO a couple of times for the Musipedia so regular readers will be aware of my unrestrained love for Mr Mogg and co, from way back in the early 1980s when Pete Way was still holding it together and Paul Chapman filled Michael Schenker’s shoes. Every time band tour and hit the Welsh Capital, I feel it is my duty to trot along for an evening of high quality classic rock.
One thing UFO also manage to deliver with clockwork regularity is a pretty weak support act and this show was no exception. Now I have no real understanding about the rock scene in Russia and in some respects, based mainly on my stereotypical prejudices, I would imagine that any band from that part of the world has to work very hard to get a supporting slot with a band as established and well respected as UFO. Nevertheless, we speak as we find and St Petersburg outfit Reds’Cool (5) were not only hampered by a pretty dire moniker but also a sound last heard in about 1988. Competent enough, the band were pretty routine with singer Slava Spark (oh really?) demonstrating that he had not only read but thoroughly digested the Sebastian Bach book on front man phraseology and posturing. Dedicating Stranger’s Eyes to “all the pretty ladies” was hysterical, given the demographic of the UFO audience whilst 2013’s title track Bad Story at least garnered a bit of rock painting by numbers audience participation. The band received a pretty appreciative reception but did nothing to get my flotilla moving.
At the reasonable hour of 8:45pm, the legends that are UFO (9) ambled onto the stage and proceeded to deliver an hour and three quarters masterclass in classic rock. Opening with the timeless We Belong To The Night, the band threw a couple of older rarities into the set including second track Ain't No Baby from Obsession. Whilst Vinnie Moore always catches the eye with his sublime soloing, frontman Phil Mogg is the focal point for much of the evening. Whether he is slightly intoxicated or just showing signs of typical old age is a matter to debate, but his banter between songs is at times entertaining and at other times a little irritating. The latter as a result of his tendency to talk away from the mic to the front row to the expense of half the audience.
Regardless of his banter and chat, Mogg retains the voice that has always been the UFO sound and on oldies like Lights Out, which received a massive response and Only You Can Rock Me his voice was superb. The newer stuff got an airing too, with a couple from last year’s excellent Conspiracy Of Stars, Burn Your House Down from Seven Deadly and a special treat with Venus from 1995’s Walk On Water. As ever, the reliable Andy Parker, Rob Da Luca and Paul Raymond played a solid supporting role and by the time Rock Bottom rolled in, the crowd were fully engaged and clapping along. Encores of the inevitable Doctor Doctor and Shoot Shoot closed the set as UFO once again proved that with age comes great quality. Always entertaining, always fun. This is a band who are always worth a watch.
Friday, 4 November 2016
Reviews: DangerAngel, Hail Spirit Noir, Wardrum, Void Droid
More Greek bands in this post (seeing as I'm currently inundated with them)
DangerAngel: All The Kings Horses (Melodic Rock Records)
Danger Angel are a melodic rock band from Athens, their sound leans heavily on the terrific keys of Ahas who is the major element to the bands sound in the same way the Alessio Del Vecchio, he is a certified keyboards, piano and jazz theory professor and has performed in various bands of numerous styles throughout Greece, with the excellent keyboard playing throughout the bands third record it would be easy to ignore the remaining members of the band who are all great musicians in their own right. Tony V and Rudy Rallis lay down a foundation or ancient marble, rough ready and consistently present.
Founder member guitarist Ethan Snow, plays the swaggering riffs as he duels with Ahas' keys. All The King's Horses is the band's third studio album and it's a tough rock record with the melodic touches from the huge keys and simmering synths. At the front of the band are the passionate vocals of Brazilian singer BJ, who is probably better known as the keyboardist/guitarist of Jeff Scott Soto's solo project SOTO and also plays keys in the reactivated Talisman, still with his major contribution being instruments his vocals are great clearly he has been studying Soto's style as BJ brings a similar delivery to DangerAngel. If you like your riffs muscular, your choruses big and your keys very impressive then DangerAngel will be one melodic rock release to snap up this year. 8/10
Hail Spirit Noir: Mayhem In Blue (Dark Essence Records)
Here comes some experimental/progressive/psychedelic/black metal from Thessaloniki from the trio of J.Demian (bass/acoustic) Theoharis (guitar/vocals) and Haris (keys/synth drums). Mayhem In Blue is a six track album that clocks in at over 40 minutes of difficult music and sees the band take on numerous concepts including the human psyche in songs where the lyrical complexity is a close second to the musical complexity. These songs are very much like the band and the album title it self, a contradiction, there are periods of intense violent black metal but these give way to swathes crushing depressive themes and psychedelic mind-bending.
As you progress there are actually very little that's actually on the black metal side other than the scratchy vocals, these are use liberally on I Mean You No Harm which pairs the BM screaming with spooky gonzoid Wurlitzer driven surf rock. Hail Spirit Noir are kind of like Immortal jamming with King Crimson as there are periods of outright weirdness that mix with more of the traditional extreme metal approach. It's interesting but could be a little jarring for some. 7/10
Wardrum: Awakening (Steel Galley Records)
Yet more Greek power metal, this time from Thessaloniki. The band all come from other bands on the Greek scene guitarist Kosta Vreto is also in Jaded Star and Horizon's End along with Kostas Scandalis (bass) and Stergios Kourou (drums). Meanwhile J. Demian (guitar) is in both the Dol Theeta/Dol Ammad projects and plays bass in Hail Spirit Noir (see above). Awakening is their third record and it opens with The Unrepentant Classical guitars move into the super speed drumming and shredding galore, like The Silent Rage and Mystic Prophecy this opening song is in the heavy power metal category with the guitars crunchier than certain power metal bands.
That said from Right Within Your Heart the album takes a lighter edge, but the double kick drum comes back on Virtues Of Humanity. The record is a bit generic if I'm honest more so than a lot of other bands, everything is a bit lack lustre there are some stand out songs with Medusa being one that catches the ear immediately there are some big misses too especially the saccharine On Skies Of Grey. Awakening is not a bad record but with such a glut of power metal coming just from Greece never mind anywhere else. Wardrum sit in the second tier of power metal bands they are listenable enough but they do nothing not heard before. 6/10
Despite coming from Patras, Greece the sounds of Southern USA are the what strike you about this record. There is groove and some stoner licks but it's not the pure treasured stoner sound of the Greek scene but the gritty, Stetson wearing Southern metal of Pantera, Down, Black Label Society and Corrosion Of Conformity. With heavy riffs matched by the great gutsy vocals the songs have rawness too them that is similar to the less stoner elements of Down, see a song like The Watermaker which builds up to the harsher finale but it's in opposition to the hazy 7 minute Chameleon White which is deep in the stoner trademarks. Terrestrial is a tough record packed with low slung guitar playing and thick syrupy rhythms that will hit the spot if you love your metal full of smokey southern flavours. 7/10
DangerAngel: All The Kings Horses (Melodic Rock Records)
Danger Angel are a melodic rock band from Athens, their sound leans heavily on the terrific keys of Ahas who is the major element to the bands sound in the same way the Alessio Del Vecchio, he is a certified keyboards, piano and jazz theory professor and has performed in various bands of numerous styles throughout Greece, with the excellent keyboard playing throughout the bands third record it would be easy to ignore the remaining members of the band who are all great musicians in their own right. Tony V and Rudy Rallis lay down a foundation or ancient marble, rough ready and consistently present.
Founder member guitarist Ethan Snow, plays the swaggering riffs as he duels with Ahas' keys. All The King's Horses is the band's third studio album and it's a tough rock record with the melodic touches from the huge keys and simmering synths. At the front of the band are the passionate vocals of Brazilian singer BJ, who is probably better known as the keyboardist/guitarist of Jeff Scott Soto's solo project SOTO and also plays keys in the reactivated Talisman, still with his major contribution being instruments his vocals are great clearly he has been studying Soto's style as BJ brings a similar delivery to DangerAngel. If you like your riffs muscular, your choruses big and your keys very impressive then DangerAngel will be one melodic rock release to snap up this year. 8/10
Hail Spirit Noir: Mayhem In Blue (Dark Essence Records)
Here comes some experimental/progressive/psychedelic/black metal from Thessaloniki from the trio of J.Demian (bass/acoustic) Theoharis (guitar/vocals) and Haris (keys/synth drums). Mayhem In Blue is a six track album that clocks in at over 40 minutes of difficult music and sees the band take on numerous concepts including the human psyche in songs where the lyrical complexity is a close second to the musical complexity. These songs are very much like the band and the album title it self, a contradiction, there are periods of intense violent black metal but these give way to swathes crushing depressive themes and psychedelic mind-bending.
As you progress there are actually very little that's actually on the black metal side other than the scratchy vocals, these are use liberally on I Mean You No Harm which pairs the BM screaming with spooky gonzoid Wurlitzer driven surf rock. Hail Spirit Noir are kind of like Immortal jamming with King Crimson as there are periods of outright weirdness that mix with more of the traditional extreme metal approach. It's interesting but could be a little jarring for some. 7/10
Wardrum: Awakening (Steel Galley Records)
Yet more Greek power metal, this time from Thessaloniki. The band all come from other bands on the Greek scene guitarist Kosta Vreto is also in Jaded Star and Horizon's End along with Kostas Scandalis (bass) and Stergios Kourou (drums). Meanwhile J. Demian (guitar) is in both the Dol Theeta/Dol Ammad projects and plays bass in Hail Spirit Noir (see above). Awakening is their third record and it opens with The Unrepentant Classical guitars move into the super speed drumming and shredding galore, like The Silent Rage and Mystic Prophecy this opening song is in the heavy power metal category with the guitars crunchier than certain power metal bands.
That said from Right Within Your Heart the album takes a lighter edge, but the double kick drum comes back on Virtues Of Humanity. The record is a bit generic if I'm honest more so than a lot of other bands, everything is a bit lack lustre there are some stand out songs with Medusa being one that catches the ear immediately there are some big misses too especially the saccharine On Skies Of Grey. Awakening is not a bad record but with such a glut of power metal coming just from Greece never mind anywhere else. Wardrum sit in the second tier of power metal bands they are listenable enough but they do nothing not heard before. 6/10
Void Droid: Terrestrial (Self Released)
Thursday, 3 November 2016
Reviews: Obituary, Riverside, Tygers Of Pan Tang, Asphyx (Reviews By Paul)
Obituary: Ten Thousand Ways To Die (Relapse)
Two new songs and a slab of live tracks from the Inked In Blood tour make Ten Thousand Ways To Die a pretty neat appetiser for the new studio album incoming next Spring. The Floridian death metallers have nothing to prove but have slammed in a massive behemoth of a track in Loathe. Colossal riffs pound your skull as pulverise your body into a pulp, not with speed but with sheer power and intensity. Ten Thousand Ways To Die is pacier, dirtier and still dripping with malevolence long associated with Obituary. The live tracks capture the pure energy and electricity which is always present at an Obituary gig, with a plethora of classics like Redneck Stomp and Dying sandwiching more recent tunes from Inked In Blood (Centuries Of Lies). No Obituary show is complete without the epic Slowly We Rot which rounds off a pretty decent offering from the genre's best outfit. 8/10
Riverside: Eye Of The Soundscape (InsideOut)
When Riverside guitarist Piotr Grudziński passed suddenly from a cardiac arrest in February of this year the prog world held its collective breath. The future of the Polish outfit looked unsurprisingly, very uncertain. The band was a sealed unit, with Grudziński an essential part of the machinery. It was selfish but joyous relief that greeted the difficult decision by the band to continue as a trio.
Eye Of The Soundscape is the first, and only, posthumous album to feature Grudziński. It comprises a collection of instrumental experimental tracks which includes four new songs, opener Where The Rivers Flow, Shrine, Sleepwalkers and the title track. Described by Mariusz Duda as a “complementary instrumental album”, Eye sits between the final chapter of the unofficial “The Crowd” trilogy, the quite beautiful Love, Fear And The Time Machine and the next album.
Full of space/trance and progressive electronica, with hints of jazz, Eye Of The Soundscape is a stunning and fitting conclusion to three fantastic albums. It also demonstrates a different sound and influence to a band who have become leaders in their field. A double album comprising the new tracks interspersed with reworkings of songs from Rapid Eye Movement, Shrine Of New Generation Slaves and LFATTM, it is a fitting tribute to a guitarist who was a pivotal part of this much-loved unit. Listen, relax and enjoy something a little different to the norm for rock fans. What the future holds for Riverside is uncertain but their creativity, combined with their multiple talents will allow their journey to continue. 9/10
Two new songs and a slab of live tracks from the Inked In Blood tour make Ten Thousand Ways To Die a pretty neat appetiser for the new studio album incoming next Spring. The Floridian death metallers have nothing to prove but have slammed in a massive behemoth of a track in Loathe. Colossal riffs pound your skull as pulverise your body into a pulp, not with speed but with sheer power and intensity. Ten Thousand Ways To Die is pacier, dirtier and still dripping with malevolence long associated with Obituary. The live tracks capture the pure energy and electricity which is always present at an Obituary gig, with a plethora of classics like Redneck Stomp and Dying sandwiching more recent tunes from Inked In Blood (Centuries Of Lies). No Obituary show is complete without the epic Slowly We Rot which rounds off a pretty decent offering from the genre's best outfit. 8/10
Riverside: Eye Of The Soundscape (InsideOut)
When Riverside guitarist Piotr Grudziński passed suddenly from a cardiac arrest in February of this year the prog world held its collective breath. The future of the Polish outfit looked unsurprisingly, very uncertain. The band was a sealed unit, with Grudziński an essential part of the machinery. It was selfish but joyous relief that greeted the difficult decision by the band to continue as a trio.
Eye Of The Soundscape is the first, and only, posthumous album to feature Grudziński. It comprises a collection of instrumental experimental tracks which includes four new songs, opener Where The Rivers Flow, Shrine, Sleepwalkers and the title track. Described by Mariusz Duda as a “complementary instrumental album”, Eye sits between the final chapter of the unofficial “The Crowd” trilogy, the quite beautiful Love, Fear And The Time Machine and the next album.
Full of space/trance and progressive electronica, with hints of jazz, Eye Of The Soundscape is a stunning and fitting conclusion to three fantastic albums. It also demonstrates a different sound and influence to a band who have become leaders in their field. A double album comprising the new tracks interspersed with reworkings of songs from Rapid Eye Movement, Shrine Of New Generation Slaves and LFATTM, it is a fitting tribute to a guitarist who was a pivotal part of this much-loved unit. Listen, relax and enjoy something a little different to the norm for rock fans. What the future holds for Riverside is uncertain but their creativity, combined with their multiple talents will allow their journey to continue. 9/10
Tygers Of Pan Tang: Self Titled (Mighty Music)
Back in 1980, Whitley Bay outfit Tygers Of Pan Tang were spearheading the NWOBHM. They crashed into the UK top 40 album charts with their debut Wild Cat hitting no.18 in the days when the charts meant something. My favourite album Spellbound coincided with the arrival of hot shot guitarist John Sykes and former Persian Risk vocalist Jon Deverill. I loved Spellbound. However, hampered by line-up changes and pressure from their record label to record more cover versions following their surprise hit with a cover of the 1959 song Love Potion No.9, the band lurched on for a few more years before fading into memory in 1987. A return was always on the cards and in 1999 the band reformed and have been gigging and recording ever since.
Tygers Of Pan Tang is their 12th album and it’s an honest release, with some killer guitar riffs and solid tracks. Only The Brave, Dust and Never Give In all sit firmly in the 1980s, retaining the sound that made metal so exciting at that time. Original guitarist Robb Weir remains the one constant in the line-up, with the current cohort recording their first album together. The band’s last release Ambush in 2012 and since that time Gavin Gray has arrived on bass and Micky Crystal on guitar to supplement Weir, drummer Craig Ellis and vocalist Jacopo Meille. Unfortunately, the album also contains some average songs which reduce the impact. Glad Rags is a horrible track, Praying For A Miracle ghastly whilst the emotional ballad The Reason Why is stomach churning.
However, when the band rock out, the result is generic but also rather enjoyable. Do It Again hits hard, whilst retaining the stamp of the Tygers of old and The Music In Me is enjoyable even if it does stick closely to the hard rock blue print. The guitar work of Crystal and Weir is tight and Meille’s vocals sit neatly with the Tygers style. This isn’t an album that will create a ripple in the pond of new releases but it is perfectly listenable. With plenty of festivals catering for the old-school rock fan, the Tygers have a few years left yet and this type of rock would be lapped up by those punters who head to Rock Stock, Hard Rock Hell and Steelhouse. 7/10
Back in 1980, Whitley Bay outfit Tygers Of Pan Tang were spearheading the NWOBHM. They crashed into the UK top 40 album charts with their debut Wild Cat hitting no.18 in the days when the charts meant something. My favourite album Spellbound coincided with the arrival of hot shot guitarist John Sykes and former Persian Risk vocalist Jon Deverill. I loved Spellbound. However, hampered by line-up changes and pressure from their record label to record more cover versions following their surprise hit with a cover of the 1959 song Love Potion No.9, the band lurched on for a few more years before fading into memory in 1987. A return was always on the cards and in 1999 the band reformed and have been gigging and recording ever since.
Tygers Of Pan Tang is their 12th album and it’s an honest release, with some killer guitar riffs and solid tracks. Only The Brave, Dust and Never Give In all sit firmly in the 1980s, retaining the sound that made metal so exciting at that time. Original guitarist Robb Weir remains the one constant in the line-up, with the current cohort recording their first album together. The band’s last release Ambush in 2012 and since that time Gavin Gray has arrived on bass and Micky Crystal on guitar to supplement Weir, drummer Craig Ellis and vocalist Jacopo Meille. Unfortunately, the album also contains some average songs which reduce the impact. Glad Rags is a horrible track, Praying For A Miracle ghastly whilst the emotional ballad The Reason Why is stomach churning.
However, when the band rock out, the result is generic but also rather enjoyable. Do It Again hits hard, whilst retaining the stamp of the Tygers of old and The Music In Me is enjoyable even if it does stick closely to the hard rock blue print. The guitar work of Crystal and Weir is tight and Meille’s vocals sit neatly with the Tygers style. This isn’t an album that will create a ripple in the pond of new releases but it is perfectly listenable. With plenty of festivals catering for the old-school rock fan, the Tygers have a few years left yet and this type of rock would be lapped up by those punters who head to Rock Stock, Hard Rock Hell and Steelhouse. 7/10
Asphyx: Incoming Death (Century Media)
Formed in 1987, Asphyx come from Overjessel, Netherlands. Incoming Death is their 8th release, and their first since 2012’s Deathhammer. As death metal goes, it’s pretty solid with some brutal riffs, the harsh death growling vocals you’d expect from longest serving member Martin Van Drunen and the switch between all out thrashers Candiru to the Bolt Thrower sounding It Came From The Skies adding variety. Massively heavy power chords and destructive guitar work from Paul Baayens add to the enormous stomp that the band amply demonstrate whilst the drumming of Stefan Huskens and bass of Almin Zuur cement the heaviest of foundations. If you like your metal as heavy as it comes, you need to get your aural receptors around this album. It hits hard and it hits heavy. Just don’t look at the cover. 7/10
Wednesday, 2 November 2016
A View From The Back Of The Room: RavenEye (Live Review By Paul)
RavenEye – Clwb Ifor Bach, Cardiff
Is there a better live outfit than the UK’s RavenEye? No. you are wrong. Having seen these guys at both this year’s Steelhouse Festival and a super support slot to the Blues Pills, RavenEye are just a bit special. As part of their UK tour in support of the brilliant debut Nova the band took in a show at Clwb which proved to be as epic as their other appearances in South Wales to date.
We missed openers The Caspiens but made it in time for local heroes Dead Shed Jokers (7) who brought a fair number of their supporters to swell the numbers. As it was billed as a Halloween party the band arrived on stage in fancy dress. Quite a confusing sight, we had Jimmy Saville, a Zombie, a Britney Spears Schoolgirl outfit and Velma from Scooby Doo. Yeah, go figure. The band’s performance was thankfully not as chaotic as their appearance and with a liberal sprinkling of new tracks they proved to be excellent main supports despite missing a guitarist.
As brilliant as they are on record, it’s in the live arena where Oli Brown, Aaron Spiers and Adam Breeze really excel. Crackling with energy from the start, Raveneye (10) have more energy than bands with double their numbers. What’s more, they have the tunes too. Mixing songs from 2015’s Breakout EP and Nova the venue was soon bouncing. A small disturbance in the crowd was dealt with efficiently by security and some solid action by other members of the audience, Oli and Aaron checking things were okay whilst keeping things motoring. By the time the band hit Wanna Feel You the intensity was off the chart.
Their engaging attitude is refreshing and whilst the fun is certainly a huge element in their show (including Oli’s chicken costume developing a hole in the most unfortunate location) they are technically excellent musicians. Gunner has given the band the maniacal engine room whilst Aaron doesn’t stop moving. Oli is a gifted guitarist and his fretwork during the evening was fantastic with Supernova a fine example. Finishing with the trademark walkabout in the crowd (Oli on Aaron's shoulders whilst they both continue to play) Raveneye proved once again that they are as good as anyone on the circuit today. If you’ve not seen them play yet, make sure you do it soon. You won’t regret it.
Is there a better live outfit than the UK’s RavenEye? No. you are wrong. Having seen these guys at both this year’s Steelhouse Festival and a super support slot to the Blues Pills, RavenEye are just a bit special. As part of their UK tour in support of the brilliant debut Nova the band took in a show at Clwb which proved to be as epic as their other appearances in South Wales to date.
We missed openers The Caspiens but made it in time for local heroes Dead Shed Jokers (7) who brought a fair number of their supporters to swell the numbers. As it was billed as a Halloween party the band arrived on stage in fancy dress. Quite a confusing sight, we had Jimmy Saville, a Zombie, a Britney Spears Schoolgirl outfit and Velma from Scooby Doo. Yeah, go figure. The band’s performance was thankfully not as chaotic as their appearance and with a liberal sprinkling of new tracks they proved to be excellent main supports despite missing a guitarist.
As brilliant as they are on record, it’s in the live arena where Oli Brown, Aaron Spiers and Adam Breeze really excel. Crackling with energy from the start, Raveneye (10) have more energy than bands with double their numbers. What’s more, they have the tunes too. Mixing songs from 2015’s Breakout EP and Nova the venue was soon bouncing. A small disturbance in the crowd was dealt with efficiently by security and some solid action by other members of the audience, Oli and Aaron checking things were okay whilst keeping things motoring. By the time the band hit Wanna Feel You the intensity was off the chart.
Their engaging attitude is refreshing and whilst the fun is certainly a huge element in their show (including Oli’s chicken costume developing a hole in the most unfortunate location) they are technically excellent musicians. Gunner has given the band the maniacal engine room whilst Aaron doesn’t stop moving. Oli is a gifted guitarist and his fretwork during the evening was fantastic with Supernova a fine example. Finishing with the trademark walkabout in the crowd (Oli on Aaron's shoulders whilst they both continue to play) Raveneye proved once again that they are as good as anyone on the circuit today. If you’ve not seen them play yet, make sure you do it soon. You won’t regret it.
Tuesday, 1 November 2016
Reviews: Hammerfall, Crippled Black Phoenix, Devilskin, Hand Of Dimes
Hammerfall: Built To Last (Napalm)
Sweden's premier power metal band are now on their tenth record and in a move started on their last album (r)Evolution it sees them go back to the euphoric, might and magic power metal of their first albums. Built To Last kicks off in true Hammerfall style with the galloping Bring It! having the slicing dual riffs of Oscar Dronjak and Pontus Norgren shredding with a hearty crunch as Fredrik Larsson's thumping bass section bolsters the riffs. Joacim Cans again is on top form, his voice hasn't dropped an octave since Glory To The Brave and here he is still soaring high above many of those younger than him.
Hammer High has a fist-in-the-air epic quality and bears witness to the Templars returning to their roots and is driven by the huge drum beats. The thing with Hammerfall is that they sound like Hammerfall, since they rediscovered their mojo for writing classic power metal there doesn't seem to be anyway of stopping them, The Sacred Vow is battle metal by the numbers, Twilight Princess the album's folksy ballad that has Cans displaying his overwrought delivery and the remaining tracks on the record just solidify why Hammerfall are the masters of their craft. This record is not going to change the world but for a band nearly in their 20th year it proves that Hammerfall are Built To Last so try and knock them if you can. 7/10
CBP: Bronze (Seasons Of Mist)
Sweden's premier power metal band are now on their tenth record and in a move started on their last album (r)Evolution it sees them go back to the euphoric, might and magic power metal of their first albums. Built To Last kicks off in true Hammerfall style with the galloping Bring It! having the slicing dual riffs of Oscar Dronjak and Pontus Norgren shredding with a hearty crunch as Fredrik Larsson's thumping bass section bolsters the riffs. Joacim Cans again is on top form, his voice hasn't dropped an octave since Glory To The Brave and here he is still soaring high above many of those younger than him.
Hammer High has a fist-in-the-air epic quality and bears witness to the Templars returning to their roots and is driven by the huge drum beats. The thing with Hammerfall is that they sound like Hammerfall, since they rediscovered their mojo for writing classic power metal there doesn't seem to be anyway of stopping them, The Sacred Vow is battle metal by the numbers, Twilight Princess the album's folksy ballad that has Cans displaying his overwrought delivery and the remaining tracks on the record just solidify why Hammerfall are the masters of their craft. This record is not going to change the world but for a band nearly in their 20th year it proves that Hammerfall are Built To Last so try and knock them if you can. 7/10
CBP: Bronze (Seasons Of Mist)
CBP are special to me (and my lovely other half) the 2014 Athens gig it was the first gig we went to together as a couple so trying to be objective will be difficult but here goes. CBP are somewhat of a cult band that have much more of a following abroad (especially in Eastern Europe and Greece) than they do here but regardless they have always been a band that are a constantly interesting prospect, imbuing their vigilante, politically charged, humanist ideals with Floydian dynamics and an understated aggressiveness that comes from bandleader Justin Greaves and indeed several of the groups 8 members history in the more extreme realms of metal.
This record is more studied, deliberate affair than their more direct, combative previous record, the songs are sprawling and experimental sitting the band back in their early days of psychotropic melancholy (Winning A Losing Battle) while also yet again adding new depth. No Fun is a doomy depressive track with Gilmour-like guitars over the discord, while Rotten Memories and the 9 minute long Champions Of Disturbance (Pt 1 & 2) make up two parts of one song segueing from one into the other style perfected on Dark Side Of The Moon.
The bands music has always been largely instrumental in nature and they allow the sounds to grow, drama to build and on the elongated tracks they turn into a cacophony noise, with the four guitar set up of Justin Greaves, Daniel Änghede, leads from Jonas Stålhammar and the bass of Tom Greenway the riffs are monolithic in nature anchored by the drumming of Ben Wilsker. On top of the colossal wall of guitars Mark Furnevall's keys/synths put flesh on the bones as pianist Daisy Chapman is the emotional heart of the more melancholic parts, supplementing the harrowing distinct vocals of Daniel Änghede.
There is monstrous sound to some of these songs, at times ominous and at others fragile, CBP are a truly progressive band resolutely sticking to making albums they want to make, much like Waters et al did back in the late 60's, they also do a great cover version this time it's Joe Walsh's A Turn To Stone and is probably the rockiest track with expressive guitar solos and incredible drum fills from Wilsker as well as guest vocals from Greenleaf's Arvid Jonsson. The wealth of musical alchemy is always impressive and here Scared And Alone stands out as the fuzziness and sparse horns punctuating this solemn song that deals with the 'black dog' beautifully sung by newest full time member and Greaves' Se Delan collaborator Belinda Kordic.
There always seems to me at least to be a ray of hope in CBP's music no matter how dark it gets but such is the grandiose nature of the music that you can't help but get swept up in the bleakness of it all. CBP are musically colourful but yet again their palate adapts and they take wider brush strokes encapsulating what makes them a formidable musical force but also isolates them from being cool. I for one am proud to be uncool if the soundtrack is this good. 9/10
Devilskin: Be Like The River (Self Released)
New Zealand metal band Devilskin's debut only came out last year, but they have once again come back with another full length album featuring 13 more songs of their melodic, modern groove metal. the four piece are a much bigger prospect in their native land, their next tour sees them as headliners and the more well known name of Halestorm as special guests, as well as being the special guests to Disturbed but with another set of songs similar to their debut and another tour over here they will improve their standing over this side of the pond. The majority of the songs are driven by the rhythm section of bassist Paul Martin and his son Nic who takes care of the drums and the keys that are used to add a wider element of sounds to the metallic base, see the atmospheric Animal.
The groove is the main proponent of the music stylistically similar to Disturbed with guitarist Nail riffing like a demon and using the solos sparingly meaning the songs are riff driven fist pumping anthems that see frontwoman Jennie use her unique vocal sound to it's fullest, I mentioned in my previous review how good a singer she is and here she proves it again blasting out every line with a style that is in the lower register but more powerful than many of her contemporaries effortlessly switching between clean and harsh for the more aggressive tracks such as Believe In Me. The performance is Herculean and is the final piece of the musical puzzle for the band. Much like their debut there are should-be-anthems with first single Mountains and the bouncy Pray the two stand-outs as the heavier end with Voices the slower lighter rallying cry.
They also spread their wings with the Maiden-style F.Y.I, a thump of LOG on Bury Me and the proggy orchestral elements on Limbs. This second record is not as immediate as it's predecessor but sees the band morphing their sound refining it to carve themselves a bigger slice of the musical pie. Buy both albums and when the 2017 UK leg of the tour comes I encourage all of you to see this band before they ascend to bigger things. 8/10
Hand Of Dimes: Raise (Coda Recordings)
Hand Of Dimes is the result of reconnection between Kooga keyboardist Neil Garland and former writing partner Neville MacDonald better known as the voice of hard rockers Skin. The two got back together and started to write the bluesy hard rock they started with in the pre-Kooga days, picture the classy swagger of bands such as Free (Pinstriped Arrogance especially), Rory Gallagher and The Faces, when guitarists played the blues of the American South, singers had a throat made of whiskey and grit and the songs were about gamblin, sinnin' and women.
Raise is the band's debut full length and it has all of the above MacDonald displaying the vocal prowess that made Skin a success back in the early 90's while Colin Edward's guitar playing is soulful and understated especially when paired with Garland's bubbling organs on the AOR infused Moonlight Mile. While Moonlight Mile takes the more melodic route Stranger In My Home Town is driven by the parping mouth harp, acoustic guitars and Hammond organs.
The obvious comparison to this record would be the debut album from Red, White & Blues, Skin guitarist Myke Gray's blues project and where that was the powerful blues rock favoured by Joey B, Hand Of Dimes go back to the old British masters adding the melodic touches from both the main men's previous careers. Jacob's Ladder smolders, Lookin At You packs a punch, Sail On carries a hint of Bad Company. Raise is a competent album from the Welsh blues rockers and one that will win them more fans. 7/10
New Zealand metal band Devilskin's debut only came out last year, but they have once again come back with another full length album featuring 13 more songs of their melodic, modern groove metal. the four piece are a much bigger prospect in their native land, their next tour sees them as headliners and the more well known name of Halestorm as special guests, as well as being the special guests to Disturbed but with another set of songs similar to their debut and another tour over here they will improve their standing over this side of the pond. The majority of the songs are driven by the rhythm section of bassist Paul Martin and his son Nic who takes care of the drums and the keys that are used to add a wider element of sounds to the metallic base, see the atmospheric Animal.
The groove is the main proponent of the music stylistically similar to Disturbed with guitarist Nail riffing like a demon and using the solos sparingly meaning the songs are riff driven fist pumping anthems that see frontwoman Jennie use her unique vocal sound to it's fullest, I mentioned in my previous review how good a singer she is and here she proves it again blasting out every line with a style that is in the lower register but more powerful than many of her contemporaries effortlessly switching between clean and harsh for the more aggressive tracks such as Believe In Me. The performance is Herculean and is the final piece of the musical puzzle for the band. Much like their debut there are should-be-anthems with first single Mountains and the bouncy Pray the two stand-outs as the heavier end with Voices the slower lighter rallying cry.
They also spread their wings with the Maiden-style F.Y.I, a thump of LOG on Bury Me and the proggy orchestral elements on Limbs. This second record is not as immediate as it's predecessor but sees the band morphing their sound refining it to carve themselves a bigger slice of the musical pie. Buy both albums and when the 2017 UK leg of the tour comes I encourage all of you to see this band before they ascend to bigger things. 8/10
Hand Of Dimes: Raise (Coda Recordings)
Hand Of Dimes is the result of reconnection between Kooga keyboardist Neil Garland and former writing partner Neville MacDonald better known as the voice of hard rockers Skin. The two got back together and started to write the bluesy hard rock they started with in the pre-Kooga days, picture the classy swagger of bands such as Free (Pinstriped Arrogance especially), Rory Gallagher and The Faces, when guitarists played the blues of the American South, singers had a throat made of whiskey and grit and the songs were about gamblin, sinnin' and women.
Raise is the band's debut full length and it has all of the above MacDonald displaying the vocal prowess that made Skin a success back in the early 90's while Colin Edward's guitar playing is soulful and understated especially when paired with Garland's bubbling organs on the AOR infused Moonlight Mile. While Moonlight Mile takes the more melodic route Stranger In My Home Town is driven by the parping mouth harp, acoustic guitars and Hammond organs.
The obvious comparison to this record would be the debut album from Red, White & Blues, Skin guitarist Myke Gray's blues project and where that was the powerful blues rock favoured by Joey B, Hand Of Dimes go back to the old British masters adding the melodic touches from both the main men's previous careers. Jacob's Ladder smolders, Lookin At You packs a punch, Sail On carries a hint of Bad Company. Raise is a competent album from the Welsh blues rockers and one that will win them more fans. 7/10
Reviews: Monte Pittman, 40 Watt Sun, Glitter Wizard, Dee Snider (Reviews By Paul)
Monte Pittman: Inverted Grasp Of Balance (Metal Blade)
I’m not sure if being the guitarist in Madonna’s touring band since 2001 is a fantastic status to hold but this is the title that sits with Monte Pittman. For those who are unfamiliar with him, he also played guitar and some bass in Prong from 2000 – 2008. Inverted Grasp Of Balance is his third solo album and follows 2014’s The Power Of Three. It’s a competently performed album, crammed with shredding guitar licks and some very heavy riffs. It also features Billy Sheehan on bass and Richard Christy (Charred Walls of the Damned, Iced Earth, Death) on drums. Unfortunately, some of the tracks on the album are dreadful, Guilty Pleasure being the prime example of something that Anvil would reject. By the middle of the album I was struggling to maintain interest and by the end I was totally disinterested. I’m afraid it’s a no from me. 5/10
40 Watt Sun: Wider Than The Sky (Radiance Records)
London three piece 40 Watt Sun’s follow up to 2011’s The Inside Room is a somber affair. With a focus on introspection and relationships, layered pieces full of atmosphere wash over the listener. For a three piece, 40 Watt Sun create a complex sound, with Patrick Walker’s vocals mournful yet very apt. In places dynamic, in others light, orchestrated instrumentation abounds with a hard rock edge, the band are not what you’d expect from an outfit labelled with the doom tag. My one criticism is that the songs all blend into one which may be the point when some of your tracks are 16 minutes long. 6/10
Glitter Wizard: Hollow Earth Tour (Heavy Psych Sounds)
Yeah, another crazy psychedelic stoner outfit immersed in 1970 is just what we need was my first thought when I saw this. Turns out we might just need Glitter Wizard for a little while. Hollow Earth Tour is one massive slab of fast paced punk infused psychedelia which certainly warms you up on a cold day. Opener Smokey God gets things moving but it’s the Hammond keys of Doug Graves which layer and underpin Lorfin Terrafor’s rampaging guitar on The Hunter where things get good. A huge shift in time and direction half way through keeps your attention whilst the 70s sound is both retro and fresh. The seven minute Scales maintains the pace with seismic sound changes, manic vocals and the cacophony of noise powering the whole thing forward. One-and-a-half-minute Stoned Odyssey segues perfectly into the riff heavy Fungal Visions with Fancee Cymbals drumming and Wendy Stonehenge’s trippy vocals drawing you into the sounds and visions of early Sabbath, Blue Cheer and Hawkwind. It’s wild and 70s soaked, but it’s also solid and good fun. Well worth taking the trip to the centre of your mind. 7/10
Dee Snider: We Are The Ones (earMusic)
"Most of my heavy metal fans are going to hate it". So said Dee Snider in late Summer 2016 and he’s nailed it. The frontman of one of the most astonishing live bands has delivered a steaming turd of an album that I fucking hate. Never mind the crawlingly poor acoustic We’re Not Going to Take It (Yes, it was for a cancer charity but that isn’t an excuse for the appalling video that accompanies this) or the pointless cover of Nine Inch Nails’ Head Like A Hole. There is only one track on this album and that is Close To You. Now I’m hoping against hope that this is a song written to highlight the problem of men stalking women and all the connotations that accompany such unacceptable behaviour. If it isn’t, it is one of the most disturbing and uncomfortable songs I’ve ever heard. I felt sick after listening to it. In fact, I’m basing my mark on this track alone. You were right Dee, I really do hate it. 3/10
I’m not sure if being the guitarist in Madonna’s touring band since 2001 is a fantastic status to hold but this is the title that sits with Monte Pittman. For those who are unfamiliar with him, he also played guitar and some bass in Prong from 2000 – 2008. Inverted Grasp Of Balance is his third solo album and follows 2014’s The Power Of Three. It’s a competently performed album, crammed with shredding guitar licks and some very heavy riffs. It also features Billy Sheehan on bass and Richard Christy (Charred Walls of the Damned, Iced Earth, Death) on drums. Unfortunately, some of the tracks on the album are dreadful, Guilty Pleasure being the prime example of something that Anvil would reject. By the middle of the album I was struggling to maintain interest and by the end I was totally disinterested. I’m afraid it’s a no from me. 5/10
40 Watt Sun: Wider Than The Sky (Radiance Records)
London three piece 40 Watt Sun’s follow up to 2011’s The Inside Room is a somber affair. With a focus on introspection and relationships, layered pieces full of atmosphere wash over the listener. For a three piece, 40 Watt Sun create a complex sound, with Patrick Walker’s vocals mournful yet very apt. In places dynamic, in others light, orchestrated instrumentation abounds with a hard rock edge, the band are not what you’d expect from an outfit labelled with the doom tag. My one criticism is that the songs all blend into one which may be the point when some of your tracks are 16 minutes long. 6/10
Yeah, another crazy psychedelic stoner outfit immersed in 1970 is just what we need was my first thought when I saw this. Turns out we might just need Glitter Wizard for a little while. Hollow Earth Tour is one massive slab of fast paced punk infused psychedelia which certainly warms you up on a cold day. Opener Smokey God gets things moving but it’s the Hammond keys of Doug Graves which layer and underpin Lorfin Terrafor’s rampaging guitar on The Hunter where things get good. A huge shift in time and direction half way through keeps your attention whilst the 70s sound is both retro and fresh. The seven minute Scales maintains the pace with seismic sound changes, manic vocals and the cacophony of noise powering the whole thing forward. One-and-a-half-minute Stoned Odyssey segues perfectly into the riff heavy Fungal Visions with Fancee Cymbals drumming and Wendy Stonehenge’s trippy vocals drawing you into the sounds and visions of early Sabbath, Blue Cheer and Hawkwind. It’s wild and 70s soaked, but it’s also solid and good fun. Well worth taking the trip to the centre of your mind. 7/10
Dee Snider: We Are The Ones (earMusic)
"Most of my heavy metal fans are going to hate it". So said Dee Snider in late Summer 2016 and he’s nailed it. The frontman of one of the most astonishing live bands has delivered a steaming turd of an album that I fucking hate. Never mind the crawlingly poor acoustic We’re Not Going to Take It (Yes, it was for a cancer charity but that isn’t an excuse for the appalling video that accompanies this) or the pointless cover of Nine Inch Nails’ Head Like A Hole. There is only one track on this album and that is Close To You. Now I’m hoping against hope that this is a song written to highlight the problem of men stalking women and all the connotations that accompany such unacceptable behaviour. If it isn’t, it is one of the most disturbing and uncomfortable songs I’ve ever heard. I felt sick after listening to it. In fact, I’m basing my mark on this track alone. You were right Dee, I really do hate it. 3/10
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