Metallica: Hard Wired...To Self Destruct (Blackened)
If you were around when Episode 4 hit the cinema for the first time, the anticipation for episodes 1-3 and the excellent number 7 could just not match that first time you saw the titles roll across the screen back in 1977. Why the Star Wars analogy? Well, because it’s here. The tenth album by the biggest metal band on the planet. The first since 2008’s Death Magnetic. And like Episode 3, for those of us around in the early 1980s, early Metallica was just ball dropping and any new shit just doesn’t fully compare. But that’s not to say this is a crap album. Far far away from that.
Like Star Wars it’s been almost impossible to ignore the launch and unless you are a real elitist then it is still something to get a bit excited about. And in the main it is worth the wait. The haters are going to state that it isn’t Kill, Ride, Master or Justice and the main streamers are going to be disappointed that it isn’t Black part II. But it is Metallica, it stomps hard and heavy and contains a couple of pretty choice cuts.
Produced by Greg Fidelman alongside Papa Het and Lars Ulrich, Hardwired is the first album since 1983 not to feature any compositions with any input from lead guitarist Kirk Hammett who allegedly lost his phone containing over 250 riffs. So we rely on the writing prowess of the main engine of the band, Hetfield and Ulrich with only ManUNkind having the additional input of bassist Robert Trujillo.
We already know three of the tracks that we’ve been drip fed over the past couple of months. Album opener Hardwired kicks hard, a ballsy three-minute blast to grab your attention. Yeah baby, Metallica are back in your yard. This is quickly followed by the aggressive Atlas, Rise! A six-minute power drive that grows on you quicker than mould on a damp wall, hooks galore and some pounding riffage. Now That We’re Dead is weaker but still grounds the stomp on your sorry arse whilst Moth Into Flame is just a beast.
Massive riffage, shredding guitar work from Hammett and Papa Het’s instantly recognisable vocal snarl. This is James Hetfield in 2016, not 1985 and his voice has changed. Substantially. It’s all good so far though with Lars’ drumming big, bold and as in your face as always. I’ve never understood the hate for this man’s drumming. Live he’s always cut it and on record he delivers what he needs to do. Dream No More returns to the Sad But True feel and the eight minute plus of Halo On Fire allows the frenetic pace to calm just for a second or two before munching you into a curled ball of sweat. Side one, not bad. Not bad at all.
Side two contains a little bit more filler, opener Confusion is powerful and heavy but ManUNkind is routine fare. It’s here that you suddenly realise that every song bar one is over six minutes in length and you begin to wonder where it’s going to lead. Here Comes Revenge threatens to return to Puppets era with a couple of promising hooks and some screeching opening guitar but it turns into a bit of a bloated trip, albeit one you can rock along to. Am I Savage? is confusing. It might be one of the best tracks on the release, moving about as far away from the stable sound as you can get and I like the jazz fused intro which ignites the waning fires of interest. It’s a smouldering beast that builds majestically, slower than usual and dare I say it, shades of Megadeth in parts.
The final two tracks are chalk and cheese. Murder One, the tribute to Lemmy is well intentioned but the weakest track on the release, plodding where it should be racing and lyrically both brilliant and dreadful. But Spit Out The Bone? Holy fuck. The heaviest thing Metallica have done for years, a full out thrash fest and a return to the days of Battery and Fight Fire With Fire. It opens frantically, pauses for breath and then kicks the hell out of you. Blasting drumming, crunching riffs and Trujillo’s bass rolling all over this bad boy. Yeah! This is the good shit alright.
I’ve listened to this album about six times already and it’s a real grower. For a band with nothing to prove it’s a damn decent release. Better than Death Magnetic? Probably. Not as good as the early stuff. Who gives a fig. The Metallica machine is moving again. Get on board or get the fuck off. They don’t care. 8/10
Saturday, 19 November 2016
Friday, 18 November 2016
Another Point Of View: SOiL (Live Review By Elle)
SOiL: The Globe, Cardiff
On Sunday night (ugh school night) I made my way over to The Globe. I arrived nice and early so the queue was minuscule, which was great as I could take my place upstairs at the centre of the balcony. It was unusually cold inside, as The Globe is normally fairly toasty, but I shouldn't really complain about temperature. Around 3 weeks prior to the gig it was announced that the American rock band, Saliva, would not be joining SOiL on their tour, due to health issues with one of their members. This was a big disappointment for most people, judging by the reaction on social media but I am personally not that familiar with them so this didn't faze me. In any case, there were other support bands, whose material I'd never heard, so I was excited to see if I could find new gems to add to my iPod.
On Sunday night (ugh school night) I made my way over to The Globe. I arrived nice and early so the queue was minuscule, which was great as I could take my place upstairs at the centre of the balcony. It was unusually cold inside, as The Globe is normally fairly toasty, but I shouldn't really complain about temperature. Around 3 weeks prior to the gig it was announced that the American rock band, Saliva, would not be joining SOiL on their tour, due to health issues with one of their members. This was a big disappointment for most people, judging by the reaction on social media but I am personally not that familiar with them so this didn't faze me. In any case, there were other support bands, whose material I'd never heard, so I was excited to see if I could find new gems to add to my iPod.
First on stage was a local, Bridgend-based band, When We Were Wolves (5). This five-piece band, which is often described as post-hardcore and metalcore, consisted of a weird mix of men, perhaps in their mid-twenties and what seemed to be their younger brothers (one on drums, one on guitar). Their set consisted of a combination of songs from their three EP's and one full length album, Wolf House (2013). The frontman, Mitchell Bock, started off the show by shouting at the empty space in the middle of the floor. The guys on stage didn't seem to be bothered about the sparse crowd and even thanked us a few times for getting there early to check them out. I appreciate that it is very hard, especially for a new band, to get recognition but their performance was a bit of a poor effort.
During Blind, Mitch tried to incorporate clean vocals with his screams and I wish he'd stuck to the screaming, which what the majority of the 5-6 songs in the set were comprised of. It was all very loud and erratic and the band seemed to create more noise than was necessary. The crowd, of what little people there were, were cheering and being supportive nonetheless. I'm afraid my ears were struggling to cope so it's a good job they weren't on for long. Now, I am not the biggest fan of post-hardcore so perhaps I'm being too harsh here but they could've sounded better if the clean vocals were up to scratch.
Next up, was another five-piece, English rock band from the Midlands, Liberty Lies (6). This bunch was also a comical looking mix of musicians. The bassist, Adam 'Wolfie' Howell, who was the smallest in the band, had the biggest guitar, which in all fairness to him he handled well. This, unfortunately unsigned band, has one full length album and two EPs. The vocals of the frontman, Shaun "ManBun" Richards, were not exactly weak but a bit flat and didn't really flow well with the music. I guess I should have expected this kind of generic sound as this is what you often get with hard rock. Or am I just getting too old and grumpy?! Unlike the previous band, these guys were going crazy in what little space they had on stage.
Next up, was another five-piece, English rock band from the Midlands, Liberty Lies (6). This bunch was also a comical looking mix of musicians. The bassist, Adam 'Wolfie' Howell, who was the smallest in the band, had the biggest guitar, which in all fairness to him he handled well. This, unfortunately unsigned band, has one full length album and two EPs. The vocals of the frontman, Shaun "ManBun" Richards, were not exactly weak but a bit flat and didn't really flow well with the music. I guess I should have expected this kind of generic sound as this is what you often get with hard rock. Or am I just getting too old and grumpy?! Unlike the previous band, these guys were going crazy in what little space they had on stage.
I was surprised that no one got hurt, so they get an extra point for the effort. Half way through the set, Shaun pointed out that The Globe is the weirdest venue the band had ever played in, as he tripped over the amp in front of him and almost fell face forward. It would have looked like spontaneous crowd surfing if there were more people there to catch him. During the song Vultures, one of the guitarists bust a string on his guitar but luckily this didn't affect the sound and the band's energy didn't slip. Even though all of the songs merged into one, the tunes grew on me towards the end of the set.
A bit of a wait around until the next band, Sons Of Texas (7) graced us with their presence. The room, at this point, had filled up nicely, but with enough personal space left for everyone. The crowd mainly consisted of middle aged guys and a unique calibre of people that would not pass a face to face interview, well perhaps at a circus.
A bit of a wait around until the next band, Sons Of Texas (7) graced us with their presence. The room, at this point, had filled up nicely, but with enough personal space left for everyone. The crowd mainly consisted of middle aged guys and a unique calibre of people that would not pass a face to face interview, well perhaps at a circus.
This groove/southern metal band from Texas looked a bit more promising. Don't let this genre description fool you, the opener to the set was as heavy as lead. The frontman, Mark Morales, was spitting anger and hate at the crowd but it didn't take long to start appreciating how powerful his vocals were. The bassist, Nick Villarreal, was again, the smallest guy on stage so there must be a trend there, although, good things do come in small packages.
The band have only released one album, Baptized In The Rio Grande, which was out last year, so the stage was full of supporting fresh talent tonight. You could start to hear the southern notes in Mark's vocals for Pull It And Fire, which suited the song nicely. It went on to transform into jamming riffs and the satisfying heaviness of the bass and the drums. Top marks for the energy and effort from the band and the interaction and general charm the frontman had about him when speaking to the audience. The place was rocking and the already warmed up crowd were headbanging and moving around a bit more.
The band have only released one album, Baptized In The Rio Grande, which was out last year, so the stage was full of supporting fresh talent tonight. You could start to hear the southern notes in Mark's vocals for Pull It And Fire, which suited the song nicely. It went on to transform into jamming riffs and the satisfying heaviness of the bass and the drums. Top marks for the energy and effort from the band and the interaction and general charm the frontman had about him when speaking to the audience. The place was rocking and the already warmed up crowd were headbanging and moving around a bit more.
The band themselves were lunging all over the stage and headbanging in synchronicity. I must say, they were not a bad looking bunch for sweaty, angry metal men. The guitarists, Jon Olivares and Jes De Hoyos were producing some juicy riffs and the singer was passionately pounding his chest. That's what I call a dedicated upkeep of his persona. Between each song, we were kept reminded of what the band is called by the frontman and I wish he'd rather told us the titles of their songs. Texas Trim, a song about sex and one night stands, was a groovy, country tune, sexy indeed, during which Mark plunged into the crowd. Sons Of Texas' songs were a great mix of cruel heaviness and jamming country, with bluesy notes.
Towards the end of the set, the title track of their only album portrayed great energy between the band members. The finisher to the set was another rocker where Mark plunged down to the floor again and gave the front row handshakes, hugs and kisses. These guys exceeded my expectations and this being their first time out of the States I hope they do well in the future. I would definitely see them again.
The crowd moved closer to the edge of the stage in anticipation for the long awaited SOiL (8). The band came on stage to a massive cheer and went straight into Wide Open, which is such a tune, the crowd was dancing from the first note. The singer, Ryan McCombs, dressed in a checked shirt and a hillbilly cap looked tiny between Adam Zadel and Tim King, two tall, broad-built guitarists who looked like bookends on each side of the stage. I don't think the sound check guys were happy with the sound of Ryan's iconic mic for the first two songs as they were fussing around the stage and gesticulating to each other. Next was an oldie, Need To Feel, which sent the crowd wild.
The crowd moved closer to the edge of the stage in anticipation for the long awaited SOiL (8). The band came on stage to a massive cheer and went straight into Wide Open, which is such a tune, the crowd was dancing from the first note. The singer, Ryan McCombs, dressed in a checked shirt and a hillbilly cap looked tiny between Adam Zadel and Tim King, two tall, broad-built guitarists who looked like bookends on each side of the stage. I don't think the sound check guys were happy with the sound of Ryan's iconic mic for the first two songs as they were fussing around the stage and gesticulating to each other. Next was an oldie, Need To Feel, which sent the crowd wild.
The reception to the band was astounding, which was to be expected for these nu-metal rockers. In contrast, Ryan was cool and calm when addressing the crowd but with a great dry sense of humour. More sound issues followed for Pride, as we could hear some screeching feedback coming from the singer's mic. This resulted in a 5 minute stoppage but Ryan provided the crowd with quality banter and light-hearted atmosphere by picking on the roadies for not doing their job properly. Couple more songs and the sound was restored to its clarity.
Next up was Amalgamation, Ryan joked about how he regrets getting drunk and suggesting to play this song live. Another song unwillingly sang by Ryan was The Lesser Man/Give It Up, which he went into after muttering: "Fuck my life". This song was done by the band with a different singer so it's not a surprise Ryan had zero enthusiasm towards performing it live. The band was served a shot of Jäger each whilst we encountered more sound issues. It's a shame I wasn't drinking as these technical hiccups in the 13 song setlist would've been more bearable.
Next up was Amalgamation, Ryan joked about how he regrets getting drunk and suggesting to play this song live. Another song unwillingly sang by Ryan was The Lesser Man/Give It Up, which he went into after muttering: "Fuck my life". This song was done by the band with a different singer so it's not a surprise Ryan had zero enthusiasm towards performing it live. The band was served a shot of Jäger each whilst we encountered more sound issues. It's a shame I wasn't drinking as these technical hiccups in the 13 song setlist would've been more bearable.
They cranked the mic up for Breaking Me Down and this was the first time ever I wished I had brought earplugs to a gig. The crowd were jumping and shouting the words. During Black 7 the frontman sat on the edge of the stage and unfortunately people started to act like animals at a zoo, practically jumping in his lap and taking pictures with him. However, Ryan, was being a total sweetheart and was really accommodating or perhaps he was just too drunk to care.
I thought I saw a pit start for Unreal but it was just three drunkards hugging and stumbling over each other. Top marks go to the crowd for lyric knowledge, shame I can't say the same about myself. Minor encore just so Ryan could sneak off the stage and appear in the middle of the crowd singing Halo. Needless to say he was instantly swarmed with people. I have no idea how he managed to breathe, never mind sing, amongst them all. It was such a cool thing to do and it goes to show how much this band really loves its’ fans. Black Betty, a Ram Jam cover, finished the set. As excited as I was to see these guys and as awesome as the gig actually was, they lose a point for all the tech issues, which broke up the fluidity of the set.
I thought I saw a pit start for Unreal but it was just three drunkards hugging and stumbling over each other. Top marks go to the crowd for lyric knowledge, shame I can't say the same about myself. Minor encore just so Ryan could sneak off the stage and appear in the middle of the crowd singing Halo. Needless to say he was instantly swarmed with people. I have no idea how he managed to breathe, never mind sing, amongst them all. It was such a cool thing to do and it goes to show how much this band really loves its’ fans. Black Betty, a Ram Jam cover, finished the set. As excited as I was to see these guys and as awesome as the gig actually was, they lose a point for all the tech issues, which broke up the fluidity of the set.
Thursday, 17 November 2016
Reviews: Freedom Call, Wretched Soul, Atlas
Freedom Call: Master Of Light (Steamhammer)
Ninth album, no punches pulls, no quarter given, just bouncy Germanic power metal coming from the Helloween sound. Freedom Call have always had their tongue planted in their cheek much like their more well known countrymen, they understand that they can be seen as a bit of joke by the more po-faced metal crowd but true power metal doesn't and has never cared about what people think and seeks to unite all the fans of metal. So when this record kicks off with Metal Is For Everyone you have the feeling that Freedom Call consider this to be a clarion call to everyone to unite.
As the record continues it's what you would expect the galloping rhythm section on Kings Rise And Fall, A World Beyond, Hail The Legend with more melodic tendencies on folky title track before it turns into a symphonic driven piece showcasing Chris Bay's excellent vocals. In what seems to be a regularity with these records there are always one or two ballads and Cradle Of Angels is the kind of ballad sung in a warriors tavern, mead in hand, awaiting the inevitable.
Master Of Light does have one major curveball to it though Ghost Ballet has almost EDM style synths and a huge riff that actually would fit very well on a DTP record, strangely it's one of the records strongest songs, unfortunately it's followed by the dreadful Eurovision fodder of Rock The Nation which is the records low point. The nature of power metal means that everything I've just said means nothing to be honest, good or bad fans of power metal will lap this up, sit back relax and just enjoy because Metal Is For Everyone! 7/10
Wretched Soul: The Ghost Road (UKEM Records)
Wretched Soul don't play AOR folks, there are no nice fluffy keys or big emotive choruses on this record instead it's chock full of lightning fast drumming, dirty grooves and wild thrash riffs with death metal aggressiveness. I saw Wretched Soul at Eradication Festival this year and if I'm honest they blew me away with the sheer live power they had, heavy, violent, progressive and down right excellent I had high expectations for this their second album and it's one of the most exhilarating 39 minutes of music I've heard this year.
The Canterbury four piece have significantly upped their game since their debut, which I retrospectively sort out after their blinding performance at Eradication, the touring has paid much dividends as this record is as tight as a frozen tap. With a supremely wide vocal range Chris Simmons' leads from the front relying heavily on his booming clean delivery for Necromancer before adding the death-roars on War Wolf onward, underneath his vocals the instrumentation is top class, Luke Mayell's bass grinds your insides to mush, Andy Clifford's drums split your eardrums with every blast beat and his brother Steve plays the hostile riffs and explosive solos.
The lyrical content as you'd expect is anti-religion, anti-corruption but also deals with historical horror and fantasy literature, par for the course really but delivered with a nasty panache. Aiding the devastation of this record is the production of the legendary Chris Tsangarides (Google it) and the mastering of Dan Swanö (again Google it) who mean the record sounds both modern and retro simultaneously. With thrash, death and black metal all getting a good seeing to by Wretched Soul meaning that this second record will hopefully see Wretched Soul bring their brand of wretchedness to a much wider audience. 9/10
Atlas: Death & Fear (Self Released)
Do you long for The Sword to return to the sound featured on their first two albums, the huge Sabbath worshipping doom riffs, washing over the songs like a black tsunami of feedback and groove. well the second release from Swedish band Atlas could be the answer, it's all here the massive riffs, the psychedelic touches and the clean vocals which are all so scarce in the doom/stoner scene. Death & Fear plays it straight down the line with very little room for change, the pace is set by hypnotic low slung shoegazing and occasionally picks up with some chugging faster sections. You can hear Sabbath (of course) but also 90's Metallica and Alice In Chains, with psychedelic touches throughout this is heavy metal with the catchiness of hard rock. Death & Fear is a great album if like I said you miss the classic doom/stoner stylings of early records from The Sword. 7/10
Ninth album, no punches pulls, no quarter given, just bouncy Germanic power metal coming from the Helloween sound. Freedom Call have always had their tongue planted in their cheek much like their more well known countrymen, they understand that they can be seen as a bit of joke by the more po-faced metal crowd but true power metal doesn't and has never cared about what people think and seeks to unite all the fans of metal. So when this record kicks off with Metal Is For Everyone you have the feeling that Freedom Call consider this to be a clarion call to everyone to unite.
As the record continues it's what you would expect the galloping rhythm section on Kings Rise And Fall, A World Beyond, Hail The Legend with more melodic tendencies on folky title track before it turns into a symphonic driven piece showcasing Chris Bay's excellent vocals. In what seems to be a regularity with these records there are always one or two ballads and Cradle Of Angels is the kind of ballad sung in a warriors tavern, mead in hand, awaiting the inevitable.
Master Of Light does have one major curveball to it though Ghost Ballet has almost EDM style synths and a huge riff that actually would fit very well on a DTP record, strangely it's one of the records strongest songs, unfortunately it's followed by the dreadful Eurovision fodder of Rock The Nation which is the records low point. The nature of power metal means that everything I've just said means nothing to be honest, good or bad fans of power metal will lap this up, sit back relax and just enjoy because Metal Is For Everyone! 7/10
Wretched Soul: The Ghost Road (UKEM Records)
Wretched Soul don't play AOR folks, there are no nice fluffy keys or big emotive choruses on this record instead it's chock full of lightning fast drumming, dirty grooves and wild thrash riffs with death metal aggressiveness. I saw Wretched Soul at Eradication Festival this year and if I'm honest they blew me away with the sheer live power they had, heavy, violent, progressive and down right excellent I had high expectations for this their second album and it's one of the most exhilarating 39 minutes of music I've heard this year.
The Canterbury four piece have significantly upped their game since their debut, which I retrospectively sort out after their blinding performance at Eradication, the touring has paid much dividends as this record is as tight as a frozen tap. With a supremely wide vocal range Chris Simmons' leads from the front relying heavily on his booming clean delivery for Necromancer before adding the death-roars on War Wolf onward, underneath his vocals the instrumentation is top class, Luke Mayell's bass grinds your insides to mush, Andy Clifford's drums split your eardrums with every blast beat and his brother Steve plays the hostile riffs and explosive solos.
The lyrical content as you'd expect is anti-religion, anti-corruption but also deals with historical horror and fantasy literature, par for the course really but delivered with a nasty panache. Aiding the devastation of this record is the production of the legendary Chris Tsangarides (Google it) and the mastering of Dan Swanö (again Google it) who mean the record sounds both modern and retro simultaneously. With thrash, death and black metal all getting a good seeing to by Wretched Soul meaning that this second record will hopefully see Wretched Soul bring their brand of wretchedness to a much wider audience. 9/10
Atlas: Death & Fear (Self Released)
Do you long for The Sword to return to the sound featured on their first two albums, the huge Sabbath worshipping doom riffs, washing over the songs like a black tsunami of feedback and groove. well the second release from Swedish band Atlas could be the answer, it's all here the massive riffs, the psychedelic touches and the clean vocals which are all so scarce in the doom/stoner scene. Death & Fear plays it straight down the line with very little room for change, the pace is set by hypnotic low slung shoegazing and occasionally picks up with some chugging faster sections. You can hear Sabbath (of course) but also 90's Metallica and Alice In Chains, with psychedelic touches throughout this is heavy metal with the catchiness of hard rock. Death & Fear is a great album if like I said you miss the classic doom/stoner stylings of early records from The Sword. 7/10
Wednesday, 16 November 2016
A View From The Back Of The Room: The Graveltones
The Graveltones, Le Pub Newport
After three almost consecutive trips to Bristol in one week, a gig on our side of the bridge (just) was exactly what was needed, forgoing the car it was public transport all the way for a few beverages and sport watching pre-gig. Happily the public transport all ran very smoothly despite Cardiff hosting international matches in both Rugby and Football, I avoided the commotion by heading to Newport and meeting up with friends for a few pints of quality ale and intelligent discussion before the match took place.
Now during the gig the joys of social media confirmed that the band's van had broken down on route to the venue so after some frantic phone calling and a discussion with the head honcho of Pity My Brain (the show organiser) everything was up in the air. So we moved over to the venue which is excellently split into bar downstairs performance area upstairs, after a bit of waiting, some retro Mario Kart and yet more beer, we were given the green light that the band had arrived. By then we were starving so forgoing the support acts we headed for food and arrived back just as the band were about two songs in.
What followed was a completely raucous, unabashed celebration of garage blues from two men that when not on stage are softly spoken and humble but when on the stage and in full flow play with a searing fire, Jimmy O attacking his guitar, peeling out fuzzed up blues lick after, fuzzed up blues lick while he hollers down the mic and spends more time in the crowd than he does on stage. As the frenetic, kinetic front man he needs a rhythm to keep to and Mikey's simply astounding drumming is that rhythm, his intensely percussive playing is a wonder to behold using the entire drum kit to make the thundering noise at points even forgoing sticks for his hands.
With very little between song banter other than a few thank you's and humble free-spirited peace sharing it was all about the music and songs such as Forget About The Trouble, World On A String and Catch Me On The Fly got the small but enthusiastic crowd shaking their hips, nodding their heads, clapping their hands and using their voices to full effect. Drenched with sweat, voices hoarse and heads full of the devils liquor, few bands can get a party started like The Graveltones, honest music from honest people, no bullsh*t just rock n roll in it's purest form 9/10
After three almost consecutive trips to Bristol in one week, a gig on our side of the bridge (just) was exactly what was needed, forgoing the car it was public transport all the way for a few beverages and sport watching pre-gig. Happily the public transport all ran very smoothly despite Cardiff hosting international matches in both Rugby and Football, I avoided the commotion by heading to Newport and meeting up with friends for a few pints of quality ale and intelligent discussion before the match took place.
Now during the gig the joys of social media confirmed that the band's van had broken down on route to the venue so after some frantic phone calling and a discussion with the head honcho of Pity My Brain (the show organiser) everything was up in the air. So we moved over to the venue which is excellently split into bar downstairs performance area upstairs, after a bit of waiting, some retro Mario Kart and yet more beer, we were given the green light that the band had arrived. By then we were starving so forgoing the support acts we headed for food and arrived back just as the band were about two songs in.
What followed was a completely raucous, unabashed celebration of garage blues from two men that when not on stage are softly spoken and humble but when on the stage and in full flow play with a searing fire, Jimmy O attacking his guitar, peeling out fuzzed up blues lick after, fuzzed up blues lick while he hollers down the mic and spends more time in the crowd than he does on stage. As the frenetic, kinetic front man he needs a rhythm to keep to and Mikey's simply astounding drumming is that rhythm, his intensely percussive playing is a wonder to behold using the entire drum kit to make the thundering noise at points even forgoing sticks for his hands.
With very little between song banter other than a few thank you's and humble free-spirited peace sharing it was all about the music and songs such as Forget About The Trouble, World On A String and Catch Me On The Fly got the small but enthusiastic crowd shaking their hips, nodding their heads, clapping their hands and using their voices to full effect. Drenched with sweat, voices hoarse and heads full of the devils liquor, few bands can get a party started like The Graveltones, honest music from honest people, no bullsh*t just rock n roll in it's purest form 9/10
Reviews: Vader, Avenged Sevefold, Crowbar, Taken (Reviews By Paul)
Vader: The Empire (Nuclear Blast)
Playing it safe has never been in Polish titans Vader’s vocabulary. Powering death metal since 1983, The Empire is a blistering follow up to 2014’s Tibi Et Igni, which was an absolute monster. The Empire starts at full throttle, Angels Of Steel kicking your face hard. The pace doesn't let up for a minute, unsurprisingly for a death metal band. Prayers To The God Of War and Iron Reign drip thick wedged riffs, with the latter’s stomping chug conjuring images of 1980s era Venom.
Piotr Wiwczarek’s distinctive brutal vocals and the band’s no nonsense all out thrash approach remains as strong as it ever did. Brit James Stewart drums like there is no tomorrow. His bass drumming on The Army-Geddon ferocious. Album closer Send Me Back To Hell concludes another solid release from one of the most influential death metal outfits of all time. 8/10
Avenged Sevenfold: The Stage (Capitol Records)
Dropped without any fanfare, The Stage is album number 7 for the Californian outfit and the first with new drummer Brooks Wackerman who replaced Aron Ilejay in 2015. The album is also the first with Capitol records after a decade on Warner Bros.
A concept album based on themes of Artificial Intelligence (AI) The Stage is, despite claims to the contrary a typical AX7 sounding release. Slick production, huge drums, guitars raining down solos and riffs and the instantly recognisable vocals of M. Shadows. The problem for me with AX7 is that they've always retained a sound that whilst truly metal, washes completely over me with absolutely no impact. Take Paradigm as an example.
Battering drums, raging riffs and a big hook. Not a flicker. In fact, Paradigm is one of the catchier tunes on the album as well as the second shortest, with only God Damn clocking in under 4 minutes. God Damn is actually a blistering tune, with a powerful intro, harmonies on the chorus and a variation between crunching riffs and flamenco guitar is the middle eight.
The Stage is probably two songs too long, with five tracks well over six minutes each in length. The band have clearly poured some of their longer term influences into this release, with closer Exist merging a range of styles. At nearly 16 minutes long it's an ambitious piece, huge chunks of Metallica apparent throughout (nowt wrong with a bit of that), with the subject matter focusing on the Big Bang and a narrative from astrophysicist Neil DeGrasse Tyson Tyson.
I'm not sure it totally works with clunky interplay, uncomfortable time changes and a variety of approaches which make it difficult to appreciate. The synth work in the middle which merges with some raging drumming and guitar work is a classic example. However, the message of greater life in the universe and mans preoccupation with destroying himself is particularly relevant at this moment.
Let me state for the record that I wish AX7 well. They've been through a lot, with the death of drummer The Rev rocking the band more than could have been expected. They remain a force in the world of metal, hated and loved in equal measure. The expectation on them to be the next big thing from the metal media not helpful. I don't find this album much more exciting than their “massive” 2013 release Hail To The King. But the band are in an arena where they can pretty much do what they want. Good luck to ‘em. 7/10
Crowbar: The Serpent Only Lies (Nuclear Blast)
Album number 11 from New Orleans sludgers Crowbar. It's a heavy, brooding affair with a return to the Crowbar of old. Massive riffs, plodding sections heavy enough to crack concrete and some heads down pace at times to keep you on your toes. Opener Falling While Rising sets the tone, a behemoth of a tune. Kirk Windstein’s vocals remind you that this man must gargle broken glass before breakfast.
As for the riffs, well, fuck me there are riffs pouring out of every orifice. Plasmic And Pure drags the listener and smashes his head against a wall. Windstein and guitarist Matthew Brunson absolutely devastate whilst drummer Tommy Buckley and returning bassist Todd Strange lay down an impenetrable backline. Windstein stated in an interview that he wanted fewer lyrics to let the “riffs breathe”. He has delivered what he promised.
The massive Surviving The Abyss and the brutal title track bear witness. The Serpent Only Lies transports the listener back to the days of Crowbar and 1991’s monstrous Obedience Through Suffering. The beast may be a lumbering creature, but Crowbar 2016 remains a very dangerous beast. 8/10
Taken: Taken (Self Released)
Power metal from Pamplona? Yeah, we will try anything once here at Musipedia (apart from Phil Collins –he can fuck off from the start). Formed from the ashes of Dreamwalker in 2013, Taken has ingested Helloween’s entire catalogue, adopted Klaus Meine’s vocal intonation and used their special set of skills to deliver a really generic, routine power metal album. 100mph from start to finish, the songs are uninspiring, power metal by numbers.
Modern Messiah highlights that vocalist David Arredondo can't actually sing that well, whilst a track titled Wormy Brains means that it all becomes personally too much for me. The keyboards often drown the guitars, the format is repetitive and overall it's just not very good. Dragonforce lite. 5/10
Playing it safe has never been in Polish titans Vader’s vocabulary. Powering death metal since 1983, The Empire is a blistering follow up to 2014’s Tibi Et Igni, which was an absolute monster. The Empire starts at full throttle, Angels Of Steel kicking your face hard. The pace doesn't let up for a minute, unsurprisingly for a death metal band. Prayers To The God Of War and Iron Reign drip thick wedged riffs, with the latter’s stomping chug conjuring images of 1980s era Venom.
Piotr Wiwczarek’s distinctive brutal vocals and the band’s no nonsense all out thrash approach remains as strong as it ever did. Brit James Stewart drums like there is no tomorrow. His bass drumming on The Army-Geddon ferocious. Album closer Send Me Back To Hell concludes another solid release from one of the most influential death metal outfits of all time. 8/10
Avenged Sevenfold: The Stage (Capitol Records)
Dropped without any fanfare, The Stage is album number 7 for the Californian outfit and the first with new drummer Brooks Wackerman who replaced Aron Ilejay in 2015. The album is also the first with Capitol records after a decade on Warner Bros.
A concept album based on themes of Artificial Intelligence (AI) The Stage is, despite claims to the contrary a typical AX7 sounding release. Slick production, huge drums, guitars raining down solos and riffs and the instantly recognisable vocals of M. Shadows. The problem for me with AX7 is that they've always retained a sound that whilst truly metal, washes completely over me with absolutely no impact. Take Paradigm as an example.
Battering drums, raging riffs and a big hook. Not a flicker. In fact, Paradigm is one of the catchier tunes on the album as well as the second shortest, with only God Damn clocking in under 4 minutes. God Damn is actually a blistering tune, with a powerful intro, harmonies on the chorus and a variation between crunching riffs and flamenco guitar is the middle eight.
The Stage is probably two songs too long, with five tracks well over six minutes each in length. The band have clearly poured some of their longer term influences into this release, with closer Exist merging a range of styles. At nearly 16 minutes long it's an ambitious piece, huge chunks of Metallica apparent throughout (nowt wrong with a bit of that), with the subject matter focusing on the Big Bang and a narrative from astrophysicist Neil DeGrasse Tyson Tyson.
I'm not sure it totally works with clunky interplay, uncomfortable time changes and a variety of approaches which make it difficult to appreciate. The synth work in the middle which merges with some raging drumming and guitar work is a classic example. However, the message of greater life in the universe and mans preoccupation with destroying himself is particularly relevant at this moment.
Let me state for the record that I wish AX7 well. They've been through a lot, with the death of drummer The Rev rocking the band more than could have been expected. They remain a force in the world of metal, hated and loved in equal measure. The expectation on them to be the next big thing from the metal media not helpful. I don't find this album much more exciting than their “massive” 2013 release Hail To The King. But the band are in an arena where they can pretty much do what they want. Good luck to ‘em. 7/10
Crowbar: The Serpent Only Lies (Nuclear Blast)
Album number 11 from New Orleans sludgers Crowbar. It's a heavy, brooding affair with a return to the Crowbar of old. Massive riffs, plodding sections heavy enough to crack concrete and some heads down pace at times to keep you on your toes. Opener Falling While Rising sets the tone, a behemoth of a tune. Kirk Windstein’s vocals remind you that this man must gargle broken glass before breakfast.
As for the riffs, well, fuck me there are riffs pouring out of every orifice. Plasmic And Pure drags the listener and smashes his head against a wall. Windstein and guitarist Matthew Brunson absolutely devastate whilst drummer Tommy Buckley and returning bassist Todd Strange lay down an impenetrable backline. Windstein stated in an interview that he wanted fewer lyrics to let the “riffs breathe”. He has delivered what he promised.
The massive Surviving The Abyss and the brutal title track bear witness. The Serpent Only Lies transports the listener back to the days of Crowbar and 1991’s monstrous Obedience Through Suffering. The beast may be a lumbering creature, but Crowbar 2016 remains a very dangerous beast. 8/10
Taken: Taken (Self Released)
Power metal from Pamplona? Yeah, we will try anything once here at Musipedia (apart from Phil Collins –he can fuck off from the start). Formed from the ashes of Dreamwalker in 2013, Taken has ingested Helloween’s entire catalogue, adopted Klaus Meine’s vocal intonation and used their special set of skills to deliver a really generic, routine power metal album. 100mph from start to finish, the songs are uninspiring, power metal by numbers.
Modern Messiah highlights that vocalist David Arredondo can't actually sing that well, whilst a track titled Wormy Brains means that it all becomes personally too much for me. The keyboards often drown the guitars, the format is repetitive and overall it's just not very good. Dragonforce lite. 5/10
Tuesday, 15 November 2016
Reviews: Taylor Hawkins, Stefan Berggren, Trees Of Eternity, Duskwood
Taylor Hawkins: K.O.T.A (Self Released)
Another Foo Fighters hiatus, another Taylor Hawkins solo project, following on from two Coattail Riders records and his Birds Of Satan records K.O.T.A takes a departure that sees Hawkins in full 'solo' album mode, with previous releases he has formed another band with this release he does a Prince and plays everything sans some bass from Wiley Hodgden, Coattail Riders’ Chris Chaney, and Foo Fighters’ Nate Mendel.
It is also probably he most personal record to date, though just a 6 song EP it sees Hawkins telling tales of his suburbanite existence and drawing on his past follies, crafting Sprinsteenian stories. Groove driven Range Rover Bitch and Bob Quit His Job are observations of American life as Hawkins lives them the latter actually about his neighbour Bob doing what the title says. However he also digs deep with Southern Belles touching on his down south upbringing and Tokyo No No is a cautionary tale from the Foos early days of being young, dumb and reckless.
Each song is a self contained narrative that forms part of a wider more meditative whole and as I've Got Some Not Being Around You To Do Today closes out the EP, Hawkins once again captures the imagination and displays that away from the Foos mother-ship he has his head firmly rooted in 70's Cali sound. 7/10
Stefan Berggren: Stranger In A Strange Land (Pride & Joy Music)
Stefan Berggren is a former singer of Whitesnake off-shoot Company Of Snakes, that survived until 2004. Berggren was behind the mic between 2000-2002,l he has also served time in Snakes In Paradise, M3, Razorback and the Berggren Kerslake band. The Swede also had the unenviable task of being the Coverdale in what was a reactivation of the original line up of Whitesnake (Marsden, Moody, Murray, Lord & Paice) for a show in 2001, but on the basis of this his debut solo record you can see why he was chosen, his vocals are the perfect fit for our David rich, deep and soulful just like the leather lunged screamer himself with a touch of Paul Rodgers creeping in at times. As I've said Stranger In A Strange Land is his debut and it sticks with the traditional sound that Berggren has been a part of for most of his career, this is bluesy classic hard rock that sits comfortably with the first few early 70's 'Snake albums.
Sands Of Time starts the record and sees Stefan shift into Bad Company territory with layered acoustics and slow pace, its a track that eases you in, before the strut of Coming Home gets your hips shaking with it's heavy soul. On the album Berggren has reached into his address book for old friend such as Bernie Marsden, Neil Murray (both Whitesnake), Marcus Jidell (Avatarium - Guitar) and Joakim Svalberg (Opeth - Keys) they put their seal on the tracks they feature on. The record taps a blues vein as I've said none more so on Keef's Song which is a tribute to The Rolling Stones seemingly invincible and irrepressibly cool guitarist, while the title track has more in common with Deep Purple or Uriah Heep due to the great use of Moog. This record may go under the radar a bit which is a shame as it's got class and flair if you hanker for some slithering blues rock. 7/10
Trees Of Eternity: Hour Of The Nightingale (Svart Records)
Doom metal at its core is a depressing genre, slow, chugging guitar playing, haunting vocals and a very dark atmosphere all round. However Hour Of Nightingale may just take the cake, the music is desolate, down tempo and bleak, exactly what you would expect from a band formed by Juha Raivio of Shadow Of The Sun along with members and ex-members of Katatonia, October Tide and Wintersun. What makes it particularly harrowing are the ghostly vocals of Aleah Stanbridge she soars above the gloomy ambient melancholy with a baleful fragility on A Million Tears and Condemned To Silence (where she is complimented by low male vocals).
Another Foo Fighters hiatus, another Taylor Hawkins solo project, following on from two Coattail Riders records and his Birds Of Satan records K.O.T.A takes a departure that sees Hawkins in full 'solo' album mode, with previous releases he has formed another band with this release he does a Prince and plays everything sans some bass from Wiley Hodgden, Coattail Riders’ Chris Chaney, and Foo Fighters’ Nate Mendel.
It is also probably he most personal record to date, though just a 6 song EP it sees Hawkins telling tales of his suburbanite existence and drawing on his past follies, crafting Sprinsteenian stories. Groove driven Range Rover Bitch and Bob Quit His Job are observations of American life as Hawkins lives them the latter actually about his neighbour Bob doing what the title says. However he also digs deep with Southern Belles touching on his down south upbringing and Tokyo No No is a cautionary tale from the Foos early days of being young, dumb and reckless.
Each song is a self contained narrative that forms part of a wider more meditative whole and as I've Got Some Not Being Around You To Do Today closes out the EP, Hawkins once again captures the imagination and displays that away from the Foos mother-ship he has his head firmly rooted in 70's Cali sound. 7/10
Stefan Berggren: Stranger In A Strange Land (Pride & Joy Music)
Stefan Berggren is a former singer of Whitesnake off-shoot Company Of Snakes, that survived until 2004. Berggren was behind the mic between 2000-2002,l he has also served time in Snakes In Paradise, M3, Razorback and the Berggren Kerslake band. The Swede also had the unenviable task of being the Coverdale in what was a reactivation of the original line up of Whitesnake (Marsden, Moody, Murray, Lord & Paice) for a show in 2001, but on the basis of this his debut solo record you can see why he was chosen, his vocals are the perfect fit for our David rich, deep and soulful just like the leather lunged screamer himself with a touch of Paul Rodgers creeping in at times. As I've said Stranger In A Strange Land is his debut and it sticks with the traditional sound that Berggren has been a part of for most of his career, this is bluesy classic hard rock that sits comfortably with the first few early 70's 'Snake albums.
Sands Of Time starts the record and sees Stefan shift into Bad Company territory with layered acoustics and slow pace, its a track that eases you in, before the strut of Coming Home gets your hips shaking with it's heavy soul. On the album Berggren has reached into his address book for old friend such as Bernie Marsden, Neil Murray (both Whitesnake), Marcus Jidell (Avatarium - Guitar) and Joakim Svalberg (Opeth - Keys) they put their seal on the tracks they feature on. The record taps a blues vein as I've said none more so on Keef's Song which is a tribute to The Rolling Stones seemingly invincible and irrepressibly cool guitarist, while the title track has more in common with Deep Purple or Uriah Heep due to the great use of Moog. This record may go under the radar a bit which is a shame as it's got class and flair if you hanker for some slithering blues rock. 7/10
Trees Of Eternity: Hour Of The Nightingale (Svart Records)
Doom metal at its core is a depressing genre, slow, chugging guitar playing, haunting vocals and a very dark atmosphere all round. However Hour Of Nightingale may just take the cake, the music is desolate, down tempo and bleak, exactly what you would expect from a band formed by Juha Raivio of Shadow Of The Sun along with members and ex-members of Katatonia, October Tide and Wintersun. What makes it particularly harrowing are the ghostly vocals of Aleah Stanbridge she soars above the gloomy ambient melancholy with a baleful fragility on A Million Tears and Condemned To Silence (where she is complimented by low male vocals).
This isn't the heaviest of doom records taking more from the ambient soundscapes but this enhances the glum but emotive nature of the record. This album has had a long gestation period, finally though it has seen the light of day in albeit in very regretful circumstances as vocalist Aleah passed away earlier this year from cancer, so in part this record serves as her epitaph and it couldn't be more beautiful, the title track being particularly mournful and sobering affair. Hour Of The Nightingale is a heartbreaking record but it is wonderful to listen to really displaying the talent of all those involved, it also serves as a lasting testament to singers sadly now lost talent. 9/10
Duskwood: Desert Queen (Self Released)
Heavy stoner rock from Somerset, think Clutch or Wolfmother but with more cider apples. Desert Queen kicks like a mule, Obelisk the song that opens this album is a pounding rocker with fuzzy guitars and great hollered vocals from Liam Tinsley. Titan is a grooving bass driven number that builds in its final part. Duskwood are a very competent band and play with a swagger rare in a band that were only formed in 2011. With heavy riffs galore from Greg and Laurence while Aaron and Jack are the flaring boiler room for tracks such as Hurricane. It's not big or clever but it is slightly psychedelic stoner rock album that brings the riffs in big order. 7/10
Duskwood: Desert Queen (Self Released)
Heavy stoner rock from Somerset, think Clutch or Wolfmother but with more cider apples. Desert Queen kicks like a mule, Obelisk the song that opens this album is a pounding rocker with fuzzy guitars and great hollered vocals from Liam Tinsley. Titan is a grooving bass driven number that builds in its final part. Duskwood are a very competent band and play with a swagger rare in a band that were only formed in 2011. With heavy riffs galore from Greg and Laurence while Aaron and Jack are the flaring boiler room for tracks such as Hurricane. It's not big or clever but it is slightly psychedelic stoner rock album that brings the riffs in big order. 7/10
A View From The Back Of The Room: The Cadillac Three (Live Review By Paul)
The Cadillac Three, 02 Academy, Bristol
I'm not sure whether Southern rock has undergone a resurgence of late or whether it has always been welcomed with open arms in the U.K. The success of Georgia’s Blackberry Smoke, Texans Whisky Myers and associated acts has demonstrated that this genre is currently in rude health. A very busy 02 Academy supported this theory as Nashville trio The Cadillac Three rolled into Bristol in support of their second album Bury Me In My Boots.
It's rare that a support band totally grabs you by the bollocks and doesn't let go until they've finished but by god, Tyler Bryant and the Shakedown (9) did just that. A 45 minute set that just oozed quality, Tyler Bryant and his band really got a very cool Academy smoking hot. Playing a range of tracks from their latest release Wayside and 2013’s debut Wild Child Bryant, guitarist Graham Whitfield, bassist Noah Denny and crazy drummer Caleb Crosby demonstrated a maturity far beyond Bryant’s age as they rocked out from the beginning. Their set was superbly paced, building in intensity to a crescendo which had the crowd baying for more. Big things will surely happen for this incredibly talented young man and his band.
With such a storming opening, The Cadillac Three (7) had their work cut out. They started brightly with I'm Southern igniting the capacity crowd. Unfortunately in my opinion, the recent spike in their popularity has given a degree of arrogance which detracts from the quality musicianship of the band. Frontman Jaren Johnson’s preference for spitting was particularly unpleasant and whilst his southern drawl is the ideal fit for the band's music, his slovenly attitude at times diminished the appeal substantially. The band have promoted themselves as a hard drinking outfit and they appeared to revel in this, with drummer Neil Mason swigging from a bottle of bourbon throughout the show.
Despite this the band have some great songs with Bury Me In My Boots, Tennessee Mojo and White Lightening all making an appearance and receiving a rapturous reception. However as the set progressed I found my attention wandering somewhat, the pace in the middle of the set dropping off quite noticeably. Interest was rekindled with a superb Peace, Love & Dixie, set closer Days Of Gold and the first encore, a smashing cover of Tom Petty’s Honey Bee, complete with Tyler and the Shakedown. Overall though, The Cadillac Three, enjoyable as they were just didn't impress as much as expected. A huge reception from the crowd suggested that once again I'm in the minority. There again, lots of people think that The Dead Daisies are good and it's a fact that they are dreadful maybe I'm right after all.
It's rare that a support band totally grabs you by the bollocks and doesn't let go until they've finished but by god, Tyler Bryant and the Shakedown (9) did just that. A 45 minute set that just oozed quality, Tyler Bryant and his band really got a very cool Academy smoking hot. Playing a range of tracks from their latest release Wayside and 2013’s debut Wild Child Bryant, guitarist Graham Whitfield, bassist Noah Denny and crazy drummer Caleb Crosby demonstrated a maturity far beyond Bryant’s age as they rocked out from the beginning. Their set was superbly paced, building in intensity to a crescendo which had the crowd baying for more. Big things will surely happen for this incredibly talented young man and his band.
With such a storming opening, The Cadillac Three (7) had their work cut out. They started brightly with I'm Southern igniting the capacity crowd. Unfortunately in my opinion, the recent spike in their popularity has given a degree of arrogance which detracts from the quality musicianship of the band. Frontman Jaren Johnson’s preference for spitting was particularly unpleasant and whilst his southern drawl is the ideal fit for the band's music, his slovenly attitude at times diminished the appeal substantially. The band have promoted themselves as a hard drinking outfit and they appeared to revel in this, with drummer Neil Mason swigging from a bottle of bourbon throughout the show.
Despite this the band have some great songs with Bury Me In My Boots, Tennessee Mojo and White Lightening all making an appearance and receiving a rapturous reception. However as the set progressed I found my attention wandering somewhat, the pace in the middle of the set dropping off quite noticeably. Interest was rekindled with a superb Peace, Love & Dixie, set closer Days Of Gold and the first encore, a smashing cover of Tom Petty’s Honey Bee, complete with Tyler and the Shakedown. Overall though, The Cadillac Three, enjoyable as they were just didn't impress as much as expected. A huge reception from the crowd suggested that once again I'm in the minority. There again, lots of people think that The Dead Daisies are good and it's a fact that they are dreadful maybe I'm right after all.
Monday, 14 November 2016
A View From The Back Of The Room: Lacuna Coil (Live Review By Paul)
Lacuna Coil – The Marble Factory, Bristol
This year’s surprisingly heavy and very good Delirium release was sufficiently tempting to facilitate a return across the Bridge a mere 48 hours after we had seen Blues Pills at the same venue. Although Lacuna Coil has been around since the late 1990s, they are not the most frequent visitors to these parts. Two shows in the Welsh Capital, 2006 and 2011 and only a few more in Bristol, the last being in 2014 at The Anson Rooms. Their appeal is widespread but it was still a pleasant surprise to see the gig sell-out.
Of course, the problem with sell-out gigs in smaller venues such as The Marble Factory is that it becomes very tight in terms of space quite quickly. Taking a steadier approach to avoid the worst of the rush hour traffic, Mr B, Mrs H and I arrived at the venue just as openers Genus Ordinis Dei closed their set to a huge ovation from an already very busy venue. From the little we heard they sound like a band worth checking out.
Having made our way to the far right we were pretty pleased to have found space on the barrier which afforded a great view of the majority of stage action. Main support Forever Still (5) was up next. The band, from Copenhagen gave it their all but their generic, rather bland songs, combined with multiple off stage enhancements (backing vocals, additional guitars, synths etc.) soon became a little dull and whilst they got a decent reception from the crowd, it was more pleasing when their set ended.
No such problems for Lacuna Coil (9) who were simply on fire. The Milan based outfit hit the stage with Ultimate Ratio, the closing track on Delirium and proceeded to blow a hole in the roof of the venue. Tighter than I’d ever seen them, and with the front duo of Cristina Scabbia and Andrea Ferro in stunning form, the Milanese based outfit tore through a set rammed full of classics and a healthy seven tracks from the new release. This was the first night of the UK tour and the Bristol crowd set the bar high. There was excellent audience participation during Heaven’s A Lie, Trip The Darkness and Our Truth before the cover of Depeche Mode’s Enjoy The Silence engaged even those who weren’t as familiar with the back catalogue.
A bone crunching Nothing Stands In Our Way led to the three track encore. First up was Delirium, followed by the heavy as fuck Zombies from the underrated Broken Crown Halo. Just when you thought that was it, Lacuna Coil finished everyone off with the LOG style House Of Shame, possibly the heaviest track they’ve ever written. A fine performance from a band that is right back on track.
This year’s surprisingly heavy and very good Delirium release was sufficiently tempting to facilitate a return across the Bridge a mere 48 hours after we had seen Blues Pills at the same venue. Although Lacuna Coil has been around since the late 1990s, they are not the most frequent visitors to these parts. Two shows in the Welsh Capital, 2006 and 2011 and only a few more in Bristol, the last being in 2014 at The Anson Rooms. Their appeal is widespread but it was still a pleasant surprise to see the gig sell-out.
Of course, the problem with sell-out gigs in smaller venues such as The Marble Factory is that it becomes very tight in terms of space quite quickly. Taking a steadier approach to avoid the worst of the rush hour traffic, Mr B, Mrs H and I arrived at the venue just as openers Genus Ordinis Dei closed their set to a huge ovation from an already very busy venue. From the little we heard they sound like a band worth checking out.
Having made our way to the far right we were pretty pleased to have found space on the barrier which afforded a great view of the majority of stage action. Main support Forever Still (5) was up next. The band, from Copenhagen gave it their all but their generic, rather bland songs, combined with multiple off stage enhancements (backing vocals, additional guitars, synths etc.) soon became a little dull and whilst they got a decent reception from the crowd, it was more pleasing when their set ended.
No such problems for Lacuna Coil (9) who were simply on fire. The Milan based outfit hit the stage with Ultimate Ratio, the closing track on Delirium and proceeded to blow a hole in the roof of the venue. Tighter than I’d ever seen them, and with the front duo of Cristina Scabbia and Andrea Ferro in stunning form, the Milanese based outfit tore through a set rammed full of classics and a healthy seven tracks from the new release. This was the first night of the UK tour and the Bristol crowd set the bar high. There was excellent audience participation during Heaven’s A Lie, Trip The Darkness and Our Truth before the cover of Depeche Mode’s Enjoy The Silence engaged even those who weren’t as familiar with the back catalogue.
A bone crunching Nothing Stands In Our Way led to the three track encore. First up was Delirium, followed by the heavy as fuck Zombies from the underrated Broken Crown Halo. Just when you thought that was it, Lacuna Coil finished everyone off with the LOG style House Of Shame, possibly the heaviest track they’ve ever written. A fine performance from a band that is right back on track.
Another Point Of View: Impericon Never Say Die Tour (Live Review By Stief)
Impericon Never Say Die Tour, Marble Factory, Bristol
That's right folks, it's time for the annual Impericon Never Say Die! Tour, something I've never actually attended before, but enjoyed nonetheless. Thanks to the wonderful British traffic, we walked into the Marble factory in time to see fourth band on the bill, Obey The Brave (7) whose metalcore riffage was quite frankly, pretty brutal. However, when Carnifex (8) take the stage, the brutality is taken up about 10 notches, the entire of the factory turning into a pulsating mass of circle pits and headbanging. Throwing out new songs such as Drown Me In Blood and Slow Death, the band also mix it up with classics Lie To My Face and set closer Hell Chose Me.
Next up were the lads from Oz, Thy Art is Murder (8) who yet again take the brutality dial and turn it up a few notches. Lee Stanton's double bass pedal is consistent throughout the entire set, and Kevin Butler's Bass threatens to pull the building apart at points. Stand-in vocalist Nick Arthur of Molotov Solution sounds perfectly in place, his vicious screams and animalistic growls fitting right in with the band's sound. Much like Carnifex, the band throw out some newer stuff from last year's Holy War, such as the titular track and Light Bearer as well as songs from Hate, including final song Reign Of Darkness. All in all a great mix.
As Whitechapel (9) take the stage, the crowd are ready for them, and they know it, tearing right into Mark Of The Blade and Elitist Ones, before reaching way back to their roots with Vicer Exciser. Phil Bozeman's vocals are angry and savage, but shows his clean vocals are just as good with slower song Bring Me Home, moving from clean to vicious in moments, the crowd swaying, lighters held aloft. The band manage to cover a lot of ground in their roughly 50-minute slot and with crowd pleaser The Saw Is The Law as an encore, the band leave the stage without much pomp and circumstance.
Oh and the final count for circle pit requests from bands: 12.
That's right folks, it's time for the annual Impericon Never Say Die! Tour, something I've never actually attended before, but enjoyed nonetheless. Thanks to the wonderful British traffic, we walked into the Marble factory in time to see fourth band on the bill, Obey The Brave (7) whose metalcore riffage was quite frankly, pretty brutal. However, when Carnifex (8) take the stage, the brutality is taken up about 10 notches, the entire of the factory turning into a pulsating mass of circle pits and headbanging. Throwing out new songs such as Drown Me In Blood and Slow Death, the band also mix it up with classics Lie To My Face and set closer Hell Chose Me.
Next up were the lads from Oz, Thy Art is Murder (8) who yet again take the brutality dial and turn it up a few notches. Lee Stanton's double bass pedal is consistent throughout the entire set, and Kevin Butler's Bass threatens to pull the building apart at points. Stand-in vocalist Nick Arthur of Molotov Solution sounds perfectly in place, his vicious screams and animalistic growls fitting right in with the band's sound. Much like Carnifex, the band throw out some newer stuff from last year's Holy War, such as the titular track and Light Bearer as well as songs from Hate, including final song Reign Of Darkness. All in all a great mix.
As Whitechapel (9) take the stage, the crowd are ready for them, and they know it, tearing right into Mark Of The Blade and Elitist Ones, before reaching way back to their roots with Vicer Exciser. Phil Bozeman's vocals are angry and savage, but shows his clean vocals are just as good with slower song Bring Me Home, moving from clean to vicious in moments, the crowd swaying, lighters held aloft. The band manage to cover a lot of ground in their roughly 50-minute slot and with crowd pleaser The Saw Is The Law as an encore, the band leave the stage without much pomp and circumstance.
Oh and the final count for circle pit requests from bands: 12.
Sunday, 13 November 2016
A View From The Back Of The Room: The Blues Pills (Live Review By Paul)
Blues Pills – The Marble Factory, Bristol
As we headed to Bristol for the first time this week we had to fight all the way there through the heavy rainfall that lashed down as we drove.
Our mood had been dampened not only by the abysmal weather but the news that main support act Kadavar had to withdraw due to illness. This didn’t stop the band’s extensive merchandise being displayed for sale at the venue along with some rather fine Blues Pills garments and some interesting leatherwork from the other support outfit, Stray Train.
A healthy crowd welcomed the Slovenians Stray Train (7) who had the task of warming the crowd up on a cold night and also filling the void created by Kadavar’s absence. They took up the mantle and delivered on all levels with their warming brand of classic rock getting heads nodding and feet tapping. Perhaps a tad generic musically, the band possesses a real asset in vocalist Luka Lamut whose soaring voice had more than a passing resemblance to Myles Kennedy. Playing a good 35 minutes with tracks such as Plastic Princess and Wonderful off their debut release, the excellently titled Just 'Cause You Got The Monkey Off Your Back Doesn’t Mean The Circus Has Left Town Stray Train were competent and entertaining with the confidence of a band who’ve been on the road for a while.
Blues Pills (8) need little introduction. Since our first viewing at Hard Rock Hell in November 2014, the Swedish based outfit has developed massively. This year’s stunning Lady In Gold has helped and their performance at Steelhouse Festival in July was a total triumph. The improvement is in the tightness of their musical interplay and in the confidence of Elin Larsson, whose Joplinesque moves are now frenzied in comparison to that cold November afternoon in Pwllheli. A commanding figure, she whirls and swirls like a dervish, blond hair cascading over her face as she smacks hell out of her tambourines.
The band opened with the powerful Lady In Gold and showed their topical side with Larsson sarcastically dedicating Little Boy Preacher to the 45th President of the USA. With two albums now in their catalogue, the band now have more room for expression and no-one takes more advantage of that than guitarist Dorian Sorriaux. Splendidly decked out in a red velvet jacket and snazzy shirt, the Frenchman makes playing the guitar look effortless. His performance throughout the evening was great but during Astral Plane, High Class Woman, Ain’t No Change and Devil Man it was astonishing.
Unfortunately the sound was pretty appalling and despite moving several times to both sides of the stage, the overpowering drumming of Andre Kvarnsrom and Zack Anderson’s thumping bass lines muffled Sorriaux’s guitar sound with Larsson having to work really hard to be heard. A beautiful solo encore of I Felt A Change by the frontwoman allowed a brief respite but with a thunderously heavy Rejection the penultimate encore crushing the skull once more, we made our exit. A superb band, let down on this occasion by a disappointing sound mix.
As we headed to Bristol for the first time this week we had to fight all the way there through the heavy rainfall that lashed down as we drove.
Our mood had been dampened not only by the abysmal weather but the news that main support act Kadavar had to withdraw due to illness. This didn’t stop the band’s extensive merchandise being displayed for sale at the venue along with some rather fine Blues Pills garments and some interesting leatherwork from the other support outfit, Stray Train.
A healthy crowd welcomed the Slovenians Stray Train (7) who had the task of warming the crowd up on a cold night and also filling the void created by Kadavar’s absence. They took up the mantle and delivered on all levels with their warming brand of classic rock getting heads nodding and feet tapping. Perhaps a tad generic musically, the band possesses a real asset in vocalist Luka Lamut whose soaring voice had more than a passing resemblance to Myles Kennedy. Playing a good 35 minutes with tracks such as Plastic Princess and Wonderful off their debut release, the excellently titled Just 'Cause You Got The Monkey Off Your Back Doesn’t Mean The Circus Has Left Town Stray Train were competent and entertaining with the confidence of a band who’ve been on the road for a while.
Blues Pills (8) need little introduction. Since our first viewing at Hard Rock Hell in November 2014, the Swedish based outfit has developed massively. This year’s stunning Lady In Gold has helped and their performance at Steelhouse Festival in July was a total triumph. The improvement is in the tightness of their musical interplay and in the confidence of Elin Larsson, whose Joplinesque moves are now frenzied in comparison to that cold November afternoon in Pwllheli. A commanding figure, she whirls and swirls like a dervish, blond hair cascading over her face as she smacks hell out of her tambourines.
The band opened with the powerful Lady In Gold and showed their topical side with Larsson sarcastically dedicating Little Boy Preacher to the 45th President of the USA. With two albums now in their catalogue, the band now have more room for expression and no-one takes more advantage of that than guitarist Dorian Sorriaux. Splendidly decked out in a red velvet jacket and snazzy shirt, the Frenchman makes playing the guitar look effortless. His performance throughout the evening was great but during Astral Plane, High Class Woman, Ain’t No Change and Devil Man it was astonishing.
Unfortunately the sound was pretty appalling and despite moving several times to both sides of the stage, the overpowering drumming of Andre Kvarnsrom and Zack Anderson’s thumping bass lines muffled Sorriaux’s guitar sound with Larsson having to work really hard to be heard. A beautiful solo encore of I Felt A Change by the frontwoman allowed a brief respite but with a thunderously heavy Rejection the penultimate encore crushing the skull once more, we made our exit. A superb band, let down on this occasion by a disappointing sound mix.
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