Phil Campbell And The Bastard Sons: Self Titled EP (Motörhead Music)
The long-time Motörhead legend has not sat idly by since the passing of his Captain, almost a year ago. Changing the name of his band to the Bastard Sons (from the All-Star Band - Ed) may not have gone down well with Mrs Campbell, but it probably serves the band well. Their non-stop touring has honed their skills and this five track EP is a groove fest of high quality rock ‘n’ roll with the bluesy undertones that Campbell’s guitar playing always added to the Motörhead sound. It’s party rock, well-crafted with Neil Starr’s dirty vocals spot on.
Lighter than much of his previous work, the stomp of Spiders, the American sleaze of Take Aim and opener Big Mouth all demand you to move your feet and bang that head. Phil’s three lads are a tight unit, Dane and Tyler laying down the rhythm whilst Todd adds to the old man’s superb guitar work with his own axe. No Turning Back has the pace of the Motörhead of old but moves away from being a straight forward replica in any way whilst the acoustic closer Life In Space demonstrates a much gentler side to a man renowned for turning everything up to 11. Life in an old dog for definite. I like this a lot. 8/10
Rik Emmett & Resolution 9: RES 9 (Provogue Records)
In the guitar world, Rik Emmett is an absolute legend. One of the founders of power trio Triumph, who he left in 1988, his discography is impressive with a variety of styles from rock to flamenco and all stations in between. RES 9 is his latest release and very eclectic it is too. Predominantly blues based, with guest appearances from Rush guitarist Alex Lifeson and Dream Theater’s James LaBrie, it’s a relaxing listen with some stunning guitar work from the main man.
Some of the tracks are ghastly, namely the hideous My Cathedral but the blues soaked The Ghost Of Shadow Town and the brilliant funk infused End Of The Line (which features a storming performance from LaBrie and Lifeson’s dazzling guitar) make the god bothering palatable. The bonus track sees Emmett reunited with Triumph band mates Gil Moore and Mike Levine for the first time since 1987. Grand Parade is a mellow tune, and you can take your pick about whether it is the softer side of former glories or a just a bit gut churning. Very much an album for the muso and diehard fan. 6/10
Robert Pehrsson Humbucker: Long Way To The Light (High Roller)
Robert Pehrsson is a Swedish guitarist, singer and song writer who has been in a multitude of bands since he started recording in the late 1980s. His history includes thrash and death metal but that is very much history. Long Way To The Light is a solo release which sits very much in the genre of ‘classic rock’ (which appears to have become a thing now). With a sound that contains elements of Thin Lizzy, Pat Benatar and even a bit of The Cars, its very much aimed at the AOR market. It does it very well, combining some excellent guitar work with melody and harmony. It’s a bit cheesy at times but overall a perfectly listenable inoffensive release. 7/10
Thursday, 24 November 2016
Wednesday, 23 November 2016
A View From The Back Of The Room: Opeth (Live Review By Paul)
Opeth: An Evening Of Sorcery, Damnation and Deliverance, SSE Wembley Arena
When Opeth announced a one-off November gig at Wembley Arena several months ago, it was touch and go whether we went. The price tag of over £50 plus the trek to London on a late autumnal dark day wasn’t the most attractive but Matt and I decided to take the punt. By 11:00pm on 19 November we were so happy we had. Wembley is reasonably straightforward to access from South Wales without the ball-ache of having to dip into Central London and we were there with a couple of hours to spare. Straight in at doors and having picked up the customary special event shirt we headed to the much vaunted sold out standing area.
When Opeth announced a one-off November gig at Wembley Arena several months ago, it was touch and go whether we went. The price tag of over £50 plus the trek to London on a late autumnal dark day wasn’t the most attractive but Matt and I decided to take the punt. By 11:00pm on 19 November we were so happy we had. Wembley is reasonably straightforward to access from South Wales without the ball-ache of having to dip into Central London and we were there with a couple of hours to spare. Straight in at doors and having picked up the customary special event shirt we headed to the much vaunted sold out standing area.
First surprise and the only disappointment of the evening. The promoters had obviously underestimated the interest and had plumped for a “half size” event. Yes, the stage had been moved half way up the cavernous venue to cut the capacity in half. Yes, it became intimate but it appeared a strange move and considering the apparent demand on social media for standing tickets clearly a potentially missed opportunity to make a bit more cash and gain wider exposure for the band. Mikael Akerfeldt commented on it during the Opeth set, and not in the complimentary manner either.
Two weeks earlier we had seen Anathema perform a quite amazing set at The Globe, a 350-capacity venue in Cardiff. It was understandable that the band were apprehensive yet obviously delighted to be the support act for the evening. The band go back a long way with Opeth and I’d seen Anathema support the Swedes at Nottingham Rock City over five years ago. Despite the obvious nerves that appear to initially impact on Danny Cavanagh, Anathema (8) were on fire from the start and as the crowd swelled and became more engaged so the band visibly relaxed. Opening with Thin Air, Danny, brother Vincent and the rest of the group soon got the temperature rising and as the ever-emotional Untouchable Pt I allowed Lee Douglas to demonstrate her amazing voice the inevitable lump in the throat arrived.
A wry smile directed in my direction by Danny (I think in recognition of my Anathema hoodie) reassured me that he was finally enjoying himself. The band have honed their live skills recently and it showed with a flawless A Simple Mistake before the completely remodelled Distant Satellites got more heads nodding and the applause cascading around the venue. In a truncated set, obviously, many of the favourites can’t be played but Anathema chose a set list that really played to their strengths. A Natural Disaster is one of their most beautiful songs and this version was perfect, with Wembley Arena lit up with the mobile phone lights that has become synonymous with this song. Lee’s haunting closing vocal had the Arena holding its collective breath.
Usual set closer Fragile Dreams followed with the crowd by now fully participating before the band took the brave step to close with one of their new tracks, yet unrecorded but aired on the recent tour. Having only heard it once before I can’t be sure but we thought it was Springfield. It sounded even better than first listen. The band left the stage to a huge ovation, and I hope rightfully gained a few more fans in the process. They deserve it.
Two weeks earlier we had seen Anathema perform a quite amazing set at The Globe, a 350-capacity venue in Cardiff. It was understandable that the band were apprehensive yet obviously delighted to be the support act for the evening. The band go back a long way with Opeth and I’d seen Anathema support the Swedes at Nottingham Rock City over five years ago. Despite the obvious nerves that appear to initially impact on Danny Cavanagh, Anathema (8) were on fire from the start and as the crowd swelled and became more engaged so the band visibly relaxed. Opening with Thin Air, Danny, brother Vincent and the rest of the group soon got the temperature rising and as the ever-emotional Untouchable Pt I allowed Lee Douglas to demonstrate her amazing voice the inevitable lump in the throat arrived.
A wry smile directed in my direction by Danny (I think in recognition of my Anathema hoodie) reassured me that he was finally enjoying himself. The band have honed their live skills recently and it showed with a flawless A Simple Mistake before the completely remodelled Distant Satellites got more heads nodding and the applause cascading around the venue. In a truncated set, obviously, many of the favourites can’t be played but Anathema chose a set list that really played to their strengths. A Natural Disaster is one of their most beautiful songs and this version was perfect, with Wembley Arena lit up with the mobile phone lights that has become synonymous with this song. Lee’s haunting closing vocal had the Arena holding its collective breath.
Usual set closer Fragile Dreams followed with the crowd by now fully participating before the band took the brave step to close with one of their new tracks, yet unrecorded but aired on the recent tour. Having only heard it once before I can’t be sure but we thought it was Springfield. It sounded even better than first listen. The band left the stage to a huge ovation, and I hope rightfully gained a few more fans in the process. They deserve it.
Opeth (10) don’t need any introduction. The band has grafted blood, sweat and tears to get to this place in their 25+ year career and they really went for it. The lighting for the evening took the visuals to another level, with many an appreciative gasp from the crowd as the evening progressed. A back screen which enhanced the mood was impressive too and the wider space on the stage allowed the frontmen to move around with more freedom, although Martin Mendes remained in his customary position throughout the evening.
A crystal-clear sound was an even bigger bonus. Given the complexity of Opeth's songs, the opportunity to hear their often crushingly heavy tracks with a ‘big’ sound was so welcome. The delivery was perfect. Opening with Sorceress, which interestingly elicited a massive cheer from a crowd obviously well acquainted with the new release, Opeth were just blistering. An unbelievable set list combined old favourites with newer material, although only The Wilde Flowers made the cut from the new release alongside the title track. I’ve reviewed Opeth several times before and it is hard to maintain the superlatives without sounding even more of a fan boy than I am.
However, polished and professional just aren’t sufficient. This is a band who make everything look incredibly easy despite the fact their music is intricate and complex. Multiple time changes, tempos and variations make even the simplest tunes interesting. Let’s just say that this was a band at the top of their game. Alongside Martin Mendes, drummer Martin Axenrot makes the drumming look stupidly easy whilst keyboardist Joakim Svalberg has given the band an extras dimension with his harmonies on the backing vocals a brilliant addition. His keyboard playing isn’t shabby either. That leaves the guitar work of Fredrik Akesson and of course, Mikael Akerfeldt. Just amazing. Akerfeldt’s vocal prowess allows him to switch between delicate clean vocals and brutal death growls in an instant.
So what was in the set list? Well, it played out like a fan boy’s wish list. After Sorceress, the monstrous duo of Ghost Of Perdition and a welcome return for Demon Of The Fall from My Arms, Your Hearse kept the old school happy. It was crushingly heavy all the way for the first set, except for the calmer parts of Face Of Melinda from Still Life and a blistering Drapery Falls, the only inclusion from Blackwater Park. Cusp Of Eternity from 2014’s Pale Communion, Heir Apparent from Watershed and Ghost Reveries’ Grand Conjuration closed set one with the foundations of the venue shaking such is the heaviness of these tracks. Having already played for an hour and a half, the final hour was the Damnation and Deliverance set.
A beautiful contrast of acoustic (ish) tracks from Damnation, four in total that allowed the arena to brace for the brutal finale. Opening with Windowpane, the band whistled through the rarely played Death Whispered A Lullaby, In My Time Of Need and the Eastern flavoured Closure, all of the tracks flawlessly executed. The big finale hit hard, with several pits opening up in very strange places around the floor. Master's Apprentice was immense with the heaviness maintained with track two from Deliverance By The Pain I See In Others making only its third ever outing. It was stunning and a privilege to be present.
Of course, if you’ve seen Opeth in recent years you’ll know that the finale is often Deliverance, a blinding 13 minute epic. And so it was tonight. Heavy as fuck, intricate and just pure essence of a band who deserve all the plaudits they get. As the band took their final applause it was time to reflect on THE GIG of 2016. Absolutely brilliant and well worth the appalling weather on the drive back to South Wales.
Tuesday, 22 November 2016
Review: Pretty Maids, Devilment, Enbound
Pretty Maids: Kingmaker (Frontiers)
Danish rockers Pretty Maids have been kicking out the jams since 1981 and since then the only two constants have been founder members Ronnie Atkins (vocals) and Ken Hammer (guitar), it's this songwriting partnership that has seen the band still going even after all these years, now they may not be a household name to some (except in Japan where they seem to be revered) but longevity is something not be sniffed at in the cut throat music industry. As with all bands that are experienced there are parts of their career that shine and there are parts that are best left be, happily since 2010's Pandemonium Pretty Maids have been in a bit of a purple patch making some of the strongest, toughest and heaviest songs ever.
Kingmaker is their 15th album and sees Ken Hammer once again peeling off some heavyweight riffage on the opening two tracks When God Took A Day Off and the title track, these are real head kickers, with some excellent shredding and a powerful rhythm section guiding the musical backing it allows Ronnie to snarl viciously. The entire record is bolstered by Jacob Hansen's (Volbeat) production, it makes the entire record sound vibrant and heightens the piercing clarity of Hammer's guitar and the nuances of Atkin's expressive vocals.
Many will see Pretty Maids as an AOR styled band but this record may change that opinion as much of this record is menacing with distorted riffs and an aggressive streak see Bullseye, on the other hand there are of course some lighter melodic touches on the flirty Heaven's Little Devil and of course a mega power ballad in the shape of Last beauty On Earth where Atkins' croons like a natural balladeer. Kingmaker sees Pretty Maids still in playing top quality melodic metal. 8/10
Devilment: II - The Mephisto Waltzes (Nuclear Blast)
Devilment are notably the band stated by Daniel Finch back in 2011, they struggled to find a vocalist until Finch's friend Dani Filth agreed to do some guest vocals and eventually becoming the full time vocalist and sticking around for the debut album. In interim however Finch has left the group, leaving Filth as the sole 'original' member, this means that this second album can be seen as the reinvention of the band. I'll get this out of the way now, I've never been a fan of Filth's vocals, well one part of them in particular, I like his growls, roars and screams but I can't stand the high-pitched screeching he uses, I realise that it's a skill it just grates like nails on a chalkboard, especially live, it was a distraction when we saw Devilment live at Hammerfest and it's always been the major reason that even though I do like Cradle Of Filth I can never play there stuff for too long.
So with this in mind I pushed play on the second album from Dani's now 'other' band with a hint of trepidation, as the record kicks off Judasstein has the squeals but thankfully they don't appear very often and do add to the duality the song. From here the record improves well on Hitchcock Blonde which is a thumping rocker with the schlock horror tendencies and sees Filth using just his scarred main vocal, he works in conjunction with keyboardist Lauren Francis very well on Full Dark, No Stars which is the record's most dramatic piece with the soaring female vocals in juxtaposition with Filth's guttural grunts. II: The Mephisto Waltzes is a strong metal album, full of tasty extreme metal riffage, drum barrages and symphonic styling, its more concise and there is much better quality control than on it's predecessor and where Filth uses is brutal lower register the record is great, I just still can't get past the screeches. 7/10
Enbound: The Blackened Heart (Inner Wound)
Finally a new Enbound album! Who are Enbound? I hear you cry. Well they are a Swedish power metal band that play hook filled, fist punching, music played with a musical dexterity and a symphonic sensibility. Their debut record And She Says Gold was a triumph of furious riffs matched by waves of glorious keys and massive harmonies (even a stonking cover of Beat It) so I was anticipating that their second album would live up to expectations if not exceed them. Joyously it does and then some, more concise than it's predecessor at 10 tracks it's 40 minutes of classy power metal with a shine that comes from frontman Lee Hunter's smooth as silk vocals that some may recognise as the singer of modern AOR masters Work Of Art.
Here once again he is on top form with emotionally charged vocals that display his vocal range, he also provides some additional keys on the melodic Holy Grail. More than ably supporting Hunter's is the clean, crisp guitar work of Marvin Flowberg and the intricate bass of Swede (although Symphony X's Mike LePond plays the bass solo on Feel My Flame) everything on this record though is orchestrated and directed by the band's producer/lyricist/songwriter/drummer/keyboardist/vocalist (on They Don't Really Know) Mike Cameron Force who is really the architect of Enbound. What he has both designed and helped to construct is a very solid slab of bouncy power metal, yes it's standard fair in a shiny candy wrapper but that's not reason not to suck it and see. 7/10
Danish rockers Pretty Maids have been kicking out the jams since 1981 and since then the only two constants have been founder members Ronnie Atkins (vocals) and Ken Hammer (guitar), it's this songwriting partnership that has seen the band still going even after all these years, now they may not be a household name to some (except in Japan where they seem to be revered) but longevity is something not be sniffed at in the cut throat music industry. As with all bands that are experienced there are parts of their career that shine and there are parts that are best left be, happily since 2010's Pandemonium Pretty Maids have been in a bit of a purple patch making some of the strongest, toughest and heaviest songs ever.
Kingmaker is their 15th album and sees Ken Hammer once again peeling off some heavyweight riffage on the opening two tracks When God Took A Day Off and the title track, these are real head kickers, with some excellent shredding and a powerful rhythm section guiding the musical backing it allows Ronnie to snarl viciously. The entire record is bolstered by Jacob Hansen's (Volbeat) production, it makes the entire record sound vibrant and heightens the piercing clarity of Hammer's guitar and the nuances of Atkin's expressive vocals.
Many will see Pretty Maids as an AOR styled band but this record may change that opinion as much of this record is menacing with distorted riffs and an aggressive streak see Bullseye, on the other hand there are of course some lighter melodic touches on the flirty Heaven's Little Devil and of course a mega power ballad in the shape of Last beauty On Earth where Atkins' croons like a natural balladeer. Kingmaker sees Pretty Maids still in playing top quality melodic metal. 8/10
Devilment: II - The Mephisto Waltzes (Nuclear Blast)
Devilment are notably the band stated by Daniel Finch back in 2011, they struggled to find a vocalist until Finch's friend Dani Filth agreed to do some guest vocals and eventually becoming the full time vocalist and sticking around for the debut album. In interim however Finch has left the group, leaving Filth as the sole 'original' member, this means that this second album can be seen as the reinvention of the band. I'll get this out of the way now, I've never been a fan of Filth's vocals, well one part of them in particular, I like his growls, roars and screams but I can't stand the high-pitched screeching he uses, I realise that it's a skill it just grates like nails on a chalkboard, especially live, it was a distraction when we saw Devilment live at Hammerfest and it's always been the major reason that even though I do like Cradle Of Filth I can never play there stuff for too long.
So with this in mind I pushed play on the second album from Dani's now 'other' band with a hint of trepidation, as the record kicks off Judasstein has the squeals but thankfully they don't appear very often and do add to the duality the song. From here the record improves well on Hitchcock Blonde which is a thumping rocker with the schlock horror tendencies and sees Filth using just his scarred main vocal, he works in conjunction with keyboardist Lauren Francis very well on Full Dark, No Stars which is the record's most dramatic piece with the soaring female vocals in juxtaposition with Filth's guttural grunts. II: The Mephisto Waltzes is a strong metal album, full of tasty extreme metal riffage, drum barrages and symphonic styling, its more concise and there is much better quality control than on it's predecessor and where Filth uses is brutal lower register the record is great, I just still can't get past the screeches. 7/10
Enbound: The Blackened Heart (Inner Wound)
Finally a new Enbound album! Who are Enbound? I hear you cry. Well they are a Swedish power metal band that play hook filled, fist punching, music played with a musical dexterity and a symphonic sensibility. Their debut record And She Says Gold was a triumph of furious riffs matched by waves of glorious keys and massive harmonies (even a stonking cover of Beat It) so I was anticipating that their second album would live up to expectations if not exceed them. Joyously it does and then some, more concise than it's predecessor at 10 tracks it's 40 minutes of classy power metal with a shine that comes from frontman Lee Hunter's smooth as silk vocals that some may recognise as the singer of modern AOR masters Work Of Art.
Here once again he is on top form with emotionally charged vocals that display his vocal range, he also provides some additional keys on the melodic Holy Grail. More than ably supporting Hunter's is the clean, crisp guitar work of Marvin Flowberg and the intricate bass of Swede (although Symphony X's Mike LePond plays the bass solo on Feel My Flame) everything on this record though is orchestrated and directed by the band's producer/lyricist/songwriter/drummer/keyboardist/vocalist (on They Don't Really Know) Mike Cameron Force who is really the architect of Enbound. What he has both designed and helped to construct is a very solid slab of bouncy power metal, yes it's standard fair in a shiny candy wrapper but that's not reason not to suck it and see. 7/10
Monday, 21 November 2016
A View From The Back Of The Room: Delain & Everygrey (Live Review By Paul)
Delain, Tramshed Cardiff 17 November 2016
A cold rainy night in Cardiff but a reasonably sized crowd inside the Tramshed was already enjoying Canadian outfit Kobra And The Lotus (6) when I arrived. Their generic wail does little for me but they were enjoyable enough. Full credit to vocalist Kobra Paige who gives it everything and a decent reception from the crowd. Plus points for Kobra’s tolerance of a rather drunk fan at the mercy stand later in the evening.
The band many had clearly come to see arrived with an impressive intro before blasting into opener Passing Through from the rather good The Storm Within. Evergrey (9) rarely come to the U.K. and as Tom. S. Englund, frontman and guitarist of the band later noted, this was the first time they had ever been in Wales. With their dark, misery ridden themes this was never going to be a party knees up but Englund’s dry Swedish humour hit the spot exactly. Live the band are crushingly heavy in parts, the twin guitar attack of Englund and Henrike Danhage pleasantly soothed at times by Rikard Zander’s keyboards. A shortish set focused on songs from the most recent albums including three from 2014’s Hymns For The Broken. Polished, technically superb and with a crystal clear sound, Evergrey were quite fantastic.
Disappointingly the crowd thinned substantially for headliners Delain (9) but the Dutch outfit didn't care spite the gaping holes in the crowd. Front woman Charlotte Wessels has improved over the years, her stage persona full of confidence and her voice quite beautiful. With a set that focused largely on this year’s fine Moonbathers release, seven tracks in total, the band cranked it up to 11 and hit Cardiff hard. The last night on a energy sapping tour of 28 dates across Europe, band found their adrenaline and were excellent.
Guitarists Timo Somers and the latest recruit Merel Becktold swapped sides at random, drummer Ruben Israel held the beat and the finest named bassist in rock, Otto Schimmelpennicick Van Der Ojie laid the rampaging bass lines and occasional death vocals (which in my opinion do nothing to enhance the songs). At the back of the stage, proud Martijn Westerholt stood over his keyboards. As the original member and creator of the band, he must be proud. As they got into their stride, the crowd engaged more and more and although it got progressively smaller, the noise levels increased and by the time We are the Others hit it was rocking.
A rare opportunity to see some of the lesser known bands in metal in our backyard. An excellent evening and just a shame that there weren't more there to enjoy it.
A cold rainy night in Cardiff but a reasonably sized crowd inside the Tramshed was already enjoying Canadian outfit Kobra And The Lotus (6) when I arrived. Their generic wail does little for me but they were enjoyable enough. Full credit to vocalist Kobra Paige who gives it everything and a decent reception from the crowd. Plus points for Kobra’s tolerance of a rather drunk fan at the mercy stand later in the evening.
The band many had clearly come to see arrived with an impressive intro before blasting into opener Passing Through from the rather good The Storm Within. Evergrey (9) rarely come to the U.K. and as Tom. S. Englund, frontman and guitarist of the band later noted, this was the first time they had ever been in Wales. With their dark, misery ridden themes this was never going to be a party knees up but Englund’s dry Swedish humour hit the spot exactly. Live the band are crushingly heavy in parts, the twin guitar attack of Englund and Henrike Danhage pleasantly soothed at times by Rikard Zander’s keyboards. A shortish set focused on songs from the most recent albums including three from 2014’s Hymns For The Broken. Polished, technically superb and with a crystal clear sound, Evergrey were quite fantastic.
Disappointingly the crowd thinned substantially for headliners Delain (9) but the Dutch outfit didn't care spite the gaping holes in the crowd. Front woman Charlotte Wessels has improved over the years, her stage persona full of confidence and her voice quite beautiful. With a set that focused largely on this year’s fine Moonbathers release, seven tracks in total, the band cranked it up to 11 and hit Cardiff hard. The last night on a energy sapping tour of 28 dates across Europe, band found their adrenaline and were excellent.
Guitarists Timo Somers and the latest recruit Merel Becktold swapped sides at random, drummer Ruben Israel held the beat and the finest named bassist in rock, Otto Schimmelpennicick Van Der Ojie laid the rampaging bass lines and occasional death vocals (which in my opinion do nothing to enhance the songs). At the back of the stage, proud Martijn Westerholt stood over his keyboards. As the original member and creator of the band, he must be proud. As they got into their stride, the crowd engaged more and more and although it got progressively smaller, the noise levels increased and by the time We are the Others hit it was rocking.
A rare opportunity to see some of the lesser known bands in metal in our backyard. An excellent evening and just a shame that there weren't more there to enjoy it.
Another Point Of View: Mono & Alcest (Live Review By Rich)
Mono, Alcest & Sinistro, The Globe, Cardiff
A highly anticipated evening of atmospheric music hit The Globe as Alcest & Mono brought their co-headlining tour to the Welsh capital.
There was no support act advertised on the poster for this show so it was a pleasant surprise when I arrived at The Globe to find a band on stage that was neither Alcest or Mono. Kicking off the proceedings were Portugeuse band Sinistro (6). Sinistro played a mix of doom/sludge metal and post-rock combining dreamy atmospheric passages with dense pulverising riffs. The band gave a confident performance but failed to exude much energy or stage presence which also resulted in a half-hearted response from the audience.
Next up were for me the main attraction of the evening the mighty Alcest (10). They also appeared to me the main attraction for the majority of the audience as they came onstage to rapturous applause and cheers. Alcest's blend of atmospheric black metal, post-rock, shoegaze and dream pop was executed perfectly with songs from the newest release Kodama sitting comfortably alongside older songs such as Autre Temps and Écailles de lune Part 1 and receiving a highly positive response from the audience, as the set progressed it was the absolutely beautiful performance of Délivrance brought it to a stunning close.
The final band of the evening were Japanese post-rock masters Mono (6). The audience had thinned out very slightly by the time Mono hit the stage but those that remained responded very enthusiastically to the performance. Mono played an enjoyable if rather repetitive set. All songs followed the same pattern of a soft and quiet intro which slowly built up and gathered steam, kept building in intensity before reaching a deafening crescendo and a very abrupt end. After several songs following this same pattern I unfortunately found my interest waning. Sadly due to an extremely early start the next day I had to leave the show early but what I managed to see of Mono's set was enjoyable, just not very enthralling.
A highly anticipated evening of atmospheric music hit The Globe as Alcest & Mono brought their co-headlining tour to the Welsh capital.
There was no support act advertised on the poster for this show so it was a pleasant surprise when I arrived at The Globe to find a band on stage that was neither Alcest or Mono. Kicking off the proceedings were Portugeuse band Sinistro (6). Sinistro played a mix of doom/sludge metal and post-rock combining dreamy atmospheric passages with dense pulverising riffs. The band gave a confident performance but failed to exude much energy or stage presence which also resulted in a half-hearted response from the audience.
Next up were for me the main attraction of the evening the mighty Alcest (10). They also appeared to me the main attraction for the majority of the audience as they came onstage to rapturous applause and cheers. Alcest's blend of atmospheric black metal, post-rock, shoegaze and dream pop was executed perfectly with songs from the newest release Kodama sitting comfortably alongside older songs such as Autre Temps and Écailles de lune Part 1 and receiving a highly positive response from the audience, as the set progressed it was the absolutely beautiful performance of Délivrance brought it to a stunning close.
The final band of the evening were Japanese post-rock masters Mono (6). The audience had thinned out very slightly by the time Mono hit the stage but those that remained responded very enthusiastically to the performance. Mono played an enjoyable if rather repetitive set. All songs followed the same pattern of a soft and quiet intro which slowly built up and gathered steam, kept building in intensity before reaching a deafening crescendo and a very abrupt end. After several songs following this same pattern I unfortunately found my interest waning. Sadly due to an extremely early start the next day I had to leave the show early but what I managed to see of Mono's set was enjoyable, just not very enthralling.
Sunday, 20 November 2016
A View From The Back Of The Room: Lordi
Lordi, The Scene Club Swansea
Myself and Brett left Cardiff at 7 ready for a slightly later arrival than normal. Both us have never seen Lordi live, despite my love of them since Get Heavy and Brett's penchant for anything the slightest bit ostentatious and grizzly (mainly GWAR). So we were both a little excited, however we became less so when we arrived at the venue and saw the enormous queue that stretched around the block, meaning the show was starting late (little did we know).
As the pretty boys wrapped up we moved nearer the stage and then we waited... and waited... and waited. The crowd rapidly began turning nasty calling the band out, finally an hour after Shiraz Lane had left the stage, KISS's God Of Thunder blasted out of the speakers and with that the mighty Skeletor introduced us to the Finnish Mon-Stars who kicked the set off with Let's Go Slaughter He-Man (I Wanna Be The Beast-Man In The Master's Of The Universe) as Ox and Amen cranked out the riffs the timing faux-par was all but forgotten as the crowd bounced along to one of the band's most recent songs (one of three from their new record).
After the first song we got the explanation for the wait, a dodgy curry the culprit, Mr Lordi the victim, rookie error made and apology accepted, it was then time to dive into the metallic Babez For Breakfast with Mr Lordi prowling the stage and snarling the lyrics with his gritty vocals and was inciting the fans to pump their fists, throw their horns, clap and scream like a demonic ring master, he had everyone under his spell as they cranked out The Riff (an ode to the basis of all great rock songs). Despite this being a tour in support of their latest album, most of the setlist came from their debut record Get Heavy, they even played deep cuts like Hellbender Turbulence which if I'm honest showed it's age with it's simplicity.
So here's where things get a bit weird, for a band already late they kept in all the solo spots, now some like Ox's bass solo were actually quite good as they featured schlock horror theatrical elements but most including the drum and keyboard solo were superfluous and added very little, they were however mercifully short and we got back on track with nasty Bite It Like A Bulldog which had Mana bashing away with power. Then for the old school fans in the crowd the inclusion of Icon Of Dominance proved to be a big hit Hella's keys leading the charge as Mr Lordi crooned. Despite their rock credentials and sheer force live, they have always been a band that can slow the pace with a horror-themed ballad and It Snows In Hell/Children Of The Night medley displayed this skill well getting the near-sold out crowd singing along with every line.
Down With The Devil served as the change the set needed, from here it was time for the more well known songs in the bands catalogue, we got Blood Red Sandman, Hard Rock Hallelujah (their Eurovision winners song), Devil Is A Loser, Who's Your Daddy (possibly the most misogynistic song imaginable, yet sung with gusto by the corset wearing ladies in the front row) and then the closed out as usual with the awesome Would You Love A Monsterman? With a glut of anthemic songs and a heavy as hell delivery and a great visual show featuring Nun disemboweling, Priest defiling and the still impressive demon wings, Lordi (8) lived up to my expectations and then some, next time though try a pre-gig sandwich or something yeah?
Saturday, 19 November 2016
Review: Metallica (Review By Paul)
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
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
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
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