Before the Clutch gig in Cardiff, we were lucky enough to have ten minutes to chat to the band’s bassist Henry ‘Hank’ Upton.
Interviewing bands isn’t as glamorous as you might imagine and we conducted the interview in the luxurious setting of an alley outside the venue, next to the service lift which was in constant use during the interview. Still, we soldier on and Hank was the most engaging and charming dude. We started off by asking Hank about his musical influences.
Hank: “I started out really into funk music. My favourite band was and still is Parliament [legendary funk band from New Jersey led by George Clinton in the 1970s]. I liked Parliament and James Brown and The Mears. I thought funk was the coolest thing when I was growing up, and then I got into classic rock around high school. Because we were in the DC area we heard a lot of Go-go [funk sub-genre which originated in DC in the 1960s and 70s] like Chuck Brown and stuff and that came into the funk world too. Then through Nate [Nathan Bergman – Lionize vocals and guitarist], Nate had a giant reggae collection and was super into reggae so through Nate I got very into reggae … and the classic rock stuff was always there; so basically, all of those things”.
We moved on to talk about Steel Pulse, the legendary reggae band from Handsworth, Birmingham. Hank wasn’t aware of the huge reggae scene in Cardiff so we put him right on that and then asked him how Lionize’s relationship with Steel Pulse had started.
Hank: “Well, we were already fans of Steel Pulse and we got a gig opening for them in the DC area. We got to talk to them a bit … and for whatever reason they took a liking to us. We were different at that time as we were playing on reggae bills, with more reggae elements but we were still playing riffs, doing more of the heavier stuff; what you might call rock reggae you know. I think we were different and just sort of developed a friendship with those guys. They were there last night, hanging out actually”
MOM: “Oh really, of course, you played the Institute last night didn’t you”.
Hank: “Yeah, in Birmingham. They live in Birmingham and Selwyn and Griz from Pulse came out last night and that was awesome. They are actual living legends. It’s a crazy thing”.
Next up on the list of questions was to discuss Clutch. Lionize go way back with them and are on Clutch’s Weathermaker label. We asked how touring with Clutch was.
Hank: “Well, at this point, I just think of them as our friends and these tours are always the most fun tours you can do; they are arguably the best band on the planet. They have the smartest lyrics of any band and we just get along very well with them. They really took us under their wing and taught us a lot, helped us immensely and continue to do so and we are just very fortunate to have developed that relationship”.
When we mentioned that Clutch are finally getting recognition Hank laughed “Yeah, they are a 25-year overnight success!”
It was quite surprising to find that Lionize played at the infamous annual GWAR-B-Q in Richmond in 2012. We asked Hank what that was like and how they went down.
Hank: “It’s wacky. They do it by this lake, in a mini water park and a camp ground … and there is all sorts of interesting people around and GWAR fans are interesting people. I loved GWAR since I was a kid actually, so the shows, their shows are always crazy and everyone there is just the most intense GWAR fans. We did get a good reception; most of the bands there were way more metal than we were but yeah, we did get a good reception”.
With five albums and three EPs under their belt, including this year’s EP The Voyage, we asked Hank what was next musically for the band.
Hank: “We’ve already written a whole record, which when we get home we are going to record and hope to release it around Summer 2017”.
Disappointingly the band hadn’t had chance to get a look at our fair City, which is hardly surprising given their intense schedule so we moved onto our final question, the inevitable “which is your favourite sheep?” [for the uninitiated, the interviewee is presented with a poster of British Sheep and asked to select their favourite].
Hank: [perusing the poster] “you can judge them by just their appearance but then you have to take into account their names … I’m taking this seriously, I think the North Ronaldsey, he’s stately, the sheep ambassador!”
So there you have it. A warm and engaging guy, our massive thanks to Hank for giving up his time prior to the show to talk to us.
Sunday, 18 December 2016
A View From The Back Of The Room: Clutch (Live Review By Paul)
Clutch – Great Hall, Cardiff
The final gig for 2016 saw the mighty Maryland outfit Clutch play one of just four UK dates at the Great Hall. Supported by Montgomery County’s Lionize and North Carolina nutters Valient Thorr.
This show had sold out and the Great Hall is always a sweaty venue when full, so we got in early and settled onto the barrier for the start of the show. Lionize (9) were first up, full of their funk fused rock. Frontman Nate Bergman was wearing a camo pyjama set and the cleanest pair of trainers I’ve seen since Jax Teller in Sons Of Anarchy. It didn’t matter as the band delivered the goods in magnificent style, with their 30-minute set over in a flash. The band is cohesive and tight, with drummer Chase Lapp battering the kit whilst keyboard player Chris Brooks and bassist Hank Upton supported Bergman with superb backing vocals. Their playing was pretty damn fine too. The band were joined at one point by Clutch guitarist Tim Sult, who laid down a sweet solo before humbly exiting to allow the band to finish their set. A massive ovation from the packed hall was fully deserved and let’s hope these guys continue to get recognition over here.
With three bands on the bill turnover was sharp and bang on cue the craziness of Valient Thorr (6) hit the hall. Now, I appreciate the effort that the band put in but they unfortunately didn’t do a lot for me. The chaos on the stage in front of us, which looked like a redneck convention, was bewildering with frontman Valient Himself off the scale of nuttiness. The band play hard rock but it often sounds like they are playing three different songs at the same time. The muddy sound didn’t help. A decent reception from the masses although by now there were also quite a lot of bewildered faces who didn’t quite understand the band from outer space.
I’ve seen Clutch (10) many times now, starting in TJs back the summer of 2009 and they never disappoint. In fact, they continue to amaze. Not only do they mix the set list up every night, but they just lay down the most incredible music. Tonight it was exactly the same. How many bands would open with the title track from their second EP, released in 1992? Well, Passive Restraints was the song, and that pleased the old school immensely. The band followed this with a track from their debut album, The House That Peterbilt from Clutch before hitting hard with Pure Rock Fury which got the place moving. With Clutch it’s all about the music, little chat between songs but quality at every turn. Sole Earth Rocker tune The Face was up next before the stomp of Sucker For The Witch and the frenzy of Power Player and You Can’t Stop Progress. As ever, it’s Neil Fallon who captured the attention with his hyperactive movement and crazed expressions. Tim Sult, Jean Paul Gaster and Dan Maines are more reserved, content to play the music.
Unlike recent tours the band didn’t focus exclusively on their most recent release with a modest five tunes from the excellent Psychic Warfare, which included Quick Death In Texas and Decapitation Blues. To the joy of many, the band returned Burning Beard from Robot Hive/ Exodus to the set list and it was welcomed with open arms. The pit in full flow, the air hot and humid, beer sloshing around. Yes, it was a good Clutch gig. Chris Brooks joined the band to play the anthemic 10001110101 and Escape From The Prison Planet before another treat, The Regulator from Blast Tyrant closed the set. A blistering encore of Electric Worry and X-Ray Visions followed and then they were gone. One of the quickest 1.5 hours of my life. Clutch live is the quintessential live experience. See them. Change your life.
The final gig for 2016 saw the mighty Maryland outfit Clutch play one of just four UK dates at the Great Hall. Supported by Montgomery County’s Lionize and North Carolina nutters Valient Thorr.
This show had sold out and the Great Hall is always a sweaty venue when full, so we got in early and settled onto the barrier for the start of the show. Lionize (9) were first up, full of their funk fused rock. Frontman Nate Bergman was wearing a camo pyjama set and the cleanest pair of trainers I’ve seen since Jax Teller in Sons Of Anarchy. It didn’t matter as the band delivered the goods in magnificent style, with their 30-minute set over in a flash. The band is cohesive and tight, with drummer Chase Lapp battering the kit whilst keyboard player Chris Brooks and bassist Hank Upton supported Bergman with superb backing vocals. Their playing was pretty damn fine too. The band were joined at one point by Clutch guitarist Tim Sult, who laid down a sweet solo before humbly exiting to allow the band to finish their set. A massive ovation from the packed hall was fully deserved and let’s hope these guys continue to get recognition over here.
With three bands on the bill turnover was sharp and bang on cue the craziness of Valient Thorr (6) hit the hall. Now, I appreciate the effort that the band put in but they unfortunately didn’t do a lot for me. The chaos on the stage in front of us, which looked like a redneck convention, was bewildering with frontman Valient Himself off the scale of nuttiness. The band play hard rock but it often sounds like they are playing three different songs at the same time. The muddy sound didn’t help. A decent reception from the masses although by now there were also quite a lot of bewildered faces who didn’t quite understand the band from outer space.
I’ve seen Clutch (10) many times now, starting in TJs back the summer of 2009 and they never disappoint. In fact, they continue to amaze. Not only do they mix the set list up every night, but they just lay down the most incredible music. Tonight it was exactly the same. How many bands would open with the title track from their second EP, released in 1992? Well, Passive Restraints was the song, and that pleased the old school immensely. The band followed this with a track from their debut album, The House That Peterbilt from Clutch before hitting hard with Pure Rock Fury which got the place moving. With Clutch it’s all about the music, little chat between songs but quality at every turn. Sole Earth Rocker tune The Face was up next before the stomp of Sucker For The Witch and the frenzy of Power Player and You Can’t Stop Progress. As ever, it’s Neil Fallon who captured the attention with his hyperactive movement and crazed expressions. Tim Sult, Jean Paul Gaster and Dan Maines are more reserved, content to play the music.
Unlike recent tours the band didn’t focus exclusively on their most recent release with a modest five tunes from the excellent Psychic Warfare, which included Quick Death In Texas and Decapitation Blues. To the joy of many, the band returned Burning Beard from Robot Hive/ Exodus to the set list and it was welcomed with open arms. The pit in full flow, the air hot and humid, beer sloshing around. Yes, it was a good Clutch gig. Chris Brooks joined the band to play the anthemic 10001110101 and Escape From The Prison Planet before another treat, The Regulator from Blast Tyrant closed the set. A blistering encore of Electric Worry and X-Ray Visions followed and then they were gone. One of the quickest 1.5 hours of my life. Clutch live is the quintessential live experience. See them. Change your life.
Reviews: Conjuring Fate, Iron Bastards, Vanik
Conjuring Fate: Valley Of Shadows (Self Released)
Belfast's Conjuring Fate play proper British metal and Valley Of Shadows is their debut full length. Now what I mean by proper British metal is heavy, leather clad metal that throws the horns to Maiden, Priest and Saxon as influences with tight guitar harmonies, a rhythm section that runs at light speed, muscular vocals (Tommy Daly take a bow) and tough guy posturing with songs about horror and fantasy themes. They are particularly heavy too more in the Iced Earth style (or UK based Intense).
The shredding of Phil Horner and Karl Gibson is top notch see the thrashy Dr Frankenstein which sees the band attacking their instruments the rhythms section of Bogdan Walczak (drums) and Steve Leager (bass) ploughing away as Horner and Gibson trade-off solos with ease. This is just one of the strong metal anthems on this record as for the rest of the record the standard is maintained Trust No One is more Maiden-like with a serious gallop developing and is fully realised on Chasing Shadows which has more horsepower than a Gold Cup winner.
The album is made up of 8 new tracks and three tracks that have been re-recorded but were originally released on their debut EP, of these the shout along Mirror Mirror and House On Haunted Hill are the picks, with gutsy, proper metal Conjuring Fate have breathed new life into an old sound, a great mix of classic sounds delivered with modern toughness Valley Of Shadows is an excellent debut record of proper metal. 9/10
Iron Bastards: Fast & Dangerous (FDA Records)
You can probably guess what French band Iron Bastards sound like, well here's a clue, they are Iron Bastard and they play rock n roll, yes folks it's an unashamedly blatant Motörhead copying taking it as far as naming themselves after two of major Motörhead tropes and lyrics featuring references to 'white line fever' on Vintage Riders. The band is a three piece (naturally) with the David Bour taking the gravel gargling vocals and Rickenbacker bass (also naturally) backed by David Semler on guitars and Anthony Meyer on drums.
From the title track through The Code Is Red the painfully silly Rock O'Clock, the percussive proto-thrash of Out Of Control and the tough as nails Ballbreaker Number One its just one big Lemmy love-in, while that's fine and dandy it won't win any prizes for originality and equally it displays why Lemmy was so revered, anyone can play fast and loud rock n roll but it was Lemmy's lyrics that really made the songs stand out and this is where Iron Bastards let themselves down, still if you have listened to every Motörhead album 100 times and need another fix then put Fast & Dangerous on, turn it up loud and turn your brains into a cocktail with headbanging. 7/10
Vanik: Vanik (Van Records)
Vanik the album is the debut from Vanik the band who are led by Vanik the man (with me so far?) They (he) have come out of the gate (of hell) playing dirty speed metal with punk snarled vocals and a horror fetish Rob Zombie would love. The debut record is just over 30 minutes of furious, riffs, shouting and aggression. It's not big or clever but if you want something to beat you about the head for half an hour you could do worse than Vanik, there's not much else I can say really, dirty speed metal from the USA like Ronseal it does what it says on the tin and like or lump it. 6/10
Belfast's Conjuring Fate play proper British metal and Valley Of Shadows is their debut full length. Now what I mean by proper British metal is heavy, leather clad metal that throws the horns to Maiden, Priest and Saxon as influences with tight guitar harmonies, a rhythm section that runs at light speed, muscular vocals (Tommy Daly take a bow) and tough guy posturing with songs about horror and fantasy themes. They are particularly heavy too more in the Iced Earth style (or UK based Intense).
The shredding of Phil Horner and Karl Gibson is top notch see the thrashy Dr Frankenstein which sees the band attacking their instruments the rhythms section of Bogdan Walczak (drums) and Steve Leager (bass) ploughing away as Horner and Gibson trade-off solos with ease. This is just one of the strong metal anthems on this record as for the rest of the record the standard is maintained Trust No One is more Maiden-like with a serious gallop developing and is fully realised on Chasing Shadows which has more horsepower than a Gold Cup winner.
The album is made up of 8 new tracks and three tracks that have been re-recorded but were originally released on their debut EP, of these the shout along Mirror Mirror and House On Haunted Hill are the picks, with gutsy, proper metal Conjuring Fate have breathed new life into an old sound, a great mix of classic sounds delivered with modern toughness Valley Of Shadows is an excellent debut record of proper metal. 9/10
Iron Bastards: Fast & Dangerous (FDA Records)
You can probably guess what French band Iron Bastards sound like, well here's a clue, they are Iron Bastard and they play rock n roll, yes folks it's an unashamedly blatant Motörhead copying taking it as far as naming themselves after two of major Motörhead tropes and lyrics featuring references to 'white line fever' on Vintage Riders. The band is a three piece (naturally) with the David Bour taking the gravel gargling vocals and Rickenbacker bass (also naturally) backed by David Semler on guitars and Anthony Meyer on drums.
From the title track through The Code Is Red the painfully silly Rock O'Clock, the percussive proto-thrash of Out Of Control and the tough as nails Ballbreaker Number One its just one big Lemmy love-in, while that's fine and dandy it won't win any prizes for originality and equally it displays why Lemmy was so revered, anyone can play fast and loud rock n roll but it was Lemmy's lyrics that really made the songs stand out and this is where Iron Bastards let themselves down, still if you have listened to every Motörhead album 100 times and need another fix then put Fast & Dangerous on, turn it up loud and turn your brains into a cocktail with headbanging. 7/10
Vanik: Vanik (Van Records)
Vanik the album is the debut from Vanik the band who are led by Vanik the man (with me so far?) They (he) have come out of the gate (of hell) playing dirty speed metal with punk snarled vocals and a horror fetish Rob Zombie would love. The debut record is just over 30 minutes of furious, riffs, shouting and aggression. It's not big or clever but if you want something to beat you about the head for half an hour you could do worse than Vanik, there's not much else I can say really, dirty speed metal from the USA like Ronseal it does what it says on the tin and like or lump it. 6/10
Friday, 16 December 2016
A View From The Back Of The Room: Uncle Acid & The Deadbeats
Uncle Acid & The Deadbeats & Vôdûn, The Globe Cardiff
This to me was an interesting gig as I have yet to see Vôdûn or Uncle Acid in a small venue as the former has only been at festivals and the latter only when supporting Black Sabbath in Birmingham, so I was anticipating a good night of music as both bands have their own take on music and both deliver in the live arena. As I headed into The Globe it was nice to see Cardiff staying true to form and swallowing beer by the pint until they were rat-arsed on a school night, still I headed upstairs and took my place for both bands.
First up was London based voodoo rock band Vôdûn (9) who took to the stage to no fanfare and decked out in their normal warpaint and tribal clothing, many weren't interested but as Minos Army started the set they ensured that those who turned up early were quickly watching the stage. Now I've seen the three-piece before and it can take crowds a little bit of time to adjust to the shamanic, frenzied performance of the band but once they do inhibitions are forgotten and the groove takes hold. It's almost cult-like in nature as all three members know how to get the most out of their respective instruments, Ghede (Lindz) plays his heavy gauge stringed guitar for maximum discord swirling riffs around the frankly astounding drumming of Ogoun (Zel), watching her from our vantage point was mesmerising, power, precision and controlled aggression meant she was the driving force of the bands percussive style of metal.
Right of her was singer Oya (Chantal) whose voice is astounding soulful, passionate with a wide range that moves from shouts to shrieks and back again and when she's not singing she plays all manner of percussion instruments while going wild to the psychadelic grooves of their songs, as the set progressed through Bondeye, Erzulie, Oya, Kanpay Rejete the pace was never dropped, with more and more of the crowd going wild until the closing number Legba's Feast featured various percussion instruments given to those in the crowd while Oya and Ogoun had a cowbell duel (and you can never have enough cowbell). Vôdûn are a band made for the live arena their music is sort of frenetic, furious, spiritual heaviness that draws you into the truly stunning spectacle of the power of music.
The headliners had a mountain to climb but they made their way to the stage with an assured confidence. The Cambridgeshire four piece were greeted by very warm (and now full) Cardiff crowd and with the opening chord of Mt. Abraxas from Mind Control kicking off the heads started to bang and continued to during Waiting For Blood as well as one of my personal favourite Over And Over Again. With the four Hairy Herberts engaged in some heads down riffing, Kevin Starrs wailing down the mic and taking the Iommi-loving leads the visuals were left to the lights and smoke, however the smoke left an acrid smell in the air but as it cleared it became more recognisable, it smelt like burning, particularly electrical burning. As the band ploughed through, finally in flurry of movement from the event staff they jumped on stage and the show was halted. As there was numerous people crowding around one of the PA's a few restless punters couldn't keep cool and started to heckle but if it's a choice of stopping the show for a few minutes and there being a fire I know which I prefer (it's not Rammstein folks).
After a short time the signal was given the show restarted and everything was heavy again. Vôdûn's Oya was brought on to help with the excellent Pusher Man (dedicated to Phil Spector) before they chilled things out with the creeping Slow Death which burnt slowly from embers into a raging fire and ended the main set with oppressively heavy metal. A short encore (not needed) and back they came for the first song of the encore Melody Lane which is an amalgamation of early Sabbath and Syd fronted Pink Floyd before ending things properly with Withered Hand Of Evil. On a night when they had to deliver, they did and although the gap broke the vibe a little Uncle Acid And The Deadbeats (8) proved that they deserve their top billing, who needs Black Sabbath when you have UAATDB. I urge you to forgo watching Sabbath on their current 'final' tour and go see Uncle Acid instead it's crushingly heavy doom laden occult rock, the soundtrack to bad acid trip, it's the music that killed the summer of love and more power to it.
A great gig to start the wind up to the end of the year.
Reviews: Super Vintage, Nash B.C, The Mighty N
Super Vintage: Welcome To Mojo Land (Grooveyard Records)
Stavros Papadopoulos leads Greek rockers Super Vintage into their third full length disc, again it's full of bluesy, soul-driven, twin-guitar toting hard rock that bridges the gap between Aerosmith and Lynyrd Skynyrd. With a keen ear to the 70's (they started as a covers band) Stavros plays the leads and takes the mic aided by Panagiotis Zabourlis on second guitars and the incredible slide playing.
Together they play some mean riffs and great harmonies that wouldn't sound out of place on a Blackberry Smoke album especially the sunshine sounds of Kiss Your Bad Feelings Goodbye and the dramatic Still Alive.
In the engine room Jim Moralis (bass) and Lazaros Simitis (drums) supply the groove, rich and syrupy like Manuka honey while Stavros' Sammy Hagaresque vocals are bolstered by the soulful backing vocals of Areti Valavanpoulou. Welcome To Mojo Land is a very good album full of searing guitar heroism, whiskey hued vocals, it's heavy in places (Rock N Roll Revolution), funky in others (Let Me Be What I Want To Be) but mostly it's pure rock and roll with a Southern edge and plentiful guitar solos a very good album harking to the glory days of American hard rock. 8/10
In the engine room Jim Moralis (bass) and Lazaros Simitis (drums) supply the groove, rich and syrupy like Manuka honey while Stavros' Sammy Hagaresque vocals are bolstered by the soulful backing vocals of Areti Valavanpoulou. Welcome To Mojo Land is a very good album full of searing guitar heroism, whiskey hued vocals, it's heavy in places (Rock N Roll Revolution), funky in others (Let Me Be What I Want To Be) but mostly it's pure rock and roll with a Southern edge and plentiful guitar solos a very good album harking to the glory days of American hard rock. 8/10
The Mighty N: Retribution (Self Released)
The Mighty N are Athens based alt/progressive rock band or as they call themselves "praggressive" formed by virtuoso musician Natasha Tsirou the band is her own project and pseudonym and is a great showcase for musical talents, she writes all of the music and lyrics, plays the keys and sings on this record, she is so skilled musically, (Natasha is a classically trained pianist and singer) that she was offered a place at the Berklee College of Music on a scholarship. She turned it down only to apply to the Conservatorium of Amsterdam, this defiant confidence is reflected in her music having spent time in jazz bands, funk soul bands, numerous collaborations with Greek musicians but her true passion and calling is rock music.
The Mighty N released their first album in December 2013 and now 3 years later their second record Retribution is finished, so what is it like? Well it's a very varied album that draws from a myriad of musical styles with heavyweight grungy riffs reminiscent of Soundgarden, Kill Your Enemies, the musicial experimentation of The Mars Volta, and the jazz crooning of Ella Fitzgerald which is at it's finest on How I End The Show the smoky country flavour, kicks into a great groove as Natasha displays her sultry croon.
The record is chock full of great songs Gone is an acoustic laced, emotive jazzy progger giving Natasha's vocal a real work out with the trippy fade out at the end, Ground Zero is more of a hard rocker but with odd time signatures and led by a cracking bassline while Devils Advocate is swaggering wah fuelled hard rock song with some special help from few male vocalists duetting with Natasha. An interesting album that will make you sit up and take notice. 7/10
Nash B.C: Burning Babylon (Rockshot Records)
Thessaloniki trio Nash B.C are here to make an impact on their debut record, Nash (guitars), George Bacchus (vocals) and Costas Matis (drums) play riff driven hard rock with more than a whiff of sleaze, it's confident, catchy and very modern bringing Alter Bridge heavily to mind, with Nash's riffs particularly impressive balancing heaviness with the melodies to great effect much like Mr Tremonti. the entire sound of this record is bolstered by the production quality which stands up to the usual Valve Studio quality and means that the riffs feel fat and juicy.
The drums are tough and the vocals are gritty and robust. With a handful of good tune Nash B.C do make an impact but too much of this album feels a little like coasting and doesn't keep the attention as it should still there's time for the band to evolve and broaden their musical palate, still the debut has just enough to keep you interested. 6/10
The drums are tough and the vocals are gritty and robust. With a handful of good tune Nash B.C do make an impact but too much of this album feels a little like coasting and doesn't keep the attention as it should still there's time for the band to evolve and broaden their musical palate, still the debut has just enough to keep you interested. 6/10
Thursday, 15 December 2016
Reviews: Church Of The Cosmic Skull, Thunder & Lightning, Bronco
Church Of The Cosmic Skull: Is Satan Real? (Kozmik Artifactz)
Band, cult, collective call it what you will Church Of The Cosmic Skull are a group of musically inclined individuals all of whom are performers in their own right. They have come together to form this new collaboration under the leadership of Bill Fischer under the idea of new music driven religious movement who "seek to free mankind from their material possessions and unify all living beings into a singular cosmic whole" a lofty ambition but this Nottingham 7 piece band aim high with their 70's inspired prog/psych/pop influenced rock that owes a debt to Queen, Hawkwind, Led Zeppelin, Black Sabbath and The Beatles with a kaleidoscope of colours displayed throughout the record.
The massive doom riffs created by Fischer's guitar and Sam Lloyd's bass are backed by the tub-thumping of Loz Stone for maximum impact but what really shines are the swirling sometimes dizzying organs/keys of Michael Wetherburn, these give a the woozy, psychedelic edge, especially when aided by the electric cello of Amy Nicholson who is one of three female members of the band contributing to the vocals and harmonising with Jo Joyce and Caroline Cawley for an almost spiritual, choral polyphony.
With seven members and six vocalists, Withers and the girls taking most of the lead vocals, while Wetherburn and Lloyd bolster the ELO levels of vocal layering, you may think that it might all be a bit overkill but it's all nuanced well the riffs are fat and juicy, while the pop melodies get their hooks in you quickly and the girls waft in and out of the discord with syncopated beauty. Whatever the description of COTCS this debut record sets out their stall from the opening few seconds of Mountain Heart through to the final crescendo of 11 minute closer Evil In Your Eye.
In a time when Ghost, Purson, Kadavar, The Blues Pills are all at the forefront of the psych/occult retro hard rock scene, this church needs a congregation, so raise your hands high and give praise as this is very good indeed. 8/10
Thunder & Lightning: The Ages Will Turn (Self Released)
As Phil Lynott once said Thunder & Lightning should "hit you like a hammer" so let's see if the German power metal troupe live up Mr Lynott's exacting standards on this their sophomore album.T&L are a power metal band and play towards the heavier end of the style with crunching dual guitars and a furious rhythm section beating out the hard edged power metal with gruff vocals. The Ages Will Turn like I said is their second record and sees the band focusing on the urban myths, the darkside of the moon on Welcome To The Darkside, the infamous Mary Celeste on the track of the same name along and on Silent Watcher they deal with the Slender Man.
It's not all tin foil hat stuff though, the title track is a lament of war and Colombia is a homage to the Bioshock: Infinite videogame (Seriously). With such a wide range of subjects influencing the album the music varies very little from the standard heavy metal template not that it's a band thing as the band are all good musicians and the songs get your head nodding, The Ages Will Turn is 45 minutes of competent power metal, for fans of Iced Earth, Mystic Prophecy and early Blind Guardian. It does indeed hit you like a hammer but it's the workmanlike claw rather than the more specialist sledge or ball-peen, still it does the job and hits the spot numerous times. 7/10
Bronco: Modern Mythology (Self Released)
Modern Mythology is a record of muscular hard rock, it kicks off with the chunky Falling Free, then 122dB brings a more melodic sound while retaining the bands stoner influenced groove. Bronco hail from Quebec and are a four piece with a female singer, from what I can decipher from their all French biography. The songs on this record are filthy with distorted riffs the order of the day but there is and overarching laid back sound to the band, it's blues influenced music to smoke a medicinal plant to. With smoky female vocals, fuzz guitar riffs and hip shaking rhythms on Never Ending Dance and Starting Again it's nothing hasn't been heard before but Bronco play bluesy stoner rock well and if you love a bit of filthy riffage and soulful delivery they will be up your alley. 6/10
Band, cult, collective call it what you will Church Of The Cosmic Skull are a group of musically inclined individuals all of whom are performers in their own right. They have come together to form this new collaboration under the leadership of Bill Fischer under the idea of new music driven religious movement who "seek to free mankind from their material possessions and unify all living beings into a singular cosmic whole" a lofty ambition but this Nottingham 7 piece band aim high with their 70's inspired prog/psych/pop influenced rock that owes a debt to Queen, Hawkwind, Led Zeppelin, Black Sabbath and The Beatles with a kaleidoscope of colours displayed throughout the record.
The massive doom riffs created by Fischer's guitar and Sam Lloyd's bass are backed by the tub-thumping of Loz Stone for maximum impact but what really shines are the swirling sometimes dizzying organs/keys of Michael Wetherburn, these give a the woozy, psychedelic edge, especially when aided by the electric cello of Amy Nicholson who is one of three female members of the band contributing to the vocals and harmonising with Jo Joyce and Caroline Cawley for an almost spiritual, choral polyphony.
With seven members and six vocalists, Withers and the girls taking most of the lead vocals, while Wetherburn and Lloyd bolster the ELO levels of vocal layering, you may think that it might all be a bit overkill but it's all nuanced well the riffs are fat and juicy, while the pop melodies get their hooks in you quickly and the girls waft in and out of the discord with syncopated beauty. Whatever the description of COTCS this debut record sets out their stall from the opening few seconds of Mountain Heart through to the final crescendo of 11 minute closer Evil In Your Eye.
In a time when Ghost, Purson, Kadavar, The Blues Pills are all at the forefront of the psych/occult retro hard rock scene, this church needs a congregation, so raise your hands high and give praise as this is very good indeed. 8/10
Thunder & Lightning: The Ages Will Turn (Self Released)
As Phil Lynott once said Thunder & Lightning should "hit you like a hammer" so let's see if the German power metal troupe live up Mr Lynott's exacting standards on this their sophomore album.T&L are a power metal band and play towards the heavier end of the style with crunching dual guitars and a furious rhythm section beating out the hard edged power metal with gruff vocals. The Ages Will Turn like I said is their second record and sees the band focusing on the urban myths, the darkside of the moon on Welcome To The Darkside, the infamous Mary Celeste on the track of the same name along and on Silent Watcher they deal with the Slender Man.
It's not all tin foil hat stuff though, the title track is a lament of war and Colombia is a homage to the Bioshock: Infinite videogame (Seriously). With such a wide range of subjects influencing the album the music varies very little from the standard heavy metal template not that it's a band thing as the band are all good musicians and the songs get your head nodding, The Ages Will Turn is 45 minutes of competent power metal, for fans of Iced Earth, Mystic Prophecy and early Blind Guardian. It does indeed hit you like a hammer but it's the workmanlike claw rather than the more specialist sledge or ball-peen, still it does the job and hits the spot numerous times. 7/10
Bronco: Modern Mythology (Self Released)
Modern Mythology is a record of muscular hard rock, it kicks off with the chunky Falling Free, then 122dB brings a more melodic sound while retaining the bands stoner influenced groove. Bronco hail from Quebec and are a four piece with a female singer, from what I can decipher from their all French biography. The songs on this record are filthy with distorted riffs the order of the day but there is and overarching laid back sound to the band, it's blues influenced music to smoke a medicinal plant to. With smoky female vocals, fuzz guitar riffs and hip shaking rhythms on Never Ending Dance and Starting Again it's nothing hasn't been heard before but Bronco play bluesy stoner rock well and if you love a bit of filthy riffage and soulful delivery they will be up your alley. 6/10
Wednesday, 14 December 2016
Reviews: Obzidian, Ranger, Sonus Mortis (Reviews By Paul)
Obzidian: Obliteration Process (Black Rock Records)
This is the fourth full release from Stafford’s thrash and groove metal four piece Obzidian. It’s fair to say this is the UK’s answer to Lamb Of God with the snarl of Matty Jenks so close to Randy Blythe that on occasion I had to look up and check I hadn’t put Richmond’s finest on by mistake. But that is no bad thing. Obliteration Process is full of groove and power and a sound that is impressive for a four piece.
It’s also dripping with aggression, brutality and sounds damn fine. Jenks’ voice is guttural in the extreme, at times verging on wild hog but overall quite fantastic. Matt Jeff’s stomping bass lines and the blasting drumming of Paul Hayward allow guitarist Baz Foster to slice it up. It’s not for the faint hearted as it rages from start to finish with time for a minor sortie into sludge country for the delightfully titled Like Maggots They Infest. This is a tasty release which ticks all the boxes. 8/10
Ranger: Speed And Violence (Spinefarm Records)
Thrash metal from Helsinki with a distinctive sound set in the early 1980s? Yes, that is exactly what Ranger have managed to capture, with early Slayer, Exciter, Morbid Angel, Armored Saint and Exodus amongst the influences which hit you from the opening bars of Speed And Violence. Its fast, its furious and at times almost uncontrollable. With a production that belongs way back in the past Ranger are a throwback to the days of skin tight jeans, battle jackets and white hi-tops. Speed And Violence is the follow up to 2015’s Where Evil Dwells, which to be fair, sounded the same.
It does exactly what you would expect from a thrash band firmly cemented in an old-school sound; Dimi’s vocals a mix of King Diamond and Mille Petrozza. As well as the thrash influence, there is a huge Iron Maiden sound here as well; Without Warning contains parts that are lifted straight of the Irons debut. It’s not going to win awards for originality, with the 1984 Slayer-like sound of Satanic Panic and Night Slasher frankly ridiculous but it’s good fun if you like your thrash fast, heavy and routine. Oh, and don’t forget to gasp at the quite ludicrous album cover which may well win the worst of 2016. 6/10
Sonus Mortis: Hail The Tragedies Of Man (Self Released)
We seem to get a lot of multi-instrumentalists to review here at Musipedia and Sonus Mortis is another interesting piece of work. Hail The Tragedies Of Man is the work of Kevin Byrne who plays all instruments and sings too. This is the third release and follows last year’s War Prophecy. The combination of death and doom metal works well and the former Valediction man demonstrates his technical excellence throughout.
The combination of death growls and gothic tones of despair, themes of anger, despair and anti-religion and above all a pounding combination of heavy riffage, impressive battering blast beats and driving rhythms, the influences of such heavy weights as Behemoth, Septicflesh, Opeth, Anathema and the industrial drive of Gary Newman all hit you in one massive curled fist. The melancholic elements impress more than the more generic death grunts but this is a worthy slab. 7/10
This is the fourth full release from Stafford’s thrash and groove metal four piece Obzidian. It’s fair to say this is the UK’s answer to Lamb Of God with the snarl of Matty Jenks so close to Randy Blythe that on occasion I had to look up and check I hadn’t put Richmond’s finest on by mistake. But that is no bad thing. Obliteration Process is full of groove and power and a sound that is impressive for a four piece.
It’s also dripping with aggression, brutality and sounds damn fine. Jenks’ voice is guttural in the extreme, at times verging on wild hog but overall quite fantastic. Matt Jeff’s stomping bass lines and the blasting drumming of Paul Hayward allow guitarist Baz Foster to slice it up. It’s not for the faint hearted as it rages from start to finish with time for a minor sortie into sludge country for the delightfully titled Like Maggots They Infest. This is a tasty release which ticks all the boxes. 8/10
Ranger: Speed And Violence (Spinefarm Records)
Thrash metal from Helsinki with a distinctive sound set in the early 1980s? Yes, that is exactly what Ranger have managed to capture, with early Slayer, Exciter, Morbid Angel, Armored Saint and Exodus amongst the influences which hit you from the opening bars of Speed And Violence. Its fast, its furious and at times almost uncontrollable. With a production that belongs way back in the past Ranger are a throwback to the days of skin tight jeans, battle jackets and white hi-tops. Speed And Violence is the follow up to 2015’s Where Evil Dwells, which to be fair, sounded the same.
It does exactly what you would expect from a thrash band firmly cemented in an old-school sound; Dimi’s vocals a mix of King Diamond and Mille Petrozza. As well as the thrash influence, there is a huge Iron Maiden sound here as well; Without Warning contains parts that are lifted straight of the Irons debut. It’s not going to win awards for originality, with the 1984 Slayer-like sound of Satanic Panic and Night Slasher frankly ridiculous but it’s good fun if you like your thrash fast, heavy and routine. Oh, and don’t forget to gasp at the quite ludicrous album cover which may well win the worst of 2016. 6/10
Sonus Mortis: Hail The Tragedies Of Man (Self Released)
We seem to get a lot of multi-instrumentalists to review here at Musipedia and Sonus Mortis is another interesting piece of work. Hail The Tragedies Of Man is the work of Kevin Byrne who plays all instruments and sings too. This is the third release and follows last year’s War Prophecy. The combination of death and doom metal works well and the former Valediction man demonstrates his technical excellence throughout.
The combination of death growls and gothic tones of despair, themes of anger, despair and anti-religion and above all a pounding combination of heavy riffage, impressive battering blast beats and driving rhythms, the influences of such heavy weights as Behemoth, Septicflesh, Opeth, Anathema and the industrial drive of Gary Newman all hit you in one massive curled fist. The melancholic elements impress more than the more generic death grunts but this is a worthy slab. 7/10
Tuesday, 13 December 2016
A View From the Back Of The Room: Memoriam (Live Review By Paul)
Memoriam – The Asylum, Birmingham
As the year winds to a close, it was fitting that my 40th gig (including three festivals so many more bands seen) in 2016 was an absolute monster. Travelling with Matt and our death metal loving buddy Lee to Birmingham on a dour Sunday in December isn’t most people’s idea of fun but we really love the live music buzz.
I’d never been to the Asylum before. It’s a decent venue, despite a shocking lack of appreciation for the real ale. With a 600-person capacity, it gives the Midlands a decent sized venue for bands slightly left off field and who pull the 400+ crowd. Mind you they’ve had a range of bigger names too, with Exodus and Trivium unsurprisingly selling the place out in recent times.
Opening the evening were local outfit Absolution (6), back in the metal fold following their return in 2012. Some of our older readers may remember them skirting around the edge of the early 1990s death metal scene. The band stated that they played old school death metal. Well, they certainly played death metal, with vocalist Neil Hadden, a veteran from the beginning of the band grunting with gruesome delivery. The band’s apparent curiosity with serial killers manifested in many of the songs, such as Shallow Grave. They were aggressive, brutal and unfortunately repetitive.
A Celtic Frost cover was a brave choice in the middle of their set and it just about edged over the line. I was struck by how amazing Frost had been, delivering such complex sounds as a three piece; the five members of Absolution just didn’t get close. However, credit where credit is due; the band obtained a reasonable reaction from the crowd although inter-song change overs were sloppy and there appeared limited cohesion at times.
On a bill of death metal a doom soaked band didn’t seem the obvious choice. However, this was a night for Birmingham bands and Kroh (7) are another local outfit. A 40-minute set flew by, the combination of their Sabbath/Portishead/My Dying Bride induced misery and dirty riffs met with wide approval. All eyes were focused on the elfin Olivia Sobieszek whose powerful vocals and enthusiastic response to any applause was warming. Flanked by the duel guitar fuzz of Paul Kenney and Paul Hampton and supported by the energetic drumming of Rychard Slanton and the crushing bass lines of Dewan Donovan, Sobieszek did a great job, commanding her space centre stage. The band played a selection of tracks from their vinyl only release Altars and were rewarded with a warm round of applause at the end of their set.
There was only one band that the assembled 350 or so punters had travelled to see and that was Memoriam (9). For the uninitiated, the band are fronted by legendary Bolt Thrower vocalist Karl Willetts, who spent much of the evening wandering around mixing with the crowd. Absolutely no ego with this man. Alongside Willetts Benediction/Sacrilege bassist Frank Healy, Benediction guitar ace Scott Fairfax and former Bolt Thrower drummer Andy Whale. Although the band originally formed to deliver cover versions the creative juices have been flowing nicely with The Hellfire Demos whetting the appetite for 2017’s full release.
With The World At War theme blasting out the band launched into Memoriam, a crunching battering which left those in the audience who may have been dozing with a rude awakening. Willetts amazingly deathly growl is just immense, his timing superb. Grinning like a Cheshire cat as he spotted friends and family in the crowd, this event was part Christmas party part jam room. It was also pretty fantastic and when the band slipped in their version of Captive (Sacrilege) as well as the pounding of Spearhead from Bolt Thrower’s The IVth Crusade there was much banging of the head. Alongside these classics, the new stuff from the band sounded fucking mean, with the merciless assault of Resistance, the grinding battery of Drone Strike and the majesty of War Rages On impressing.
Willetts is the complete frontman, giving a shout out to the Cardiff lads who had made the trip along with those battle-hardened Germans who made the trip from their home country. As the band slipped into Inside The Wire from Bolt Thrower’s Honour, Valour, Pride it was with some warmth that I reflected on the reward for our efforts getting to Birmingham. This was an evening to savour. Brutally brilliant.
As the year winds to a close, it was fitting that my 40th gig (including three festivals so many more bands seen) in 2016 was an absolute monster. Travelling with Matt and our death metal loving buddy Lee to Birmingham on a dour Sunday in December isn’t most people’s idea of fun but we really love the live music buzz.
I’d never been to the Asylum before. It’s a decent venue, despite a shocking lack of appreciation for the real ale. With a 600-person capacity, it gives the Midlands a decent sized venue for bands slightly left off field and who pull the 400+ crowd. Mind you they’ve had a range of bigger names too, with Exodus and Trivium unsurprisingly selling the place out in recent times.
Opening the evening were local outfit Absolution (6), back in the metal fold following their return in 2012. Some of our older readers may remember them skirting around the edge of the early 1990s death metal scene. The band stated that they played old school death metal. Well, they certainly played death metal, with vocalist Neil Hadden, a veteran from the beginning of the band grunting with gruesome delivery. The band’s apparent curiosity with serial killers manifested in many of the songs, such as Shallow Grave. They were aggressive, brutal and unfortunately repetitive.
A Celtic Frost cover was a brave choice in the middle of their set and it just about edged over the line. I was struck by how amazing Frost had been, delivering such complex sounds as a three piece; the five members of Absolution just didn’t get close. However, credit where credit is due; the band obtained a reasonable reaction from the crowd although inter-song change overs were sloppy and there appeared limited cohesion at times.
On a bill of death metal a doom soaked band didn’t seem the obvious choice. However, this was a night for Birmingham bands and Kroh (7) are another local outfit. A 40-minute set flew by, the combination of their Sabbath/Portishead/My Dying Bride induced misery and dirty riffs met with wide approval. All eyes were focused on the elfin Olivia Sobieszek whose powerful vocals and enthusiastic response to any applause was warming. Flanked by the duel guitar fuzz of Paul Kenney and Paul Hampton and supported by the energetic drumming of Rychard Slanton and the crushing bass lines of Dewan Donovan, Sobieszek did a great job, commanding her space centre stage. The band played a selection of tracks from their vinyl only release Altars and were rewarded with a warm round of applause at the end of their set.
There was only one band that the assembled 350 or so punters had travelled to see and that was Memoriam (9). For the uninitiated, the band are fronted by legendary Bolt Thrower vocalist Karl Willetts, who spent much of the evening wandering around mixing with the crowd. Absolutely no ego with this man. Alongside Willetts Benediction/Sacrilege bassist Frank Healy, Benediction guitar ace Scott Fairfax and former Bolt Thrower drummer Andy Whale. Although the band originally formed to deliver cover versions the creative juices have been flowing nicely with The Hellfire Demos whetting the appetite for 2017’s full release.
With The World At War theme blasting out the band launched into Memoriam, a crunching battering which left those in the audience who may have been dozing with a rude awakening. Willetts amazingly deathly growl is just immense, his timing superb. Grinning like a Cheshire cat as he spotted friends and family in the crowd, this event was part Christmas party part jam room. It was also pretty fantastic and when the band slipped in their version of Captive (Sacrilege) as well as the pounding of Spearhead from Bolt Thrower’s The IVth Crusade there was much banging of the head. Alongside these classics, the new stuff from the band sounded fucking mean, with the merciless assault of Resistance, the grinding battery of Drone Strike and the majesty of War Rages On impressing.
Willetts is the complete frontman, giving a shout out to the Cardiff lads who had made the trip along with those battle-hardened Germans who made the trip from their home country. As the band slipped into Inside The Wire from Bolt Thrower’s Honour, Valour, Pride it was with some warmth that I reflected on the reward for our efforts getting to Birmingham. This was an evening to savour. Brutally brilliant.
Monday, 12 December 2016
Reviews: Oni, Solitude, Crown Of Earth (Reviews By Rich)
Oni: Ironshore (Metal Blade)
Canada's Oni set out to impress with their fantastic debut album Ironshore and impress they most certainly do with an album which fuses progressive metal, metalcore and technical death metal in spectacular fashion. The music on Ironshore is amazingly technical but without being self indulgent and is also equal parts brutally heavy and stunningly melodic. The rhythm sections are dizzyingly complex with some absolutely savage guitar riffs and stunning leads performed ably by guitarist Brandon White. The vocals by Jake Oni switch between impressive cleans, guttural death metal growls and high end screams.
The bass playing and drumming must also get huge rounds of applause as they both performed amazingly though special mention must go to xylosynth player Johnny DeAngelis whose fantastic playing gives some of the songs a new dimension (seriously watch the video on YouTube of Johnny DeAngelis playing through Barn Burner - it's glorious!). Opening track Barn Burner gets things off to a stunning start being one of the most death metal leaning songs on the album. The Only Cure is also one of the heaviest songs on the album and also features guest vocals by none other than Randy Blythe of Lamb Of God.
The highlight for me is the eleven minute proggy masterpiece that is The Science. Other highlights include the technical madness of Spawn And Hate and the xylosynth driven Kanvas. Ironshore is an absolutely stunning debut album mixing jaw dropping musicianship and fantastic songwriting. My only tiny criticism can be that one or two of the songs are overshadowed by the rest of the album and are slightly less memorable. If Oni are this good on their debut album then they have an extremely promising future ahead of them. This is one band I shall keeping a very close eye on and already cannot wait to see what they do next. A modern day metal masterpiece. 9/10
Solitude: Reach For The Sky (Spiritual Beast)
Reach For The Sky is the second album by Japanese old school heavy metallers Solitude. This album was originally released last year in Japan but has only now been released globally. I'm gonna start this review by saying that if you are a fan of old school heavy metal then this album is essential listening and probably the best straight up heavy metal album I have heard this year. Solitude take influence from bands such as Accept, Saxon and Motorhead and also mix in some speed and thrash metal influences to create the ripping metal storm that is Reach For The Sky combining tearing riffs, catchy melodies and a thunderous rhythm section.
The vocal style of Akira Sugiuchi might not be to everyone's taste with him employing a gruffer and grittier style quite in the vein of Chris Boltendahl from Grave Digger. The songs on the album range from the speed metal attack of Venom's Angel and Don't Need Mercy to fist pumping yet melodic metal anthems such as Reach For The Sky and Escape For The Crime. All the tracks have a sense of urgency and a ridiculous yet addictive energy about them which will have your head banging whether you like it or not.
Reach For The Sky is an absolutely fantastic album with great songwriting, fantastic performances and ridiculous amounts of energy. It may be in the vein of classic eighties heavy metal but this album feels modern and contemporary rather than a retro release. An essential listen for any self respecting heavy metal fan. 9/10
Canada's Oni set out to impress with their fantastic debut album Ironshore and impress they most certainly do with an album which fuses progressive metal, metalcore and technical death metal in spectacular fashion. The music on Ironshore is amazingly technical but without being self indulgent and is also equal parts brutally heavy and stunningly melodic. The rhythm sections are dizzyingly complex with some absolutely savage guitar riffs and stunning leads performed ably by guitarist Brandon White. The vocals by Jake Oni switch between impressive cleans, guttural death metal growls and high end screams.
The bass playing and drumming must also get huge rounds of applause as they both performed amazingly though special mention must go to xylosynth player Johnny DeAngelis whose fantastic playing gives some of the songs a new dimension (seriously watch the video on YouTube of Johnny DeAngelis playing through Barn Burner - it's glorious!). Opening track Barn Burner gets things off to a stunning start being one of the most death metal leaning songs on the album. The Only Cure is also one of the heaviest songs on the album and also features guest vocals by none other than Randy Blythe of Lamb Of God.
The highlight for me is the eleven minute proggy masterpiece that is The Science. Other highlights include the technical madness of Spawn And Hate and the xylosynth driven Kanvas. Ironshore is an absolutely stunning debut album mixing jaw dropping musicianship and fantastic songwriting. My only tiny criticism can be that one or two of the songs are overshadowed by the rest of the album and are slightly less memorable. If Oni are this good on their debut album then they have an extremely promising future ahead of them. This is one band I shall keeping a very close eye on and already cannot wait to see what they do next. A modern day metal masterpiece. 9/10
Solitude: Reach For The Sky (Spiritual Beast)
Reach For The Sky is the second album by Japanese old school heavy metallers Solitude. This album was originally released last year in Japan but has only now been released globally. I'm gonna start this review by saying that if you are a fan of old school heavy metal then this album is essential listening and probably the best straight up heavy metal album I have heard this year. Solitude take influence from bands such as Accept, Saxon and Motorhead and also mix in some speed and thrash metal influences to create the ripping metal storm that is Reach For The Sky combining tearing riffs, catchy melodies and a thunderous rhythm section.
The vocal style of Akira Sugiuchi might not be to everyone's taste with him employing a gruffer and grittier style quite in the vein of Chris Boltendahl from Grave Digger. The songs on the album range from the speed metal attack of Venom's Angel and Don't Need Mercy to fist pumping yet melodic metal anthems such as Reach For The Sky and Escape For The Crime. All the tracks have a sense of urgency and a ridiculous yet addictive energy about them which will have your head banging whether you like it or not.
Reach For The Sky is an absolutely fantastic album with great songwriting, fantastic performances and ridiculous amounts of energy. It may be in the vein of classic eighties heavy metal but this album feels modern and contemporary rather than a retro release. An essential listen for any self respecting heavy metal fan. 9/10
Crown Of Earth: Crown Of Earth (Cochise Entertainment Inc)
Crown Of Earth are a Philadelphia based band playing classic 1980's style heavy metal and this is their self titled debut album. The music on Crown Of Earth is classic old school heavy metal with crunching riffs and catchy melodies. The guitar playing by Michael Ellis and Christopher Graziola is impressive with crunchy riffs and some impressive leads. The vocals of frontman Danny Knight are both gritty and melodic. The bass playing and drumming is fairly pedestrian but holds everything together.
Crown Of Earth is a band who have a clear love and passion for old school heavy metal especially shining through on tracks such as Frank (The Hellraiser), Born Again Warrior and Into The Night. The band wear their influences on their sleeves and you can hear everyone from Judas Priest, Iron Maiden, Manowar and early Queensryche in their sound. The problem with a retro heavy metal band is that they are never going to sound as good as the bands they are imitating but Crown Of Earth is a vastly enjoyable yet somewhat unspectacular debut album. 7/10
Crown Of Earth are a Philadelphia based band playing classic 1980's style heavy metal and this is their self titled debut album. The music on Crown Of Earth is classic old school heavy metal with crunching riffs and catchy melodies. The guitar playing by Michael Ellis and Christopher Graziola is impressive with crunchy riffs and some impressive leads. The vocals of frontman Danny Knight are both gritty and melodic. The bass playing and drumming is fairly pedestrian but holds everything together.
Crown Of Earth is a band who have a clear love and passion for old school heavy metal especially shining through on tracks such as Frank (The Hellraiser), Born Again Warrior and Into The Night. The band wear their influences on their sleeves and you can hear everyone from Judas Priest, Iron Maiden, Manowar and early Queensryche in their sound. The problem with a retro heavy metal band is that they are never going to sound as good as the bands they are imitating but Crown Of Earth is a vastly enjoyable yet somewhat unspectacular debut album. 7/10
Sunday, 11 December 2016
Reviews: Nightmare, Bad Touch, Sister, Vanderberg (Reviews By Paul)
Nightmare: Dead Sun (AFM)
The origins of Nightmare can be traced all the way back to Grenoble, France way back in 1979. The band were active in the NWOBHM scene until 1987 when they disbanded. Reforming in 1999 with drummer Jo Amore taking on vocal duties, the band has moved from classic rock, through death metal to their current thrash tinged power metal. The current line-up includes original member Yves Campion on bass and backing vocals and the impressive pipes of Maggy Luyten. Dead Sun is their 10th full release, eight of which have come since 2001. It is the follow up to 2014’s The Aftermath.
Within these parts female fronted bands are always measured against South Wales’ own Triaxis, whose front woman Krissie Kirby possesses one of the best voices in metal today. What Nightmare have over Triaxis is a more composed sound, with standout tracks Inner Sanctum, Ikarus (sic), Starry Skies Gone Black and opener Infected all impressive in their strength and sheer power. Luyten’s voice contains a gritty husky edge which adds to each song, with the battering of Olivier Casulan’s drumming combining with Campion to lay down a hugely infectious foundation which is topped off by some viciously dangerous guitar work from Frank Milleliri and Matt Asselberghs. Dead Sun is a listenable slab of hard metal, simple yet intricate at times but full of pace and potency that obviously comes with the experience that Nightmare holds. 7/10
Bad Touch: Truth Be Told (Bad Touch Records)
Just over a year ago, Norfolk’s Bad Touch opened for Snakecharmer at The Globe. Their high-energy show won over the crowd and ensured that their debut release Half Way Home was snapped up. It was a gutsy debut, oozing the swagger of the Black Crowes and infused with a Zeppelin like feel which is often evident in this type of band. A year later and their sophomore release Truth Be Told is a bit of a damp squib. It’s routine stuff with little to catch the imagination. Stevie Westwood’s vocals remain the best thing about this band, and whilst the groove and swagger dips in and out, for example on opener One More Night, it isn’t maintained in the manner which bands such as The Answer and The Temperance Movement can do with ease. It’s easy to listen to and competently played but just a wee bit dull. 6/10
Sister: Stand Up, Forward March (Metal Blade)
Don’t get confused with the 1970s outfit that spawned one Blackie Lawless, this is Stockholm’s Sister. Formed in 2006, Stand Up, Forward March is the third release from the band who were signed to Metal Blade in 2010 by Primordial’s Alan “Nemthenga” Averill. It’s full of aggressive fast powered punk-driven metal, lots of anthems and sleazy riffs and some impressive hooks. A bit like Motley Crüe without the bloat mixed with the edge of early Guns ‘N’ Roses.
Jamie Anderson’s dirty vocals fit perfectly whilst the guitar of Tim Tweak chugs away alongside the filthy bass of Martin Sweet and drummer Cari Crow. Lost In Line, Carved In Stone and Dead Man's Dirt are all disgustingly infectious, and whilst the glam punk rock sound isn’t my bag this lot could raise the dead with their infectious approach. Album closer Piece Of Shame is dreadful, old school Hanoi Rocks without the class but overall this is a decent album which won’t have you thinking hard but may get you close to a speeding ticket. Drive with caution. 7/10
Vanderberg: Devil May Care (Self Released)
Guitarist Marc Vanderberg is another German virtuoso influenced by the likes of Yngwie Malmsteen, Kee Marcello and John Norum; all whose styles can be heard on this very competent melodic hard rock release. Not to be confused by the Dutch master Adrian Vandenberg (different spelling folks) and his Moonkings, this release has some spectacular guitar work but suffers from a lack of variation in compositions and too many vocalists. Goran Edmann (ex-Malmsteen) and Tave Wanning (Adrenaline Rush) add some solid performances but it’s Columbian Paulo Cuevas who steals the show with the best Joey Tempest impression I’ve heard for years on Key To Your Heart and balls out rocker Corrosion Of Society which is by far the best track on the album, full of power and pace.
Spirit Of The Dragon features Boban Vasileski and if you like your rock heavy but full of melody you’ll dig this immensely. Basically, Devil May Care takes you back to the mid-1980s when Swedish rock was taking a foothold in the world. There are some dull tracks on here, such as the weak Pray and closer Smoking Kills which is just garbage. However, if you can cope with these this is a decent album, especially if you want to live in 1986 again. 7/10
The origins of Nightmare can be traced all the way back to Grenoble, France way back in 1979. The band were active in the NWOBHM scene until 1987 when they disbanded. Reforming in 1999 with drummer Jo Amore taking on vocal duties, the band has moved from classic rock, through death metal to their current thrash tinged power metal. The current line-up includes original member Yves Campion on bass and backing vocals and the impressive pipes of Maggy Luyten. Dead Sun is their 10th full release, eight of which have come since 2001. It is the follow up to 2014’s The Aftermath.
Within these parts female fronted bands are always measured against South Wales’ own Triaxis, whose front woman Krissie Kirby possesses one of the best voices in metal today. What Nightmare have over Triaxis is a more composed sound, with standout tracks Inner Sanctum, Ikarus (sic), Starry Skies Gone Black and opener Infected all impressive in their strength and sheer power. Luyten’s voice contains a gritty husky edge which adds to each song, with the battering of Olivier Casulan’s drumming combining with Campion to lay down a hugely infectious foundation which is topped off by some viciously dangerous guitar work from Frank Milleliri and Matt Asselberghs. Dead Sun is a listenable slab of hard metal, simple yet intricate at times but full of pace and potency that obviously comes with the experience that Nightmare holds. 7/10
Bad Touch: Truth Be Told (Bad Touch Records)
Just over a year ago, Norfolk’s Bad Touch opened for Snakecharmer at The Globe. Their high-energy show won over the crowd and ensured that their debut release Half Way Home was snapped up. It was a gutsy debut, oozing the swagger of the Black Crowes and infused with a Zeppelin like feel which is often evident in this type of band. A year later and their sophomore release Truth Be Told is a bit of a damp squib. It’s routine stuff with little to catch the imagination. Stevie Westwood’s vocals remain the best thing about this band, and whilst the groove and swagger dips in and out, for example on opener One More Night, it isn’t maintained in the manner which bands such as The Answer and The Temperance Movement can do with ease. It’s easy to listen to and competently played but just a wee bit dull. 6/10
Sister: Stand Up, Forward March (Metal Blade)
Don’t get confused with the 1970s outfit that spawned one Blackie Lawless, this is Stockholm’s Sister. Formed in 2006, Stand Up, Forward March is the third release from the band who were signed to Metal Blade in 2010 by Primordial’s Alan “Nemthenga” Averill. It’s full of aggressive fast powered punk-driven metal, lots of anthems and sleazy riffs and some impressive hooks. A bit like Motley Crüe without the bloat mixed with the edge of early Guns ‘N’ Roses.
Jamie Anderson’s dirty vocals fit perfectly whilst the guitar of Tim Tweak chugs away alongside the filthy bass of Martin Sweet and drummer Cari Crow. Lost In Line, Carved In Stone and Dead Man's Dirt are all disgustingly infectious, and whilst the glam punk rock sound isn’t my bag this lot could raise the dead with their infectious approach. Album closer Piece Of Shame is dreadful, old school Hanoi Rocks without the class but overall this is a decent album which won’t have you thinking hard but may get you close to a speeding ticket. Drive with caution. 7/10
Vanderberg: Devil May Care (Self Released)
Guitarist Marc Vanderberg is another German virtuoso influenced by the likes of Yngwie Malmsteen, Kee Marcello and John Norum; all whose styles can be heard on this very competent melodic hard rock release. Not to be confused by the Dutch master Adrian Vandenberg (different spelling folks) and his Moonkings, this release has some spectacular guitar work but suffers from a lack of variation in compositions and too many vocalists. Goran Edmann (ex-Malmsteen) and Tave Wanning (Adrenaline Rush) add some solid performances but it’s Columbian Paulo Cuevas who steals the show with the best Joey Tempest impression I’ve heard for years on Key To Your Heart and balls out rocker Corrosion Of Society which is by far the best track on the album, full of power and pace.
Spirit Of The Dragon features Boban Vasileski and if you like your rock heavy but full of melody you’ll dig this immensely. Basically, Devil May Care takes you back to the mid-1980s when Swedish rock was taking a foothold in the world. There are some dull tracks on here, such as the weak Pray and closer Smoking Kills which is just garbage. However, if you can cope with these this is a decent album, especially if you want to live in 1986 again. 7/10
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