Deathvalves: Dark Stories From The Past (New Dream Records) (2016)
I was informed that Thessaly band Deathvalves were an alternative metal band but my how wrong that was this is sublime heavy metal/hard rock with groove and thrashy sounds influencing the record. As the Intro commences we get a Morricone flavoured Western Theme with the sounds that made those Leone movies so iconic.
The Morricone sounds make their way into Vengeance that pairs thunderous drumming with layered wall-of-sound riffs that stop and start like Gojira's. Dark Stories... is the band's third record and it is a strong third shot the songs have good mix of fuzzy distorted guitars, heavy echoing basslines, especially on Pantera which has Dimebag-esque tapping solo, along with vocals that fit the music well, they are gritty and raw perfect for the heavyweight instrumentals. Like I said this isn't 'alternative' metal there are too many other components with stoner and doom on So Much To Kill and some grunge filtering through meaning it's a cerebral but aggressive record. Burn The Sun could be the missing Mastodon song such are the atmospherics and incredible drumming while Into This Ocean has an insistent riffing from the tech metal scene.
The record culminates with The Emperor which uses brass and synths as part of the very evil triumphant feel, it would sit comfortably on a Behemoth record and even the vocals get harsher on this song with many of the black metal trappings. Dark Stories From The Past is a superior metal release using a plethora of influences to make sure it doesn't become stale. For a record that will tide you over until the next Mastodon or Gojira release Deathvalves third record could be the worthy alternative. 9/10
Debackliner: Debackliner (Pitch Black Records) (2016)
Pandora the song that kicks off this debut record record has a dirty riff, withs some melodic leads over the top of it, there is a power metal tinge to the song with Maiden-like galloping and some muscular expressive vocals. It's a good start to the record merging power metal style soloing and orchestrations with heavy groove passages much like Nevermore with a hint of latter Metallica thrown in. On Rise Of The Angel the vocals become deeper and more resonant even adding in some growls to the mixture of a song with numerous time signature changes and a stomping middle eight. There is a lot going on on this record a fusion so styles mean that all of the songs twist and turn, the one curve-ball is Jolly Roger which is the sort of Pirate-themed madness Rockin' Rolf would write, but the song speaks volumes about the rest of the record, it's all over the shop with many schizophrenic changes of pace in throughout the songs on this record, some are needed some less so, despite strong performances from the Marseille group, especially the guitars, in parts it loses its way. With a little bit of streamlining on the next record they are well on their way to something quite good. 7/10
Jonas Lindberg & The Others: Pathfinder (2016)
The debut full length album from the Swedish progressive group, formed by band leader/bassist/keyboardist and namesake Jonas Lindberg, he has a very audible obsession with the more pastoral, melodic style of prog favoured by Spock's Beard, Enchant, The Flower Kings, Marillion and Genesis. It's the intensely progressive but well structured, accessible music that makes this band so appealing to someone like me.
His bass playing really underpins the rest of the music on this record having the delicate, jazz infused playing style of Pete Trewavas, his band on this record are all as equally talented as Lindberg, Calle Stålenbring provides the guitar playing adding heaviness to the jazz fusion styled Zenith and Square One but also putting in the more acoustic textures to Closer To The Sun before giving the record one of it's most beautiful solos (live Nicklas Thelin has joined to flesh out the Gilmour meets Ronnie Stolt six stringing)
In the back room Johnathan Lundberg takes the drums and while Maria Olsson takes the percussion meaning that rhythm-wise the record is very dense with both doing more than just keeping time, they are the ones that change time signatures and back Lindberg's bass. As with Spock's Beard the music is very keyboard heavy, Michael Ottosson is the main provider of synth and keys and he does a mighty fine job his keys are thick and melodic fleshing out the tracks with swathes of majestic melodies on Peace Of Mind, giving the darker sounds to Lost and the electronic beats to Zenith.
With so much musical proficiency on show you need a vocalist with the sweep of Neal Morse, Steve Hogarth and even Phil Collins and Jonas Sundqvist definitely fits the bill his emotive handling of the lyrics shines through and he blends effortlessly with Jenny Sandgren who reinforces the vocal melodies. Pathfinder is a superior record with some outstanding performances throughout, it's a fantastic progressive rock album and I urge you to seek it out asap. 9/10
Saturday, 31 December 2016
Saturday, 24 December 2016
Reviews: Blackfield, Boneyard Dog, Psycho Kiss
Blackfield: Blackfield V (Kscope)
Blackfield V is the fifth collaboration between Steven Wilson and Aviv Geffen and it sees them returning with yet another Blackfield record even though Wilson did say he intended to leave the project as his solo career increased in stature. Wilson's solo career had meant that Welcome To My DNA and Blackfield IV were primarily written by Geffen over Wilson, however once again the collaborations are shared equally like they was on their first two records. Over the course of 18 months they created this record with famed producer Alan Parsons in England and Geffen's native Israel with Wilson and Geffen interchanging between vocals, guitars and keys while Tomer Z re-takes his seat at the drum kit.
The songs of the high quality you would expect from the pair, taking a more alternative influenced approach that has been key to the Blackfield since the outset, much of this is due to Geffen's background in the pop/glam and alternative rock field, his vocals are part of the bands charm blending with Wilson seamlessly on Lonely Soul which also has some beautiful female vocals to while his solo voice adds emotion to We'll Never Be Apart.
The record is a concept piece with all of the tracks loosely themed around the ocean and the life cycle so it means lots of emotive pieces that have rapidly become part of the Blackfield trademark, especially when the musical arrangements are augmented by the London Sessions Orchestra who provide the delicate string sections on tracks such as How Was Your Ride? I always welcome a Blackfield album as it is a chance for Wilson and Geffen to stretch their remit outside of their already expansive musical influence. With gorgeous arrangements throughout, produced by legend of the craft it's another sublime album from this duo. 8/10
Boneyard Dog: Bluesbound Train (AOR Heaven)
Imagine the titular dog, a dog in a boneyard, nothing else just a yard full of bones, imagine how happy he is. Now what this has to do with blues rock is anyone's guess but sometimes these are the images that come to mind when looking at a bands name unless of course you're Unforeseen Prophecy because any images of prophecy would be unseen naturally.
Still I digress Boneyard Dog are a new name but as far as membership it's old dogs new tricks with the the main duo of the band being German/Italian singer Rob Mancini (Hotwire/Crush) and Irish blues guitarist Davy Kerrigan, they are the backbone of the band and take the bulk of the songwriting, helping them out on the percussion is Ron Wisko who has played with Cher, Richie Sambora (Bon Jovi), Foreigner, David Lee Roth (Van Halen), The Storm, Gregg Rolie (Santana/Journey) amongst others, rounding out the group is keyboardist Tony Carey who is probably most well known as the man supplying the keys to Rainbow's seminal Rising record.
The record is full of bluesy hard rock music on which Kerrigan gets to channel the blues rock heroes, Rory, Stevie and The Reverend Willy G with Carey's classy organs and keys providing the foil as guest bassists Marc Lynn (Gotthard) and Neil Murray (Ex-Whitesnake) work well with Wisko's tub thumping. Atop the powerful blues rocking are the rough, smoky vocals of Mancini who has the atypical blues singer delivery and suits the style down to the ground especially on Mother Lode and Lay Down The Law, they play heavy when they can, funk things up on Paid My Dues and get a little dirty on Fire Down Below it's a blues rock album that smacks of quality with everyone involved at the apex of their power.
In the positives too is the info that the band have created the Boneyard Foundation, it benefits victims of motorcycle accidents or their immediate families. A very philanthropic gesture especially when all the proceeds from the track Lonely Road goes towards the foundation, with the track itself featuring Gotthard's Marc Lynn who's singer Steve Lee tragically died in a motorcycle accident in 2010. A great album and from what seems to be a very charitable bunch of fellows, Boneyard Dog are ruff (sorry) an ready to rock. 8/10
Psycho Kiss: Grit (Self Released)
Neath/Swansea band Psycho Kiss are local favourites on the South Wales music scene, Grit is their third record and it maintains their mix of heavyweight riffage and infectious hooks. The five piece are fronted by Helen Ceri Clarke who has very tough vocals matching the riff heavy backing that has nods to Alter Bridge and Halestorm especially on the thumping Scream Queens. The band use a lot of dark horror themes in their music with odes to sociopaths on the twisted Sociopathic Superstar the antichrist on Devil Inside and the intro to the record is happily titled The Ballad Of Pennywise (the killer clown from Stephen King's IT).
The musical backing is muscular Pete (rhythm), Tom (bass) and the brilliantly named Penfold (drums) taking the rhythm section by the collar and shaking it around a bit as Paul plays the searing Tremonti like leads. Psycho Kiss are an outfit that sound very professional, years of touring and three albums in they have managed to channel their energetic live show into the record, they rock hard put power into songs like Even Better If aren't afraid to take risks on The Haunting and I Grieve which are both slower injecting more drama, they also put a bit of southern flavour into Down which has the always appreciated cowbell. A really classy, modern rock record from these folks from West Wales. 8/10
Blackfield V is the fifth collaboration between Steven Wilson and Aviv Geffen and it sees them returning with yet another Blackfield record even though Wilson did say he intended to leave the project as his solo career increased in stature. Wilson's solo career had meant that Welcome To My DNA and Blackfield IV were primarily written by Geffen over Wilson, however once again the collaborations are shared equally like they was on their first two records. Over the course of 18 months they created this record with famed producer Alan Parsons in England and Geffen's native Israel with Wilson and Geffen interchanging between vocals, guitars and keys while Tomer Z re-takes his seat at the drum kit.
The songs of the high quality you would expect from the pair, taking a more alternative influenced approach that has been key to the Blackfield since the outset, much of this is due to Geffen's background in the pop/glam and alternative rock field, his vocals are part of the bands charm blending with Wilson seamlessly on Lonely Soul which also has some beautiful female vocals to while his solo voice adds emotion to We'll Never Be Apart.
The record is a concept piece with all of the tracks loosely themed around the ocean and the life cycle so it means lots of emotive pieces that have rapidly become part of the Blackfield trademark, especially when the musical arrangements are augmented by the London Sessions Orchestra who provide the delicate string sections on tracks such as How Was Your Ride? I always welcome a Blackfield album as it is a chance for Wilson and Geffen to stretch their remit outside of their already expansive musical influence. With gorgeous arrangements throughout, produced by legend of the craft it's another sublime album from this duo. 8/10
Boneyard Dog: Bluesbound Train (AOR Heaven)
Imagine the titular dog, a dog in a boneyard, nothing else just a yard full of bones, imagine how happy he is. Now what this has to do with blues rock is anyone's guess but sometimes these are the images that come to mind when looking at a bands name unless of course you're Unforeseen Prophecy because any images of prophecy would be unseen naturally.
Still I digress Boneyard Dog are a new name but as far as membership it's old dogs new tricks with the the main duo of the band being German/Italian singer Rob Mancini (Hotwire/Crush) and Irish blues guitarist Davy Kerrigan, they are the backbone of the band and take the bulk of the songwriting, helping them out on the percussion is Ron Wisko who has played with Cher, Richie Sambora (Bon Jovi), Foreigner, David Lee Roth (Van Halen), The Storm, Gregg Rolie (Santana/Journey) amongst others, rounding out the group is keyboardist Tony Carey who is probably most well known as the man supplying the keys to Rainbow's seminal Rising record.
The record is full of bluesy hard rock music on which Kerrigan gets to channel the blues rock heroes, Rory, Stevie and The Reverend Willy G with Carey's classy organs and keys providing the foil as guest bassists Marc Lynn (Gotthard) and Neil Murray (Ex-Whitesnake) work well with Wisko's tub thumping. Atop the powerful blues rocking are the rough, smoky vocals of Mancini who has the atypical blues singer delivery and suits the style down to the ground especially on Mother Lode and Lay Down The Law, they play heavy when they can, funk things up on Paid My Dues and get a little dirty on Fire Down Below it's a blues rock album that smacks of quality with everyone involved at the apex of their power.
In the positives too is the info that the band have created the Boneyard Foundation, it benefits victims of motorcycle accidents or their immediate families. A very philanthropic gesture especially when all the proceeds from the track Lonely Road goes towards the foundation, with the track itself featuring Gotthard's Marc Lynn who's singer Steve Lee tragically died in a motorcycle accident in 2010. A great album and from what seems to be a very charitable bunch of fellows, Boneyard Dog are ruff (sorry) an ready to rock. 8/10
Psycho Kiss: Grit (Self Released)
Neath/Swansea band Psycho Kiss are local favourites on the South Wales music scene, Grit is their third record and it maintains their mix of heavyweight riffage and infectious hooks. The five piece are fronted by Helen Ceri Clarke who has very tough vocals matching the riff heavy backing that has nods to Alter Bridge and Halestorm especially on the thumping Scream Queens. The band use a lot of dark horror themes in their music with odes to sociopaths on the twisted Sociopathic Superstar the antichrist on Devil Inside and the intro to the record is happily titled The Ballad Of Pennywise (the killer clown from Stephen King's IT).
The musical backing is muscular Pete (rhythm), Tom (bass) and the brilliantly named Penfold (drums) taking the rhythm section by the collar and shaking it around a bit as Paul plays the searing Tremonti like leads. Psycho Kiss are an outfit that sound very professional, years of touring and three albums in they have managed to channel their energetic live show into the record, they rock hard put power into songs like Even Better If aren't afraid to take risks on The Haunting and I Grieve which are both slower injecting more drama, they also put a bit of southern flavour into Down which has the always appreciated cowbell. A really classy, modern rock record from these folks from West Wales. 8/10
Friday, 23 December 2016
Reviews: White Widdow, Heaven Below, King Hiss
White Widdow: Silhouette (AOR Heaven)
When I say Australian rock music to you what comes to mind? Probably big power chords, brawny vocals, heavy drinking and a man in a school boy outfit who should know better. Yes Australia does tend to get stereotyped with their rock music, with AC/DC, Rose Tattoo, Airbounre however they do a good trade in modern metal (Parkway Drive), power metal (Black Majesty) and as I've demonstrated on a few occasions they can really pull off the sunshine AOR of the Sunset Strip with bands such as The Radio Sun evoking the melodies of Journey and their contemporaries. Well here we are again in FM radio territory with White Widdow who've been around since 2007 and who I have actually listened to before but never realised were Australian until now.
I actually thought they were American or at least Scandinavian (the other big AOR stalwarts) but no these are Aussies that play the sort of synth heavy 80's rock that should be the backing track to a stylish, lens flare heavy movie starring Tom Cruise. Brothers Jules (formerly of Welshies Tigertailz) and Xavier are the soulful vocals and layered shiny keyboards of the band with Enzo Almanzi on the lead guitars, Ben Webster on bass and Noel Terry on drums.
The music on this record is as slick as Crockett and Tubbs dress sense, it purrs like a bright white Lamborghini, Silhouette is chock full of driving anthems like Stranded, Wild At Heart and Game Of Love that you can just hear playing out of s supercar as the sun glows orange over the bay on the horizon. The perfect album to do away with the winter blues White Widdow are sweeter than a candy cane dipped in Golden syrup, if you love this music Silhouette is a shining example of the genre. 8/10
Heaven Below: Good Morning Apocalypse (eOne Entertainment)
Reading the info for this band I made a lot of suppositions and I have been proven wrong on most of them. Good Morning Apocalypse is the third record from LA band Heaven Below, formed in 2007 by Patrick Kennison formerly of Union Underground, a band that I know from a theme they did for WWE Monday Night Raw in the early 2000's. After the breakup of that band Kennison formed Heaven Below, they have released two records and have gone through multiple line-up changes with Kennison being the only consistent member since the beginning.
For musicians that are normally associated with the Nu-Metal scene this record spreads its wings and adds choirs to Nefarious Angels which puts it in the realms of symphonic rock, while on Devilina And The Damage Done it's full heavy metal fury with Kobra Paige duetting with Kennison, Nightfall Comes Again brings some electronic touches then Killing The Deadman blows you out of the water with ferocious blastbeats. It's a very heavy album that sits in the harder rock bracket as there are big choruses but chunky riffs, while listening to the record I couldn't help but think of Sixx A.M as this record shares a lot of similarities with Nikki Sixx and James Michaels band.
This record is a concept piece based around one soldier (Corporal Todd Grant) that intersperses the songs with spoken word pieces however the songs stand up by themselves as individual pieces especially on the tracks that feature guest vocalists like Lita Ford (Running Under Satan's Hand) and Udo Dirkschneider (Black Sunrise/War Of The Gods). Don't let the previous bands of the members put you off Heaven Below are an excellent modern metal band and this record is very impressive, polished, slightly progressive and filled with towering heavy rock songs. 8/10
King Hiss: Mastosaurus (Self Released)
Another concept piece now but this one deals with themes that are black as tar, mainly the story of a doomed antihero fighting his own demons. Luckily King Hiss pack riffs strong enough to level mountains, Belgium is probably not the place you would immediately go for thundering stoner metal but my God King Hiss mean that you might do after this. The four piece are a musical hodgepodge with thick, sludgy stoner riffs (Renegade), crushing doom (Homeland), a rock n roll swagger (Killer Hand) and some hardcore influences (Egomaniac), hell they even throw in a breakdown on the rapid fire Tourniquet.
The music on this record is tight as hell and has genuine urgency to it, from the distorted We Live In Shadows and the drum fuelled almost tribal title track through to the acoustic laced, Alice in Chains-esque Stuck In A Hole. King Hiss are a mighty noise from the land of chocolate and much like their countries beer they hit hard and leave a lasting impression rattling your brain for a solid 36 minutes before the minor key piano of Requiem For The Lost plays you out giving rest-bite from the riffage yet still having ominous overtones. Mastosaurus is a superior stoner effort with these Belgians needing more your attention. 8/10
When I say Australian rock music to you what comes to mind? Probably big power chords, brawny vocals, heavy drinking and a man in a school boy outfit who should know better. Yes Australia does tend to get stereotyped with their rock music, with AC/DC, Rose Tattoo, Airbounre however they do a good trade in modern metal (Parkway Drive), power metal (Black Majesty) and as I've demonstrated on a few occasions they can really pull off the sunshine AOR of the Sunset Strip with bands such as The Radio Sun evoking the melodies of Journey and their contemporaries. Well here we are again in FM radio territory with White Widdow who've been around since 2007 and who I have actually listened to before but never realised were Australian until now.
I actually thought they were American or at least Scandinavian (the other big AOR stalwarts) but no these are Aussies that play the sort of synth heavy 80's rock that should be the backing track to a stylish, lens flare heavy movie starring Tom Cruise. Brothers Jules (formerly of Welshies Tigertailz) and Xavier are the soulful vocals and layered shiny keyboards of the band with Enzo Almanzi on the lead guitars, Ben Webster on bass and Noel Terry on drums.
The music on this record is as slick as Crockett and Tubbs dress sense, it purrs like a bright white Lamborghini, Silhouette is chock full of driving anthems like Stranded, Wild At Heart and Game Of Love that you can just hear playing out of s supercar as the sun glows orange over the bay on the horizon. The perfect album to do away with the winter blues White Widdow are sweeter than a candy cane dipped in Golden syrup, if you love this music Silhouette is a shining example of the genre. 8/10
Heaven Below: Good Morning Apocalypse (eOne Entertainment)
Reading the info for this band I made a lot of suppositions and I have been proven wrong on most of them. Good Morning Apocalypse is the third record from LA band Heaven Below, formed in 2007 by Patrick Kennison formerly of Union Underground, a band that I know from a theme they did for WWE Monday Night Raw in the early 2000's. After the breakup of that band Kennison formed Heaven Below, they have released two records and have gone through multiple line-up changes with Kennison being the only consistent member since the beginning.
For musicians that are normally associated with the Nu-Metal scene this record spreads its wings and adds choirs to Nefarious Angels which puts it in the realms of symphonic rock, while on Devilina And The Damage Done it's full heavy metal fury with Kobra Paige duetting with Kennison, Nightfall Comes Again brings some electronic touches then Killing The Deadman blows you out of the water with ferocious blastbeats. It's a very heavy album that sits in the harder rock bracket as there are big choruses but chunky riffs, while listening to the record I couldn't help but think of Sixx A.M as this record shares a lot of similarities with Nikki Sixx and James Michaels band.
This record is a concept piece based around one soldier (Corporal Todd Grant) that intersperses the songs with spoken word pieces however the songs stand up by themselves as individual pieces especially on the tracks that feature guest vocalists like Lita Ford (Running Under Satan's Hand) and Udo Dirkschneider (Black Sunrise/War Of The Gods). Don't let the previous bands of the members put you off Heaven Below are an excellent modern metal band and this record is very impressive, polished, slightly progressive and filled with towering heavy rock songs. 8/10
King Hiss: Mastosaurus (Self Released)
Another concept piece now but this one deals with themes that are black as tar, mainly the story of a doomed antihero fighting his own demons. Luckily King Hiss pack riffs strong enough to level mountains, Belgium is probably not the place you would immediately go for thundering stoner metal but my God King Hiss mean that you might do after this. The four piece are a musical hodgepodge with thick, sludgy stoner riffs (Renegade), crushing doom (Homeland), a rock n roll swagger (Killer Hand) and some hardcore influences (Egomaniac), hell they even throw in a breakdown on the rapid fire Tourniquet.
The music on this record is tight as hell and has genuine urgency to it, from the distorted We Live In Shadows and the drum fuelled almost tribal title track through to the acoustic laced, Alice in Chains-esque Stuck In A Hole. King Hiss are a mighty noise from the land of chocolate and much like their countries beer they hit hard and leave a lasting impression rattling your brain for a solid 36 minutes before the minor key piano of Requiem For The Lost plays you out giving rest-bite from the riffage yet still having ominous overtones. Mastosaurus is a superior stoner effort with these Belgians needing more your attention. 8/10
Reviews: Piledriver, Vesen, Battery (Reviews By Paul)
Piledriver: Brothers In Boogie (Rockwall)
You've got to hand to the Germans. With their love of David
Hasselhoff, sauerkraut and Grave Digger, they really don't give a shit. Enter
Piledriver, a band formed in Essen in 1995 with one intention, “to preserve the
legacy” of the original “Frantic Four”; yes folks, that is Status Quo. But none
of this namby pamby acoustic shite, the original hard rocking denim clad
pre-1981 band who used to be revered in the hard rock circles and who were
responsible for the epic Quo Live.
Piledriver didn't leave it as a tribute band though, oh no.
They decided to hit out on their own with their own Quo like boogie, four bars
that will never die. Brothers in Boogie is
the band’s third full release and mostly work. It's alright, listenable and
inoffensive. Ironically vocal delivery of Michael Sommerhoff and Peter Wagner
sits closer to Udo Dirkschneider than Parfitt or Rossi and the stomping beat
veres from Quo to Scorpions to Lightweight Accept. Rock In A Crossfire Hurricane? Yeap, that's here. Fat Rat Boogie, One Way to Rock and
perfect Quo replica Good Times Again make
you smile. In fact, these would be the ideal band at a party or wedding. You
will either hate this or love it. I'd love to see them live. It must be
hysterical. I think the Grammy can be
put back in the cupboard for another year. 6/10
Vesen: Rorschach (Soulseller)
Straight out of Satan’s arse hole comes Vesen, a four piece
thrash black metal who hit hard and don't stop. Some of the most gruesome
vocals I've heard for ages, cut throats riffage and rampaging bass and drums
all combine to make a fearsome noise. It's not pretty but then I don't think
the band are looking for pink and fluffy. Rorschach is their fifth full length
album, and it pounds like a hammer to the head. Pray for Fire has a galloping pace, with Ronny Ostil’s screaming
haunted vocals reminiscent of Behemoth’s Nergal. In fact the whole release has
more than a nod to the Polish lords of the black metal world. It's crushing
stuff and with tracks such as the demonic Blood,
Bones and Pride and the battery of Vulgar,
Old and Sick Blasphemy (with a large nod towards old school Celtic Frost)
it'll scare the shit out of those who think hard rock is Stone Broken. Break out the black candles and the goat
skull, time for a bit of Vesen in your
life. 8/10
Battery: Martial Law (Punishment 18 Records)
I went to Aarhus once. I saw Cardiff City get thumped in a European
Cup match in 1988. It was a dismal game which matched the place. Battery are
still stuck in that year, such is the dated style of their thrash. But it's not
all dreadful with some fine aggressive riffage and speed the name of the game.
Vocally it's bloody awful, with Chris Steel’s screeching voice a poor man’s
combination of about a million better thrash throats, Bobby Ellsworth, Paul
Balfour and Steve Souza for three. Andreas Joen batters the shit out his kit
from start to finish whilst raw fury drives the guitars of Steel, Jokull
Johannesson and Jesper Campradt. Jannick Nielsen’s rampaging bass lines impress
in the Frank Bello style. It's unfortunate that the vocals do nothing to
enhance any of the songs, with Battery By
Authority particularly dire but with some harnessing Battery
may yet fire a charge or two. 6/10
Thursday, 22 December 2016
Reviews: Ulysses, Lux Divina, Saboter
Ulysses: Law And Order (Black Glove Recordings)
Bath based band Ulysses can rightfully claim to be the UK kings of Glam/Psych/Rock on the back of this their third full length record. It's one that I have criminally overlooked until now as it was released earlier in the year and I missed reviewing it so consider the balance redressed. My am I glad I revisited this record as it contains some of the most upbeat, dirty glam rocking since Roy Wood and Wizzard (very festive). Much like Purson, who's singer Rosalie Cunningham contributes vocals to this record, Ulysses make full use of the kaleidoscopic musical backing of the 60's and early 70's with stomping glam on the title track and Smiling a liberal sprinkling of The Beatles pop-psychedelia and the big wailing guitar riffs of Hendrix cutting through the cheeky lyrical flights of fancy such as Dirty Weekend and the proto-Quo of Mary Jane. Think Super Furry's with sparkling guitar solos and you'd be in the right stacked heeled, facial fuzz toting field.
The influences are worn on the collective sleeves with The Cars, Syd Barrett, Thin Lizzy and even Sailor creeping in. The record is deftly produced by Steve Evans (Robert Plant / Siouxsie / Goldfrapp) at the legendary Monnow Valley Studios and as such has an organic analogue quality to it which lends itself to the retro vibe of the bands ethos. The four piece are Luke Smyth on vocals and guitar, Julyan Wells-Cathedral on bass, Denny Peppers on guitar (lead) and finally Shane Maxymus on drums, with all of the these three contributing backing vocals for those gorgeous harmonies that Brian Wilson would lust after. The third record by Ulysses is their strongest to date encapsulating a sound from one of the most creative times in music, poppy, rocky and a little bit naughty get on your leather gloves and give in to Law And Order. 8/10
Lux Divina: Walk Within The Riddle (Einheit Produktionen)
Catalonian pagan black metal is not something you hear very often but Barcelona four piece Lux Divina have been the major exponent of this since 1998. Walk Within The Riddle is their third full length record and it takes traditional folk and Latin elements (The Oceans Are Bewitched) putting them with the black metal overtones of Ireland's Primordial or are own Winterfylleth. The guitars of Gangreal and Javi Bastard switch between frantic heaviness and more progressive touches on Waters Of Tomorrow - Woods Of Yesterday where things slow down as Iberian's bass adds groove.
It's musically very good with the slower sections punctuated by the blitzkrieg speed on Macchiajolo as Norax's vocals switch between demonic screams and booming clean vocals. Walk Within The Riddle is a powerful statement from the Spanish band, with the holiday season upon us I can't think of anything better than hailing Satan with this slab of pagan metal. 7/10
Saboter: Mankind Is Damned (Witches Brew)
Athens based Saboter have only been doing the rounds since 2014 but they have managed to release an EP and now a full length album, when I say full length I mean in the traditional sense of 8 songs and just over 45 minutes, much like the Maiden and Priest albums of the past. Saboter are a band that draw heavily from these acts with furious speed metal and NWOBHM trappings and songs dealing with political issues and war wrapped in a cover that features a robot wizard in a future world.
I said that the band have only been around since 2014 but that's not to say they are rookies three (both guitarists and the vocalist) come from a 90's thrash band called Overcast, the bassist has spent time in thrash/black metal acts and the drummer seems to have been in every underground band in the Greek metal scene.
Like a lot of 'traditional' metal acts the members have all spent time in the black/death/thrash metal circles before coming together, it means that some of the fury from these extreme acts comes through especially in the drumming but the songs have bigger hooks and lots of melodic guitar playing. Mankind Is Damned is a punchy debut album for this group of experienced musicians with fire of Priest and the slightly progressive sounds of Sanctuary, a superior addition to the traditional metal pack. 7/10
Bath based band Ulysses can rightfully claim to be the UK kings of Glam/Psych/Rock on the back of this their third full length record. It's one that I have criminally overlooked until now as it was released earlier in the year and I missed reviewing it so consider the balance redressed. My am I glad I revisited this record as it contains some of the most upbeat, dirty glam rocking since Roy Wood and Wizzard (very festive). Much like Purson, who's singer Rosalie Cunningham contributes vocals to this record, Ulysses make full use of the kaleidoscopic musical backing of the 60's and early 70's with stomping glam on the title track and Smiling a liberal sprinkling of The Beatles pop-psychedelia and the big wailing guitar riffs of Hendrix cutting through the cheeky lyrical flights of fancy such as Dirty Weekend and the proto-Quo of Mary Jane. Think Super Furry's with sparkling guitar solos and you'd be in the right stacked heeled, facial fuzz toting field.
The influences are worn on the collective sleeves with The Cars, Syd Barrett, Thin Lizzy and even Sailor creeping in. The record is deftly produced by Steve Evans (Robert Plant / Siouxsie / Goldfrapp) at the legendary Monnow Valley Studios and as such has an organic analogue quality to it which lends itself to the retro vibe of the bands ethos. The four piece are Luke Smyth on vocals and guitar, Julyan Wells-Cathedral on bass, Denny Peppers on guitar (lead) and finally Shane Maxymus on drums, with all of the these three contributing backing vocals for those gorgeous harmonies that Brian Wilson would lust after. The third record by Ulysses is their strongest to date encapsulating a sound from one of the most creative times in music, poppy, rocky and a little bit naughty get on your leather gloves and give in to Law And Order. 8/10
Lux Divina: Walk Within The Riddle (Einheit Produktionen)
Catalonian pagan black metal is not something you hear very often but Barcelona four piece Lux Divina have been the major exponent of this since 1998. Walk Within The Riddle is their third full length record and it takes traditional folk and Latin elements (The Oceans Are Bewitched) putting them with the black metal overtones of Ireland's Primordial or are own Winterfylleth. The guitars of Gangreal and Javi Bastard switch between frantic heaviness and more progressive touches on Waters Of Tomorrow - Woods Of Yesterday where things slow down as Iberian's bass adds groove.
It's musically very good with the slower sections punctuated by the blitzkrieg speed on Macchiajolo as Norax's vocals switch between demonic screams and booming clean vocals. Walk Within The Riddle is a powerful statement from the Spanish band, with the holiday season upon us I can't think of anything better than hailing Satan with this slab of pagan metal. 7/10
Saboter: Mankind Is Damned (Witches Brew)
Athens based Saboter have only been doing the rounds since 2014 but they have managed to release an EP and now a full length album, when I say full length I mean in the traditional sense of 8 songs and just over 45 minutes, much like the Maiden and Priest albums of the past. Saboter are a band that draw heavily from these acts with furious speed metal and NWOBHM trappings and songs dealing with political issues and war wrapped in a cover that features a robot wizard in a future world.
I said that the band have only been around since 2014 but that's not to say they are rookies three (both guitarists and the vocalist) come from a 90's thrash band called Overcast, the bassist has spent time in thrash/black metal acts and the drummer seems to have been in every underground band in the Greek metal scene.
Like a lot of 'traditional' metal acts the members have all spent time in the black/death/thrash metal circles before coming together, it means that some of the fury from these extreme acts comes through especially in the drumming but the songs have bigger hooks and lots of melodic guitar playing. Mankind Is Damned is a punchy debut album for this group of experienced musicians with fire of Priest and the slightly progressive sounds of Sanctuary, a superior addition to the traditional metal pack. 7/10
Wednesday, 21 December 2016
Reviews: Deadwood Lake, Defiant, Gravebreaker (Reviews By Paul)
Deadwood Lake: Remembrance (Self Released)
This six track EP is astonishingly good. Created by vocalist and bassist Bruce Powell in memory of his late brother Gary, and available for free download with contributions to charitable causes, it is technically superb and blisteringly heavy. Powell’s vocals are spot on for a black metal band whilst his powerful bass combines with drummer Tom Warren’s assault. There is also some delicate moments, notably the opening of Garden Of Remembrance which takes the pace down for a minute or so. Guitarist Ryan Willis cuts some ferocious riffs and his playing throughout is impressive. UK black metal is often underrated but this trio from Chard demonstrate that there is some real talent out there. Awesome stuff! 9/10
This six track EP is astonishingly good. Created by vocalist and bassist Bruce Powell in memory of his late brother Gary, and available for free download with contributions to charitable causes, it is technically superb and blisteringly heavy. Powell’s vocals are spot on for a black metal band whilst his powerful bass combines with drummer Tom Warren’s assault. There is also some delicate moments, notably the opening of Garden Of Remembrance which takes the pace down for a minute or so. Guitarist Ryan Willis cuts some ferocious riffs and his playing throughout is impressive. UK black metal is often underrated but this trio from Chard demonstrate that there is some real talent out there. Awesome stuff! 9/10
Defiant: Time Isn't Healing (Self Released)
Power metal from Ukraine isn't a staple at MOM Towers but Time Isn't Healing, the second album from the band isn't that bad musically. What destroys it is the abjectly awful vocals. Unfortunately lead singer Stanislav Proshkin can't hold a note. That is a problem when. The rest of the band are actually quite tight. Tracks such as Funeral Feast, The Jericho and the title track have the right mix of hard edge and melody with the keyboards of Victoria Terzieva mixing nicely with the guitar work of founder member Andrey Turkovsky. It's disappointing as this has promise but in a world where power metal bands are ten a penny, it is superb vocalists such as Hansi Kursch and Tobias Sammet who set the benchmark. 5/10
Gravebreaker: Sacrifice (Gates Of Hell Records)
Jesus, where to start with this one. Gothenburg has produced some immense bands over the years. The sound of black metal, the home of melodic death metal as well as a myriad of other fabulous bands. But for every swan there is a multitude of ugly ducklings and we may well have the absolute minger here. Gravebreaker, a name which conjures up the most welcoming of images. Sacrifice has an album cover which screams STEREOTYPE and that's before the trio who use the monikers, I shit you not, Fury, Devastation and Nightmare have opened their demonic cake holes. Boy, then you really wish they hadn’t. With all the sound quality of a portaloo at Download this album wins the worst production of the year by a fucking mile. I really hate slating bands but this is just shockingly bad. Aiming at the punk edge of very early Iron Maiden but with all the panache of 1990s Anvil minus any talent whatsoever, it is turgid, dull and quite simply rubbish. The fact I had to listen to it twice to confirm I wasn't hallucinating the first time means they get the lowest rating I've ever given. Avoid at all costs. 1/10
Power metal from Ukraine isn't a staple at MOM Towers but Time Isn't Healing, the second album from the band isn't that bad musically. What destroys it is the abjectly awful vocals. Unfortunately lead singer Stanislav Proshkin can't hold a note. That is a problem when. The rest of the band are actually quite tight. Tracks such as Funeral Feast, The Jericho and the title track have the right mix of hard edge and melody with the keyboards of Victoria Terzieva mixing nicely with the guitar work of founder member Andrey Turkovsky. It's disappointing as this has promise but in a world where power metal bands are ten a penny, it is superb vocalists such as Hansi Kursch and Tobias Sammet who set the benchmark. 5/10
Gravebreaker: Sacrifice (Gates Of Hell Records)
Jesus, where to start with this one. Gothenburg has produced some immense bands over the years. The sound of black metal, the home of melodic death metal as well as a myriad of other fabulous bands. But for every swan there is a multitude of ugly ducklings and we may well have the absolute minger here. Gravebreaker, a name which conjures up the most welcoming of images. Sacrifice has an album cover which screams STEREOTYPE and that's before the trio who use the monikers, I shit you not, Fury, Devastation and Nightmare have opened their demonic cake holes. Boy, then you really wish they hadn’t. With all the sound quality of a portaloo at Download this album wins the worst production of the year by a fucking mile. I really hate slating bands but this is just shockingly bad. Aiming at the punk edge of very early Iron Maiden but with all the panache of 1990s Anvil minus any talent whatsoever, it is turgid, dull and quite simply rubbish. The fact I had to listen to it twice to confirm I wasn't hallucinating the first time means they get the lowest rating I've ever given. Avoid at all costs. 1/10
Sunday, 18 December 2016
The Spotlight: Interview With Lionize (Interview By Paul)
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.
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.
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.
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