The Murder Of My Sweet: Echoes Of The Aftermath (Frontiers)
Daniel Flores needs all the kudos you can give as he is the heart of The Murder Of My Sweet, he is not only the drummer of the band but also handles the keys/orchestrations and the production. With the cinematic sound of this band that's a lot of pressure for one man but he does a spectacular job at all three, the drums rampage, the orchestrations are lush and the production is crisp and clear he is the main writer of the band too and on this record they have taken a more straightforward approach than on their previous semi-Wagnerian concept album Beth Out Of Hell.
There are still symphonic elements of course with a Nordic melodic metal backing that lay down a solid foundation for Angelica to unleash her mighty vocals, with touches of Queen, ELO melding with the heavier modern metal riffs TMOMS are a band that have never been dull, their albums rumble along at a fair old pace occasionally stopping for a ballad of movie score proportions.
Echoes Of The Aftermath is no exception taking it's lyrical modern day problems rather than the exclusively story-driven previous record, it means that they can deviate from the formula a bit for a more cohesive song driven album. With top level performances abound and strong songwriting Echoes Of The Aftermath is another quality addition to the bands discography. 8/10
Psychedelic Witchcraft: Magik Rites And Spells (Soulseller Records)
We always like a cover here at the MoM although it is usually a bonus track on an album but Italian doom/occult/psych rockers Psychedelic Witchcraft have stuck their spacey rendition of Blue Oyster Cult's Godzilla as the second song on this record, it's a good cover and fits right in compared to rest of the record which is filled with proto-metal riffage, mind-altering grooves, frantic drumming and the bewitching vocals of frontwoman Virginia Morti.
She casts the occult spells atop of the smoldering, fuzzy riffs that draw from the darkness of the blues and the earliest metal acts for a beguiling trip through this cults world vision, it's an album that marries the music of the lost 70's generation with the visuals of Dario Argento. There are so many of these bands around now but Psychedelic Witchcraft have been doing the rounds for a long time and their occult rock is still some of the most definitive. 7/10
Chrome Molly: Hoodoo Voodoo (earMusic)
Chrome Molly are one of the bands from the NWOBHM that did the familiar thing of breaking up as grunge hit only to reform in 2009 and try all over again. Since 2009 they have only released 2013's Gunpowder Diplomacy and now they have followed it up with Hoodoo Voodoo and really this is run of the mill generic British hard rock with touches of metal.
The band are competent enough but the songs on this record range from dull to downright awful, Pillars Of Creation (Albion) and Now That Those Days Have Gone being the worst offenders as the first is bargain basement Judas Priest riff with terrible lyrics that name check the British bands that created the genre, while Now That... is a simply staggeringly bad ballad.
Much of my criticism for this record stems from the vocals of Steve Hawkins whose voice is not good at all if I'm honest, maybe it's me but they just grate and after about five songs I found myself reaching for the off switch on my stereo. I appreciate that Chrome Molly have been around for a long time, they were there at the beginning of the British metal boom but some things are best left in the past and unfortunately this Leicester band are one. 4/10
Monday, 30 January 2017
Sunday, 29 January 2017
Reviews: My Dynamite, Atlas Pain, Into Orbit
My Dynamite: Otherside (Listenable)
Aussie's My Dynamite say that they take influence from The Black Crowes and Humble Pie, well you can certainly hear the Robinson brothers jamming with Marriot and Frampton on the band's second album. From the opening slide of Round The Bend My Dynamite are deep in The Black Crowes groove, tinkling piano, dual guitar harmonies, mouth organ and a bluesy Southern sound.
This six man boogie machine really pack a punch and sound distinctly American rather than Australian, the Steven Tyler-esque drawl of Pat Carmody is spot on, the guitars of Jorge Balas and Benny Wolf are harmonic unison as the organs/keys of Nick Cooper add the much appreciated melodies to the more soulful tracks like the smoldering So Familiar and adds an electronic coda to State We're In.
With groove from Simon Aarons and Travis Fraser My Dynamite are a band that update the hip-shaking hard rock of their influences much like our own Temperance Movement, this record is full of delicious summer vibes the bastard love child of Led Zeppelin, Otis Redding and The Rolling Stones it's a stunning record of soulful, funky, blues rock for lazing, gazing, sippin' and trippin'. This is another sublime slab of good old fashioned rock n roll from these Melbourne natives as Aerosmith once said "Take Me To The Otherside" it's a much more rocking place to be. 9/10
Aussie's My Dynamite say that they take influence from The Black Crowes and Humble Pie, well you can certainly hear the Robinson brothers jamming with Marriot and Frampton on the band's second album. From the opening slide of Round The Bend My Dynamite are deep in The Black Crowes groove, tinkling piano, dual guitar harmonies, mouth organ and a bluesy Southern sound.
This six man boogie machine really pack a punch and sound distinctly American rather than Australian, the Steven Tyler-esque drawl of Pat Carmody is spot on, the guitars of Jorge Balas and Benny Wolf are harmonic unison as the organs/keys of Nick Cooper add the much appreciated melodies to the more soulful tracks like the smoldering So Familiar and adds an electronic coda to State We're In.
With groove from Simon Aarons and Travis Fraser My Dynamite are a band that update the hip-shaking hard rock of their influences much like our own Temperance Movement, this record is full of delicious summer vibes the bastard love child of Led Zeppelin, Otis Redding and The Rolling Stones it's a stunning record of soulful, funky, blues rock for lazing, gazing, sippin' and trippin'. This is another sublime slab of good old fashioned rock n roll from these Melbourne natives as Aerosmith once said "Take Me To The Otherside" it's a much more rocking place to be. 9/10
Atlas Pain: What The Oak Left (Scarlet Records) [Review By Paul]
The debut release from Italian folk metal outfit Atlas Pain follows on from their debut EP Behind The Front Page in 2015. What The Oak Left is a rousing 54 minutes of epic folk metal, a roller coaster ride which cascades the emotions with the numerous influences that whistle by. There’s a bit of everything in this album from the clear Iron Maiden style on To The Moon through to the Eluvietie stomp of The Storm whilst the power metal foundations which underpin this genre is also fully in evidence.
It’s certainly atmospheric, with some blistering drumming courtesy of Riccardo Floridia. The band use their symphonic keyboard sound to great effect, evident throughout without smothering any of the tracks. Guitarist Fabrizio Tartarini can certainly throw a shape whilst the growling vocals of Samuele Faulisi fit the tunes perfectly. In concluding track, the 12-minute instrumental White Overcast Line the band pull out all the stops with THE blueprint to power/folk metal.
Light and shade, all out pace combined with some delicately calm segments, this is mighty stuff. If you like your folk metal, ala Korpiklaani, Finntroll and the rest this will be right up your street. Another superb Italian outfit who are challenging the Scandinavian metal monopoly. 8/10
Into Orbit: Unearthing (Self Released) [Review By Paul]
Sophomore release from New Zealand duo Into Orbit, Unearthing is 40 minutes of progressive and experimental rock and metal and is well worth a listen. With a variety of styles and techniques, the duo, guitarist Paul Stewart and percussionist/drummer Ian Moir create an atmospheric landscape that holds the attention. Nowhere is this more apparent than on the closing track, the impressive Gilgamesh which builds steadily, increasing in tempo and feel all the time as it brings this interesting release to a close. 7/10
Saturday, 28 January 2017
Reviews: Armored Saint, Borealis, Mortanius
Armored Saint: Carpe Noctum - Live 2015 (Metal Blade) [Review By Paul]
This pledge music release crept out under the radar towards the end of last year. A paltry eight tracks, recorded mainly at Wacken in 2015 but a damn fine eight tracks from an underrated outfit. Armored Saint can’t be accused of being prolific, with only seven albums in their many years but quality is always better than quantity. Carpe Noctum covers a broad spectrum of the Armored Saint catalogue, with tracks from five albums featured. Opener Win Hands Down, the title track from their excellent 2015 release is pumping, fresh and feisty.
As you’d expect and as you would know if you happened to catch them at Wacken or Bloodstock, this was a fine set. March Of The Saint retains all the power and enthusiasm which first arrived in 1984 with Stricken By Fate the other track from the 1984 debut. Armored Saint are a cohesive unit, with a stable line-up combining effectively. The star of the show is John Bush, his powerful vocals as strong now as they were when their star first climbed. He is ably supported by brothers Gonzo (drums) and Phil (guitar) Sandoval, bassist Joey Vera and guitarist Jeff Duncan.
Last Train Home from Symbol Of Salvation is just epic, whilst closer Reign Of Fire from the same album is a fitting closing song. In between you get Mess from Win Hands Down, a stomping Aftermath from Delirious Nomad and the superb Left Hook From Right Field from 2010’s La Raza. Carpe Noctum is a decent snapshot of a band who ooze quality and who I’d love to see on these shores again. 8/10
Borealis: World Of Silence MMXVII (AFM)
World Of Silence was Canadian progressive metal band Borealis' debut record, released in 2008 it was put out without a label and was definitely a D.I.Y effort but the songwriting on the record was enough to get the band a contract with AFM. Now after two well received (especially by us) records on AFM 8 years after it's original release they have re-recorded and remixed the record in it's entirety meaning that the songs that featured on the record are finally given the sonic treatment they deserve.
Since their debut Borealis have evolved into (in my opinion) one of the top bands in the progressive/power metal scene, they are on fire on this record Trevor McBride and Sean Dowell's rhythm section power through tracks such as Midnight City while Sean Werlick's keys are there to augment not over power, although that's not to say they are relegated to a backing role, see the beautiful piano's on From The Fading Screams, it's also a showcase for the exquisite vocals of Matt Marinelli who doubles up on the virtuoso guitar playing.
This re-recorded version of World Of Silence is an interesting record as the songs were written at a time when Borealis were still trying to establish themselves as a band and as such the songs on this record are perhaps not as progressive as they would become but it still shows that even on their debut they were looking at bigger and better things. Nevermind that the album has a song called Forget The Past (which is a chunky metallic rocker) this record is proof that Borealis shouldn't forget their past as their debut in it's re-recorded stands up well and reinforces that Borealis deserve the praise they get. 8/10
Mortanius: A Voice From Beyond (Self Released) [Review By Paul]
The third EP from Pennsylvania trio Mortanius is one of the most bizarre I’ve heard. Whilst the two original tracks on the release, the 11 minute title track and eight minute Falling fail to hold the attention with some horribly tinny keyboards which sound like a children’s music box, the inclusion of two absolutely dire covers, the Anime theme I Want To Shout To You “I Love You” (From Slam Dunk - Anime Ed) and Aqua’s Barbie Girl (seriously, I shit you not!) make this an EP well worth avoiding. 2/10
This pledge music release crept out under the radar towards the end of last year. A paltry eight tracks, recorded mainly at Wacken in 2015 but a damn fine eight tracks from an underrated outfit. Armored Saint can’t be accused of being prolific, with only seven albums in their many years but quality is always better than quantity. Carpe Noctum covers a broad spectrum of the Armored Saint catalogue, with tracks from five albums featured. Opener Win Hands Down, the title track from their excellent 2015 release is pumping, fresh and feisty.
As you’d expect and as you would know if you happened to catch them at Wacken or Bloodstock, this was a fine set. March Of The Saint retains all the power and enthusiasm which first arrived in 1984 with Stricken By Fate the other track from the 1984 debut. Armored Saint are a cohesive unit, with a stable line-up combining effectively. The star of the show is John Bush, his powerful vocals as strong now as they were when their star first climbed. He is ably supported by brothers Gonzo (drums) and Phil (guitar) Sandoval, bassist Joey Vera and guitarist Jeff Duncan.
Last Train Home from Symbol Of Salvation is just epic, whilst closer Reign Of Fire from the same album is a fitting closing song. In between you get Mess from Win Hands Down, a stomping Aftermath from Delirious Nomad and the superb Left Hook From Right Field from 2010’s La Raza. Carpe Noctum is a decent snapshot of a band who ooze quality and who I’d love to see on these shores again. 8/10
Borealis: World Of Silence MMXVII (AFM)
World Of Silence was Canadian progressive metal band Borealis' debut record, released in 2008 it was put out without a label and was definitely a D.I.Y effort but the songwriting on the record was enough to get the band a contract with AFM. Now after two well received (especially by us) records on AFM 8 years after it's original release they have re-recorded and remixed the record in it's entirety meaning that the songs that featured on the record are finally given the sonic treatment they deserve.
Since their debut Borealis have evolved into (in my opinion) one of the top bands in the progressive/power metal scene, they are on fire on this record Trevor McBride and Sean Dowell's rhythm section power through tracks such as Midnight City while Sean Werlick's keys are there to augment not over power, although that's not to say they are relegated to a backing role, see the beautiful piano's on From The Fading Screams, it's also a showcase for the exquisite vocals of Matt Marinelli who doubles up on the virtuoso guitar playing.
This re-recorded version of World Of Silence is an interesting record as the songs were written at a time when Borealis were still trying to establish themselves as a band and as such the songs on this record are perhaps not as progressive as they would become but it still shows that even on their debut they were looking at bigger and better things. Nevermind that the album has a song called Forget The Past (which is a chunky metallic rocker) this record is proof that Borealis shouldn't forget their past as their debut in it's re-recorded stands up well and reinforces that Borealis deserve the praise they get. 8/10
Mortanius: A Voice From Beyond (Self Released) [Review By Paul]
The third EP from Pennsylvania trio Mortanius is one of the most bizarre I’ve heard. Whilst the two original tracks on the release, the 11 minute title track and eight minute Falling fail to hold the attention with some horribly tinny keyboards which sound like a children’s music box, the inclusion of two absolutely dire covers, the Anime theme I Want To Shout To You “I Love You” (From Slam Dunk - Anime Ed) and Aqua’s Barbie Girl (seriously, I shit you not!) make this an EP well worth avoiding. 2/10
Friday, 27 January 2017
Reviews: Pride Of Lions, Burnclear, Shattered Skies
Pride Of Lions: Fearless (Frontiers)
Survivor guitarist/keyboardist Jim Peterik and vocalist Tony Hitchcock have been doing this project for a while now and Fearless is another addition to the catalogue. It's the same kind of classy, polished AOR that both men have done all of their respective careers. A new Pride Of Lions record is always a cause for celebration sounding more like Survivor than the original incarnations, Peterik has a knack for writing catchy tunes and Hitchcock has one of those voices that could only come from the 80's so when both of them are together they always have one or two could be anthems on every record.
The record makes its way through the FM band of American radio and reinforces that it's the Yanks that do AOR better than anyone poppy choruses in songs full of pomp and sparkle with bouncy highs and ballads that will linger in the memory. Fearless is AOR at its most melodic and soulful much like the previous Pride Of Lions releases if you love Survivor, Foreigner, Toto and Chicago then another Pride Of Lions release could be the soundtrack to your (American) heartbeat. 7/10
Burnclear: Lost For Life (Self Released)
Just seeing the album cover of Burnclear's record was enough to get me interested in them so I did some research (Research! Us? Who knew!) and Burnclear are a symphonic/power metal band from Finland. Now Finland has produced probably two of the greatest bands ever to play power metal in the shape of Sonata Arctica and Stratovarius, so there is a lot to aim for with any new band that enters the genre from this country.
It's to their benefit then that even though the band are new, the members unknown, the surname of the vocalist Tony is instantly recognisable to anyone familiar with Nordic metal, he is a Turunen the brother of Taja formerly of Nightwish and recognised as one of the best vocalists in the business. So Burnclear come from a country that is at the forefront of power metal and they have a vocalist who is associated with a metal singing dynasty, not much to live up too then right?
Well Burnclear do a fine job of stepping up to the plate their musical style is similar to that of Serenity or Kamelot, symphonic but progressive as the keys of Petri take center stage and the addition of having two guitarists (Karri and Tomi) means that the riffs and leads have more depth than the aforementioned acts with Olli and Jukka bringing the technically intricate rhythm section.
Burnclear's debut album is packed with muscular power metal numbers that are sung impressively by Tony who shows that talent runs in the family sounding a little like another Tony, Tony Kakko the singer of Sonata Arctica. Lost For Life is confident, powerful and musically robust album coming from seemingly out of nowhere and does not disappoint. 8/10
Shattered Skies: Auxilium // Vol I (Self Released)
Shattered Skies are one of my favourite djent style bands a position that was bolstered by seeing them in a small room in Bristol. Since their debut record there have been a few changes with the band losing their original vocalist and bassist. For a lot of bands this kind of set back could have meant the end of the whole thing. However with both of those vacancies now filled they can concentrate on new music and this EP is the first part of a concept and it is once again filled with technical, palm muted riffs, odd time drumming (The Reprisal) and thumping bass.
Survivor guitarist/keyboardist Jim Peterik and vocalist Tony Hitchcock have been doing this project for a while now and Fearless is another addition to the catalogue. It's the same kind of classy, polished AOR that both men have done all of their respective careers. A new Pride Of Lions record is always a cause for celebration sounding more like Survivor than the original incarnations, Peterik has a knack for writing catchy tunes and Hitchcock has one of those voices that could only come from the 80's so when both of them are together they always have one or two could be anthems on every record.
The record makes its way through the FM band of American radio and reinforces that it's the Yanks that do AOR better than anyone poppy choruses in songs full of pomp and sparkle with bouncy highs and ballads that will linger in the memory. Fearless is AOR at its most melodic and soulful much like the previous Pride Of Lions releases if you love Survivor, Foreigner, Toto and Chicago then another Pride Of Lions release could be the soundtrack to your (American) heartbeat. 7/10
Burnclear: Lost For Life (Self Released)
Just seeing the album cover of Burnclear's record was enough to get me interested in them so I did some research (Research! Us? Who knew!) and Burnclear are a symphonic/power metal band from Finland. Now Finland has produced probably two of the greatest bands ever to play power metal in the shape of Sonata Arctica and Stratovarius, so there is a lot to aim for with any new band that enters the genre from this country.
It's to their benefit then that even though the band are new, the members unknown, the surname of the vocalist Tony is instantly recognisable to anyone familiar with Nordic metal, he is a Turunen the brother of Taja formerly of Nightwish and recognised as one of the best vocalists in the business. So Burnclear come from a country that is at the forefront of power metal and they have a vocalist who is associated with a metal singing dynasty, not much to live up too then right?
Well Burnclear do a fine job of stepping up to the plate their musical style is similar to that of Serenity or Kamelot, symphonic but progressive as the keys of Petri take center stage and the addition of having two guitarists (Karri and Tomi) means that the riffs and leads have more depth than the aforementioned acts with Olli and Jukka bringing the technically intricate rhythm section.
Burnclear's debut album is packed with muscular power metal numbers that are sung impressively by Tony who shows that talent runs in the family sounding a little like another Tony, Tony Kakko the singer of Sonata Arctica. Lost For Life is confident, powerful and musically robust album coming from seemingly out of nowhere and does not disappoint. 8/10
Shattered Skies: Auxilium // Vol I (Self Released)
Shattered Skies are one of my favourite djent style bands a position that was bolstered by seeing them in a small room in Bristol. Since their debut record there have been a few changes with the band losing their original vocalist and bassist. For a lot of bands this kind of set back could have meant the end of the whole thing. However with both of those vacancies now filled they can concentrate on new music and this EP is the first part of a concept and it is once again filled with technical, palm muted riffs, odd time drumming (The Reprisal) and thumping bass.
However where Shattered Skies separate themselves from many of the peers in this most recent genre of music is that they use a lot of classical piano (Hold On For Your Life) along with shimmering synths on their songs which takes their sound to another level. One of the key reasons why I loved Scattered Skies was their reliance on clean vocals and though their new singer has a different style of vocal to his predecessor he is a great fit for the band and displays his range on The Reprisal. It makes me very pleased that Scattered Skies have returned and this EP sets them up to really take off after their slightly stuttering start. 7/10
Thursday, 26 January 2017
Reviews: Aaron Keylock, Terrifier, Courtesans
Aaron Keylock: Cut Against The Grain (Provogue Records)
Aaron Keylock is probably a name you will have seen if you've seen any hard/blues/southern rock band doing the rounds over the past few years, this young bluesman has opened up for some of the biggest in the business like Blackberry Smoke, Joanne Shaw Taylor to name just two. Heavily touted as the next big thing (much like a certain Oli Brown before him) this 18 year old Oxford native has been treading the boards since he was much younger building up the confidence and talent that shines through this record from the very first note.
Cut Against The Grain is his debut record and features many of the songs those who have seen his live show will recognise such as Spin The Bottle and it's chock full influences with Just One Question channeling the smooth blues playing of Gary Moore, All The Right Moves has the swaggering rock of The Black Crowes, Down is a slide driven Southern rocker from the Cadillac Three songbook replete with Keylock adopting a drawl that makes Keylock sound like a young Jagger.
The record was produced by Fabrizio Grossi who is the cornerstone of the excellent Supersonic Blues Machine and a producer/collaborator with Alice Cooper, Dave Navarro, Slash, Ice-T and Zakk Wylde he gives it the warm, analogue sound that still sounds modern and fresh. Keylock is an incredible guitarist his playing is fluid and expressive and it makes these songs really stand out, but his songwriting too deserves kudos writing like a performer three times his age he's an old soul with young bones, mature, expertly delivered and everything you could want from a blues rock record Cut Against The Grain stands as a defiant, confident challenge to the blues rock royalty. 8/10
Terrifier: Weapons Of Thrash Destruction (Test Your Metal)
Canadian thrashers Terrifier (terrible name) have this thrash til' death stuff down to a fine art, this excellently titled record is their second record and my is it good, ferocious thrash riffs come thick and fast dropping in and out like kamikaze pilots while the amphetamine fuelled rhythm section pounds away at a frighteningly fast pace. Terrifier have had 6 years to hone this record an it shows in that time they have found all the VHS' they can of early Exodus, Slayer and Metallica (Kill 'Em All Era) and have faithfully tried to bring that sense of fun and urgency to this record.
The lyrics are goofy and based on the go to themes of pop culture (more accurately 80's pop culture) with two songs dedicated to Arnie's video library with Scitzoid Embolism drawn from Total Recall and even having a clip of the man himself at the beginning while Sect Of The Serpent is a homage to Conan The Barbarian, its' not all Austrian strongmen though elsewhere there is the ode to partying Drunk As Fuck which has an Anthrax stomp and killer gang vocal chorus aiding the proper gruff thrash vocals of frontman Chase.
The remaining tracks all do their best to rekindle the glory days of thrash with dual channel guitars and battering drum patterns. Weapons Of Thrash Destruction (equally terrible) is not a perfect record, it does all sort of blend in to one halfway through but thrash metal isn't the most innovative genre, however Terrifier have created near enough an hour of pure thrash fury and my does it get the blood pumping. 7/10
Courtesans: Better Safe Than Sober (Self Released)
Courtesans have buzz around them, it's a dark halogen buzz that you often see in the alleyways of their native London. The music they play is categorised as 'Doom/Dark Pop' their musical palate accommodates fuzzy grunge, unsettling pop, industrial sparseness and gloomy trip-hop to make this five track EP and the four women that created stand out from an ever expanding music scene.
The EP comes nearly three years after their debut but still taps a rich vein of sugar-coated misery, with the band taking a no-compromise approach to songwriting driven by liberating, feminist ideals the band hope to "not only encourage women in music but for more men to accept that it is OK to look up to female artists".
The five tracks on this record manifest themselves in various guises Mesmerise is a swirling doom rocker, Feel The Same has some lyrical rhymes that can be usually heard in London hip-hop scene displaying the vocal dexterity of frontwoman Sinead. Backing her is cacophonous rhythm section of Agnes and Vikki with Saffire providing the wailing riffs, their sound is unique sort of Hole jamming with Steven Wilson on NIN songs, it something fresh and this EP is a prime slice of darkened goodness in preparation of their next full length. 8/10
Aaron Keylock is probably a name you will have seen if you've seen any hard/blues/southern rock band doing the rounds over the past few years, this young bluesman has opened up for some of the biggest in the business like Blackberry Smoke, Joanne Shaw Taylor to name just two. Heavily touted as the next big thing (much like a certain Oli Brown before him) this 18 year old Oxford native has been treading the boards since he was much younger building up the confidence and talent that shines through this record from the very first note.
Cut Against The Grain is his debut record and features many of the songs those who have seen his live show will recognise such as Spin The Bottle and it's chock full influences with Just One Question channeling the smooth blues playing of Gary Moore, All The Right Moves has the swaggering rock of The Black Crowes, Down is a slide driven Southern rocker from the Cadillac Three songbook replete with Keylock adopting a drawl that makes Keylock sound like a young Jagger.
The record was produced by Fabrizio Grossi who is the cornerstone of the excellent Supersonic Blues Machine and a producer/collaborator with Alice Cooper, Dave Navarro, Slash, Ice-T and Zakk Wylde he gives it the warm, analogue sound that still sounds modern and fresh. Keylock is an incredible guitarist his playing is fluid and expressive and it makes these songs really stand out, but his songwriting too deserves kudos writing like a performer three times his age he's an old soul with young bones, mature, expertly delivered and everything you could want from a blues rock record Cut Against The Grain stands as a defiant, confident challenge to the blues rock royalty. 8/10
Terrifier: Weapons Of Thrash Destruction (Test Your Metal)
Canadian thrashers Terrifier (terrible name) have this thrash til' death stuff down to a fine art, this excellently titled record is their second record and my is it good, ferocious thrash riffs come thick and fast dropping in and out like kamikaze pilots while the amphetamine fuelled rhythm section pounds away at a frighteningly fast pace. Terrifier have had 6 years to hone this record an it shows in that time they have found all the VHS' they can of early Exodus, Slayer and Metallica (Kill 'Em All Era) and have faithfully tried to bring that sense of fun and urgency to this record.
The lyrics are goofy and based on the go to themes of pop culture (more accurately 80's pop culture) with two songs dedicated to Arnie's video library with Scitzoid Embolism drawn from Total Recall and even having a clip of the man himself at the beginning while Sect Of The Serpent is a homage to Conan The Barbarian, its' not all Austrian strongmen though elsewhere there is the ode to partying Drunk As Fuck which has an Anthrax stomp and killer gang vocal chorus aiding the proper gruff thrash vocals of frontman Chase.
The remaining tracks all do their best to rekindle the glory days of thrash with dual channel guitars and battering drum patterns. Weapons Of Thrash Destruction (equally terrible) is not a perfect record, it does all sort of blend in to one halfway through but thrash metal isn't the most innovative genre, however Terrifier have created near enough an hour of pure thrash fury and my does it get the blood pumping. 7/10
Courtesans: Better Safe Than Sober (Self Released)
Courtesans have buzz around them, it's a dark halogen buzz that you often see in the alleyways of their native London. The music they play is categorised as 'Doom/Dark Pop' their musical palate accommodates fuzzy grunge, unsettling pop, industrial sparseness and gloomy trip-hop to make this five track EP and the four women that created stand out from an ever expanding music scene.
The EP comes nearly three years after their debut but still taps a rich vein of sugar-coated misery, with the band taking a no-compromise approach to songwriting driven by liberating, feminist ideals the band hope to "not only encourage women in music but for more men to accept that it is OK to look up to female artists".
The five tracks on this record manifest themselves in various guises Mesmerise is a swirling doom rocker, Feel The Same has some lyrical rhymes that can be usually heard in London hip-hop scene displaying the vocal dexterity of frontwoman Sinead. Backing her is cacophonous rhythm section of Agnes and Vikki with Saffire providing the wailing riffs, their sound is unique sort of Hole jamming with Steven Wilson on NIN songs, it something fresh and this EP is a prime slice of darkened goodness in preparation of their next full length. 8/10
Wednesday, 25 January 2017
Reviews: Pain Of Salvation, A Cunning Man, Rhodwulf
Pain Of Salvation: In The Passing Light Of Day (InsideOut) [Review By Paul]
Album number 10 from the Swedish outfit led by the talented Daniel Gildenlow. In The Passing Light Of Day is complex, emotional, curious, angst ridden and quite stunning in parts. The musicianship is scintillating at times, with bone crushingly heavy passages contrasting with delicate fragments. Check out the opening track On A Tuesday, which opens with some frantic riffing but also contains some beautiful softer elements.
The album is book ended by two lengthy and weighty tracks, On A Tuesday at a shade over ten minutes and the epic climax of the 15 minute title track. Sandwiched in between are eight songs of superb quality, with Tongue Of God and the astonishing Angels Of Broken Things, which contains one of the best guitar solos you will hear this year, amongst the highlights. Containing elements of progressive rock, industrial and electronica as well as some superb heavy rock, Pain Of Salvation’s latest release, over a quarter of a century since they first emerged, is a must hear and already a candidate for one of the albums of the year. 9/10
A Cunning Man: Practical Application Of Theurgy EP (Self Released) [Review By Stief]
Imagine if Coheed and Cambria had a baby with Devin Townsend, then left it to be raised by Biffy Clyro, then you might get an idea of this Scottish metal project. The brainchild of Ged Cartwright, who performs on both vocals and instruments, Practical Application... is an interesting journey. Opening track Honorius & The Choral Forecast starts off with a mass of sound before settling into a Coheed-esque time signature.
Slower points in this song, and the following two, bring to mind Katatonia and similar bands. It's experimental and it shows, Ged's voice sometimes pushing beyond it's limit, however, when it's there, it's very good. The EP has it all, synths, guitars, spoken word, with Gemma McCabe offering her voice for backing and a spoken word section at the end of Juratus & The Sulfur Psalm. 7/10
Rhodwulf: Scavenge For Mad Hunters (Rhodwulf) [Review By Stief]
I picked this up out of curiousity, due to the lupine nature of the name, which is paired with the name a good friend of the Musipedia, Rhod. It's an interesting listen, with flavours of The Animals, mixed with a generous helping of Black Sabbath. The vocals range from decent to downright dirge-like. Unfortunately, I probably won't be picking up any more of this Norwegian stuff, but worth at least a listen. 5/10
A Cunning Man: Practical Application Of Theurgy EP (Self Released) [Review By Stief]
Imagine if Coheed and Cambria had a baby with Devin Townsend, then left it to be raised by Biffy Clyro, then you might get an idea of this Scottish metal project. The brainchild of Ged Cartwright, who performs on both vocals and instruments, Practical Application... is an interesting journey. Opening track Honorius & The Choral Forecast starts off with a mass of sound before settling into a Coheed-esque time signature.
Slower points in this song, and the following two, bring to mind Katatonia and similar bands. It's experimental and it shows, Ged's voice sometimes pushing beyond it's limit, however, when it's there, it's very good. The EP has it all, synths, guitars, spoken word, with Gemma McCabe offering her voice for backing and a spoken word section at the end of Juratus & The Sulfur Psalm. 7/10
Rhodwulf: Scavenge For Mad Hunters (Rhodwulf) [Review By Stief]
I picked this up out of curiousity, due to the lupine nature of the name, which is paired with the name a good friend of the Musipedia, Rhod. It's an interesting listen, with flavours of The Animals, mixed with a generous helping of Black Sabbath. The vocals range from decent to downright dirge-like. Unfortunately, I probably won't be picking up any more of this Norwegian stuff, but worth at least a listen. 5/10
Tuesday, 24 January 2017
Reviews: Deathless Legacy, Cyanide 4, Evenline
Deathless Legacy: Dance With Devils (Scarlet Records)
Italy's Deathless Legacy started out as a tribute act to the (oc)cult Italian act Death SS formed by Steve Sylvester back in 1977, back then the band were called Deathless (the name given by Mr Sylvester himself) and after writing many of their own songs and evolving into their own band along with some legal wrangling they changed their name to Deathless Legacy as a homage to their former selves. They like Death SS play 'horror metal' a mix of theatrical occultism and heavy metal, the weirdness bolstered by the keys of former DGM man Alex Van Eden, they have evolved their own folklore around the band all of the members been brought back to life by a Necromancer.
The band take the characters of the Necromancer, a cyborg, a witch, a monk, a Mexican gangster, a composer and the vengeful spirit of a young girl murdered. There are obviously nods to Alice Cooper, GWAR, King Diamond in the band's stylistic choices along with some of the modern Gothic elements of Within Temptation and Lacuna Coil. What I've seen their performances (especially the one at Waken) are more akin to that of Avatar or the Circus Of Horrors with only touches of schlock rock of uncle Alice or The King.
The music too is heavier than the front runners of the genre, it's more cinematic and it's definitely in the metal category with the shredding guitars on top of flurry's of bass and drums, the wailing banshee-like vocals of the frontwoman as the keys add creepy B-Movie organs to tracks such as Heresy, there's more than a nod to fellow Italians Fleshgod Apocalypse in the more symphonic tracks especially Voivode which features some excellent folk fiddle. Dance With Devils is a the band's third outing and it's probably their most accomplished, some of the band's impact is lost on record but these songs are written for the live arena, Bloodstock please? 8/10
Cyanide 4: Nekyia (Perris Records)
There's an episode of The Simpsons where rocker/busdriver Otto gets married to woman he meets at a festival, she doesn't want a lot of rock paraphernalia at the wedding and lambasts him with a cry of "You got Poison to play at our wedding!?" to which the band reply "We're Cyanide, a loving tribute to Poison...we need a ride home." So I must admit that when I saw the press photos for Greek band Cyanide 4 I couldn't help but chuckle at the general Sunset Strip, sleaze styling of ripped denim and big hair decked out in LA Guns, Ratt and Hardcore Superstar t-shirts.
Whether they need a ride home or not is still under debate but they do seem to be a loving tribute to not only Poison but the entire L.A scene in the 1980's, from the look, to the song titles, to the band names (G.A Sinn, Joxnyy Slut, Nasty and Mike T, I shit you not) the whole thing screams pastiche, well everything except the music, that its a little less punky than you'd expect, there are more melodic influences much like Welsh glam/sleaze band Tigertailz and they even creep into AOR territory occasionally.
Nekyia, which means the "rite by which ghosts were called up and questioned about the future" (there you go fact fans) is their debut record and it's ironic that it's called this as the band are calling the ghosts (bands) of the past and pulling them into the future with their own songs. Those of you that are reluctant to discard your hairspray, stonewashed denim and angular day-glo guitars will certainly want to check out Greece's premier sleaze metal act, for you this will be the perfect record, for anyone else it might just be nothin' but a good time (sorry). 7/10
Evenline: In Tenebris (Dooweet Agency)
Well isn't this a novel idea, French rock band plays American radio rock that sounds like Alter Bridge, Papa Roach, Breaking Benjamin et al. Evenline have been around for a while but I've only just come across them and when I first put this record on what hit me was just how well produced and arranged this record is. The riff of All Against Me starts off with speedy riff and a evolves into huge hook, Straightjacket is the obvious single for the record with a radio-bothering sound that bands like Daughtry and Shinedown have made their own.
This record is darker than their earlier material and that is shown by the crisp riffs that are there throughout this record as Arnard croons with harsher vocals giving duality to the songs but also distracting from many of the songs Echoes Of Silence really doesn't need them and it makes it weaker because of it. Evenline are at their best when they are doing their best American rock impression with tracks like Sometimes We Die and Broken Promises.
This is a pretty good album however the cover of Deeper Underground takes away any kudos garnered, there is never an excuse to cover Jamiroquai, ever, especially if you are going to 'heavy' it up and put in screams. In Tenebris is a record that does it's best but is a little too similar to band's that influence it and has one fatal flaw. 5/10
Italy's Deathless Legacy started out as a tribute act to the (oc)cult Italian act Death SS formed by Steve Sylvester back in 1977, back then the band were called Deathless (the name given by Mr Sylvester himself) and after writing many of their own songs and evolving into their own band along with some legal wrangling they changed their name to Deathless Legacy as a homage to their former selves. They like Death SS play 'horror metal' a mix of theatrical occultism and heavy metal, the weirdness bolstered by the keys of former DGM man Alex Van Eden, they have evolved their own folklore around the band all of the members been brought back to life by a Necromancer.
The band take the characters of the Necromancer, a cyborg, a witch, a monk, a Mexican gangster, a composer and the vengeful spirit of a young girl murdered. There are obviously nods to Alice Cooper, GWAR, King Diamond in the band's stylistic choices along with some of the modern Gothic elements of Within Temptation and Lacuna Coil. What I've seen their performances (especially the one at Waken) are more akin to that of Avatar or the Circus Of Horrors with only touches of schlock rock of uncle Alice or The King.
The music too is heavier than the front runners of the genre, it's more cinematic and it's definitely in the metal category with the shredding guitars on top of flurry's of bass and drums, the wailing banshee-like vocals of the frontwoman as the keys add creepy B-Movie organs to tracks such as Heresy, there's more than a nod to fellow Italians Fleshgod Apocalypse in the more symphonic tracks especially Voivode which features some excellent folk fiddle. Dance With Devils is a the band's third outing and it's probably their most accomplished, some of the band's impact is lost on record but these songs are written for the live arena, Bloodstock please? 8/10
Cyanide 4: Nekyia (Perris Records)
There's an episode of The Simpsons where rocker/busdriver Otto gets married to woman he meets at a festival, she doesn't want a lot of rock paraphernalia at the wedding and lambasts him with a cry of "You got Poison to play at our wedding!?" to which the band reply "We're Cyanide, a loving tribute to Poison...we need a ride home." So I must admit that when I saw the press photos for Greek band Cyanide 4 I couldn't help but chuckle at the general Sunset Strip, sleaze styling of ripped denim and big hair decked out in LA Guns, Ratt and Hardcore Superstar t-shirts.
Whether they need a ride home or not is still under debate but they do seem to be a loving tribute to not only Poison but the entire L.A scene in the 1980's, from the look, to the song titles, to the band names (G.A Sinn, Joxnyy Slut, Nasty and Mike T, I shit you not) the whole thing screams pastiche, well everything except the music, that its a little less punky than you'd expect, there are more melodic influences much like Welsh glam/sleaze band Tigertailz and they even creep into AOR territory occasionally.
Nekyia, which means the "rite by which ghosts were called up and questioned about the future" (there you go fact fans) is their debut record and it's ironic that it's called this as the band are calling the ghosts (bands) of the past and pulling them into the future with their own songs. Those of you that are reluctant to discard your hairspray, stonewashed denim and angular day-glo guitars will certainly want to check out Greece's premier sleaze metal act, for you this will be the perfect record, for anyone else it might just be nothin' but a good time (sorry). 7/10
Evenline: In Tenebris (Dooweet Agency)
Well isn't this a novel idea, French rock band plays American radio rock that sounds like Alter Bridge, Papa Roach, Breaking Benjamin et al. Evenline have been around for a while but I've only just come across them and when I first put this record on what hit me was just how well produced and arranged this record is. The riff of All Against Me starts off with speedy riff and a evolves into huge hook, Straightjacket is the obvious single for the record with a radio-bothering sound that bands like Daughtry and Shinedown have made their own.
This record is darker than their earlier material and that is shown by the crisp riffs that are there throughout this record as Arnard croons with harsher vocals giving duality to the songs but also distracting from many of the songs Echoes Of Silence really doesn't need them and it makes it weaker because of it. Evenline are at their best when they are doing their best American rock impression with tracks like Sometimes We Die and Broken Promises.
This is a pretty good album however the cover of Deeper Underground takes away any kudos garnered, there is never an excuse to cover Jamiroquai, ever, especially if you are going to 'heavy' it up and put in screams. In Tenebris is a record that does it's best but is a little too similar to band's that influence it and has one fatal flaw. 5/10
Monday, 23 January 2017
Reviews: Sepultura, Grave Digger, Modern Day Outlaws (Reviews By Paul)
Sepultura: Machine Messiah (Nuclear Blast)
The biggest problem with Sepultura is their heritage which means that you always end up comparing the current,long established line up with the classic outfit responsible for the metal behemoths Arise, Chaos AD and Roots. Machine Messiah is the 14th release under the Sepultura banner and it contains some very tasty work.
The opening title track is a brooding hulk of a song, with some brutal riffs and hauntingly heavy passages. It's followed by a Testament/Slayer-like thrasher in I Am The Enemy which hurtles along, totally out of control. Brazilian rhythms return on Phantom Self, with a Latino beat before Andreas Kisser’s brutal riffs kick in. Meanwhile Derrick Green continues to deliver his punk edged vocal assault with real venom throughout. His form is immense, vicious snarling spittle soaked As imposing on record as he is in the live arena.
Alethea slows the pace, a crushing riff building in intensity and pressure, elements of hard core fusing with tribal drumming and skull crushing heaviness. Although the album is blisteringly heavy, it does contains a return to the occasional diverse approach the band experimented with after Iggor left in 2006. Iceberg Dances is a wild chaotic instrumental, shades of Gojira, progressive rock and samba rhythms all mix into a rampaging musical tapestry.
Silent Violence and Cyber Violence tip more than a nod to the industrial with Fear Factory’s riffing coming immediately to mind. Overall this is a brutally aggressive release which adds to the bulging catalogue. Few stunning tracks but enough blood to keep the heart pumping comfortably. Worth checking out 8/10
Grave Digger: Healed By Metal (Napalm Records)
Teutonic legends that will not die are back with yet another album, less than a year after 2016’s The Reaper Shall Return which got a mighty 5/10. I'm afraid to say that despite the band’s longevity and total dedication to heavy metal, this is just further garbage. Musically it's okay with some traditional riffs and pounding drums. However, the lyrics remain cringeworthy and the awful vocal delivery of Chris Boltendhal highlights the poor lyrical compositions.
Title track Healed By Metal is stereotypical German metal whilst Lawbreaker follows the Judas Priest Haynes manual to heavy metal. Other laughable tracks include the classic Ten Commandments in Metal with lyrics right out of the Manowar stable and Kill Ritual which is well creepy. Opening line “can't wait to touch you, I watch you night by night, my blood red staring eyes, watch you move, perverse delight” and the fabulous chorus “dying is no miracle, kill, kill ritual” make this uncomfortable listening in the most unintentional way.
Musically this is solid if unremarkable speed metal and the level of musicianship is sometimes impressive. The band have released voluminous works since they started in 1980 but this latest offering is on a par with the averageness of previous releases. 5/10
Modern Day Outlaws: Day Of Reckoning EP (Self Released)
Stomping out of Fort Lauderdale, Florida with plenty of aggression and confidence, the quintet known as the Modern Day Outlaws return with a five track EP which finally follows their 2012 debut album Southern State Of Mind. It's full of power, Southern influences and a mixture of influences which produce a sound which sits somewhere between Five Finger Death Punch and Black Stone Cherry.
Lead singer Ron Brown has a touch of the Ivan Moody at times but has a better vocal range whilst there is some solid work from guitarist Jake Nicholson. Days Of Reckoning isn't original but does add a real kick to some of the more turgid bands around. They would kick up a storm as an opener for some of the more established “country metal/hard rock” acts around. Worth a listen, especially for the balls out blast of Headwake. 7/10
The biggest problem with Sepultura is their heritage which means that you always end up comparing the current,long established line up with the classic outfit responsible for the metal behemoths Arise, Chaos AD and Roots. Machine Messiah is the 14th release under the Sepultura banner and it contains some very tasty work.
The opening title track is a brooding hulk of a song, with some brutal riffs and hauntingly heavy passages. It's followed by a Testament/Slayer-like thrasher in I Am The Enemy which hurtles along, totally out of control. Brazilian rhythms return on Phantom Self, with a Latino beat before Andreas Kisser’s brutal riffs kick in. Meanwhile Derrick Green continues to deliver his punk edged vocal assault with real venom throughout. His form is immense, vicious snarling spittle soaked As imposing on record as he is in the live arena.
Alethea slows the pace, a crushing riff building in intensity and pressure, elements of hard core fusing with tribal drumming and skull crushing heaviness. Although the album is blisteringly heavy, it does contains a return to the occasional diverse approach the band experimented with after Iggor left in 2006. Iceberg Dances is a wild chaotic instrumental, shades of Gojira, progressive rock and samba rhythms all mix into a rampaging musical tapestry.
Silent Violence and Cyber Violence tip more than a nod to the industrial with Fear Factory’s riffing coming immediately to mind. Overall this is a brutally aggressive release which adds to the bulging catalogue. Few stunning tracks but enough blood to keep the heart pumping comfortably. Worth checking out 8/10
Grave Digger: Healed By Metal (Napalm Records)
Teutonic legends that will not die are back with yet another album, less than a year after 2016’s The Reaper Shall Return which got a mighty 5/10. I'm afraid to say that despite the band’s longevity and total dedication to heavy metal, this is just further garbage. Musically it's okay with some traditional riffs and pounding drums. However, the lyrics remain cringeworthy and the awful vocal delivery of Chris Boltendhal highlights the poor lyrical compositions.
Title track Healed By Metal is stereotypical German metal whilst Lawbreaker follows the Judas Priest Haynes manual to heavy metal. Other laughable tracks include the classic Ten Commandments in Metal with lyrics right out of the Manowar stable and Kill Ritual which is well creepy. Opening line “can't wait to touch you, I watch you night by night, my blood red staring eyes, watch you move, perverse delight” and the fabulous chorus “dying is no miracle, kill, kill ritual” make this uncomfortable listening in the most unintentional way.
Musically this is solid if unremarkable speed metal and the level of musicianship is sometimes impressive. The band have released voluminous works since they started in 1980 but this latest offering is on a par with the averageness of previous releases. 5/10
Modern Day Outlaws: Day Of Reckoning EP (Self Released)
Stomping out of Fort Lauderdale, Florida with plenty of aggression and confidence, the quintet known as the Modern Day Outlaws return with a five track EP which finally follows their 2012 debut album Southern State Of Mind. It's full of power, Southern influences and a mixture of influences which produce a sound which sits somewhere between Five Finger Death Punch and Black Stone Cherry.
Lead singer Ron Brown has a touch of the Ivan Moody at times but has a better vocal range whilst there is some solid work from guitarist Jake Nicholson. Days Of Reckoning isn't original but does add a real kick to some of the more turgid bands around. They would kick up a storm as an opener for some of the more established “country metal/hard rock” acts around. Worth a listen, especially for the balls out blast of Headwake. 7/10
Sunday, 22 January 2017
Reviews: Band-Maid, Lancer, Wolfchant (Reviews By Stief)
BAND-MAID - Just Bring It (Nippon Crown)
This is some great Japanese metal, leaning towards a more hard rock/heavy metal sound, with some pop influences in places. The first full length studio album from the band, the sound is excellent, with Akene Hirose's heavy, frenetic drumming, distorted guitars from Kanami Tōno , and a meaty bassline by Misa. Lead vocalist Saiki Atsumi's voice weaves wonderfully through the music, intertwining with guitarist Miku Kobato's with the rest of the band providing the backing vocals. There's not much to separate BAND-MAID from the pool of other great Japanese Metal bands out there, but they're definitely on my radar, and I'm excited to see what the future brings. 8/10
Lancer: Mastery (Despotz Records)
A delicious slice of speed metal here from Sweden's Lancer. Kicking off with Dead Raising Towers, the pace is set at 11 and the band barely back down from it. Bringing to mind Early-to-mid era Maiden and Priest, Mastery is a great journey, Isak Stenvall's voice constantly hits the high notes without wavering, never being pushed beyond it's limit, and the twin guitars of Peter Ellström and Fredrik Kelemen compliment each other brilliantly. Emil Öberg and Sebastian Pedernera keep the pace going with bass and drums respectively. Although primarily speed metal, the band show a softer side with World Unknown, with the openings of Envy Of The Gods and Victims Of The Nile taking a softer approach before yanking you right back into the fray. 8/10
Wolfchant: Bloodwinter (NoiseArt Records)
Ah, Wolf-based bands, I can't get enough of them. From Nornensang, a soaring operatic intro, you know this is going to be brilliant, and it transitions straight into Schiksalsmacht, an epic galloping tune. The band keep this sound up throughout the album, from the call-to-arms of Wolfchant (A Wolf To Man) to album closer New Born Killer, the mix of heavy, death, and folk metal never stops.
Nortwin's vocals sit comfortably between clean and abrasive, supported and sometimes blending in with Lokhi's sinister growls. Newcomer to the band, Lug, shows his drumming chops, flowing effortlessly from the slow march to double bass without thought. Sertorius' bass is just as brutal in places, with Skhaal providing solos aplenty on lead whilst Gorthrim provides the rhythm. If you like your folk metal with a bit of a punch, this is an album for you! 9/10
Lancer: Mastery (Despotz Records)
A delicious slice of speed metal here from Sweden's Lancer. Kicking off with Dead Raising Towers, the pace is set at 11 and the band barely back down from it. Bringing to mind Early-to-mid era Maiden and Priest, Mastery is a great journey, Isak Stenvall's voice constantly hits the high notes without wavering, never being pushed beyond it's limit, and the twin guitars of Peter Ellström and Fredrik Kelemen compliment each other brilliantly. Emil Öberg and Sebastian Pedernera keep the pace going with bass and drums respectively. Although primarily speed metal, the band show a softer side with World Unknown, with the openings of Envy Of The Gods and Victims Of The Nile taking a softer approach before yanking you right back into the fray. 8/10
Wolfchant: Bloodwinter (NoiseArt Records)
Ah, Wolf-based bands, I can't get enough of them. From Nornensang, a soaring operatic intro, you know this is going to be brilliant, and it transitions straight into Schiksalsmacht, an epic galloping tune. The band keep this sound up throughout the album, from the call-to-arms of Wolfchant (A Wolf To Man) to album closer New Born Killer, the mix of heavy, death, and folk metal never stops.
Nortwin's vocals sit comfortably between clean and abrasive, supported and sometimes blending in with Lokhi's sinister growls. Newcomer to the band, Lug, shows his drumming chops, flowing effortlessly from the slow march to double bass without thought. Sertorius' bass is just as brutal in places, with Skhaal providing solos aplenty on lead whilst Gorthrim provides the rhythm. If you like your folk metal with a bit of a punch, this is an album for you! 9/10
Saturday, 21 January 2017
Reviews: Beheaded, Damned Pilots, Bloodrainbow, Scáth Na Déithe (Reviews By Rich)
Beheaded: Beast Incarnate (Unique Leader Records)
Beheaded are a death metal band from Malta who formed back in 1991 and Beast Incarnate is the fifth album for these Maltese veterans, their first release in five years since 2012's Never To Dawn. Beast Incarnate is an absolute juggernaut of heaviness, precision and brutality with the subtlety of a sledgehammer to the face. Eight tracks of razor sharp riffing, bludgeoning drumming and the ferocious roar of frontman Frank Calleja. The songs themselves are fast and intense slabs of death metal with the confidence of a band who have been playing the death metal game for over 25 years.
The only song that deviates from the rest is the eight minute plus monolith The Black Death where Beheaded bring their death metal attack down to a slow tempo and in doing so have crafted a song that exudes a malevolent atmosphere along with the trademark skull crushing brutality the band are known for. With Beast Incarnate Beheaded have released possibly the finest album of their 27 year career and is an absolutely essential listen for death metal fans. There is no flashiness on display this is just pure death metal brutality which put a massive grin on my face throughout the whole listen. 9/10
Damned Pilots: Overgalaxy (Sliptrick Records)
Damned Pilots are another band that I am completely unaware of but with their first full length album Overgalaxy they have certainly impressed me. Hailing from Italy, Damned Pilots play a nice mix of doom and stoner metal with a touch of psychedelic rock and influences from classic rock and metal but with a Sci-Fi, steampunk concept running throughout the album. The songs themselves are damn catchy with a pop sensibility combined with doomy and groovy riffs and the rough clean vocals of frontman Sgt. Ote.
The only real failings of the album are the two acoustically-led psychedelic songs which seem to interrupt the flow of the album and the closing song Mos which almost veers into drone territory and as such feels completely out of place. I can easily forgive these missteps though as the rest of the album is so damn enjoyable. 8/10
Beheaded are a death metal band from Malta who formed back in 1991 and Beast Incarnate is the fifth album for these Maltese veterans, their first release in five years since 2012's Never To Dawn. Beast Incarnate is an absolute juggernaut of heaviness, precision and brutality with the subtlety of a sledgehammer to the face. Eight tracks of razor sharp riffing, bludgeoning drumming and the ferocious roar of frontman Frank Calleja. The songs themselves are fast and intense slabs of death metal with the confidence of a band who have been playing the death metal game for over 25 years.
The only song that deviates from the rest is the eight minute plus monolith The Black Death where Beheaded bring their death metal attack down to a slow tempo and in doing so have crafted a song that exudes a malevolent atmosphere along with the trademark skull crushing brutality the band are known for. With Beast Incarnate Beheaded have released possibly the finest album of their 27 year career and is an absolutely essential listen for death metal fans. There is no flashiness on display this is just pure death metal brutality which put a massive grin on my face throughout the whole listen. 9/10
Damned Pilots: Overgalaxy (Sliptrick Records)
Damned Pilots are another band that I am completely unaware of but with their first full length album Overgalaxy they have certainly impressed me. Hailing from Italy, Damned Pilots play a nice mix of doom and stoner metal with a touch of psychedelic rock and influences from classic rock and metal but with a Sci-Fi, steampunk concept running throughout the album. The songs themselves are damn catchy with a pop sensibility combined with doomy and groovy riffs and the rough clean vocals of frontman Sgt. Ote.
The only real failings of the album are the two acoustically-led psychedelic songs which seem to interrupt the flow of the album and the closing song Mos which almost veers into drone territory and as such feels completely out of place. I can easily forgive these missteps though as the rest of the album is so damn enjoyable. 8/10
Bloodrainbow: Upheaval (Self Released)
Blood Rainbow are a death metal band from Hungary and Upheaval is their third album which has been independently released by the band. This is also my first exposure to the band. The music on Upheaval is more melodically leaning death metal but not in the Gothenburg style which has become so synonymous with melodic death metal. This album has more in common with straight up death metal with all the trademarks present such as furious riffing, blast beat riddled drumming and guttural vocals but mixed with strong melodies especially in the impressive lead guitar playing and the music has an overall epic feel to it.
There are some interesting curveballs thrown in as well with the inclusion of trumpets on songs such as Outcast From Eden and Rolling Sand Of Alam Halfa plus the appearance of a saxophone on the epic Stalingrad. Whilst the musicianship and playing on the album is exceptional the songwriting isn't perfect and the album takes a while to get going with a very pointless intro track and the first full song Debauchery, Fall, Expulsion being particularly forgettable. Things start to really kick into gear with third track Outcast From Eden which is one of the highlights of the album. Whilst not a perfect album, Upheaval does have a lot going for it and if you are a fan of melodically leaning death metal it is well worth taking the time out to listen. 7/10
Scáth Na Déithe: Pledge Nothing But Flesh (Self Released)
Scáth Na Déithe are a two piece from Dublin and Pledge Nothing But Flesh is their independently released debut album following on from their 2015 EP The Horrors Of Old. Scáth Na Déithe play an atmospheric style of black metal which also mixes in elements of death metal and doom metal. The music is dense, claustrophobic and suffocating with a maelstrom of dissonant guitars, rumbling bass, ambient keyboards, blasting drums and vicious vocals which switch between a guttural growl and tormented scream.
This is dark music evoking feelings of hatred and despair although broken up by more serene calmer moments. The album is made up of six songs with two of them being short instrumental pieces. The four main songs of the album are all in excess of ten minutes each and all feel like they overstay their welcome a bit but this is a common complaint I have with atmospheric black metal. Overall this is an accomplished and enjoyable album though at points I did find my attention starting to falter. 7/10
Blood Rainbow are a death metal band from Hungary and Upheaval is their third album which has been independently released by the band. This is also my first exposure to the band. The music on Upheaval is more melodically leaning death metal but not in the Gothenburg style which has become so synonymous with melodic death metal. This album has more in common with straight up death metal with all the trademarks present such as furious riffing, blast beat riddled drumming and guttural vocals but mixed with strong melodies especially in the impressive lead guitar playing and the music has an overall epic feel to it.
There are some interesting curveballs thrown in as well with the inclusion of trumpets on songs such as Outcast From Eden and Rolling Sand Of Alam Halfa plus the appearance of a saxophone on the epic Stalingrad. Whilst the musicianship and playing on the album is exceptional the songwriting isn't perfect and the album takes a while to get going with a very pointless intro track and the first full song Debauchery, Fall, Expulsion being particularly forgettable. Things start to really kick into gear with third track Outcast From Eden which is one of the highlights of the album. Whilst not a perfect album, Upheaval does have a lot going for it and if you are a fan of melodically leaning death metal it is well worth taking the time out to listen. 7/10
Scáth Na Déithe: Pledge Nothing But Flesh (Self Released)
Scáth Na Déithe are a two piece from Dublin and Pledge Nothing But Flesh is their independently released debut album following on from their 2015 EP The Horrors Of Old. Scáth Na Déithe play an atmospheric style of black metal which also mixes in elements of death metal and doom metal. The music is dense, claustrophobic and suffocating with a maelstrom of dissonant guitars, rumbling bass, ambient keyboards, blasting drums and vicious vocals which switch between a guttural growl and tormented scream.
This is dark music evoking feelings of hatred and despair although broken up by more serene calmer moments. The album is made up of six songs with two of them being short instrumental pieces. The four main songs of the album are all in excess of ten minutes each and all feel like they overstay their welcome a bit but this is a common complaint I have with atmospheric black metal. Overall this is an accomplished and enjoyable album though at points I did find my attention starting to falter. 7/10
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