Grand Magus & Planet Of Zeus, The Globe, Cardiff
It may have been April 1st but those who attended this show were no fools. Support was provided by the excellent stoner metal of Athens based Planet Of Zeus (7) who have been regular visitors to the UK over the past few years with their participation on the Lords Of The Riff tour and support to Clutch. (As well as a headline tour last year - Ed) A pretty sparse crowd were treated to a good 40 minutes of high energy Southern style stoner rock. Drummer Syke was suitably attired in a Clutch shirt, but it was the enthusiasm of vocalist and guitarist Babis which really impressed. This is a band that is always worth a watch.
That applies in spades to headliners Grand Magus (9). We’ve seen Magus many times. The Swedes no nonsense traditional heavy metal deserves much wider acclaim and they should be packing out venues three times the size of The Globe. Those that made the effort were treated to a powerful show from JB, Fox and Ludwig who blasted through three tracks from Hammer Of The North, Iron Will, Sword Songs and Triumph And Power as well as the set closer Kingslayer from 2005’s Wolf’s Return.
Magus clearly give zero fucks, they do what they do and if you don’t like it then you can do one. How anyone can fail to be absorbed into the fist pumping anthems such as Steel Vs Steel, Ravens Guide Our Way and the mighty Like The Oar That Strikes The Water is beyond my comprehension. Although it was a reasonably short set, there was much to remember. The pounding of Ludwig’s powerhouse drumming, the crazy antics of bassist Fox and the magnificent guitar work and storming vocals of frontman JB.
Opening with I, The Jury was a master stroke, the crowd immediately into full voice which continued until the final chords of final encore Hammer Of The North, which had it's "woah" refrain reprised numerous times at the end of the show even as the band left the stage. Live, Grand Magus can hold their own with any band on the circuit today. I remain mystified as to their apparent limited popularity, but those who chose to stay away were the losers. Oh, and any band that has an apron as part of their merchandise is alright by me.
Editor's Note - This was probably the best I have ever seen Grand Magus and I've seen them a fair few times, the genuine warmth that was shown and reciprocated was a great sight to see. Even the band seemed notably impressed calling the assembled crowd true metal maniacs after the gig (looking at the post gig comments at other shows this was not hyperbole).
As a side note on what was the second of two gigs in The Globe in the same number of days for me. It reminded me how versatile this venue is, it's adaptable enough to accommodate a mostly middle-aged progressive rock fan and also a throng of heavy metal maniacs. If only they had a better selection of real ale it would be pretty much perfect, still the Red Stripe and Strongbow drinkers are always well lubricated.
Wednesday, 5 April 2017
Tuesday, 4 April 2017
A View From The Back Of The Room: Magenta
Magenta & The Kinky Wizzards, The Globe Cardiff
On a glorious Friday night myself and my lovely other half made our way to the Globe for our first of 2 gigs at the venue in the same number of days. As is only natural with us both gigs couldn't be more different as the first was a night with Welsh prog rockers Magenta, this was the first date on a short tour to support their new, unreleased album We Are Legend. It was two band bill with Magenta headlining but opening the night was instrumental jazz rockers The Kinky Wizzards (8), the three piece play loud, funky jazz fusion driven by the rhythm section of Mathew Griffiths on bass and his brother Jonathan on drums, Jonathan or Jiffy was pulling double duty tonight as he was also the drummer for Magenta.
On a glorious Friday night myself and my lovely other half made our way to the Globe for our first of 2 gigs at the venue in the same number of days. As is only natural with us both gigs couldn't be more different as the first was a night with Welsh prog rockers Magenta, this was the first date on a short tour to support their new, unreleased album We Are Legend. It was two band bill with Magenta headlining but opening the night was instrumental jazz rockers The Kinky Wizzards (8), the three piece play loud, funky jazz fusion driven by the rhythm section of Mathew Griffiths on bass and his brother Jonathan on drums, Jonathan or Jiffy was pulling double duty tonight as he was also the drummer for Magenta.
It was their thick grooves that drove the bands interesting virtuoso sound with Ryan Elliot contributing the jazzy guitar licks and involuntary dancing during the groove sessions. The songs are probably all intensely rehearsed but sounded organic on stage, Door Dancing Penny Collector and Freespirit the obvious stand outs. Halfway through the set the brothers Griffiths went into their bass and drum only song Thunder but as Elliot rejoined they dived into an exemplary cover of YYZ by Rush, now a Rush cover is usually frowned upon but seeing as The Kiny Wizzards have been playing this at pubs around The Valleys and Cardiff in front of people who have no idea who Rush are, they deserve credit for commitment. The Kinky Wizzards are a very good band indeed, I'm never a huge fan of instrumental bands but they do very well and keep the attention of even the most narrow-minded fan. Like Primus fronted by Jeff Beck it was perfect set up for what was to come.
Not much of change over and the criminally underrated, often overlooked, local progressive rockers arrived onstage to heroes welcome. Kicking things off with Trojan from a as yet unreleased record is a ballsy move but one that is oft-repeated with prog bands. Their fans are expecting experimentation and as such greet any new material as a greatest hit. Trojan was a very loud synth-heavy rocker that apparently is about robots pole dancing, according to singer Christina backed up by a knowing nod from keyboardist Rob Reed. If the first song was unfamiliar then that wasn't the case with the second song of the night as it was the perennial favourite Speechless that was the first song of the night to really display Tina's amazing vocals, with an almost Kate Bush-like range of emotion and expression she captivates throughout and her between song banter is easy and humorous, greeting the corwd as old friends while complaining of cramp in her legs and pointing out when Rob was absorbing potassium from a well needed banana.
Taking songs from all of their albums Envy from their debut was the first elongated showstopper (one of many), a massive progfest driven by Reed's keys and Chris Fry's guitar, Fry especially cranked out solo after solo moving between electric and acoustic as all night. The band have touches of Yes present on the seriously folky Anger which starts out with acoustic guitar and vocals, then proceeds to be hauntingly heavy and also beautiful when the full band kicks in. The band were all on fire with particular kudos to Jiffy behind the drums who learnt the whole set in about 3 days, which is an astonishing feat considering the complexity of some of these songs. There were a few songs aired from the new album with the industrial-tinged Legend another stand out that builds into a dramatic crescendo.
Now this is the part where I actually fell in love with Christina, the band were about to play the beautiful Pearl, it's a slower, quiet song and she warned those in attendance to be quiet during it. So as the bluesy track kicked off the band were getting into full swing and while singing Tina told one couple on the stairs to shut the fuck up, before glaring at a group behind us who were talking loudly. The feisty Cardiff lass clearly has the same gig bugbear as me, if you want to talk to your mates during the gig go outside, especially if the band are not death metal, you can be heard I'm afraid, so have bit of respect.
As the set drew to a close we got the frankly amazing Colours from the new album which is about Van Gogh and starts out as an offbeat haunted lullaby, then kicks in to a huge riff. There's an urgent sense of paranoia about this song it's jittery in the verses but has free reign on he chorus of "set me free"From there is was time for the thumping Demons filled with old school prog organs and Floydian guitar phrasing before the vocals even come in, the final shot before the encore was a snippet of Metamorphosis (the full song is 20 odd minutes). With rapturous applause it was a short curtain call and the band were back on stage and straight into the always well-received The Lizard King.
As the set drew to a close we got the frankly amazing Colours from the new album which is about Van Gogh and starts out as an offbeat haunted lullaby, then kicks in to a huge riff. There's an urgent sense of paranoia about this song it's jittery in the verses but has free reign on he chorus of "set me free"From there is was time for the thumping Demons filled with old school prog organs and Floydian guitar phrasing before the vocals even come in, the final shot before the encore was a snippet of Metamorphosis (the full song is 20 odd minutes). With rapturous applause it was a short curtain call and the band were back on stage and straight into the always well-received The Lizard King.
The last song after the goodbyes etc was Pride which is probably the band's most Yes-like song and sees Reed and Fry sparring with each other until the finale. Before tonight Magenta (9) had always escaped me, I had never seen them before and after this gig I was kicking myself, effortless intense progressive rock music that isn't at all po-faced or hard to consume, gloriously musical and effortlessly done Magenta are well worth your time.
Monday, 3 April 2017
Reviews: Night Ranger, Mage, Beyond The Labyrinth (Reviews By Paul)
Night Ranger: Don't Let Up (Frontiers Records)
Gillis is joined by newbie Keri Kelli who has replaced Joel Hoekstra whilst the old school partnership of Kelly Keagy and Jack Blades remains intact on the driving rhythm section. Eric Levy's keyboards complete the line-up. As far as the music goes, well, it is polished, smooth and exceptional melodic rock, the kind that filled the airwaves in the 1980s and died a death in the 1990s. Tracks such as Somehow Someway, Running Out Of Time, Truth and the title track ooze quality. The combined vocals of Blades, Gillis and Keagy harmonise beautifully over the cheesiest tunes. Night Ranger has been a force in this genre for many years. This album cements their position in the top 10 without a doubt. Get the tightest jeans, back comb your receding hair and rock out (very lightly). 8/10
Mage: Green (Self Released)
Album number 3 from Leicestershire Stoners Mage, and it's a sweaty slab of fuzzy riffs, crashing drums and dirty vocals that demand you grab a beer or two whilst thumping the table. Mark, Woody, Tom and Andy don't mess about. they follow the Orange Goblin, Witch Tripper style from start to finish with some heads down doom tinged metal. Chaos ensues on Heroic Elegy, dirty guitar and charging power chords crash over you. There is essence of other swampy heroes in here, Clutch, Kyuss and Sleep all come to mind as influences. Good stuff from start to finish and if you like a big helping of some massive riffage, then Green should be on your menu. 7/10
Beyond The Labyrinth: The Art Of Resilience (Spinal Records)
Belgian rock outfits are few and far between. A studio
project since 1996, but fully operational since 2004, The Art Of Resilience is the fourth full release by the band
originally from North Flanders. Apparently, "the boundaries of musical
definitions are too narrow to describe our music". Well, any band with a
fucking mission statement, however, well intentioned, will get a definition
from me regardless. Melodic hard rock at best, pompous overproduced bloat at
worst. There. Have that as a definition.
The album contains a mix of vocalists who deliver some of the most histrionic performances heard for many a year. Tony Carlino's exhortations on Shape Shifter, a horrible prog rattler might just win whilst the angst drenched gushings of Geoffrery Tarallo on the awful Liberation Day run it close. The band stick to more solid ground on tracks like Carry On and Can't Get Over You, with the latter another one of those misogynistic gut churning rock 'love' songs which should have been consigned to Paul Rogers in 1975. Salve Mater is another grating dollop of total tripe, with Flilip Lemmens vocals flat and uninspiring. The more it goes on, the worse it gets. This track is possibly the worst song I've heard all year. Give this release the swerve. It's dire. 3/10
The album contains a mix of vocalists who deliver some of the most histrionic performances heard for many a year. Tony Carlino's exhortations on Shape Shifter, a horrible prog rattler might just win whilst the angst drenched gushings of Geoffrery Tarallo on the awful Liberation Day run it close. The band stick to more solid ground on tracks like Carry On and Can't Get Over You, with the latter another one of those misogynistic gut churning rock 'love' songs which should have been consigned to Paul Rogers in 1975. Salve Mater is another grating dollop of total tripe, with Flilip Lemmens vocals flat and uninspiring. The more it goes on, the worse it gets. This track is possibly the worst song I've heard all year. Give this release the swerve. It's dire. 3/10
Sunday, 2 April 2017
Reviews: Brother Firetribe, Heavy Tiger, Operose
Brother Firetribe: Sunbound (Spinefarm)
Finnish melodic rockers return with their first album since 2014. What's immediately evident is that this release is much more keyboard heavy than previous outings. First two tracks Help Is On The Way and their tribute fallen rock legends Indelible Heroes are both built around the huge synths of Tomppa. Now this increase use of keys change Brother Firetribe into a much more AOR-centric than they previously have been, hell they sound like Survivor on Taste Of A Champion.
This record has a running theme of carefree days filled with sunshine and loving the summer from the album title through to Last Forever and rocker Give Me Tonight all have a breezy carefree attitude the latter also displaying the guitar prowess of Erno and the vocals of Pekka. This record has more of a classic 80's sound than its predecessors and that's no bad thing but anyone expecting more lighter power metal of the older records this jump to the more radio friendly may put you off but don't let it Sunbound is yet another worthy addition to the Brother Firetribe discography. 7/10
Heavy Tiger: Glitter (Wild Kingdom Sounds)
Heavy Tiger are so resolutely stuck in the 70's glam rock scene that you can smell the grease-paint and PVC. The band is made up of three Swedish ladies, unashamedly decked out in gold catsuits on the cover and it's a huge cue to the music contained within. It's part The Sweet, part The Darkness, part Cheap Trick, with a sprinkling of The Runaways if they played rockier songs and were fronted by Brody Dalle of The Distillers. From top to bottom this second album (their first was Saigon Kiss) is filled with power rock anthems like Shake Me and the driving No Tears In Tokyo they are perfect pop rockers, Feline Feeling adds a kookiness, while The Only Way Up has shout along optimism.
These three chicks kick ass punchy riffs and vocals come from Maja Linn while Sara Frendin (bass) and Astrid Carsbring (drums) lock down the rhythm section on these ballsy, rock tracks that are just packed with attitude. It's the sort of rocking The Donnas used to do so well, packed to the brim with empowering, hook filled songs that just whizz by at an alarming pace, 11 punchy glam anthems for anyone who still regularly wears flares and stacked platform heels. 7/10
Operose: Footprints In The Hourglass (Lion Music)
The dictionary definition of Operose is "involving or displaying much industry or effort" which does seem to be a pretty good description of Operose the band, there is a lot of effort in just the first song on this record, clocking in at over 11 minutes Empty Mirrors (The Death Of Eurydice) is a monumental opening salvo, built on the neo-classical guitar playing of Joe McGurk and the drums of his Opposing Motion bandmate Kevin Deplanche the musical backing of this record is progressive/symphonic by the numbers, full of fluid solos and blast beats the record is complicated and with the addition of 'rising opera sensation' Jennifer Coleman the record sits in the Epica or Nightwish vein as she soars above the technicality.
As much effort as there has been put into this record, it rarely comes out of the symphonic metal comfort zone, as it's a debut record it's hard to be too critical but if they want any longevity, they need to find something that will allow them to break out of one of the most over-populated genres around. A technically proficient if a little generic debut. 6/10
Finnish melodic rockers return with their first album since 2014. What's immediately evident is that this release is much more keyboard heavy than previous outings. First two tracks Help Is On The Way and their tribute fallen rock legends Indelible Heroes are both built around the huge synths of Tomppa. Now this increase use of keys change Brother Firetribe into a much more AOR-centric than they previously have been, hell they sound like Survivor on Taste Of A Champion.
This record has a running theme of carefree days filled with sunshine and loving the summer from the album title through to Last Forever and rocker Give Me Tonight all have a breezy carefree attitude the latter also displaying the guitar prowess of Erno and the vocals of Pekka. This record has more of a classic 80's sound than its predecessors and that's no bad thing but anyone expecting more lighter power metal of the older records this jump to the more radio friendly may put you off but don't let it Sunbound is yet another worthy addition to the Brother Firetribe discography. 7/10
Heavy Tiger: Glitter (Wild Kingdom Sounds)
Heavy Tiger are so resolutely stuck in the 70's glam rock scene that you can smell the grease-paint and PVC. The band is made up of three Swedish ladies, unashamedly decked out in gold catsuits on the cover and it's a huge cue to the music contained within. It's part The Sweet, part The Darkness, part Cheap Trick, with a sprinkling of The Runaways if they played rockier songs and were fronted by Brody Dalle of The Distillers. From top to bottom this second album (their first was Saigon Kiss) is filled with power rock anthems like Shake Me and the driving No Tears In Tokyo they are perfect pop rockers, Feline Feeling adds a kookiness, while The Only Way Up has shout along optimism.
These three chicks kick ass punchy riffs and vocals come from Maja Linn while Sara Frendin (bass) and Astrid Carsbring (drums) lock down the rhythm section on these ballsy, rock tracks that are just packed with attitude. It's the sort of rocking The Donnas used to do so well, packed to the brim with empowering, hook filled songs that just whizz by at an alarming pace, 11 punchy glam anthems for anyone who still regularly wears flares and stacked platform heels. 7/10
Operose: Footprints In The Hourglass (Lion Music)
The dictionary definition of Operose is "involving or displaying much industry or effort" which does seem to be a pretty good description of Operose the band, there is a lot of effort in just the first song on this record, clocking in at over 11 minutes Empty Mirrors (The Death Of Eurydice) is a monumental opening salvo, built on the neo-classical guitar playing of Joe McGurk and the drums of his Opposing Motion bandmate Kevin Deplanche the musical backing of this record is progressive/symphonic by the numbers, full of fluid solos and blast beats the record is complicated and with the addition of 'rising opera sensation' Jennifer Coleman the record sits in the Epica or Nightwish vein as she soars above the technicality.
As much effort as there has been put into this record, it rarely comes out of the symphonic metal comfort zone, as it's a debut record it's hard to be too critical but if they want any longevity, they need to find something that will allow them to break out of one of the most over-populated genres around. A technically proficient if a little generic debut. 6/10
Saturday, 1 April 2017
Reviews: Nightrage, Doctor Cyclops, Cybernetic Witchcult
Nightrage: The Venomous (Despotz Records)
Nightrage have been around since 2000 and in the 17 years they have been around they have been playing precision guided melodic death metal. The band hail from Thessaloniki originally but decamped to the home of melo-death Gothenburg, Nightrage has seen many well known names in the Greek and Swedish metal seen pass through it's ranks having had Gus G (Firewind), Olo Morck (Amaranthe), Tomas Linberg (At The Gates), Johan Nunez (Firewind), Constantine (Nightfall) and Fotis Bernardo (SixForNine) but the one constant has been guitarist and band leader Marios Iliopoulos who has reconvened with bassist Anders Hammer and vocalist Ronnie Nyman for their first album since 2015 on board for this one is second guitarist Magnus Söderman and drummer Lawrence Dinamarca both of whom have been in the band since 2016 in a touring capacity.
This live connectivity shines through. Nyman's vocals are harsh throughout, gone are the clean vocals of their earlier records but even those that don't like harsh vocals will enjoy this record as the lyrics are audible and he is singing rather than growling. There are blast beats galore of course this is Gothenburg death metal after all Metamorphosis/Day Of Wrath but it's the guitar playing that makes this record, the dual harmonies, explosive solos and laser guided riffage all remind you of In Flames, Dark Tranquility and even Children Of Bodom due to the intensely technical guitar playing. The Venomous is a great album for Melo-death fans it's a shining example of the genre, fast, furious and dangerous to know just as it should be. 8/10
Doctor Cyclops: Local Dogs (Heavy Psych Sounds)
Heavy Psych Sounds delivers another reverb drenched slab of psychedelic rock ripped straight out of the hazy days of the 70's. Doctor Cyclops are hard rocking trio from Northern Italy they play proto-metal with Sir Lord Baltimore, Captain Beyond, Blue Cheer the obvious reference points as the band roar through 10 riff-filled tracks that has some great drumming, low groovy bass, wild vocals and fuzzy guitars. Stardust is a low-down dirty track with open bass chords and a trippy solo that leads into big doom riffage and jam-like final third.
Stardust and Druid Samhain both feature Mr retro hard rock himself Bill Steer who if you don't know is not just riff-grinder in Carcass but has two retro styled band in Gentleman's Pistols and Firebird, his influence is all over the record but he shines on his two tracks, still with Epicurus Doctor Cyclops show their own mettle with a proggy track that sits well as the more psychedelic end of the spectrum. Doctor Cyclops have been a presence for two albums now and their third record is probably their strongest to date, Heavy Psych Sounds have a knack of signing great bands and they've hooked onto another winner with Doctor Cyclops. 7/10
Cybernetic Witch Cult: Troglodithic Trip (Self Released)
Get your groove trousers on folks, these Cornwall masters of the riff are back with a new EP. Lyrically the Sci-Fi, John Carpenter and Sam Rami are omnipresent as Alex grizzles over his fuzz drenched riffs backed by the throbbing undercurrent of Kale and Lewis. Tracks like Astrogalactic Sprites sound like Black Sabbath jamming with Hawkwind while a green fug hangs in the air, the 7 songs on this record give you a good account of the Witch Cult's sound and the sprawling Cult Of The Druid is a perfect exhibit for their musical power, followed by the simplicity of Forbidden Fruit and the enormous Human which are both brilliant. Currently on tour with our own Lacertilla CWC are the ideal accompaniment as another quality psych fuelled, riff driven band from the UK. 8/10
Nightrage have been around since 2000 and in the 17 years they have been around they have been playing precision guided melodic death metal. The band hail from Thessaloniki originally but decamped to the home of melo-death Gothenburg, Nightrage has seen many well known names in the Greek and Swedish metal seen pass through it's ranks having had Gus G (Firewind), Olo Morck (Amaranthe), Tomas Linberg (At The Gates), Johan Nunez (Firewind), Constantine (Nightfall) and Fotis Bernardo (SixForNine) but the one constant has been guitarist and band leader Marios Iliopoulos who has reconvened with bassist Anders Hammer and vocalist Ronnie Nyman for their first album since 2015 on board for this one is second guitarist Magnus Söderman and drummer Lawrence Dinamarca both of whom have been in the band since 2016 in a touring capacity.
This live connectivity shines through. Nyman's vocals are harsh throughout, gone are the clean vocals of their earlier records but even those that don't like harsh vocals will enjoy this record as the lyrics are audible and he is singing rather than growling. There are blast beats galore of course this is Gothenburg death metal after all Metamorphosis/Day Of Wrath but it's the guitar playing that makes this record, the dual harmonies, explosive solos and laser guided riffage all remind you of In Flames, Dark Tranquility and even Children Of Bodom due to the intensely technical guitar playing. The Venomous is a great album for Melo-death fans it's a shining example of the genre, fast, furious and dangerous to know just as it should be. 8/10
Doctor Cyclops: Local Dogs (Heavy Psych Sounds)
Heavy Psych Sounds delivers another reverb drenched slab of psychedelic rock ripped straight out of the hazy days of the 70's. Doctor Cyclops are hard rocking trio from Northern Italy they play proto-metal with Sir Lord Baltimore, Captain Beyond, Blue Cheer the obvious reference points as the band roar through 10 riff-filled tracks that has some great drumming, low groovy bass, wild vocals and fuzzy guitars. Stardust is a low-down dirty track with open bass chords and a trippy solo that leads into big doom riffage and jam-like final third.
Stardust and Druid Samhain both feature Mr retro hard rock himself Bill Steer who if you don't know is not just riff-grinder in Carcass but has two retro styled band in Gentleman's Pistols and Firebird, his influence is all over the record but he shines on his two tracks, still with Epicurus Doctor Cyclops show their own mettle with a proggy track that sits well as the more psychedelic end of the spectrum. Doctor Cyclops have been a presence for two albums now and their third record is probably their strongest to date, Heavy Psych Sounds have a knack of signing great bands and they've hooked onto another winner with Doctor Cyclops. 7/10
Cybernetic Witch Cult: Troglodithic Trip (Self Released)
Get your groove trousers on folks, these Cornwall masters of the riff are back with a new EP. Lyrically the Sci-Fi, John Carpenter and Sam Rami are omnipresent as Alex grizzles over his fuzz drenched riffs backed by the throbbing undercurrent of Kale and Lewis. Tracks like Astrogalactic Sprites sound like Black Sabbath jamming with Hawkwind while a green fug hangs in the air, the 7 songs on this record give you a good account of the Witch Cult's sound and the sprawling Cult Of The Druid is a perfect exhibit for their musical power, followed by the simplicity of Forbidden Fruit and the enormous Human which are both brilliant. Currently on tour with our own Lacertilla CWC are the ideal accompaniment as another quality psych fuelled, riff driven band from the UK. 8/10
Friday, 31 March 2017
A View From The Back Of The Room: Ghost
Ghost & Zombi, Cardiff University Great Hall
When the opportunity to see Ghost on home turf came up it was an experience that was too good to miss, having only seen the band in Bristol, at Festivals and in *shudder* Newport, seeing them in The Great Hall on a Saturday night had all the opportunities of being a bit special. After pre-loading on real ale and mountains of food at a local pub we went into the venue and were met by the multi faceted crowd that always come to a Ghost concert, there were rockers, ravers, goths, a fair few nuns and those with an interest in the weirdness of it all.
After a bit of a wait Americans Zombi (6), took to the stage with Anthony Pattera behind the drums and Steve Moore on keys and bass and kicked off their support slot with pulsing synthwave, a few of the songs were good but the instrumental synth driven music did little to stir the crowd with many getting bored and staring at their phones. All except for the loud, obnoxious and totally pissed bloke that was standing a few feet from me who was sort of a fat Noddy Holder shouting Rock n Roll at the top of his voice along with other even more nonsensical things all delivered at full volume right behind my fucking ear!
As Zombi finished there was much running around to get the stage ready for the headliners 'sermon', as we waited pissed up fat bloke continually heckled, receiving the ire of those around him and then eventually his wife. Yes there was long wait between the acts, so much so that I was anticipating Lordi levels of problems but after about 20 minutes Masked Ball came through the PA, cue obnoxious man shouting "It's A Tape!" We fucking know mate yeah?
The Nameless Ghouls arrived on stage and with a puff of smoke so did Papa and they dove straight into Square Hammer every line was sung back at full voice as Papa III led the congregation in the Satanic verses of From The Pinnacle To The Pit and the doom-laden Secular Haze, the all-new (apparently) Ghouls were on fine form dual guitars a-gogo, thumping rhythm section and huge organs and Papa was singing well despite the use of backing tapes for the layered sections, his vocals were audible from our position, (although the same cannot be said from other parts of the venue).
Cardiff's Sisters Of Sin were introduced to the crowd with explicit warnings to take what they were given and no more in case anyone got too amorous over the sinful nuns. They gave Communion during Body And Blood and Papa decided to de-frock after this to go to his 30's vaudeville style, Year Zero rapidly followed Circe building the atmosphere with two of the bands most recognisable then after the acoustic interlude over the tape, the huge sing-along returned with the pseudo-spiritual He Is which really saw both Papa and the Cardiff crowd in full voice.
Then as the set wrapped up they progressed into the meatier riffs of Mummy Dust, Guleh/Zombie Queen and Ritual, Papa conducting the Gothic Mass as the band's focal point. The encore was of course Monstrance Clock which is stylised as the band and crowd's collective orgasm, as the final bell tolled the lights went up and that was it. A well paced set meant that this was one of the ebst times I'd seen the band, the sound got better as they progressed and the performances were full of fir and visually arresting. The only downside to the performance side was the extended wait before they took to the stage and it was all a bit to quiet until the last part of the gig, still you always get a brilliant performance from Ghost (9) every-time you see them and this was no exception.
I will however just mention one of main gripes about this gig and in fact a lot of the gigs that happen in The Great Hall, the majority of the crowd were fans ready to enjoy the music and the experience, however there a lot of pricks that seemed to be there purely for the 3 for £10 drinks offers and were using the evening as an excuse to get shit-faced. Now as it's a student venue you'd expect it to be the under 30's that were indulging a little too much but no there was a fair few gents who should know better, having been given free reign by their wives for one night. This meant a lot of the normal gig etiquette was not observed making the whole experience slightly dampened by the sheer amount of pissed-up twats at the venue. This was almost in complete opposite to previous night where the crowd at Thunder couldn't have been more well behaved. Still it does seem to be an increasing trend in live shows at the moment. Remember folks have a little respect for everyone else who have also paid their money to be there.
When the opportunity to see Ghost on home turf came up it was an experience that was too good to miss, having only seen the band in Bristol, at Festivals and in *shudder* Newport, seeing them in The Great Hall on a Saturday night had all the opportunities of being a bit special. After pre-loading on real ale and mountains of food at a local pub we went into the venue and were met by the multi faceted crowd that always come to a Ghost concert, there were rockers, ravers, goths, a fair few nuns and those with an interest in the weirdness of it all.
After a bit of a wait Americans Zombi (6), took to the stage with Anthony Pattera behind the drums and Steve Moore on keys and bass and kicked off their support slot with pulsing synthwave, a few of the songs were good but the instrumental synth driven music did little to stir the crowd with many getting bored and staring at their phones. All except for the loud, obnoxious and totally pissed bloke that was standing a few feet from me who was sort of a fat Noddy Holder shouting Rock n Roll at the top of his voice along with other even more nonsensical things all delivered at full volume right behind my fucking ear!
As Zombi finished there was much running around to get the stage ready for the headliners 'sermon', as we waited pissed up fat bloke continually heckled, receiving the ire of those around him and then eventually his wife. Yes there was long wait between the acts, so much so that I was anticipating Lordi levels of problems but after about 20 minutes Masked Ball came through the PA, cue obnoxious man shouting "It's A Tape!" We fucking know mate yeah?
The Nameless Ghouls arrived on stage and with a puff of smoke so did Papa and they dove straight into Square Hammer every line was sung back at full voice as Papa III led the congregation in the Satanic verses of From The Pinnacle To The Pit and the doom-laden Secular Haze, the all-new (apparently) Ghouls were on fine form dual guitars a-gogo, thumping rhythm section and huge organs and Papa was singing well despite the use of backing tapes for the layered sections, his vocals were audible from our position, (although the same cannot be said from other parts of the venue).
Cardiff's Sisters Of Sin were introduced to the crowd with explicit warnings to take what they were given and no more in case anyone got too amorous over the sinful nuns. They gave Communion during Body And Blood and Papa decided to de-frock after this to go to his 30's vaudeville style, Year Zero rapidly followed Circe building the atmosphere with two of the bands most recognisable then after the acoustic interlude over the tape, the huge sing-along returned with the pseudo-spiritual He Is which really saw both Papa and the Cardiff crowd in full voice.
Then as the set wrapped up they progressed into the meatier riffs of Mummy Dust, Guleh/Zombie Queen and Ritual, Papa conducting the Gothic Mass as the band's focal point. The encore was of course Monstrance Clock which is stylised as the band and crowd's collective orgasm, as the final bell tolled the lights went up and that was it. A well paced set meant that this was one of the ebst times I'd seen the band, the sound got better as they progressed and the performances were full of fir and visually arresting. The only downside to the performance side was the extended wait before they took to the stage and it was all a bit to quiet until the last part of the gig, still you always get a brilliant performance from Ghost (9) every-time you see them and this was no exception.
I will however just mention one of main gripes about this gig and in fact a lot of the gigs that happen in The Great Hall, the majority of the crowd were fans ready to enjoy the music and the experience, however there a lot of pricks that seemed to be there purely for the 3 for £10 drinks offers and were using the evening as an excuse to get shit-faced. Now as it's a student venue you'd expect it to be the under 30's that were indulging a little too much but no there was a fair few gents who should know better, having been given free reign by their wives for one night. This meant a lot of the normal gig etiquette was not observed making the whole experience slightly dampened by the sheer amount of pissed-up twats at the venue. This was almost in complete opposite to previous night where the crowd at Thunder couldn't have been more well behaved. Still it does seem to be an increasing trend in live shows at the moment. Remember folks have a little respect for everyone else who have also paid their money to be there.
The Spotlight: Interview With Sonata Arctica
Before their mighty show at the Tramshed I managed to grab an interview with Henrik Klingenberg (keys) and Pasi Kauppinen (bass) of headliners Sonata Arctica.
MoM: So this is your first gig in Cardiff since 2011, you played the Millennium Music Hall before which is now a trendy chain sports bar thing, the last few UK shows you've done are one off London dates. Do you prefer those or do you like proper tours?
Henrik: I prefer to tour a whole country and see different places, usually we don't have a chance to do that. 2011 that was the last and first time we were able to do that (a proper tour).
MoM: Well we prefer that, as not everyone lives near London so seeing you on our doorstep is great for us, how's it going so far, you've been going for a while now? Anyone annoying anyone yet?
Henrik: We've been doing this for a few weeks, not annoying each other too much as we are all used to each other now, it comes with age now we all give each other enough space.
MoM: Do you prefer European or UK audiences? Have you noticed a difference?
Pasi: I think everywhere is different, you are bit more involved than France, maybe that's a better understanding
Henrik: I feel the differences are from city to city rather than country to country
MoM: We've asked this a few times and many European bands say that we are a bit more reserved than European fans, have you found that?
Pasi: It depends we come from Finland, where people are really reserved, unless it's Friday or Saturday
Henrik: Alcohol helps
All: Laugh
Henrik: Whatever happens out there is whatever happens, some crowds are different people enjoy in different ways personally I like to go to a show and enjoy the music
MoM: Yeah me too
Henrik: But you pay for a ticket and enjoy it in your own way so there's not really a different
MoM: Going to the new album, you've got political songs and a lot of focus on the environment, was that a conscious effort or not?
Henrik: Well the lyrics are from Tony so we really don't control that much, Fairytale is really a funny song, like satire so we agreed to do it because of that. As a band our purpose is bring people together not divide them. But we decided not to deal with politics as we all have different views so we don't need one opinion for the while band as we are not about politics. The environment is one thing we all agree on so that was much easier, I think if you're a political band and you all agree then that's fine to deal with politics but not if you are all on different wavelengths.
MoM: You've moved away from your earlier hard power metal roots to a more symphonic/cinematic sound. Do you prefer this or would you rather play the older style?
Henrik: When we make an album we see what demos Tony brings and see what comes out, as a band we are happy with, which can be confusing for fans. Personally I prefer to play faster live as it's more fun, I think we have done our fair share great ballads too but I like the faster.
MoM: With the anniversary of you're debut Ecliptica did you expect maybe a bit of that to influence your last album, was it fun playing the older stuff live again?
Henrik: I thought, because I wish there could have been more influence because of that but you play what comes
MoM: What were your influences?
Pasi: I listen to a lot of stuff, a wide range of music from Slayer to pop music, but none of it has really influenced this band, but I like a lot of different kinds of music
Henrik: I grew up with Deep Purple, Bon Jovi, AC/DC, then Pantera and if you want more offbeat then Frank Zappa, not all of it
MoM: Nobody likes all of it, don't worry
Henrik: Then recent stuff I listen to Lana Del Rey a lot more stuff, but it influences your style than the band style
MoM: What's the plan for the rest of the year?
Henrik: We have tour until South America, then a break then festivals, touring throughout the year until middle of next year until we wind down for the next album
MoM: Finally as we are Welsh our last question is what is your favourite sheep
*Cue much debating from both amid gasps about how many sheep there are*
Henrik: I'd say North Ronaldsay, it's the horns
Pasi: Hampshire Down
Henrik seemed very impressed by the sheep, taking pictures of them after the interview
MoM: So this is your first gig in Cardiff since 2011, you played the Millennium Music Hall before which is now a trendy chain sports bar thing, the last few UK shows you've done are one off London dates. Do you prefer those or do you like proper tours?
Henrik: I prefer to tour a whole country and see different places, usually we don't have a chance to do that. 2011 that was the last and first time we were able to do that (a proper tour).
MoM: Well we prefer that, as not everyone lives near London so seeing you on our doorstep is great for us, how's it going so far, you've been going for a while now? Anyone annoying anyone yet?
Henrik: We've been doing this for a few weeks, not annoying each other too much as we are all used to each other now, it comes with age now we all give each other enough space.
MoM: Do you prefer European or UK audiences? Have you noticed a difference?
Pasi: I think everywhere is different, you are bit more involved than France, maybe that's a better understanding
Henrik: I feel the differences are from city to city rather than country to country
MoM: We've asked this a few times and many European bands say that we are a bit more reserved than European fans, have you found that?
Pasi: It depends we come from Finland, where people are really reserved, unless it's Friday or Saturday
Henrik: Alcohol helps
All: Laugh
Henrik: Whatever happens out there is whatever happens, some crowds are different people enjoy in different ways personally I like to go to a show and enjoy the music
MoM: Yeah me too
Henrik: But you pay for a ticket and enjoy it in your own way so there's not really a different
MoM: Going to the new album, you've got political songs and a lot of focus on the environment, was that a conscious effort or not?
Henrik: Well the lyrics are from Tony so we really don't control that much, Fairytale is really a funny song, like satire so we agreed to do it because of that. As a band our purpose is bring people together not divide them. But we decided not to deal with politics as we all have different views so we don't need one opinion for the while band as we are not about politics. The environment is one thing we all agree on so that was much easier, I think if you're a political band and you all agree then that's fine to deal with politics but not if you are all on different wavelengths.
MoM: You've moved away from your earlier hard power metal roots to a more symphonic/cinematic sound. Do you prefer this or would you rather play the older style?
Henrik: When we make an album we see what demos Tony brings and see what comes out, as a band we are happy with, which can be confusing for fans. Personally I prefer to play faster live as it's more fun, I think we have done our fair share great ballads too but I like the faster.
MoM: With the anniversary of you're debut Ecliptica did you expect maybe a bit of that to influence your last album, was it fun playing the older stuff live again?
Henrik: I thought, because I wish there could have been more influence because of that but you play what comes
MoM: What were your influences?
Pasi: I listen to a lot of stuff, a wide range of music from Slayer to pop music, but none of it has really influenced this band, but I like a lot of different kinds of music
Henrik: I grew up with Deep Purple, Bon Jovi, AC/DC, then Pantera and if you want more offbeat then Frank Zappa, not all of it
MoM: Nobody likes all of it, don't worry
Henrik: Then recent stuff I listen to Lana Del Rey a lot more stuff, but it influences your style than the band style
MoM: What's the plan for the rest of the year?
Henrik: We have tour until South America, then a break then festivals, touring throughout the year until middle of next year until we wind down for the next album
MoM: Finally as we are Welsh our last question is what is your favourite sheep
*Cue much debating from both amid gasps about how many sheep there are*
Henrik: I'd say North Ronaldsay, it's the horns
Pasi: Hampshire Down
Henrik seemed very impressed by the sheep, taking pictures of them after the interview
Thursday, 30 March 2017
Reviews: Carnivorous Forest, Enepsigos, Laura Cox Band (Reviews By Paul)
Carnivorous Forest: Frozen Rivers (Blackened Death Records)
Multi-instrumentalist and multi-talented Richard Alan Weeks or Amarok to his friends is the man behind Carnivorous Forest. After single releases and several EP releases including Genital Mutilation In The Name Of God and Absolute Fucking Shit and A Waste Of Time, Frozen Rivers is the first full length release. It’s a real departure to what we often review and the immediate comparison must be with Ancient Vvisdom. Yes, this is nearly all acoustic blackened metal, with Viking and folk metal in both attitude and delivery. With influences ranging from Rush to Bathory, Skyclad to Hawkwind and Woods of Ypres to Sodom, the range is varied and interesting. Subject matter ranges from death to nature to anti-religion. It’s well written, superbly performed and hauntingly atmospheric. From opening song White Wolves through to closer Amarok, Frozen Rivers maintains the interest, adding contrast and reflection without needing to rage or thrash. Its malevolence seeps through the pores. Well worth a listen. 8/10
Enepsigos: Plague Of Plagues (Drakkar Productions)
True Norwegian Black Metal. Yes, fuck all that false stuff. The debut album from black metal trio Enepsigos is as true as you would demand and hailing from the home of the satantic church burning nothing less than you would expect. Smirking aside, this is a brilliant release. Massive riffs, haunting melodies and explosive blast beats from start to finish. The energy contained in this album quite frightening and with eight tracks clocking in at just shy of an hour it is neck breaking in its duration. The band, Thorns on drumming, Straff (guitar and bass) and the quite hideously evil vocals of V.I.T.H.R combine to crush with a wall of blistering noise. The more I play this, the more I enjoy it. The devil really does have all the best tunes. 8/10
Laura Cox Band: Hard Blues Shot (Self Released)
When I initially heard Hard Blues Shot, my first thought was which part of Australia does she come from? It was a bit of a surprise to find out that the band are from Paris, France. They play what they have defined “southern hard blues”. It certainly has elements of all three. Barefoot In The Countryside is about as country as you can get, with a banjo centre stage. Cox’s voice is husky and bluesy, initial comparisons inevitably lean towards Joanne Shaw Taylor although the Black Country virtuoso is in a different league. The rest of the band comprise Mathieu Albiac (rhythm guitar and backing vocals), bassist Francois C. Delacoudre and drummer Antonin Guerin. Tracks such as the title song and The Australian Way are routine, a mix of AC/DC and other antipodean influences. Too Nice For Rock n’ Roll illustrates why Cox was an internet sensation with her YouTube clips, as it features some decent guitar work. However, the album tails off tamely, with If You Wanna Get Loud and Going Down uninspiring. There is plenty of room for female guitarists in the world of rock and Laura Cox and her band has potential. 6/10
Multi-instrumentalist and multi-talented Richard Alan Weeks or Amarok to his friends is the man behind Carnivorous Forest. After single releases and several EP releases including Genital Mutilation In The Name Of God and Absolute Fucking Shit and A Waste Of Time, Frozen Rivers is the first full length release. It’s a real departure to what we often review and the immediate comparison must be with Ancient Vvisdom. Yes, this is nearly all acoustic blackened metal, with Viking and folk metal in both attitude and delivery. With influences ranging from Rush to Bathory, Skyclad to Hawkwind and Woods of Ypres to Sodom, the range is varied and interesting. Subject matter ranges from death to nature to anti-religion. It’s well written, superbly performed and hauntingly atmospheric. From opening song White Wolves through to closer Amarok, Frozen Rivers maintains the interest, adding contrast and reflection without needing to rage or thrash. Its malevolence seeps through the pores. Well worth a listen. 8/10
Enepsigos: Plague Of Plagues (Drakkar Productions)
True Norwegian Black Metal. Yes, fuck all that false stuff. The debut album from black metal trio Enepsigos is as true as you would demand and hailing from the home of the satantic church burning nothing less than you would expect. Smirking aside, this is a brilliant release. Massive riffs, haunting melodies and explosive blast beats from start to finish. The energy contained in this album quite frightening and with eight tracks clocking in at just shy of an hour it is neck breaking in its duration. The band, Thorns on drumming, Straff (guitar and bass) and the quite hideously evil vocals of V.I.T.H.R combine to crush with a wall of blistering noise. The more I play this, the more I enjoy it. The devil really does have all the best tunes. 8/10
Laura Cox Band: Hard Blues Shot (Self Released)
When I initially heard Hard Blues Shot, my first thought was which part of Australia does she come from? It was a bit of a surprise to find out that the band are from Paris, France. They play what they have defined “southern hard blues”. It certainly has elements of all three. Barefoot In The Countryside is about as country as you can get, with a banjo centre stage. Cox’s voice is husky and bluesy, initial comparisons inevitably lean towards Joanne Shaw Taylor although the Black Country virtuoso is in a different league. The rest of the band comprise Mathieu Albiac (rhythm guitar and backing vocals), bassist Francois C. Delacoudre and drummer Antonin Guerin. Tracks such as the title song and The Australian Way are routine, a mix of AC/DC and other antipodean influences. Too Nice For Rock n’ Roll illustrates why Cox was an internet sensation with her YouTube clips, as it features some decent guitar work. However, the album tails off tamely, with If You Wanna Get Loud and Going Down uninspiring. There is plenty of room for female guitarists in the world of rock and Laura Cox and her band has potential. 6/10
Wednesday, 29 March 2017
Reviews: Aaron Buchanan & The Cult Classics, Art Of Anarchy, Order Of Voices, Damnation's Day
Aaron Buchanan & The Cult Classics: The Man With The Stars On His Knees (Self Released)
Do you remember Heaven's Basement? They released a very well received album a few years ago, with massive press coverage and many high profile shows their star shone brightly but much like the match that was on their album cover it wasn't to last, the band pretty much disbanded after vocalist Aaron Buchanan left the group due to personal demons.
Then there was a period of nothing, the band were pretty much dead in the water and their singer was out of the limelight, in this time out Buchanan rekindled his fire forging a working relationship with former Raveneye sticksman Kev Hickman, guitarist Tom McCarthy, bassist Ryan Woods (replaced by Chris Guyatt) and his sister Laurie on guitar. I witnessed the fruits of this labour supporting InMe in The Globe and I was blown away, the passion and fire displayed by the band was intoxicating so I was excited to see whether this would transfer to the debut record.
Opening with a percussive stomp Show Me What Your Made Of is a short almost intro song that fronts up and confronts you to listen to the rest of the record, its one of the many Queen influences that shine through on this record being akin to We Will Rock You in it's percussive nature and brevity. The first song proper is the autobiographical All These Things I've Said And Done which is constructed on a great rock riff and has Buchanan's tortured soul coming through on the stark lyrics, with a soulful full-toned voice that is an amalgamation of Vedder, Cornell and Kennedy the confessional lyrics are given gravitas as Buchanan doesn't anything by halves.
The rocking rhythm section drive the heaviness as Hickman pounds away, with McCarthy and Laurie arriving as one of the best new guitar duo's for a long time, the songs flit between numerous influences Dancin' Down Below is a snotty hard rocker with a punk attitude, The Devil That Needs You is a modern track built on Hickman's great stick work, things get more epic on Journey Out Of Here it could put you in mind of modern BMTH but it breaks into a superior guitar solo section at the end accompanied by some huge organ stabs.
As the record progresses the tunes keep coming, with the title track ramping up the balladry, it's got a Soundgarden sound to it as the passion is audible, slow burning and dramatic it's a perfect centre piece that climaxes into a Queen flavoured finale, the Soundgarden influence is writ large on A God Is No Friend which is a darker, bluesier and fuzzier track, while everything gets heavier on the metallic Mind Of A Mute which has a grinding dirty low riffage.
This record is fantastic debut, you can hear the fire I saw when I watched the band live, the songs have been constructed but they sound natural and fluid. Elements of 90's hard rock meet 70's pomp and it produces 11 excellent tracks that get better and evolve every time you listen to them. On A God Is No Friend Aaron shouts "I Ain't Got Nothing To Prove" and he is damn right, he and his Cult Classics have produced an excellent debut album. 9/10
Art Of Anarchy: The Madness (Another Century)
Jon and Vince Votta (rhythm guitar and drums respectively) return with the second album of their supergroup that also features Ron 'Bumblefoot' Thal on lead guitar and Disturbed's John Moyer on bass. The first record featured Scott Weiland on vocals, who was relatively negative about the whole band progressing past the first album, well with Weiland's death in 2015 another record with him was shelved and the band searched for another singer. Continuing their theme of recruiting redeemed singers who have fallen from grace their new vocalist is former Creed vocalist Scott Stapp whose past is hinted to on Won't Let You Down and Changed Man's telling lyrics, these two tracks are also the most Creed sounding song on the record with a big emotive choruses and chunky riffs.
The press behind this album hints at a new direction and yes that can be heard, this record moves away from the sleazier hard rock of the Weiland album for the more modern alternative rock stylings better associated with Stapp's former act, it's different yes but not a real leap from the debut. The playing is good, Bumblefoot the obvious attraction giving a great account of himself but it's not really and upward step, rather a sideward one. Maybe it's due to the upheaval that befell the band after the release of their first record but they seem to be at the same level they were then. Taken as a re-debut if you will there is a lot of promise, let's hope they are bit luckier as Art Of Anarchy Mark 2. 7/10
Order Of Voices: Constancy (Self Released)
Sheffield band Order Of Voices, have seen a lot change between their debut and this one, Constancy is an album that has taken the band through a massive journey of self-discovery and improvement. It means that this record draws strength and inspiration from all those events as any good writers would and it has translated into an emotive and mature second album that sees every member of the band adding their own individual mark on the songs. It's an album of modern progressively tinged alternative rock that is based around clean guitar lines and powerful vocals. There are nods to Tool and Alice In Chains throughout, the latter especially on Raise A Glass which apes the Seattle natives to a tee. Elsewhere Hand In Hand opens the record with a very modern melodic slow burning track with a massive driving chorus.
Diametric brings the big riffs and mixes the intricacies of Tool with the emotive power of Soundgarden both in the music and in the tough vocals. They even add touches of Floydian mystery on Speak Aloud which has electronic beats mixing with the analogue percussion well. The songs on this record are delivered with a intricate musicianship but also a keen ear for songwriting meaning that the whole album sounds confident and musically dexterous. It's never too heavy or isolating like Tool can be, it's not metal by any means but with the rockier moments complimented by the melancholic slower songs like Revelations & Ghosts you get true exhibition of Order Of Voices skill. A cracking album that demands repeat listens. 8/10
Damnation's Day: A World Awakens (Sensory Records)
Australia's Damnation's Day have returned with their second album of heavy thrash influenced power metal, the band are now reduced to a three piece with vocalist/guitarist Mark Kennedy and brother Dean on drums joined by lead guitarist Jon King. Mark's vocals are great powerful with a wide range, he can hit high notes with ease slotting in brilliantly against the tough metal backing. With touches of bands such as Iced Earth, Nevermore, Symphony X and even our own Haken, the thrash-like riffs mix with more progressive textures on tracks like I Pray where the melodic lead guitars are punctuated with furious riffs.
They slow things down on the acoustic Into Black where Mark really displays his vocal prowess. At nine songs A World Awakens doesn't outstay it's welcome the songs are textured, played with technicality, passion and although they may not be in the premier league of heavy/power metal bands as they are only two albums into their career and hail from a country that is not known worldwide for it's heavy/power metal (although we at MoM towers know that's not strictly true), however they could be well on their way with this second album just tweaking everything displayed on the debut and ramping it up and topping it off with amazing vocal prowess. 7/10
Do you remember Heaven's Basement? They released a very well received album a few years ago, with massive press coverage and many high profile shows their star shone brightly but much like the match that was on their album cover it wasn't to last, the band pretty much disbanded after vocalist Aaron Buchanan left the group due to personal demons.
Then there was a period of nothing, the band were pretty much dead in the water and their singer was out of the limelight, in this time out Buchanan rekindled his fire forging a working relationship with former Raveneye sticksman Kev Hickman, guitarist Tom McCarthy, bassist Ryan Woods (replaced by Chris Guyatt) and his sister Laurie on guitar. I witnessed the fruits of this labour supporting InMe in The Globe and I was blown away, the passion and fire displayed by the band was intoxicating so I was excited to see whether this would transfer to the debut record.
Opening with a percussive stomp Show Me What Your Made Of is a short almost intro song that fronts up and confronts you to listen to the rest of the record, its one of the many Queen influences that shine through on this record being akin to We Will Rock You in it's percussive nature and brevity. The first song proper is the autobiographical All These Things I've Said And Done which is constructed on a great rock riff and has Buchanan's tortured soul coming through on the stark lyrics, with a soulful full-toned voice that is an amalgamation of Vedder, Cornell and Kennedy the confessional lyrics are given gravitas as Buchanan doesn't anything by halves.
The rocking rhythm section drive the heaviness as Hickman pounds away, with McCarthy and Laurie arriving as one of the best new guitar duo's for a long time, the songs flit between numerous influences Dancin' Down Below is a snotty hard rocker with a punk attitude, The Devil That Needs You is a modern track built on Hickman's great stick work, things get more epic on Journey Out Of Here it could put you in mind of modern BMTH but it breaks into a superior guitar solo section at the end accompanied by some huge organ stabs.
As the record progresses the tunes keep coming, with the title track ramping up the balladry, it's got a Soundgarden sound to it as the passion is audible, slow burning and dramatic it's a perfect centre piece that climaxes into a Queen flavoured finale, the Soundgarden influence is writ large on A God Is No Friend which is a darker, bluesier and fuzzier track, while everything gets heavier on the metallic Mind Of A Mute which has a grinding dirty low riffage.
This record is fantastic debut, you can hear the fire I saw when I watched the band live, the songs have been constructed but they sound natural and fluid. Elements of 90's hard rock meet 70's pomp and it produces 11 excellent tracks that get better and evolve every time you listen to them. On A God Is No Friend Aaron shouts "I Ain't Got Nothing To Prove" and he is damn right, he and his Cult Classics have produced an excellent debut album. 9/10
Art Of Anarchy: The Madness (Another Century)
Jon and Vince Votta (rhythm guitar and drums respectively) return with the second album of their supergroup that also features Ron 'Bumblefoot' Thal on lead guitar and Disturbed's John Moyer on bass. The first record featured Scott Weiland on vocals, who was relatively negative about the whole band progressing past the first album, well with Weiland's death in 2015 another record with him was shelved and the band searched for another singer. Continuing their theme of recruiting redeemed singers who have fallen from grace their new vocalist is former Creed vocalist Scott Stapp whose past is hinted to on Won't Let You Down and Changed Man's telling lyrics, these two tracks are also the most Creed sounding song on the record with a big emotive choruses and chunky riffs.
The press behind this album hints at a new direction and yes that can be heard, this record moves away from the sleazier hard rock of the Weiland album for the more modern alternative rock stylings better associated with Stapp's former act, it's different yes but not a real leap from the debut. The playing is good, Bumblefoot the obvious attraction giving a great account of himself but it's not really and upward step, rather a sideward one. Maybe it's due to the upheaval that befell the band after the release of their first record but they seem to be at the same level they were then. Taken as a re-debut if you will there is a lot of promise, let's hope they are bit luckier as Art Of Anarchy Mark 2. 7/10
Order Of Voices: Constancy (Self Released)
Sheffield band Order Of Voices, have seen a lot change between their debut and this one, Constancy is an album that has taken the band through a massive journey of self-discovery and improvement. It means that this record draws strength and inspiration from all those events as any good writers would and it has translated into an emotive and mature second album that sees every member of the band adding their own individual mark on the songs. It's an album of modern progressively tinged alternative rock that is based around clean guitar lines and powerful vocals. There are nods to Tool and Alice In Chains throughout, the latter especially on Raise A Glass which apes the Seattle natives to a tee. Elsewhere Hand In Hand opens the record with a very modern melodic slow burning track with a massive driving chorus.
Diametric brings the big riffs and mixes the intricacies of Tool with the emotive power of Soundgarden both in the music and in the tough vocals. They even add touches of Floydian mystery on Speak Aloud which has electronic beats mixing with the analogue percussion well. The songs on this record are delivered with a intricate musicianship but also a keen ear for songwriting meaning that the whole album sounds confident and musically dexterous. It's never too heavy or isolating like Tool can be, it's not metal by any means but with the rockier moments complimented by the melancholic slower songs like Revelations & Ghosts you get true exhibition of Order Of Voices skill. A cracking album that demands repeat listens. 8/10
Damnation's Day: A World Awakens (Sensory Records)
Australia's Damnation's Day have returned with their second album of heavy thrash influenced power metal, the band are now reduced to a three piece with vocalist/guitarist Mark Kennedy and brother Dean on drums joined by lead guitarist Jon King. Mark's vocals are great powerful with a wide range, he can hit high notes with ease slotting in brilliantly against the tough metal backing. With touches of bands such as Iced Earth, Nevermore, Symphony X and even our own Haken, the thrash-like riffs mix with more progressive textures on tracks like I Pray where the melodic lead guitars are punctuated with furious riffs.
They slow things down on the acoustic Into Black where Mark really displays his vocal prowess. At nine songs A World Awakens doesn't outstay it's welcome the songs are textured, played with technicality, passion and although they may not be in the premier league of heavy/power metal bands as they are only two albums into their career and hail from a country that is not known worldwide for it's heavy/power metal (although we at MoM towers know that's not strictly true), however they could be well on their way with this second album just tweaking everything displayed on the debut and ramping it up and topping it off with amazing vocal prowess. 7/10
A View From North Wales: HRH United - Hammerfest 2017 (Review By Rich)
HRH United (Hafan Y Mor Holiday Park, Pwllheli)
Spring has arrived in the UK and with it has arrived the first festival on the calendar - HRH United or as it is better known Hammerfest. Taking place in the Haven Hafan-Y-Mor holiday park outside of Pwllheli in North Wales, it is a weekend of heavy drinking and heavy music but with the luxury of on site accommodation so everyone can get some sleep and have a good shower if they so desire which for me as a man in his thirties is absolute bliss.
Day 1: Thursday
After a gruelling but absolutely stunning five hour drive from Cardiff through the middle of our beautiful country I arrived early evening and checked into a lovely sizeable apartment. After a quick bite to eat, a few hefty glasses of rum and coke and a spot of socialising with some friends and familiar faces it was time to walk to the arena and check out some music. Bands were only playing on the main stage in The Cove venue this evening. First band of the evening for me were Bloodshot Dawn (7) who brought their technical style of melodic death metal to a large and enthusiastic crowd. Their playing was phenomenal with some extremely tasty guitar solos. Their music is very reminiscent of Scar Symmetry with touches of the Gothenburg melodic death metal sound and influences from thrash.
Although well played the songs were generally quite forgettable and as such their set was enjoyable but not particularly memorable. Next up were Venom Inc. (7) who were one of the most anticipated bands of the weekend for me. Having seen the Cronos fronted Venom at Bloodstock last summer I was eager to see how this version of the band featuring Abaddon, Mantas and Demolition Man would fare. The band played a great set chock full of classic Venom tunes such as Don't Burn The Witch, Warhead and the legendary Black Metal but seemed to lack a lot of energy. Tony 'Demolition Man' Dolan is a very competent frontman but lacks the stage presence of Cronos. It was an enjoyable set and the classics went down a storm with the crowd but the show just seemed to be lacking something.
Headliners and final band of the evening were LA heavy metal titans Armored Saint (9) who played a straight up masterclass in fist pumping, anthemic heavy metal. The band played a fantastic set with songs from latest album Win Hands Down sitting very comfortably alongside classics such as March Of The Saint, Aftermath, Reign Of Fire and Can U Deliver. The band were on absolute top form with frontman John Bush putting in an especially passionate and enthusiastic performance. A triumphant show and great way to bring things to a close on the first night.
Day 2: Friday
After a rather heavy cider and rum fuelled Thursday evening my head was a bit on the fuzzy side on Friday morning but nothing a strong coffee, hot shower and a nice mixed grill from The Mash And Barrel pub wouldn't sort out. Two stages were running on the Friday and kicking things off on the second stage in The Boardwalk venue were Desert Storm (9). These stoner metallers always play a great set and this was no exception. A great sound showcased the bands sludge/stoner sound with dense crushing riffs, plenty of groove and bags of rock and roll swagger. The band put on a commanding performance with frontman Matt Ryan dominating with his ferocious roaring vocals. An outstanding set from one of the best up and coming bands in the UK right now.
Next band on my schedule were the crushing Bast who unfortunately had to cancel last minute and so after an extended period of drinking and socialising the next band I made it to was the mighty Grand Magus (10). If there's one band flying the flag for true heavy metal in 2017 then it's Grand Magus who played to an absolutely packed out main stage. Kicking things off with I, The Jury the band played an absolutely phenomenal set with an absolutely crystal clear sound. Horns were raised and voices sang along to triumphant metal anthems such as Varangian, Steel Versus Steel, Iron Will and Like The Oar Strikes The Water. We were even treated to premiere performances of Crowned In Iron (Forged In Steel) and Freja's Choice from last years stunning Sword Songs album. The best was left for last though and the band parted with the truly anthemic Hammer Of The North which had everyone in the room singing along at the top of their voices. People were still singing along in the arena hours after the band had finished. Easily the best performance of the weekend.
Next up were Swedish power metal titans HammerFall (8). Following that Grand Magus set was not going to be an easy task but HammerFall rose to the challenge with an absolutely cracking set. (This despite the airline they came in on losing their gear meaning they had to rely on Magus and Napalm Death for guitars etc - Ed) Opening with Hector's Hymn from last years Built To Last album the band then proceeded to perform a greatest hits set with songs such as Riders Of The Storm, Blood Bound. Any Means Necessary, Renegade, Last Man Standing and Let The Hammer Fall. A loud and enthusiastic crowd sang the songs back at the band just as loud as they were playing them. A great set of sing-along power metal.
After two sets of anthemic metal it was time for things to get violent and nasty and one band who can deliver both aplenty are grindcore legends Napalm Death (9). The band started fantastically blasting out songs full of anger and vitrol at a crowd with an equally destructive appetite but suddenly the set was cut off due to an audience member becoming injured. The stage and venue had to be evacuated as paramedics attended. Fortunately after a bit of a wait the crowd were allowed back into the venue and the band picked up from where they left off with tracks from latest album Apex Predator - Easy Meat such as Smash A Single Digit and Dear Slum Landlord smashing the audience into oblivion along with well established classics such as When All Is Said And Done, Scum, Deceiver, From Enslavement To Obliteration and Suffer The Children. We were even treated to a trio of cover versions from The Offender's Face Down In The Dirt, Hirax's Hate, Fear And Power to band set staple Dead Kennedy's Nazi Punks Fuck Off. One notable absence was bassist Shane Embury who is currently touring with Brujeria so ex-Nasum bassist Jesper Liverod was standing in. Thankfully this didn't detract from what was a fantastic set from these Brummie legends.
Final band of the evening for me were Teutonic thrash legends Destruction (7). Running late due to the earlier audience injury during Napalm Death the German thrashers found themselves playing to a slightly sparse audience. The band were also suffering with a poor sound mix with Mike's guitars particularly affected. Destruction being the pros they are were determined not to let these obstacles overcome them and the band ploughed onward opening with the title track of last years Under Attack album and then proceeding to bring out a plethora of thrashing classics from their back catalogue such as Curse The Gods, Mad Butcher and Nailed To The Cross. They even brought out ex-Evile guitarist Ol Drake for a crushing finale of Thrash Till Death and Bestial Invasion. Unfortunately the sound issues did affect the show and brought a slightly disappointing conclusion to the second night of the festival.
Day 3: Saturday
With a long drive ahead of me on Sunday, Friday night was the last opportunity for me to really party hard which I very much did but unfortunately I overdid it as well resulting in an absolute stinker of a hangover which saw me bed bound for all of Saturday morning. I finally managed to crawl out of my pit around lunchtime. Plenty of strong coffee and painkillers were thrown down my neck plus another visit to The Mash And Barrel where I forced a plateful of hot food down my neck. Despite still feeling utterly awful I braved my way to the arena and managed to catch the majority of Power Quest (6). Playing to a fair crowd Power Quest played a set of over the top cheesy metal tunes such as Temple Of Fire and Edge Of Time which garnered a good response from the audience. The band put in a decent performance but after the greatness of the performances from the previous evening still resonating this just felt slightly underwhelming.
There wasn't much I wanted to see on the main stage this day so I decided to focus on the second stage which was host to a day of black metal bands. It was also a day of discovery for me as many of these bands I was completely unaware of before this weekend. After a little hair of the dog I was starting to feel more human just in time for Old Corpse Road (8) to hit the stage. A fantastic performance mixed different styles and sounds of black metal together from the violent and savage to folky and atmospheric to the overly dramatic. Three vocalists provided three different vocal styles such as dramatic spoken word, black metal shrieks and guttural death metal growls. Despite there being so much going on the band held it all together with a masterful performance.
I popped back over to the main stage to catch a little bit of Lagerstein (3) and wished I hadn't bothered. Lagerstein perform songs about drinking and pirates but unlike contemporaries such as Korpiklaani and Alestorm this band completely lacks any memorable songs plus their performance was dreadful. An absolutely awful sound mix buried most of the instruments apart from the drums and the terrible vocals by frontman Captain Gregaaarrr. The one thing the band did have going for them was the level of audience involvement as members of the band were amongst the crowd at points and also got the crowd to sit down for a campfire song. Despite my misgivings the band played to a packed out stage and everyone apart from me seemed to be enjoying immensely so maybe I'm just becoming a miserable old fart (Aren't we all? - Ed).
Anyway it was back over to the second stage for more black metal this time provided by Cirith Gorgor (7) who were a bit more a straight for the jugular style of black metal band similar to Marduk or 1349. The set was hampered slightly by a bit of a muddy sound but the band forged on regardless performing a cacophony of violent black metal with songs such as Total Annihilation and Into The Nameless Void which was eaten up by the respectable crowd watching.
My most eagerly anticipated band of the day were next up - the mighty Kampfar (9) who did not disappoint. With this being their very first time in Wales (and also their first time performing in a holiday camp) the band went all out. Their devastating mix of razor sharp blackened riffage and dark folk melodies went down a storm with the sizeable audience watching and songs such as Troll, Død Og Trolldom, Tornekratt and an absolutely devastating Mylder showing how good black metal can be when it's done right.
Next up were surprise of the weekend and highlight of the day the absolutely amazing Ereb Altor (9). Having virtually no knowledge of this band I was absolutely floored by this performance. A very Bathory inspired mix of old school black metal and rousing viking anthems with tons of heart and emotion especially in the absolutely stunning clean vocals employed by the band which brought goosebumps to my flesh. Highlights of the set was the absolutely beautiful By Honour and a stunning cover of Bathory's Twilight Of The Gods.
Unfortunately only a sparse audience were watching what was one of the best bands of the weekend. After a food and drink break I returned in time to catch Finsterforst (7) who were another band I was unfamiliar with. Performing a blackened folk metal style quite reminiscent of Moonsorrow their set was enjoyable but a little repetitive with the majority of the songs being of a mid paced nature with a few flurries of blastbeats here and there. Following the amazing sets of Kampfar and Ereb Altor, Finsterforst were enjoyable but a little bit underwhelming.
It was back over to the main stage for my final band of the evening reunited UK death metallers Cancer (8). Since reuniting the band haven't released any new material so this was a set of pure old school death metal carnage. Despite playing to a fairly sparse audience the band gave it their all and played a relentless set featuring old school classics such as Into The Acid, Tasteless Incest and To The Gory End. A fitting way to bring another successful day to an end.
HRH United got the 2017 festival season off to a cracking start with some fantastic sets by some well known bands and also a brilliant introduction to some previously unknown bands. The positives definitely outweighed the negatives with the top bands of the weekend being Armored Saint, Grand Magus, Napalm Death, Kampfar and Ereb Altor. There was only one terrible band I watched all weekend and that was the dreadful Lagerstein. A fun filled weekend with great company, great music and lots of lovely rum. Roll on the next festival.
Spring has arrived in the UK and with it has arrived the first festival on the calendar - HRH United or as it is better known Hammerfest. Taking place in the Haven Hafan-Y-Mor holiday park outside of Pwllheli in North Wales, it is a weekend of heavy drinking and heavy music but with the luxury of on site accommodation so everyone can get some sleep and have a good shower if they so desire which for me as a man in his thirties is absolute bliss.
Day 1: Thursday
After a gruelling but absolutely stunning five hour drive from Cardiff through the middle of our beautiful country I arrived early evening and checked into a lovely sizeable apartment. After a quick bite to eat, a few hefty glasses of rum and coke and a spot of socialising with some friends and familiar faces it was time to walk to the arena and check out some music. Bands were only playing on the main stage in The Cove venue this evening. First band of the evening for me were Bloodshot Dawn (7) who brought their technical style of melodic death metal to a large and enthusiastic crowd. Their playing was phenomenal with some extremely tasty guitar solos. Their music is very reminiscent of Scar Symmetry with touches of the Gothenburg melodic death metal sound and influences from thrash.
Although well played the songs were generally quite forgettable and as such their set was enjoyable but not particularly memorable. Next up were Venom Inc. (7) who were one of the most anticipated bands of the weekend for me. Having seen the Cronos fronted Venom at Bloodstock last summer I was eager to see how this version of the band featuring Abaddon, Mantas and Demolition Man would fare. The band played a great set chock full of classic Venom tunes such as Don't Burn The Witch, Warhead and the legendary Black Metal but seemed to lack a lot of energy. Tony 'Demolition Man' Dolan is a very competent frontman but lacks the stage presence of Cronos. It was an enjoyable set and the classics went down a storm with the crowd but the show just seemed to be lacking something.
Headliners and final band of the evening were LA heavy metal titans Armored Saint (9) who played a straight up masterclass in fist pumping, anthemic heavy metal. The band played a fantastic set with songs from latest album Win Hands Down sitting very comfortably alongside classics such as March Of The Saint, Aftermath, Reign Of Fire and Can U Deliver. The band were on absolute top form with frontman John Bush putting in an especially passionate and enthusiastic performance. A triumphant show and great way to bring things to a close on the first night.
Day 2: Friday
After a rather heavy cider and rum fuelled Thursday evening my head was a bit on the fuzzy side on Friday morning but nothing a strong coffee, hot shower and a nice mixed grill from The Mash And Barrel pub wouldn't sort out. Two stages were running on the Friday and kicking things off on the second stage in The Boardwalk venue were Desert Storm (9). These stoner metallers always play a great set and this was no exception. A great sound showcased the bands sludge/stoner sound with dense crushing riffs, plenty of groove and bags of rock and roll swagger. The band put on a commanding performance with frontman Matt Ryan dominating with his ferocious roaring vocals. An outstanding set from one of the best up and coming bands in the UK right now.
Next band on my schedule were the crushing Bast who unfortunately had to cancel last minute and so after an extended period of drinking and socialising the next band I made it to was the mighty Grand Magus (10). If there's one band flying the flag for true heavy metal in 2017 then it's Grand Magus who played to an absolutely packed out main stage. Kicking things off with I, The Jury the band played an absolutely phenomenal set with an absolutely crystal clear sound. Horns were raised and voices sang along to triumphant metal anthems such as Varangian, Steel Versus Steel, Iron Will and Like The Oar Strikes The Water. We were even treated to premiere performances of Crowned In Iron (Forged In Steel) and Freja's Choice from last years stunning Sword Songs album. The best was left for last though and the band parted with the truly anthemic Hammer Of The North which had everyone in the room singing along at the top of their voices. People were still singing along in the arena hours after the band had finished. Easily the best performance of the weekend.
Next up were Swedish power metal titans HammerFall (8). Following that Grand Magus set was not going to be an easy task but HammerFall rose to the challenge with an absolutely cracking set. (This despite the airline they came in on losing their gear meaning they had to rely on Magus and Napalm Death for guitars etc - Ed) Opening with Hector's Hymn from last years Built To Last album the band then proceeded to perform a greatest hits set with songs such as Riders Of The Storm, Blood Bound. Any Means Necessary, Renegade, Last Man Standing and Let The Hammer Fall. A loud and enthusiastic crowd sang the songs back at the band just as loud as they were playing them. A great set of sing-along power metal.
After two sets of anthemic metal it was time for things to get violent and nasty and one band who can deliver both aplenty are grindcore legends Napalm Death (9). The band started fantastically blasting out songs full of anger and vitrol at a crowd with an equally destructive appetite but suddenly the set was cut off due to an audience member becoming injured. The stage and venue had to be evacuated as paramedics attended. Fortunately after a bit of a wait the crowd were allowed back into the venue and the band picked up from where they left off with tracks from latest album Apex Predator - Easy Meat such as Smash A Single Digit and Dear Slum Landlord smashing the audience into oblivion along with well established classics such as When All Is Said And Done, Scum, Deceiver, From Enslavement To Obliteration and Suffer The Children. We were even treated to a trio of cover versions from The Offender's Face Down In The Dirt, Hirax's Hate, Fear And Power to band set staple Dead Kennedy's Nazi Punks Fuck Off. One notable absence was bassist Shane Embury who is currently touring with Brujeria so ex-Nasum bassist Jesper Liverod was standing in. Thankfully this didn't detract from what was a fantastic set from these Brummie legends.
Final band of the evening for me were Teutonic thrash legends Destruction (7). Running late due to the earlier audience injury during Napalm Death the German thrashers found themselves playing to a slightly sparse audience. The band were also suffering with a poor sound mix with Mike's guitars particularly affected. Destruction being the pros they are were determined not to let these obstacles overcome them and the band ploughed onward opening with the title track of last years Under Attack album and then proceeding to bring out a plethora of thrashing classics from their back catalogue such as Curse The Gods, Mad Butcher and Nailed To The Cross. They even brought out ex-Evile guitarist Ol Drake for a crushing finale of Thrash Till Death and Bestial Invasion. Unfortunately the sound issues did affect the show and brought a slightly disappointing conclusion to the second night of the festival.
Day 3: Saturday
With a long drive ahead of me on Sunday, Friday night was the last opportunity for me to really party hard which I very much did but unfortunately I overdid it as well resulting in an absolute stinker of a hangover which saw me bed bound for all of Saturday morning. I finally managed to crawl out of my pit around lunchtime. Plenty of strong coffee and painkillers were thrown down my neck plus another visit to The Mash And Barrel where I forced a plateful of hot food down my neck. Despite still feeling utterly awful I braved my way to the arena and managed to catch the majority of Power Quest (6). Playing to a fair crowd Power Quest played a set of over the top cheesy metal tunes such as Temple Of Fire and Edge Of Time which garnered a good response from the audience. The band put in a decent performance but after the greatness of the performances from the previous evening still resonating this just felt slightly underwhelming.
There wasn't much I wanted to see on the main stage this day so I decided to focus on the second stage which was host to a day of black metal bands. It was also a day of discovery for me as many of these bands I was completely unaware of before this weekend. After a little hair of the dog I was starting to feel more human just in time for Old Corpse Road (8) to hit the stage. A fantastic performance mixed different styles and sounds of black metal together from the violent and savage to folky and atmospheric to the overly dramatic. Three vocalists provided three different vocal styles such as dramatic spoken word, black metal shrieks and guttural death metal growls. Despite there being so much going on the band held it all together with a masterful performance.
I popped back over to the main stage to catch a little bit of Lagerstein (3) and wished I hadn't bothered. Lagerstein perform songs about drinking and pirates but unlike contemporaries such as Korpiklaani and Alestorm this band completely lacks any memorable songs plus their performance was dreadful. An absolutely awful sound mix buried most of the instruments apart from the drums and the terrible vocals by frontman Captain Gregaaarrr. The one thing the band did have going for them was the level of audience involvement as members of the band were amongst the crowd at points and also got the crowd to sit down for a campfire song. Despite my misgivings the band played to a packed out stage and everyone apart from me seemed to be enjoying immensely so maybe I'm just becoming a miserable old fart (Aren't we all? - Ed).
Anyway it was back over to the second stage for more black metal this time provided by Cirith Gorgor (7) who were a bit more a straight for the jugular style of black metal band similar to Marduk or 1349. The set was hampered slightly by a bit of a muddy sound but the band forged on regardless performing a cacophony of violent black metal with songs such as Total Annihilation and Into The Nameless Void which was eaten up by the respectable crowd watching.
My most eagerly anticipated band of the day were next up - the mighty Kampfar (9) who did not disappoint. With this being their very first time in Wales (and also their first time performing in a holiday camp) the band went all out. Their devastating mix of razor sharp blackened riffage and dark folk melodies went down a storm with the sizeable audience watching and songs such as Troll, Død Og Trolldom, Tornekratt and an absolutely devastating Mylder showing how good black metal can be when it's done right.
Next up were surprise of the weekend and highlight of the day the absolutely amazing Ereb Altor (9). Having virtually no knowledge of this band I was absolutely floored by this performance. A very Bathory inspired mix of old school black metal and rousing viking anthems with tons of heart and emotion especially in the absolutely stunning clean vocals employed by the band which brought goosebumps to my flesh. Highlights of the set was the absolutely beautiful By Honour and a stunning cover of Bathory's Twilight Of The Gods.
Unfortunately only a sparse audience were watching what was one of the best bands of the weekend. After a food and drink break I returned in time to catch Finsterforst (7) who were another band I was unfamiliar with. Performing a blackened folk metal style quite reminiscent of Moonsorrow their set was enjoyable but a little repetitive with the majority of the songs being of a mid paced nature with a few flurries of blastbeats here and there. Following the amazing sets of Kampfar and Ereb Altor, Finsterforst were enjoyable but a little bit underwhelming.
It was back over to the main stage for my final band of the evening reunited UK death metallers Cancer (8). Since reuniting the band haven't released any new material so this was a set of pure old school death metal carnage. Despite playing to a fairly sparse audience the band gave it their all and played a relentless set featuring old school classics such as Into The Acid, Tasteless Incest and To The Gory End. A fitting way to bring another successful day to an end.
HRH United got the 2017 festival season off to a cracking start with some fantastic sets by some well known bands and also a brilliant introduction to some previously unknown bands. The positives definitely outweighed the negatives with the top bands of the weekend being Armored Saint, Grand Magus, Napalm Death, Kampfar and Ereb Altor. There was only one terrible band I watched all weekend and that was the dreadful Lagerstein. A fun filled weekend with great company, great music and lots of lovely rum. Roll on the next festival.
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