Nightbringer: Terra Damnata (Seasons Of Mist)
With Scandinavian Black Metal firmly cementing their foundations, the fifth album from Colorado black metallers Nightbringer is very likely to raise the band’s profile amongst fans of the genre. The influences are clear with elements of Dimmu Borgir, Emperor, Dark Funeral and Behemoth evident throughout. Yet the band maintain a clear identity, with their orchestral and symphonic elements adventurous and fresh. Band members VJS, Ophis, Naas Alcameth, ar Ra'd al-Iblis, Menthor, Norgaath have followed up from 2014’s Ego Dominus Tuus with an opus that is haunting, intimidating and yet also compelling.
Tracks such as Misrule and Midnight’s Crown burst with atmosphere and crushingly heavy black metal guitar work. The usual battering ram of blast beats maintains the intensity throughout with the level of technical performance quite astonishing at times. You won’t win prizes for guessing the themes that course through the album but it fits together quite superbly. If you only listen to one black metal track this year make it Let Silence Be His Sacred Name, which is just incredible. If you don’t like your metal invoking spirits and demons as well as ripping the flesh of your frame then this may not be for you. That’s your problem though as this album quite simply crushes all. Amazing, breath taking, inspiring. 9/10
Corroded: Defcon Zero (Despotz Records)
Swedes Corroded return with album number 3, five years after the release of sophomore release Exit To Transfer. Whilst the band is not well known over here, their profile in their home country was raised substantially by the TV show Survivors, which used their track Time And Again as its theme. The band comprise biker, vocalist and rhythm guitarist Jens Westin, lead guitarist Tomas Andersson, bassist Bjarne Elvsgård and drummer Per Soläng. Defcon Zero is crammed full of heavy riffs, scintillating guitar work and an overriding melody which gives all their songs more appeal than might otherwise be expected.
Think Godsmack, Shinedown and Disturbed and you’ve just about got the sound to a tee. Whilst at times it’s a little generic but the crushingly heavy power of tracks like Retract and Disconnect combined with its Alter Bridge style harmonies, the thumping battery of Vessels Of Hate and the Soil stomp of Burn It Down are all absolute anthems. Album closer Rust And Nail has a Baroness feel about the opening before it morphs into a fitting closing track. If you like your metal clean and honest then this album is a must. 8/10
Death Of Kings: Kneel Before None (Boris Records)
Thrashing their way out of Atlanta, Georgia, Death Of Kings’ debut album (which follows a couple of EPs) Kneel Before None is a primitive, full on punch in the face which takes no prisoners. Their influences range from Priest to Death and everything in between and you know what, it’s fucking A. Opener Shadow Of The Reaper begins the proceedings nicely with maximum thrash bastard before the more measured stomp of Sojurn follows up with a low blow. The pain continues with the Slayer like Regicidal, which oozes malevolence and evil.
The band are tight and extremely loyal to thrash blueprint which I say is correct. No pissing about, just blast at the speed of sound. Amos Rifkin’s pounding drumming and the slicing cut of Matt Kilpatrick’s axe work are the undoubted highlights and if I had one minor complaint it’s the underproduction of Matt Matson’s devilish vocals which are so guttural that at times they are hidden by the onslaught. My moan apart, this is storming stuff with 38 minutes of hell’s fire. Play outside at your peril. The outbuildings may not withstand it. 7/10
Saturday, 22 April 2017
Thursday, 20 April 2017
Reviews: Ulver, Mammoth Mammoth, Trial (Reviews By Paul)
Ulver: The Assassination Of Julius Caesar (House Of Mythology)
The 13th album by the Norwegian collective known as Ulver is a pretty fantastic release. For the uninitiated, Ulver formed in 1993 and although their early work had essence of the Norwegian Black metal sound Ulver has transformed into a much more ethereal and progressive outfit in recent times. Ulver's line up has remained solid for many years with the utilisation of numerous guest musicians to enhance their complexity.
On this album Kristofer Rygg is joined once more by Tore Ylwizaker (programming), Jorn H Svaeren and Ole Alexander Halstengard and assisted by a whole cast of additional musicians. Stian Westerhus adds some lovely guitars of Nemoralia and So Falls The World, which also sees the involvement of Hawkwind's errant son Nik Turner. So Falls The World is a beautiful composition which mixes Gothic and new wave synth pop quite magnificently. Southern Gothic has a massive Depeche Mode feel, haunting and atmospheric.
Produced and recorded in Oslo mainly in 2016, the album is mixed by Martin Glover (Youth from Killing Joke) and Michael Randall. The sound at times is similar to the more progressive parts of Anaethema's recent work whilst maintaining its own uniqueness. Transverberstion and the beautiful 1969 both drip with synth pop and whilst the band are far removed from their beginnings, this is still an album very much worth taking the time to listen to. 8/10
On this album Kristofer Rygg is joined once more by Tore Ylwizaker (programming), Jorn H Svaeren and Ole Alexander Halstengard and assisted by a whole cast of additional musicians. Stian Westerhus adds some lovely guitars of Nemoralia and So Falls The World, which also sees the involvement of Hawkwind's errant son Nik Turner. So Falls The World is a beautiful composition which mixes Gothic and new wave synth pop quite magnificently. Southern Gothic has a massive Depeche Mode feel, haunting and atmospheric.
Produced and recorded in Oslo mainly in 2016, the album is mixed by Martin Glover (Youth from Killing Joke) and Michael Randall. The sound at times is similar to the more progressive parts of Anaethema's recent work whilst maintaining its own uniqueness. Transverberstion and the beautiful 1969 both drip with synth pop and whilst the band are far removed from their beginnings, this is still an album very much worth taking the time to listen to. 8/10
Mammoth Mammoth: Mount The Mountain (Napalm Records)
Australia seems to be able to throw out an endless amount of bands who play one of two types of music. It's either thrash or hard rock with a stoner edge. The latter sound belongs to Melbourne crew Mammoth Mammoth, whose dirty, fuzzy rock ticks all the right boxes. Now in their tenth year, Mount The Mountain is release number six, hard on the heels of 2016's EP Mammoth Bloody Mammoth.
Tracks such as Hole In The Head, Kicking The Dog (don't do this at home kids) and Cold Liquor leave little to the imagination and smack you in the face with their power, gritty drive and balls out good time vibe. Mikey Tucker's vocals are superb, reminiscent of the great Ben Ward of the mighty Orange Goblin at times, the driving rhythm of Pete Bell and drummer Frank Trebbiani keep the engine running whilst Ben Couzens guitar work is gutsy, gritty and down right filthy at times. Another band that you'd happily get absolutely spannered whilst watching. The irony is that these guys would be hammered first. Check out Mammoth Mammoth, big name, huge sound. 8/10
Trial: Motherless (Metal Blade)
Tracks such as Hole In The Head, Kicking The Dog (don't do this at home kids) and Cold Liquor leave little to the imagination and smack you in the face with their power, gritty drive and balls out good time vibe. Mikey Tucker's vocals are superb, reminiscent of the great Ben Ward of the mighty Orange Goblin at times, the driving rhythm of Pete Bell and drummer Frank Trebbiani keep the engine running whilst Ben Couzens guitar work is gutsy, gritty and down right filthy at times. Another band that you'd happily get absolutely spannered whilst watching. The irony is that these guys would be hammered first. Check out Mammoth Mammoth, big name, huge sound. 8/10
Trial: Motherless (Metal Blade)
Yet another Swedish metal outfit cross our paths, this time its Trial, from Trollhatten who have been around for a good few years. Motherless is album number 3, following 2015's Vessel. The band comprise guitar duo Alexander Ellstrom and Andreas Johnsson, vocalist Linus Johansson and the engine room of drummer Linus Johansson and bassist Andreas Olsson. Trial's music can be described as a mix of traditional metal with helpings of power and thrash metal. Unfortunately, Motherless is just not that good, with a confusing mix of styles creating a schizophrenic sound. Add on to this the rather 'finger nails down a blackboard' vocals of Linus Johansson, some quite dreadful harmonies and you have a relatively uninspiring release. One to think long and hard before investing in. 5/10
Wednesday, 19 April 2017
Reviews: Life Of Agony, Harlott, The Franklys
Life Of Agony: A Place Where There Is No More Pain (Napalm)
New York groove masters Life Of Agony return with their sixth studio album and their first since 2005. The original line up of Joey Z (guitar), Alan Robert (bass), vocalist Mina Caputo (previously known Keith) return along with drummer Sal Abruscato for ten songs of riff driven groove metal that hasn't really changed since the band first brought their crushing misery to the scene in the early 90's. Track like Dead Speak Kindly, A New Low, Right This Wrong and the opener Meet My Maker all carry the bands normal traits of low tuned riffs and Mina's lyrics come from a very personal deeply considered place, reflecting the struggles that she as a transgender person faced and the similar struggles that fans have told the band they have gone through.
This album in Mina's own words "gives us hope that there's light at the end of the tunnel". Mina's voice has matured since the River Runs Red days and every lyric is delivered with conviction while the band play at the top of their game. As I've said very little has changed musically for the band and for long time fans this will be perfect, yes it may be a little bit of a dated sound now but it's good to have a band like LOA back doing what they do best. 7/10
Harlott: Extinction (Metal Blade)
Australia seems to be becoming a hotbed of thrash metal at the moment, it must be the intrinsic link between the genre and heavy drinking. Harlott can really be called one of the finest examples of thrash from down under, three albums into their career and numerous supports, most notably with Annihilator on their recent European tour and the band are playing some of the best music of their career honed by the hundreds of live shows and real understanding of the Bay Area thrash sound. Extinction is the sort of album Exodus, Testament or Slayer would have written at the height of their powers mixing blitzkrieg thrash fury with more nuanced slower elements to ramp up the atmosphere before the fireworks start again.
Frontman Andrew Hudson has the raspy ideal thrash voice thats sits between Zetro and Araya with the band behind him kicking the living shit out of their instruments in the best way possible, the furious double hit of the title track and First World Solutions open the record with Slayer-like aggression last heard on Evile's first couple of albums. The twin dual leads of Hudson and Jake Weber shred your face off, on Whore Tim Joyce displays that he's probably superhuman as he demolishes his kit like a whirling dervish and Tom Richards reminds you that thrash needs bass no matter what Metallica think. Extinction proves to be a superior third strike by the Melbourne band, it's their most accomplished album yet, this is proper thrash metal how it should be done and in a year of excellent trash albums Harlott have tossed their hat into the ring with a blinder. 9/10
The Franklys: Are You Listening? (Hälta Hälta Records)
Are You Listening? That's what London -based four-piece The Franklys want to know on their full length debut record. They have made it easy though as this record contains 10 tracks of spiky rock n roll delivered with a rebellious take no prisoners attitude. The album rapidly jumps between, pop, garage, punk, and indie rock with touches of funk and classic hard rock thrown in to shake up the noise, it's been built on a solid base of touring where The Franklys thrive their energetic live show receiving rave reviews all around.
The task of trying to distill this live fire onto record is given to Sean Douglas, Jimmy O and Mikey Sorbello of The Graveltones who co-produce the albums with the band themselves, it's a successful snapshot of the four women's live riot, the 10 tracks on this record are built to be played live, they cry out for a sweaty, packed venue where the punters can just go wild. The band is made up of Jennifer Ahlkvist (rhythm guitar/vocals), Fanny Broberg (lead guitar /backing vocals), Zoë Biggs (bass) and Lexi Clark (drums) and they all play their instruments with an unreserved passion blasting out shuddering The Hives-like rockers such as Castaway, Weasel and Don't Kill Your Friends (good advice kids). Are You Listening? If you want to hear the future driven by the past then you should be! 7/10
New York groove masters Life Of Agony return with their sixth studio album and their first since 2005. The original line up of Joey Z (guitar), Alan Robert (bass), vocalist Mina Caputo (previously known Keith) return along with drummer Sal Abruscato for ten songs of riff driven groove metal that hasn't really changed since the band first brought their crushing misery to the scene in the early 90's. Track like Dead Speak Kindly, A New Low, Right This Wrong and the opener Meet My Maker all carry the bands normal traits of low tuned riffs and Mina's lyrics come from a very personal deeply considered place, reflecting the struggles that she as a transgender person faced and the similar struggles that fans have told the band they have gone through.
This album in Mina's own words "gives us hope that there's light at the end of the tunnel". Mina's voice has matured since the River Runs Red days and every lyric is delivered with conviction while the band play at the top of their game. As I've said very little has changed musically for the band and for long time fans this will be perfect, yes it may be a little bit of a dated sound now but it's good to have a band like LOA back doing what they do best. 7/10
Harlott: Extinction (Metal Blade)
Australia seems to be becoming a hotbed of thrash metal at the moment, it must be the intrinsic link between the genre and heavy drinking. Harlott can really be called one of the finest examples of thrash from down under, three albums into their career and numerous supports, most notably with Annihilator on their recent European tour and the band are playing some of the best music of their career honed by the hundreds of live shows and real understanding of the Bay Area thrash sound. Extinction is the sort of album Exodus, Testament or Slayer would have written at the height of their powers mixing blitzkrieg thrash fury with more nuanced slower elements to ramp up the atmosphere before the fireworks start again.
Frontman Andrew Hudson has the raspy ideal thrash voice thats sits between Zetro and Araya with the band behind him kicking the living shit out of their instruments in the best way possible, the furious double hit of the title track and First World Solutions open the record with Slayer-like aggression last heard on Evile's first couple of albums. The twin dual leads of Hudson and Jake Weber shred your face off, on Whore Tim Joyce displays that he's probably superhuman as he demolishes his kit like a whirling dervish and Tom Richards reminds you that thrash needs bass no matter what Metallica think. Extinction proves to be a superior third strike by the Melbourne band, it's their most accomplished album yet, this is proper thrash metal how it should be done and in a year of excellent trash albums Harlott have tossed their hat into the ring with a blinder. 9/10
The Franklys: Are You Listening? (Hälta Hälta Records)
Are You Listening? That's what London -based four-piece The Franklys want to know on their full length debut record. They have made it easy though as this record contains 10 tracks of spiky rock n roll delivered with a rebellious take no prisoners attitude. The album rapidly jumps between, pop, garage, punk, and indie rock with touches of funk and classic hard rock thrown in to shake up the noise, it's been built on a solid base of touring where The Franklys thrive their energetic live show receiving rave reviews all around.
The task of trying to distill this live fire onto record is given to Sean Douglas, Jimmy O and Mikey Sorbello of The Graveltones who co-produce the albums with the band themselves, it's a successful snapshot of the four women's live riot, the 10 tracks on this record are built to be played live, they cry out for a sweaty, packed venue where the punters can just go wild. The band is made up of Jennifer Ahlkvist (rhythm guitar/vocals), Fanny Broberg (lead guitar /backing vocals), Zoë Biggs (bass) and Lexi Clark (drums) and they all play their instruments with an unreserved passion blasting out shuddering The Hives-like rockers such as Castaway, Weasel and Don't Kill Your Friends (good advice kids). Are You Listening? If you want to hear the future driven by the past then you should be! 7/10
A View From The Back Of The Room: Joanovarc (Live Reviews Paul)
Joanovarc, Synteria & The Boom Sons: Fuel, Cardiff
Joanovarc, the Home Counties melodic rockers are being tipped for big things. They have been receiving a lot of exposure on digital radio including Planet Rock so at £5 for a ticket, a Friday night at a Fuel seemed a decent punt.
We missed opening band Flowerpot and arrived as local outfit The Boom Sons (7) were going through their paces. I saw this highly inventive three piece supporting Bigfoot last year and they are a decent outfit, their indie rock touching the right spots.
Main support band Syteria (6) were formed by current Girlschool guitarist Jackie Chambers. With their image very much in the stereotypical 'rock chick' Syteria delivered their routine, throwaway rock over the course of about 40 minutes. The band at least relaxed as their set went on, Chambers unsurprisingly confident from the start. Vocalist Julia appeared more confident when relieved of rhythm guitar duties and the Argentinian's voice become more relaxed as the band hit their stride. It is fair to say that the crowd had picked up slightly with some of the red blooded booze filled males wandering to the front to have a good look. A cover of The Ramones went down well and their songs are okay, just a little average.
Headliners Joanovarc (7) have received many plaudits for their melodic rock and last year's Ride Of Your Life was a very listenable release. Live the band adopts a quite strange image, with DMs and combat trousers mixed with lace bodysuits and some incredible Runaways haircuts. The band roared through a selection of tracks from their debut, including the enjoyable Dragons In The Sky and their breakthrough single Live Rock N Roll. A very enthusiastic reception helped the band increase in momentum with rhythm guitarist Laura Ozhall taking lead vocals for one tune. The band are led by sisters Shelley and Sam Walker and it was Shelley who did most of the talking in between numbers. She's a competent guitarist too whilst Sam proved she could replicate her vocal performance live.
A rather limp cover of Iggy's Wild One coincided with the doors being opened for free admission as the venue suddenly quadrupled in numbers. The final couple of numbers included a clear Reef riff and a ringer for Crosstown Traffic before we made for the door and the cold drizzle of Cardiff on Good Friday. It would be good to see Joanovarc in a different setting as Fuel isn't always the most conducive. A reasonable evening and for the admission price certainly value for money.
Joanovarc, the Home Counties melodic rockers are being tipped for big things. They have been receiving a lot of exposure on digital radio including Planet Rock so at £5 for a ticket, a Friday night at a Fuel seemed a decent punt.
We missed opening band Flowerpot and arrived as local outfit The Boom Sons (7) were going through their paces. I saw this highly inventive three piece supporting Bigfoot last year and they are a decent outfit, their indie rock touching the right spots.
Main support band Syteria (6) were formed by current Girlschool guitarist Jackie Chambers. With their image very much in the stereotypical 'rock chick' Syteria delivered their routine, throwaway rock over the course of about 40 minutes. The band at least relaxed as their set went on, Chambers unsurprisingly confident from the start. Vocalist Julia appeared more confident when relieved of rhythm guitar duties and the Argentinian's voice become more relaxed as the band hit their stride. It is fair to say that the crowd had picked up slightly with some of the red blooded booze filled males wandering to the front to have a good look. A cover of The Ramones went down well and their songs are okay, just a little average.
Headliners Joanovarc (7) have received many plaudits for their melodic rock and last year's Ride Of Your Life was a very listenable release. Live the band adopts a quite strange image, with DMs and combat trousers mixed with lace bodysuits and some incredible Runaways haircuts. The band roared through a selection of tracks from their debut, including the enjoyable Dragons In The Sky and their breakthrough single Live Rock N Roll. A very enthusiastic reception helped the band increase in momentum with rhythm guitarist Laura Ozhall taking lead vocals for one tune. The band are led by sisters Shelley and Sam Walker and it was Shelley who did most of the talking in between numbers. She's a competent guitarist too whilst Sam proved she could replicate her vocal performance live.
A rather limp cover of Iggy's Wild One coincided with the doors being opened for free admission as the venue suddenly quadrupled in numbers. The final couple of numbers included a clear Reef riff and a ringer for Crosstown Traffic before we made for the door and the cold drizzle of Cardiff on Good Friday. It would be good to see Joanovarc in a different setting as Fuel isn't always the most conducive. A reasonable evening and for the admission price certainly value for money.
Tuesday, 18 April 2017
Reviews: Kaledon, Warbringer, Screamking (Reviews By Rich)
Kaledon: Carngus-Emperor Of The Darkness (Sleazy Rider)
Kaledon are an Italian power metal band and Carnagus: Emperor Of The Darkness is their ninth full length album. Despite forming in 1998 and having an impressive lengthy discography Kaledon are one of the bands who have slipped under my radar. Better late than never that I have come across this band as Carnagus: Emperor Of The Darkness is a very impressive album indeed. Unlike a lot of European power metal which can be a bit light and fluffy, this album is heavy, hard hitting with some dark undertones which mixed with the traditional epic and bombast of power metal makes for a very refreshing listen.
A wonderfully heavy and crunchy guitar tone really helps some of these riffs just rip and tear out of your speakers and combined with an impressive rhythm section make you want to bang your head and throw the horns especially on songs such as The Beginning Of The Night, The Evil Witch and The Two Bailouts. The vocals are nicely bombastic, dramatic and melodic but also compliment the dark tone of the album. Kaledon have produced one of the finest power metal albums I have heard so far this year and are definitely a band I will be going back and checking out the back catalogue of. 8/10
Warbringer: Woe To The Vanquished (Napalm Records)
After a five year gap retro thrash titans Warbringer return with their fifth album Woe To The Vanquished. I've always thought Warbringer to be one of the best modern thrash bands so this album was eagerly anticipated and long overdue. After the more refined thrash sound on IV: Empires Collapse Warbringer have gone back to a more straight up thrash sound with songs that go straight for the throat such as Remain Violent, Silhouettes, Divinity Of Flesh and the absolutely ripping Shellfire.
The band also bring in a few elements from death metal and black metal such as blastbeats and some tremolo riffing. The only real departure on the album is closing track When The Guns Fell Silent with its very atmospheric sound. Unfortunately at 11 minutes in duration it does outstay its welcome a bit. Warbringer make a very welcome return proving they are still one of the best thrash bands around at the moment. Woe To The Vanquished is a brilliant album though with one track taking up a quarter of the album which doesn't quite work means that the album just misses the mark. 8/10
Screamking: Tyranny Of The Sea (Platinum Dungeon Records)
ScreamKing are a heavy metal band from Indiania in the United States and Tyranny Of The Sea is their second full length album. This album has a sound which is rooted in traditional heavy metal with influences from both power metal and thrash metal. First of all I have to address the elephant in the room with this album and that is the absolutely atrocious vocals of Joe Lawson. They are completely over the top, tuneless and wildly inconsistent.
The only time they actually work is when he reigns his vocals in and restrains himself. The rest of the band put in a commendable performance with some absolutely brilliant riffs throughout. The songwriting is a bit pedestrian at times though songs such as I Am A Viking, Warhorse and the title track are a step above the rest. Tyranny Of The Sea is a disappointing album as it has plenty of potential but is let down by some lacklustre songwriting and a truly abysmal vocal performance. 5/10
Kaledon are an Italian power metal band and Carnagus: Emperor Of The Darkness is their ninth full length album. Despite forming in 1998 and having an impressive lengthy discography Kaledon are one of the bands who have slipped under my radar. Better late than never that I have come across this band as Carnagus: Emperor Of The Darkness is a very impressive album indeed. Unlike a lot of European power metal which can be a bit light and fluffy, this album is heavy, hard hitting with some dark undertones which mixed with the traditional epic and bombast of power metal makes for a very refreshing listen.
A wonderfully heavy and crunchy guitar tone really helps some of these riffs just rip and tear out of your speakers and combined with an impressive rhythm section make you want to bang your head and throw the horns especially on songs such as The Beginning Of The Night, The Evil Witch and The Two Bailouts. The vocals are nicely bombastic, dramatic and melodic but also compliment the dark tone of the album. Kaledon have produced one of the finest power metal albums I have heard so far this year and are definitely a band I will be going back and checking out the back catalogue of. 8/10
Warbringer: Woe To The Vanquished (Napalm Records)
After a five year gap retro thrash titans Warbringer return with their fifth album Woe To The Vanquished. I've always thought Warbringer to be one of the best modern thrash bands so this album was eagerly anticipated and long overdue. After the more refined thrash sound on IV: Empires Collapse Warbringer have gone back to a more straight up thrash sound with songs that go straight for the throat such as Remain Violent, Silhouettes, Divinity Of Flesh and the absolutely ripping Shellfire.
The band also bring in a few elements from death metal and black metal such as blastbeats and some tremolo riffing. The only real departure on the album is closing track When The Guns Fell Silent with its very atmospheric sound. Unfortunately at 11 minutes in duration it does outstay its welcome a bit. Warbringer make a very welcome return proving they are still one of the best thrash bands around at the moment. Woe To The Vanquished is a brilliant album though with one track taking up a quarter of the album which doesn't quite work means that the album just misses the mark. 8/10
Screamking: Tyranny Of The Sea (Platinum Dungeon Records)
ScreamKing are a heavy metal band from Indiania in the United States and Tyranny Of The Sea is their second full length album. This album has a sound which is rooted in traditional heavy metal with influences from both power metal and thrash metal. First of all I have to address the elephant in the room with this album and that is the absolutely atrocious vocals of Joe Lawson. They are completely over the top, tuneless and wildly inconsistent.
The only time they actually work is when he reigns his vocals in and restrains himself. The rest of the band put in a commendable performance with some absolutely brilliant riffs throughout. The songwriting is a bit pedestrian at times though songs such as I Am A Viking, Warhorse and the title track are a step above the rest. Tyranny Of The Sea is a disappointing album as it has plenty of potential but is let down by some lacklustre songwriting and a truly abysmal vocal performance. 5/10
Monday, 17 April 2017
Reviews: Richie Kotzen, Liv Sin, Seven Kingdoms, Cromonic
Richie Kotzen: Salting Earth (Headroom Inc)
Richie Kotzen is probably a name you've heard of, he's been playing for long time now, starting out as one of the Shrapnel shredders he played in Poison and Mr Big, more recently he's come back into the public psyche with The Winery Dogs trio along with Mike Portnoy and Billy Sheenan, in between that he has released 21 solo albums that move between rock, blues, funk, jazz and everything in between. I personally discovered him on his 2004 album Get Up which has continued to frequent my record player until this day. I've followed his solo albums off an on since then and I've always found them a bit of a mix bag, so it's once more into the breech for what is Kotzen's 21st solo album.
The mystic influences are writ large on opener End Of Earth and you get that first blast of Kotzen's Cornell-like vocals over the top of the reverbed guitars and layered acoustics before he lights his guitar hero fire at the climax, it's followed by the very 80's sounding Thunder which has a funky riff, some stuttered verses and big chorus where Richie shows his vocal versatility, something that is on display throughout this record. Anyone that is expecting the hard rocking of The Winery Dogs will see another side too Kotzen on this (and all) of his solo albums, here he dips into bluesy explorations on Divine Power, 60's soul on I've Got You and My Rock, modern soul on Cannon Ball and acoustic funk on Grammy. Salting Earth marks another high quality release from Kotzen, there is a mix of styles and an as expected superior performance from Kotzen and it makes for fine listening. 7/10
Liv Sin: Follow Me (Despotz Records)
When Sister Sin called it a day in 2015, frontwoman Liv Sin set about forming a new band to continue her previous metal assault, Follow Me is her debut album with this new eponymous project and just like Sister Sin were known for fist pumping classic metal, this new project is not pop, in fact it ramps up the metal to a degree that wasn't reached in her previous project. Follow Me moves into thrash territory at times with Sin giving the most vicious delivery of her career, this record sonically sounds like Halford's solo projects and the latter Judas Priest, any of the songs on here could have easily been heard on Painkiller, Ram It Down or Angel Of Retribution.
Just wrap your lugholes around the The Fall which kicks off this record and the spirit of Priest looms large, Patrick Ankemark giving killer solos over Chris Bertzell, Tommie Winther and Per Bjelovuk's aggressive rhythm section. With heavier songs like Hypocrite, Godless Utopia, I'm Your Sin, the stomping Immortal Sin which features Schmier from Destruction and the black metal driven Black Souls, the bad really display their metal credentials but they also spread expand their remit with Endless Roads which is slower and more melodic but still carries a metal attitude. Now I never really got on board with Sister Sin but this I really like, it's brimming with attitude, confidence, talent and consists of 100% pure heavy metal from start to finish, impressive. 8/10
Cromonic: Time (Cromonic Music)
Richie Kotzen is probably a name you've heard of, he's been playing for long time now, starting out as one of the Shrapnel shredders he played in Poison and Mr Big, more recently he's come back into the public psyche with The Winery Dogs trio along with Mike Portnoy and Billy Sheenan, in between that he has released 21 solo albums that move between rock, blues, funk, jazz and everything in between. I personally discovered him on his 2004 album Get Up which has continued to frequent my record player until this day. I've followed his solo albums off an on since then and I've always found them a bit of a mix bag, so it's once more into the breech for what is Kotzen's 21st solo album.
The mystic influences are writ large on opener End Of Earth and you get that first blast of Kotzen's Cornell-like vocals over the top of the reverbed guitars and layered acoustics before he lights his guitar hero fire at the climax, it's followed by the very 80's sounding Thunder which has a funky riff, some stuttered verses and big chorus where Richie shows his vocal versatility, something that is on display throughout this record. Anyone that is expecting the hard rocking of The Winery Dogs will see another side too Kotzen on this (and all) of his solo albums, here he dips into bluesy explorations on Divine Power, 60's soul on I've Got You and My Rock, modern soul on Cannon Ball and acoustic funk on Grammy. Salting Earth marks another high quality release from Kotzen, there is a mix of styles and an as expected superior performance from Kotzen and it makes for fine listening. 7/10
Liv Sin: Follow Me (Despotz Records)
When Sister Sin called it a day in 2015, frontwoman Liv Sin set about forming a new band to continue her previous metal assault, Follow Me is her debut album with this new eponymous project and just like Sister Sin were known for fist pumping classic metal, this new project is not pop, in fact it ramps up the metal to a degree that wasn't reached in her previous project. Follow Me moves into thrash territory at times with Sin giving the most vicious delivery of her career, this record sonically sounds like Halford's solo projects and the latter Judas Priest, any of the songs on here could have easily been heard on Painkiller, Ram It Down or Angel Of Retribution.
Just wrap your lugholes around the The Fall which kicks off this record and the spirit of Priest looms large, Patrick Ankemark giving killer solos over Chris Bertzell, Tommie Winther and Per Bjelovuk's aggressive rhythm section. With heavier songs like Hypocrite, Godless Utopia, I'm Your Sin, the stomping Immortal Sin which features Schmier from Destruction and the black metal driven Black Souls, the bad really display their metal credentials but they also spread expand their remit with Endless Roads which is slower and more melodic but still carries a metal attitude. Now I never really got on board with Sister Sin but this I really like, it's brimming with attitude, confidence, talent and consists of 100% pure heavy metal from start to finish, impressive. 8/10
Seven Kingdoms: Decennium (Napalm Records)
There seems to be a few female fronted power/trad metal bands releasing albums at the moment Crystal Viper, Mastercastle, Mindmaze and also American mob Seven Kingdoms who are an odd mix of blisteringly fast riffage, classic metal chants and vocals normally found in the folk metal realm, almost a female fronted Blind Guardian. Weirdly it fits together but in any other context this wouldn't work Sabrina's vocals are good and sit in the higher register which may serve as a negative aspect but the musical backing is so dense that you can't help but bang your head. As many of you will know Blind Guardian take a lot of inspiration from J R R Tolkien well Seven Kingdoms equally deal with the literary works of George R R Martin and his Songs Of Ice And Fire books, or Game Of Thrones to anyone that doesn't know. The band's lyrical concepts and even their name comes from those novels and it's perfect subject matter, as this album progressed I found myself warning to the vocals and with every song trying to recognise the characters, plotlines etc became part of the fun. Get this album if you love Blind Guardian, power metal and/or Game Of Thrones, the chances are if love one you'll love the others, then I guarantee you'll love Seven Kingdoms. 7/10
Swedish power metal that has touches of Stratovarius the vocals are the major reason for this comparison, singer Pasi has the high pitched range of Timo Kopitelo. Time is probably a slightly ironic title as they seem have taken a lot of it to release this album having first released a demo in 2005, it's in 2017 that they finally have delivered their debut. As I've said Stratovarius is the overarching musical similarity and on Tale Of Pain the neo-classical guitars sit well with the orchestrations and hooky chorus for a song that has all the Stratovarius traits. Cromonic do add their own flourishes to what is an established sound meaning they avoid tribute act territory and at 9 a song the record doesn't outstay it's welcome, the one thing I would say is that Pasi's lower register is much more palatable than his screechy highs meaning by the end of the 9 tracks only professional power metalheads will be reaching for the repeat button. Time is an adequate record it's not waste but the band will need some refining if they want to stand the test of it. 7/10
Sunday, 16 April 2017
Reviews: Body Count, Me And That Man, Moon Duo, Desecrator (Reviews By Paul)
Body Count: Bloodlust (Century Media)
Ice T, Ernie C and their metal rap outfit are back with an enormously infectious album, number 6 in the catalogue. It's an observation of America, and unsurprisingly touches on many of the civil issues which currently challenge the world's largest superpower. Civil War touches on the many different aspects to life across the country, black or white, rich or poor, wrong or right and features a screaming solo from Megadeth's Dave Mustaine. The Ski Mask Way reflects on home invasion as an income source, with the typical aggression which we've come to expect from this hard core bunch. All Love Is Lost contains a raging Max Cavalera on backing vocals, a song of betrayal and containing some huge riffs.
Ice T explains his love of metal and particularly Slayer before launching into a momentous Reign In Blood/Postmortem with rhythm guitarist Vincent Price doing vocal duties on the latter. You can't go wrong with that riff on Reign In Blood and this version is fast and nasty as it should be. Obviously Ice can't match the mighty Araya vocals and he doesn't even attempt to. The outstanding track on the album comes shortly afterwards, a brutal, guttural Walk With Me which features Lamb Of God frontman Randy Blythe, his roaring contribution unmistakable. Further social commentary on No Lives Matter which understandably focuses on the discrimination against poor, whether white or black. Bloodlust is fast and thrashy, a real rap metal beast. Whether you like them or not, this is a beast of an album. 9/10
Me And That Man: Songs of Love and Death (Cooking Vinyl)
The unlikely combination of Behemoth frontman Nergal and indie pop Englishman John Porter, a Polish resident since 1976, Me And That Man's debut is a dark, anti religious country, bluesy slice of Americana which really makes a pleasant transfer from the norm. Some of the album has the Johnny Cash sound, especially opener My Church Is Black and Of Sirens, Vampires And Lovers, although there are many other sounds which are identifiable throughout. For those of us familiar with the blasting assault of Behemoth this is a complete change.
However repeated listening soon establishes the usual 100% commitment. The raging Love & Death is followed by a country fused One Day which has an almost evangelical feel to it. The 50's sound of Voodoo Queen belongs on a diner jukebox on some distant highway. The whole album has a haunting, at times sinister and Gothic feel. Although it may not be to everyone's tastes, it's a really interesting release which gets better after repeated listening. Well worth taking the time to invest. 8/10
Moon Duo: Occult Architechture Vol 2 (Sacred Bones)
The second instalment from the Oregon psychedelic drone outfit follows quickly on the heels of the essential Vol 1 which we reviewed about six weeks ago and it's just as bloody brilliant. Tripping from Depeche Mode type electronica to space rock mellowness Vol 2 is a slightly shorter release with five tracks, albeit with a running time of not far off 40 minutes. The use of the single beat with repetition allows the three piece to experiment and freestyle. It's relaxing, chilled and totally enjoyable. Mirror's Edge and the industrial beat of Sevens are enchanting. Once again, well worth the effort. 9/10
Desecrator: To The Gallows (Dinner For Wolves)
More Australian action, this time its full frontal thrashing from Melbourne's Desecrator. To The Gallows is a decent slab of old school thrash metal which follows the faithful blueprint which sometimes is just what you want. The band have been around for over eight years and clearly like what they like. There is more than a shade of the UK's Evile in many of the tracks and that can't be a bad thing. From the all out raging of the title track and paint stripping Serpents Return to the more melancholic As I Die this four piece give it everything. However, when you get a track entitled Thrash Is A Verb then you really can't help but warm to them, even if they've stolen at least four riffs in the process. Heavy metal grammar? Fuck yeah! 7/10
Ice T, Ernie C and their metal rap outfit are back with an enormously infectious album, number 6 in the catalogue. It's an observation of America, and unsurprisingly touches on many of the civil issues which currently challenge the world's largest superpower. Civil War touches on the many different aspects to life across the country, black or white, rich or poor, wrong or right and features a screaming solo from Megadeth's Dave Mustaine. The Ski Mask Way reflects on home invasion as an income source, with the typical aggression which we've come to expect from this hard core bunch. All Love Is Lost contains a raging Max Cavalera on backing vocals, a song of betrayal and containing some huge riffs.
Ice T explains his love of metal and particularly Slayer before launching into a momentous Reign In Blood/Postmortem with rhythm guitarist Vincent Price doing vocal duties on the latter. You can't go wrong with that riff on Reign In Blood and this version is fast and nasty as it should be. Obviously Ice can't match the mighty Araya vocals and he doesn't even attempt to. The outstanding track on the album comes shortly afterwards, a brutal, guttural Walk With Me which features Lamb Of God frontman Randy Blythe, his roaring contribution unmistakable. Further social commentary on No Lives Matter which understandably focuses on the discrimination against poor, whether white or black. Bloodlust is fast and thrashy, a real rap metal beast. Whether you like them or not, this is a beast of an album. 9/10
Me And That Man: Songs of Love and Death (Cooking Vinyl)
The unlikely combination of Behemoth frontman Nergal and indie pop Englishman John Porter, a Polish resident since 1976, Me And That Man's debut is a dark, anti religious country, bluesy slice of Americana which really makes a pleasant transfer from the norm. Some of the album has the Johnny Cash sound, especially opener My Church Is Black and Of Sirens, Vampires And Lovers, although there are many other sounds which are identifiable throughout. For those of us familiar with the blasting assault of Behemoth this is a complete change.
However repeated listening soon establishes the usual 100% commitment. The raging Love & Death is followed by a country fused One Day which has an almost evangelical feel to it. The 50's sound of Voodoo Queen belongs on a diner jukebox on some distant highway. The whole album has a haunting, at times sinister and Gothic feel. Although it may not be to everyone's tastes, it's a really interesting release which gets better after repeated listening. Well worth taking the time to invest. 8/10
Moon Duo: Occult Architechture Vol 2 (Sacred Bones)
The second instalment from the Oregon psychedelic drone outfit follows quickly on the heels of the essential Vol 1 which we reviewed about six weeks ago and it's just as bloody brilliant. Tripping from Depeche Mode type electronica to space rock mellowness Vol 2 is a slightly shorter release with five tracks, albeit with a running time of not far off 40 minutes. The use of the single beat with repetition allows the three piece to experiment and freestyle. It's relaxing, chilled and totally enjoyable. Mirror's Edge and the industrial beat of Sevens are enchanting. Once again, well worth the effort. 9/10
Desecrator: To The Gallows (Dinner For Wolves)
More Australian action, this time its full frontal thrashing from Melbourne's Desecrator. To The Gallows is a decent slab of old school thrash metal which follows the faithful blueprint which sometimes is just what you want. The band have been around for over eight years and clearly like what they like. There is more than a shade of the UK's Evile in many of the tracks and that can't be a bad thing. From the all out raging of the title track and paint stripping Serpents Return to the more melancholic As I Die this four piece give it everything. However, when you get a track entitled Thrash Is A Verb then you really can't help but warm to them, even if they've stolen at least four riffs in the process. Heavy metal grammar? Fuck yeah! 7/10
Saturday, 15 April 2017
Reviews: Mostly Autumn, Stormhammer, Satan's Hallow
Mostly Autumn: Sight Of Day (Mostly Autumn Records)
If you take one thing away from Mostly Autumn's latest release (their twelfth in total) it's hope, on the back of what was a particularly dark offering, Sight Of Day has the hallmarks of Mostly Autumn of old. There are few acts that can stir the soul like MA and I will admit I had a tear in my eye when I first listened to the closer Forever And Beyond a track that praises current relationships and friendships past and present.
If you want to hear what the MA of old sounds like then just settle in for the 14 minute plus title track which starts the album, it has everything you'd want from the band Floydian guitar playing, huge organs and synths, haunting dual vocals, folky touches with Troy Donockley and Anne Phoebe providing uilleann pipes and violins respectively it's a majestic piece and the sort of song I as long term fan of the band had though they had left behind, put it in the same category as Heroes Never Die and you can make a leap as to what it's like from there.
As far as the rest of the album goes on they rarely put a foot wrong the songs are filled with English parochialisms, longing and as I've said hope, the only song that jars is Changing Lives which was written and is sung by Chris Johnson, it's almost a solo song for Johnson and musically is similar to his Halo Blind project and stands out from the rest of the album because for this, it's not bad it just doesn't really fit. I's followed by the fireside folk of Only The Brave which definitely fits and sees Donockley and Phoebe return along with Angela Gordon's flute who makes her recorded return to Mostly Autumn appearing on her first album since 2007.
As per usual Bryan Josh's guitar playing is exquisite and his vocals provide the perfect counterpoint to his wife Olivia while the rhythm section of Andy Smith and Alex Cromarty underpin the musical flights of fancy with the soundscapes complete by the synth genius of Iain Jennings. Sight Of Day is probably the most complete Mostly Autumn record since Go Well Diamond Heart filled with beautiful flights of fancy and an overwhelming sense of the unifying power of love (Native Spirit). I urge you to catch them on their tour in May/June but first get a copy of this record as it's one of the best they've recorded in a while. 9/10
Stormhammer: Welcome To The End (Massacre Records)
Ah yes another hammer band, we can't get enough of them here at MoM towers, whether they fall, are kings or covered in glory we do like a hammer band. Introducing German metal band Stormhammer who can be considered contemporaries of Blind Guardian despite not releasing their first record until 2000, they have been a band since 1993 just when Hansi and co were shedding their speed metal skin. Stormhammer are what I'd like to think Guardian would sound like had they not incorporated the orchestral elements from Tales From The Twilight World onward.
A lot of Stormhammer's sound is similar to Blind Guardian's even down to the vocals of Jürgen Dachl who sings as closely to Hansi as he can albeit with a gruffer delivery that even moves into growls on The Heritage. The music on the record is razor sharp power metal that sits in the void between thrash and NWOBHM much like the early German originators like Helloween, Rage and Running Wild, furious rhythm workouts come thick and fast from Chris Widmann (drums), Horst Tessmann (bass) and Manny "Maniac" Ewender (rhythm guitar) meaning Bernd Intveen has to keep up, luckily his lead guitar prowess is more than a match for the rampaging bottom end soloing with abandon.
Welcome To The End is the band's sixth album, now I'll admit I hadn't heard of them before now but going back to their previous releases, I can hear they haven't changed their sound much but bands like this never do, it's part of their longevity that they defiantly stand against modern music trends weathering the storm originally of grunge and more recently of nu-metal staying true to their sound no matter what, no with the resurgence of proper power metal in recent years there is no better time to track down Welcome To The End and swing the storm hammer. 7/10
Satan's Hallow: S/T (Underground Power Records)
Galloping out of Chicago at a rate of knots Satan's Hallow (that's hallow) play music like nothing else is important, filled with the same devil-may-care attitude that propelled the New Wave Of British Heavy Metal Satan's Hallow have denim and leather running through their veins. Their debut record is cut from the same cloth as Angel Witch, Running Wild (again) and American traditional metal legends Cirith Ungol, with buzz-saw riffs of Von Jugel and Steve "Lethal" Beaudette slicing like a hot knife through butter as Lee Smith's bass gallops like Grand National winner and the drums of Pat "Rüsty" Gloeckle keeps it all in time.
Songs like Reaching For The Night, Black Angel The Horror and the title track all use occult/horror imagery in opposition to the sleazier songs like Hot Passion. This ability to be evil and angelic is due to the excellent vocals of frontwoman Mandy Martillo who completes the line up, her addition to the band brings to mind Chastain and Warlock and in what is very male orientated genre still it's great to hear. Yes ok a lot of the album half inches riffs from Maiden and Priest but what band hasn't honestly this is fist int he air stuff ideal for headbanging to.
Having just completed a tour with Liv Sin (formerly of Sister Sin, who's debut solo record is being reviewed soon) Satan's Hallow show heaps of promise and are must for any that love a bit of bullet belt sporting metal. 8/10
If you take one thing away from Mostly Autumn's latest release (their twelfth in total) it's hope, on the back of what was a particularly dark offering, Sight Of Day has the hallmarks of Mostly Autumn of old. There are few acts that can stir the soul like MA and I will admit I had a tear in my eye when I first listened to the closer Forever And Beyond a track that praises current relationships and friendships past and present.
If you want to hear what the MA of old sounds like then just settle in for the 14 minute plus title track which starts the album, it has everything you'd want from the band Floydian guitar playing, huge organs and synths, haunting dual vocals, folky touches with Troy Donockley and Anne Phoebe providing uilleann pipes and violins respectively it's a majestic piece and the sort of song I as long term fan of the band had though they had left behind, put it in the same category as Heroes Never Die and you can make a leap as to what it's like from there.
As far as the rest of the album goes on they rarely put a foot wrong the songs are filled with English parochialisms, longing and as I've said hope, the only song that jars is Changing Lives which was written and is sung by Chris Johnson, it's almost a solo song for Johnson and musically is similar to his Halo Blind project and stands out from the rest of the album because for this, it's not bad it just doesn't really fit. I's followed by the fireside folk of Only The Brave which definitely fits and sees Donockley and Phoebe return along with Angela Gordon's flute who makes her recorded return to Mostly Autumn appearing on her first album since 2007.
As per usual Bryan Josh's guitar playing is exquisite and his vocals provide the perfect counterpoint to his wife Olivia while the rhythm section of Andy Smith and Alex Cromarty underpin the musical flights of fancy with the soundscapes complete by the synth genius of Iain Jennings. Sight Of Day is probably the most complete Mostly Autumn record since Go Well Diamond Heart filled with beautiful flights of fancy and an overwhelming sense of the unifying power of love (Native Spirit). I urge you to catch them on their tour in May/June but first get a copy of this record as it's one of the best they've recorded in a while. 9/10
Stormhammer: Welcome To The End (Massacre Records)
Ah yes another hammer band, we can't get enough of them here at MoM towers, whether they fall, are kings or covered in glory we do like a hammer band. Introducing German metal band Stormhammer who can be considered contemporaries of Blind Guardian despite not releasing their first record until 2000, they have been a band since 1993 just when Hansi and co were shedding their speed metal skin. Stormhammer are what I'd like to think Guardian would sound like had they not incorporated the orchestral elements from Tales From The Twilight World onward.
A lot of Stormhammer's sound is similar to Blind Guardian's even down to the vocals of Jürgen Dachl who sings as closely to Hansi as he can albeit with a gruffer delivery that even moves into growls on The Heritage. The music on the record is razor sharp power metal that sits in the void between thrash and NWOBHM much like the early German originators like Helloween, Rage and Running Wild, furious rhythm workouts come thick and fast from Chris Widmann (drums), Horst Tessmann (bass) and Manny "Maniac" Ewender (rhythm guitar) meaning Bernd Intveen has to keep up, luckily his lead guitar prowess is more than a match for the rampaging bottom end soloing with abandon.
Welcome To The End is the band's sixth album, now I'll admit I hadn't heard of them before now but going back to their previous releases, I can hear they haven't changed their sound much but bands like this never do, it's part of their longevity that they defiantly stand against modern music trends weathering the storm originally of grunge and more recently of nu-metal staying true to their sound no matter what, no with the resurgence of proper power metal in recent years there is no better time to track down Welcome To The End and swing the storm hammer. 7/10
Satan's Hallow: S/T (Underground Power Records)
Galloping out of Chicago at a rate of knots Satan's Hallow (that's hallow) play music like nothing else is important, filled with the same devil-may-care attitude that propelled the New Wave Of British Heavy Metal Satan's Hallow have denim and leather running through their veins. Their debut record is cut from the same cloth as Angel Witch, Running Wild (again) and American traditional metal legends Cirith Ungol, with buzz-saw riffs of Von Jugel and Steve "Lethal" Beaudette slicing like a hot knife through butter as Lee Smith's bass gallops like Grand National winner and the drums of Pat "Rüsty" Gloeckle keeps it all in time.
Songs like Reaching For The Night, Black Angel The Horror and the title track all use occult/horror imagery in opposition to the sleazier songs like Hot Passion. This ability to be evil and angelic is due to the excellent vocals of frontwoman Mandy Martillo who completes the line up, her addition to the band brings to mind Chastain and Warlock and in what is very male orientated genre still it's great to hear. Yes ok a lot of the album half inches riffs from Maiden and Priest but what band hasn't honestly this is fist int he air stuff ideal for headbanging to.
Having just completed a tour with Liv Sin (formerly of Sister Sin, who's debut solo record is being reviewed soon) Satan's Hallow show heaps of promise and are must for any that love a bit of bullet belt sporting metal. 8/10
A View From The Back Of The Room: Church Of The Cosmic Skull (Live Review By Paul)
Church Of The Cosmic Skull, Vodun & YSNBWATID, Trinity Centre, Bristol
In a departure from the more routine metal that we often watch here at the Musipedia we travelled across the Bridge once more to the fabulous Trinity Centre for a night of psychedelic rock. Opening up proceedings, were You're Smiling Now But We'll All Turn Into Demons (6), a four piece from Portsmouth. A dirty fuzzy sound, powerful and trippy shook the venue to its foundations as the band's instrumental meanderings took hold. With slower passages combined with some intensely heavy sections YSNBWATID certainly ensured that attention was captured, at least to begin with. By the middle of the set the repetition meant interest was starting to wander and whilst the intensity on the stage never let up, the lengthy pieces eventually wore a little thin. Still, a band that has been kicking around for over 15 years must be doing something right and it was a decent start.
Having listened to their Possession album recently I knew what Vodun (10) sounded like but nothing could prepare for their quite scintillating live performance. Their Afro Doom heavy sound comes across on record but put the three piece on stage and the world simply changes. With an appearance that stimulates visually, the three members clad in brightly swirling psychedelic patterns and body paint kicked off with a cacophony of noise that met with instant approval from the audience. And then vocalist and percussionist Oya started to sing. Wow! What a voice. I read a review recently that made the Aretha Franklin comparison and I have to say that this lady has similar power. By the end of the set she was barely able to speak such was the intensity of her performance.
She was flanked by the whirling long haired and quite astonishingly painted guitarist Marassa whose nimble fretwork summoned both light and dark, Doom laden riffs and more delicate floral patterns were all summoned with ease. The crashing drums held the whole thing together, drummer Ogoun making a remarkable noise for one so slightly built. The power in which she hit the drums quite captivating. A perfectly paced set climaxed with the front row joining in on percussion and a feeling of what just happened surged through me as the band finished.
Following that was always going to be a huge task so a well done to Church Of The Cosmic Skull (7) for being brave enough to have Vodun on board. The Nottingham based band strike an impressive image, all seven members clad in white with the three female band members front and centre, cellist Amy Nicholson flanked by vocalists Jo Joyce and Caroline Cawley. The band kicked off with Mountain Heart from their enjoyable album Is Satan Real? which obviously provided the bulk of the set. The band attempted to deliver their new religious experience on a largely already committed audience. The band play a psychedelic flavoured rock with Hammond organ (Michael Weatherburn) prominent throughout.
The band appeared to be a little disjointed which is no surprise given their newness which killed the momentum at times. With so many members on stage movement is often limited and guitarist and vocalist Bill Fisher and bassist Sam Lloyd were pinned to the rear of the stage. Full marks for their backdrop which played messages of love and hope before each song. Ultimately the band could do with a bit more beef in their sound, which at times was a little lightweight. I'm not yet a convert to The Church but I'm agnostic rather than atheist at this stage.
In a departure from the more routine metal that we often watch here at the Musipedia we travelled across the Bridge once more to the fabulous Trinity Centre for a night of psychedelic rock. Opening up proceedings, were You're Smiling Now But We'll All Turn Into Demons (6), a four piece from Portsmouth. A dirty fuzzy sound, powerful and trippy shook the venue to its foundations as the band's instrumental meanderings took hold. With slower passages combined with some intensely heavy sections YSNBWATID certainly ensured that attention was captured, at least to begin with. By the middle of the set the repetition meant interest was starting to wander and whilst the intensity on the stage never let up, the lengthy pieces eventually wore a little thin. Still, a band that has been kicking around for over 15 years must be doing something right and it was a decent start.
Having listened to their Possession album recently I knew what Vodun (10) sounded like but nothing could prepare for their quite scintillating live performance. Their Afro Doom heavy sound comes across on record but put the three piece on stage and the world simply changes. With an appearance that stimulates visually, the three members clad in brightly swirling psychedelic patterns and body paint kicked off with a cacophony of noise that met with instant approval from the audience. And then vocalist and percussionist Oya started to sing. Wow! What a voice. I read a review recently that made the Aretha Franklin comparison and I have to say that this lady has similar power. By the end of the set she was barely able to speak such was the intensity of her performance.
She was flanked by the whirling long haired and quite astonishingly painted guitarist Marassa whose nimble fretwork summoned both light and dark, Doom laden riffs and more delicate floral patterns were all summoned with ease. The crashing drums held the whole thing together, drummer Ogoun making a remarkable noise for one so slightly built. The power in which she hit the drums quite captivating. A perfectly paced set climaxed with the front row joining in on percussion and a feeling of what just happened surged through me as the band finished.
Following that was always going to be a huge task so a well done to Church Of The Cosmic Skull (7) for being brave enough to have Vodun on board. The Nottingham based band strike an impressive image, all seven members clad in white with the three female band members front and centre, cellist Amy Nicholson flanked by vocalists Jo Joyce and Caroline Cawley. The band kicked off with Mountain Heart from their enjoyable album Is Satan Real? which obviously provided the bulk of the set. The band attempted to deliver their new religious experience on a largely already committed audience. The band play a psychedelic flavoured rock with Hammond organ (Michael Weatherburn) prominent throughout.
The band appeared to be a little disjointed which is no surprise given their newness which killed the momentum at times. With so many members on stage movement is often limited and guitarist and vocalist Bill Fisher and bassist Sam Lloyd were pinned to the rear of the stage. Full marks for their backdrop which played messages of love and hope before each song. Ultimately the band could do with a bit more beef in their sound, which at times was a little lightweight. I'm not yet a convert to The Church but I'm agnostic rather than atheist at this stage.
Friday, 14 April 2017
Reviews: Royal Thunder, Brothers Of Metal, The Wild!, Baleful Creed
Royal Thunder: WICK (Spinefarm Records)
I've been following the evolution of Atlanta band and what an evolution it is, starting out with a attitude problem that had them playing doomy stoner punk on their debut, before widening their sound on their second album, WICK is their third full length album at it adds more texture than ever before, many of the songs on this record have the occult psychedelic flavours of Swedish acts like Witchcraft, you can hear this on Push and The Well both of which simmer with Josh Weaver's louche guitar playing, the band have always expertly blended classic rock with 90's grunge and wrapped it all up in a progressive rock blanket to let it grow organically.
WICK is probably the least heavy of their three albums...hey...come back that's a good thing honestly what they lack in distortion they make up for in throbbing bass from Mlny Parsons who drives opener Burning Tree with a low resonance that Weaver and second guitarist Will Fiore add to with big open chords. Drummer Diprima is the key to the percussive, hazy April Showers which builds into a solo dirven finale and leads into the emotive Tied which is perfect song to display the intense vocal prowess, it's a dark tale of lust gone wrong that turns from a Stevie Nicks solo outing to heavier final part rocker.
As I've said the band have an eclectic soundscape pop slips in on We Slipped. I can't say enough about Mlny's voice, she really is a true star, it's got grit, power and a resonance all of which is done with gusto on The Sinking Chair. WICK is fantastic, after the first listen I wanted to hear it again and then again, it's now be resident on my stereo for about a week, intoxicating, intelligent and at times just raw Royal Thunder have consolidated their position as one of the freshest bands in rock and metal music. 9/10
Brothers Of Metal: Prophecy Of Ragnarök (Self Released)
Well this is all a bit mad, I'll admit i was sceptical when I saw this band features 3 vocalists and 3 lute players, yes folks the Lute staple of folk metal bands however as The Death Of The God Of Light opens this record it's straight down the line True power metal favoured by DiMaio and co. Fast and frantic delivered by three excellent vocalists the folky female vocals coming from Ylva Eriksson and the gruffer male vocals from from Joakim Lindbäck Eriksson and Mats Nilsson sounding like Sabaton's Joacim mixed with Mr Lordi. Gods Of War could be the best Sabaton song since Swedish Pagans and We Believe In Metal is a warning to wimps and posers to leave the hall. (well that's what happens when you name your band after a song from Louder Than Hell
I've been following the evolution of Atlanta band and what an evolution it is, starting out with a attitude problem that had them playing doomy stoner punk on their debut, before widening their sound on their second album, WICK is their third full length album at it adds more texture than ever before, many of the songs on this record have the occult psychedelic flavours of Swedish acts like Witchcraft, you can hear this on Push and The Well both of which simmer with Josh Weaver's louche guitar playing, the band have always expertly blended classic rock with 90's grunge and wrapped it all up in a progressive rock blanket to let it grow organically.
WICK is probably the least heavy of their three albums...hey...come back that's a good thing honestly what they lack in distortion they make up for in throbbing bass from Mlny Parsons who drives opener Burning Tree with a low resonance that Weaver and second guitarist Will Fiore add to with big open chords. Drummer Diprima is the key to the percussive, hazy April Showers which builds into a solo dirven finale and leads into the emotive Tied which is perfect song to display the intense vocal prowess, it's a dark tale of lust gone wrong that turns from a Stevie Nicks solo outing to heavier final part rocker.
As I've said the band have an eclectic soundscape pop slips in on We Slipped. I can't say enough about Mlny's voice, she really is a true star, it's got grit, power and a resonance all of which is done with gusto on The Sinking Chair. WICK is fantastic, after the first listen I wanted to hear it again and then again, it's now be resident on my stereo for about a week, intoxicating, intelligent and at times just raw Royal Thunder have consolidated their position as one of the freshest bands in rock and metal music. 9/10
Brothers Of Metal: Prophecy Of Ragnarök (Self Released)
Well this is all a bit mad, I'll admit i was sceptical when I saw this band features 3 vocalists and 3 lute players, yes folks the Lute staple of folk metal bands however as The Death Of The God Of Light opens this record it's straight down the line True power metal favoured by DiMaio and co. Fast and frantic delivered by three excellent vocalists the folky female vocals coming from Ylva Eriksson and the gruffer male vocals from from Joakim Lindbäck Eriksson and Mats Nilsson sounding like Sabaton's Joacim mixed with Mr Lordi. Gods Of War could be the best Sabaton song since Swedish Pagans and We Believe In Metal is a warning to wimps and posers to leave the hall. (well that's what happens when you name your band after a song from Louder Than Hell
Lutes add the folk touches of Falconer or Skyclad to Defenders Of Valhalla for most of the album they augment the guitars (I even suspect the lutes are changed for guitars for the rest of the album) for the galloping riffage most of these songs are built on. Lyrically it's familiar ground metal, brotherhood and Norse Mythology are the main themes on what i believe is a bit of a concept album, although on the guitar heavy TYR (which features a bass solo despite not having a bassist) I swear they are singing about Doomsday being Tuesday. At 14 songs long the album could be a bit of a slog for non power metal fans and it does make you wonder how many songs about metal and Odin you can write but Brothers Of Metal manage it, it's silly but my is it good fun. Join this brotherhood if you like your power metal that celebrates the glory of metal and worships Odin, on this evidence it seems to be a hell of a good time. 8/10
The Wild!: Wild At Heart (SPV) [Review By Paul]
All out blues drenched rock n' roll with a punk rock edge is how I'd describe The Wild, a four piece out of Kelowna, British Columbia. The band comprise the ludicrously named Dylan Villan on lead guitar and vocals, The Kid on rhythm guitar, Boozus on bass and vocals and drummer Reese Lightning. Wild At Heart is their second album and it's a goodie. Similarities to guitar driven rockers such as The Black Spiders and Fellow countrymen Monster Truck are inevitable but hey, good rock n' roll is good rock n' roll. Tracks such as Best In The West, opener Ready To Roll and the AC/DC riff in Rattlesnake Shake all scream good time, the kind of tunes that make you put your foot down when behind the wheel. A very solid sophomore release. 8/10
Baleful Creed: Seismic Shifter (Self Released)
Norn Iron rockers Baleful Creed return with yet another record full of fuzz drenched stoner metal anthems built on whiskey soaked vocals, swaggering riffs that are low and slow on Memento Mori but have a Motorhead bite on Lose Religion. This is their second album and it slots in to their discography perfectly as the follow up to their debut while adding some extra touches such as the bubbling organs and lazy blues of The Wolf which fleshes out the bands American stoner sound.
Faux Celebrity is aimed at "celeb" culture and is driven by a Sabbath goes Southern style riff however it's the stoner metal of Orange Goblin or COC that is still their go to way of noise making on Devil's Side while Forgiven is a bass driven psychedelic piece with swirling guitars. Baleful Creed again prove themselves as more than capable of competing with the US heavyweights. 8/10
The Wild!: Wild At Heart (SPV) [Review By Paul]
All out blues drenched rock n' roll with a punk rock edge is how I'd describe The Wild, a four piece out of Kelowna, British Columbia. The band comprise the ludicrously named Dylan Villan on lead guitar and vocals, The Kid on rhythm guitar, Boozus on bass and vocals and drummer Reese Lightning. Wild At Heart is their second album and it's a goodie. Similarities to guitar driven rockers such as The Black Spiders and Fellow countrymen Monster Truck are inevitable but hey, good rock n' roll is good rock n' roll. Tracks such as Best In The West, opener Ready To Roll and the AC/DC riff in Rattlesnake Shake all scream good time, the kind of tunes that make you put your foot down when behind the wheel. A very solid sophomore release. 8/10
Baleful Creed: Seismic Shifter (Self Released)
Norn Iron rockers Baleful Creed return with yet another record full of fuzz drenched stoner metal anthems built on whiskey soaked vocals, swaggering riffs that are low and slow on Memento Mori but have a Motorhead bite on Lose Religion. This is their second album and it slots in to their discography perfectly as the follow up to their debut while adding some extra touches such as the bubbling organs and lazy blues of The Wolf which fleshes out the bands American stoner sound.
Faux Celebrity is aimed at "celeb" culture and is driven by a Sabbath goes Southern style riff however it's the stoner metal of Orange Goblin or COC that is still their go to way of noise making on Devil's Side while Forgiven is a bass driven psychedelic piece with swirling guitars. Baleful Creed again prove themselves as more than capable of competing with the US heavyweights. 8/10
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