A View From The Back Of The Room: Riverside (Live Review By Paul)

Riverside: The Marble Factory, Bristol

Few could have imagined the horror that Riverside would go through in 2016. Back in October 2015 we watched as the band, well into their 14th year together, glided effortlessly through a magnificent set at The Marble Factory in support of their recent beautiful Love, Fear And The Time Machine album. We now know, all too painfully, how on 21 February 2016 Piotr Grudzinski would pass suddenly and the band were sent spiralling into the depths of despair and grief. The outpouring of support for the band was so heartfelt that the band decided, in time, to continue as a trio. The release of Eye Of The Soundscape and the emotional live album Lost 'N' Found - Live In Tilburg earlier this year has no doubt helped.

The tour, 19 European dates as well as a few select gigs on home soil has been entitled Towards The Blue Horizon. No support act, just two hours of the band. Just before 8pm the trio entered the stage. Led as always by Mariuz Duda, flanked by drummer Piotr Kozieradski and keyboard player Michal Lapaj, the band stood unflinching whilst Duda explained. 2016 had been a disaster for the band, but they had finally decided to continue as a trio. The evening, and the tour, was intended as a cathartic experience for not only the band but for the fans as well. Two hours of music, descending into darkness at times before hopefully climbing into the light and allowing everyone to leave with a smile. Simple, yet oh so challenging. Duda introduced Maciej Meller, touring guitarist and long time friend of the band, who has actually recorded with Duda in the past.

What followed was nothing short of spectacular. Opening with a stripped down version of Coda, and backed by a clever light show, Riverside (10) delivered a stunning performance. well paced, with tracks carefully chosen to allow maximum expression, the majority of the audience (much larger than their last appearance) stood in genuine awe as the evening progressed. Second Skin Syndrome, Conceiving You and Caterpillar And The Barbed Wire were magnificent, with Meller fitting in perfectly, nothing flashy and totally at one with the rest of the band. I've raved about their exceptional musicianship before in these pages but it bears repeating that Riverside are masters of their art. The jam session at the end of The Depth Of Self Delusion allowed them to unleash their inner rock. One of many highlights from the evening was the semi-acoustic version of the opening track from Time Machine, a hear stopping Lost (Why Should I Be Frightened By A Hat?), slightly spoilt by some very noisy punters at the rear of the venue whose conversation was clearly much more interesting that watching the sublime performance of one of the best progressive bands around. Fools.

As the set headed towards its conclusion, Duda's voice showed no signs of cracking. His delivery is impressive, as is his bass playing, wild and yet fully controlled. Lapaj's keyboard work is almost wizardry, such is his movement and depth of playing. Meller's guitar work was exceptional and the whole thing is in the steady hands (and feet) of the Slayer shirted Kozieradski. The extended Escalator Shrine and Before closed the set before the emotional encore arrived. Duda commented on 2016 before the band launched into Towards The Blue Horizon, which had me on the verge of tears. the lyrical content of a song written before Grudzinski's death is so poignant, and so sadly apt. Watching the band you could see them calling on inner strength to get through and the audience willing them to do so. They did, and with a huge thank you concluded the evening with a different version of Coda. The audience provided an enormous ovation thoroughly deserved. It's going to be a tough ride for this band but they have the strength and support to get through it. A quite breath taking performance from one of the most important bands in rock today.

Reviews: Dragonforce, Danzig, Mark Slaughter

Dragonforce: Reaching Into Infinity (earMusic)

In the review for their previous album I said that Dragonforce MkII were going from strength to strength with Marc Hudson on vocals, the songs were faster, the solos madder and the vocals more intense than ever. Since then the band have released a career retrospective and clearly they have reverted back to type as their latest album seventh in total opens with the Ashes Of The Dawn which has the familiar blitzkrieg guitar riffs, thunderous million miles per hour drumming from Gee Anzalone, the twitchy electronics and speedy keyboard runs of Vadim, it's old school Dragonforce but distilled into their more recent trend of shorter songs.

I will admit having been following the band since the Dragonheart days this first song brought an instant smile to my face, it's an incredibly simple trick but 'play guitar fast' is one Dragonforce have always done better than anyone else. They also shake things up as the album progresses, they add the video game 8-bit chip-set to Judgement Day and Curse Of Darkness is an organ-driven horror themed track that stretches the band creatively and gives Marc a chance to show off those pipes. In what is a recurring theme Silence is a big power ballad slowing the album in the middle before they explode into the euphoric Midnight Madness and they once again switch styles to stomping thrash on War! which could be mistaken for Municipal Waste et al if it wasn't for the high vocals in the chorus. The records finest moment is The Edge Of The World a Maiden-like epic that sits as the albums longest track and even brings in harsh black metal vocals.

As usual the solos, lead breaks and riffs of Herman Li and Sam Totman are set to warp speed but it's the duels that have always been the material for air guitarists to emulate and there are tonnes of them here with every song having the classic Dragonforce solo section. Even Fredric Leclercq gets in on the act with a bass solo on Astral Empire. Reaching To Infinity is a Dragonforce album and it sounds like how you'd expect it to sound, for fans it's a sparkling return to former glories with one foot firmly in the present. Feel the force and get widdling ladies and gents! 9/10

Danzig: Black Laden Crown (AFM Records)

He's back, 7 years since his last solo record Deth Red Sabbaoth the man they call Danzig (or Glenn to his mum) returns with his first album since hell froze over and the original Misfits line up reformed at Riot Fest last year, on the back of this Danzig has confirmed his own festival called Blackest Of The Black that also features Ministry, Suicidal Tendencies, DevilDriver and CoC. So with his stock so high it's about the right time to release a new album and as a heavy metal fan that's a good thing as Danzig's solo output has always been nearer the heavy doom and classic metal circles than the punkier Misfits music.

The first thing I'll get out of the way is that the cover art is awful looking like something from a D.I.Y Mercyful Fate style band the large breasted woman has been done over and over again. Danzig has had H.R. Giger create cover art for him in the past so this is a let down but hey never judge a book so onto the decks of death it went. Both the title track and Eyes Ripping Fire are slow moving doom rockers with Danzig bellowing over the top but his vocal does seem a little weaker than it used to be, this might be because of the production which is poor at best. I was expecting so much from this record but it's not what I expected at all the music is ok moving between Sabbath doom and Doors psych (Last Ride) but this is record for die hards only. Sorry Glenn I've got something to say, I think you've lost it today. 6/10

Mark Slaughter: Halfway There (EMP Label)

Mark Slaughter is probably best known as the singer of American glam rock band Slaughter their biggest hit was probably the 1990 single Up All Night. Halfway There is his second solo album and it takes from his old school rock sensibility with modern techniques. Hey You opens the record with the glam rock stylings he is known for it's an upbeat number that opens the album, he adds more 90's sounds on Devoted and Conspiracy which lends a nod to Alice In Chains due to Slaughter's reverbed vocals on both tracks, the heaviest song on the record is the lumbering Reckless and Disposable has a hint of Beatles-psych to it.

As he's an offshoot of the glam rock scene in the US you'd expect there to be a ballads and the title track is a rock ballad up in the best, whereas Forevermore is slower and built for waving lighters. A good hard rocking album from this veteran of the radio rock era, Halfway There might be the album title but he's been there and done that which shows on this album. 7/10     

Reviews: Astral Doors, Ghost Bath, Bare Infinity (Reviews By Rich)

Astral Doors: Black Eyed Children (Metalville Records)

Swedish heavy/power metallers Astral Doors return with new album Black Eyed Children which is their eighth album and out on Metalville Records. Astral Doors have previously merged together traditional melodic heavy metal with power metal but with Black Eyed Children the power metal elements are scaled right back and almost completely absent with this being a very straight up melodic heavy metal record. This is an effective approach with songs such as God Is The Devil, Die On Stage and Slaves To Ourselves being impressive melodic metal anthems but the albums failing is that it is too straightforward in its approach and the songwriting generally is quite mediocre for a band of Astral Doors standing.

 One strength throughout the album are the vocals by powerhouse frontman Nils Patrik Johansson (also of Wuthering Heights and formerly a member of Civil War) whose soaring, melodic yet gravelly vocals never fail to impress during the duration of the record. Overall this is a disappointing release from Astral Doors where an attempt to write a more straightforward heavy metal album results in a rather dull and mediocre affair. A few highlights here and there but generally quite forgettable. 6/10

Ghost Bath: Starmourner (Nuclear Blast)

Starmourner is the third album by depressive black metallers Ghost Bath and their first release for Nuclear Blast Records. Ghost Bath are a very divisive band within the metal community from their early claims that they were based in China when it turned out the band are from North Dakota to the extremely polarising vocals from frontman Dennis Mikula. To their credit though they must be doing something right to get signed to a large label like Nuclear Blast. Personally I don't mind Ghost Bath and Starmourner isn't a bad album. It is unfortunately a very bloated one. The band continue where they left off on previous album Moonlover with a sound mixing atmospheric black metal with shoegaze elements albeit performed in major key resulting in a sound sitting somewhere between happiness and melancholy.

The band definitely need to learn to edit their songs as a good few on the album either overstay their welcome or just get nowhere and achieve nothing. There are songs though which do work well such as Ethereal, Celestial and Luminescence. The wailing screaming vocals by Dennis Mikula are easily the most disliked part of Ghost Bath's sound but on Starmourner they are placed quite low in the mix and as such don't drown out the rest of the band (unlike 'that' set at Bloodstock) managing at times to compliment the music. All in all Starmourner is a flawed album with an excessive running time and songs which drag on too long. When at its heights the album does stand out and impress but there are not enough of those moments throughout. 6/10

Bare Infinity: The Butterfly Raiser (Blackdown Music)

The Butterfly Raiser is the second full length album by Greek symphonic metallers Bare Infinity. This is also the first release with a new line up including vocalist Ida Elena who has replaced Angel Wolf-Black (who has gone on to front Wales' very own Triaxis). The music on The Butterfly Raiser is as standard for female fronted symphonic metal. Guitar riffs are standard chugging with the songs being carried mainly by the strong melodies from the keyboards including some folk and middle eastern style melodies and the impressive vocals of Ida Elena who goes for a more pop rock style similar to Charlotte Wessels from Delain rather than a classically trained or operatic approach.

It's all fantastically produced and sounds very pleasant to the ears but it's basically treading ground covered by many bands before albeit very well but it really offers nothing new. The material on the album isn't strong enough throughout to justify the hour plus running time though songs such as Race Of Destiny, Hear Me Out and the title track stand out more than others. If you are a fan of female fronted symphonic metal bands then there is something for you to enjoy with this album but this style has been done better and with more originality by many other bands within the genre. 6/10

Reviews: Solstafir, Backwood Spirit, Distillator (Reviews By Paul)

Solstafir: Berdreyminn (Seasons Of Mist)

It's been three years since Icelandic metallers Solstafir released the stunning Otta, an album that really put them on the radar in the U.K. Live performances at Damnation in 2014 and a U.K tour the following year along with further festival appearances enhanced their reputation as a superb live band. 2015's rather acrimonious departure of drummer Guomundur Oli Palmason didn't do them any favours but the band has since recruited Hallgrimur Jon Hallgrimsson who is superb and at last the follow up album is here. 

If you've never heard Solstafir it's quite difficult to adequately define their sound. Sung in their native language provides a totally different dimension to the tracks, which regularly vary between the crushingly heavy and the beautifully delicate and fragile. Berdreyminn contains all of these elements, and has taken a step forward from Otta. Opening track Silfur-Refur builds slowly, twangy steel guitars and haunting tones in the background before the band crash into full flow. Aoalbjorn Tryggvason's straining emotional vocals combine with some ferocious riffs whilst Hallgrimsson's drums demonstrate how well he has settled. It's a powerful opening which is underpinned by some shimmering guitar work. The industrial feel of Isafold follows, a more serene almost indie rock sound in comparison. It's an immediate change of pace which works well. The ominous intro of Hula conjures images of swirling mist across windswept lakes, whilst the calming feel of the track is beautiful. A mild tempo, with piano adding depth and melody. It's a cracking song, echoing vocals and a simple, almost ghostly style at times. 

Solstafir rarely do short songs, allowing each track time to breath and grow. Naros is a classic example, with Tryggvason's opening vocals accompanied by a lone drum beat and atmospheric electric guitar. It's finely layered and very dramatic. After three minutes the song takes off, driving guitar work and the pounding bass lines of Svavar Austmann pushing the track forward whilst retaining the intensity. Naros is almost rock pop in it's feel but there is so much more to it. The alternative break downs, the relentless bass lines and solid drumming provide so much interest. A doom laden piano intro for Hvit Saeng fits perfectly with the string arrangement before the band let rip once more with a powerful and uplifting second half. Repetition is used to great effect with a fuzzy guitar sound complementing the intricate solo work. Saepor Marius Saeporsson and Tryggvason's guitar playing is fantastic with duel vocals adding fire once again.

Dyrafjorour lifts the album still higher with sparkling violins and piano complimenting the baleful progress of a darkened track. Yet pockets of light shine through it and it becomes quite uplifting in places, with the arrangement just stunning. Once more, it's almost impossible to find the right words and penultimate track Ambatt continues the theme, brooding piano and muzzled guitar mixing with Tryggvason's melancholic vocals. It's simply stunning. Album closer Blafjall's contemplative organ and angst filled vocals combine with a simple bass drum, all adding to the mix before the guitars slowly increase in tempo and intensity as the song builds. Blafjall is a slow burner, with more understated but essential keyboard work really providing depth to the sound. It's an epic way to close what is one of the best releases of the year. Captivating. Spellbinding and thoroughly enchanting. 10/10

Backwood Spirit: Self Titled (Pride & Joy Music)

Take a trip back to the 1970s with Backwood Spirit, a five piece from Orebro, Sweden whose self-titled debut is firmly rooted in the classic rock style of Free and Bad Company. Opener Give Me Good Lovin’ is about as close to that sound as you will get. This is in no small part due to the astonishingly Paul Rogers sounding vocals of Goran Edman, who spent time with Yngwie Malmsteen and Europe’s John Norum. His soulful vocals are full of blues rock and complement the band’s sweet sound. Founder member Kent Engström delivers some delightful guitar work whilst the rest of the band pitch in to bring a retrospective flavour.

The keyboards of Tobias Aslund (now replaced by Peter Emilson) tinkle in the background, whilst a robust organ fleshes out the sound magnificently. See Piece Of The Peach for example. There are lashings of other influences in amongst the tracks, Zeppelin and most evidently The Black Crowes whose riffs are stolen with gay abandon on the opening to both When Love Comes Around and Soul To Soul whilst the effects at the start of Water Of Change/Rainbow bring Rush’s Xanadu instantly to mind. If you relax and open your mind, Backwood Spirit is a perfectly solid album which transports the listener back to a simpler time, of rainbows, vinyl and inappropriate lyrics. It’s worth the journey. 7/10

Distillator: Summoning The Malicious (Empire Records)

Almost a year to the day, Dutch outfit Distillator earnt 6/10 for their opening slot for Metal Church at The Underworld in London. At the time I reported that they were honest in their endeavours but a little bullet belt heavy and dated. Well, album no.2, the ludicrously named Summoning The Malicious has now arrived and it's exactly as you'd expect. Old school thrash metal is a beautiful thing when it gets going properly. Unfortunately the problem with this album is that it doesn't get onto the starting blocks that often. 

Opening track Blinded By Chauvinism is one of the most confusing titles I've ever heard but it kicks hard. And to be fair most of the album does exactly that. The problem is that it's all a bit routine and predictable. The better tracks include Enter The Void, closing track Megalomania and the fantastic Algorithmic Citizenship. If you like your thrash in the meat and two veg variety then you may well like a bit of Distillator. Not terrible by any stretch of the imagination, apart from the cover which is just awful. 6/10

Reviews: Seether, Sabbath Assembly, Apocalypse Orchestra

Seether: Poison The Parish (Canine Riot)

I like Seether I really do, but the last few albums have been a bit too lightweight moving away from their Nirvana-like grunge stylings they favoured in their early work. But with Poison The Parish they have said goodbye to the radio for a darker heavier approach, Mr Seether himself Shaun Morgan has said that this record will have "heavy guitars" and "loud drums" and he's right tracks such as Something Else has a grinding riff with the light and shade of Fragile but also features a reverb drenched solo with Morgan playing some of the best guitar of his career.

I'll Survive starts slow and gives way to the chunky riffs of its latter part and the creeping Let You Down makes things darker. However it's also got lighter moments with the anthemic Against The Wall and the angst ridden Let Me Heal both moving more towards the radio-friendly rhythms until the riffs lumber back in on angry Saviours. Shaun Morgan clearly hasn't chilled out at all with most of the songs rallying at something or another but for old school Seether fans this record takes them back to their heavy roots with Dale Stewart and John Humphrey the thick as steel engine room (see Nothing Left) they have added lead breaks to most of the songs to give them a more classic metal sound. After lingering in the doldrums of the alt rock seen for a while Seether are back, bigger, badder and more pissed off than ever. 8/10  

Sabbath Assembly: Rites Of Passage (Svart Records)

So what do you think they sound like? This review could write itself really as Rites of Passage is the fifth album from psychedelic/doom band Sabbath Assembly and it once again has lighter end of Iommi and co stamped all over it with Kevin Hufnagel and Ron Varod riffing, David Christian (drums) and Johnny DeBlase (bass) contributing the low end to the slabs of heavy doom. The swirling psych touches really give a woozy feel to the album highlighted by Jamie Myers' bewitching vocals on the trippier tracks such as Angels Trumpets and I Must Be Gone. Its occult mystery from the get go on Rites Of Passage the band straddle the line between crushing doom and Hawkwind-loving space rock with lyrics from the book of Crowley. It's nothing new from the band but for those that ascribe to the alternate spiritualism Sabbath Assembly will soundtrack your next coven well. 7/10

Apocalypse Orchestra: The End Is Nigh (Despotz Records)

Never has a band had a more suitable name than Apocalypse Orchestra, their fusion of devastating doom metal and medieval folk, the 8 minute plus The Garden Of Earthly Delights opens the record with low bagpipes serving as a base layer and creating a discord for the rest of the song to build on, it's disconcerting stuff alright and it allows the band to build layers of bass, drums, guitars and other authentic medieval instruments such as cittern's, lutes, hurdy gurdy etc. The drama of the opening builds until the heavy doom riffs are unleashed halfway through, it's a mostly instrumental track but the low vocals do appear howling out the cries of anguish, Flagellant's Song is another creeping doom riff but with Latin chants, plenty of hurdy gurdy and a chamber feel, it's like Ghost if they were more morbid. Lyrically we're in HELL territory with Plague doctors, fire and brimstone but these Swedes forgo the NWOBHM for a doomier vibe but it's suits giving this record the feel of a soundtrack to Armageddon (no Aerosmith or Bruce Willis here). The End Is Nigh I hope is a starting point for this band (it is their debut after all) their folk metal sound is authentic and merges well with the lumbering doom making for an interesting listening experience. 7/10

Reviews: Nad Sylvan, Nighon, End Of The Dream

Nad Sylvan: The Bride Said No (InsideOut)

Nad Sylvan's name may not be well known to those outside of the prog circles but his voice will be recognisable as the Gabriel in Steve Hackett's Genesis Revisited shows and on in it's live line up. The Swede is and interesting character affectionately known as a Vampirate his flowing locks and shirt put him in the 18th Century from looks alone and this is where his latest album is also set. Following on from the Vampire concept record Courting The Widow released in 2015 The Bride Said No is a continuation of the story line, albeit with a much broader musical scope, it's dramatic even cinematic at times having the feel of a Broadway musical (think Meatloaf) with Sylvan handling the keys, orchestration, programming and most of the guitars with Anders Wollbeck aiding with additional sound design, keys, programming and orchestration which gives this record it's unique sound.

There's Gothic tendencies, some pop flourishes and of course prog rock but it's all very understated with the songs able to speak for themselves. Obviously with Rolodex (old school folks) like Sylvan's he's calls upon some friends to help him out and they are high profile of course, What Have You Done features guest guitar solos from Steve Hackett and Guthrie Govan, most of the drums are performed by Nick D'Virgillo and bass from Jonas Reingold, however on three of the tracks most notably When The Music Dies, which is a tribute to all the stars we have lost recently, the bass is taken by Tony Levin who plays some dirty distorted Chapman Stick on this song in particular.

Other guests are Ronie Stolt (Flower Kings) on guitar and Jade Ell, Tania Doko and Sheona Urquhart on backing vocals with Jade duetting with Sylvan on What Have You Done and Urquhart providing sax on A French Kiss In An Italian Cafe. The Bride Said No is a fascinating record with rich musicality to it that is bolstered by the performances, Sylvan has a unique voice with a wide range that tells the story well with all of the performances on top form. It may be a bit overwhelming for those that prefer their music a bit simpler but for fans of complex, theatrical music this is excellent. 8/10

Nighon: The Somme (Inverse Records)

War huh? What is it good for? So asked Edwin Starr in 1970, well one answer would be nothing as Starr himself said but one thing war is good for is lyrical inspiration on metal albums, so many bands have covered war or wars as themes with Sabaton being the first name that comes to mind for most. War is also the theme of the second album of Finnish industrial metal band Nighon, not just any war though 'The Great War' the so called "war to end all wars" (complete bollocks of course) and in particular the battle of The Somme which one of the most famous and most bloody battles in all of human conflict.

The darkness and harrowing nature of this conflict is perfect for an industrial metal band as they can really mimic the relentless march of war machines on tracks such as the Blow Them All To Hell which has a grinding black metal riff backing the harsh vocals of Nico Häggblom, while Alva Sandström sails above the heaviness like an angel watching over the damned souls, see a tracks such as The Dirge and Lest We Forget which has her repeat the line "all hail the glorious dead" like a chant of regret.

The groovy down tuned riffs of this record flawless mix with the cinematic elements of the record the instrumental elements are really strong with a fist pumping heaviness that allows the duality of the vocals shine through. It's an impressive piece of work with excellent use of light and shade to really draw you into the album's darkness on Scharnhorst, Reclaiming Ravenpoint and I Fear For Tomorrow but adding the female vocals and orchestration for great effect. 8/10

 End Of The Dream: Until You Break (Painted Bass)

Any band from The Netherlands that has a female singer will instantly draw comparisons to fellow Dutch acts Within Temptation, After Forever and Delain but it's whether or not the comparisons are complimentary or not is the real kicker. So with that in mind I put on the second album from End Of The Dream and I must say that this is happily in the former, it is quality female fronted metal that is nearer to Delain, Within Temptation and even The Gathering in terms of sound there are lots of synths that bring delicate orchestrations which adds to the records Gothic feel. It's the Gothicness of Erase Me that also puts them in a similar vein to Evanescence due to Micky Huijsmans vocal prowess and the emotive power of the song. On the other hand Wakeless and The Heart In Me both have the symphonic sounds of Sharon Den Adel and co.

The performances are slick and the production clear as you'd expect from Joost van den Broek (After Forever, Everything) with songwriting that knows its audience but doesn't do anything new, you can compare them favourably to their compatriots but much like Within Temptation and Delain have done they will need to tweak and advance their sound to survive in a very cramped genre. Still the talent shines through and End Of The Dream deliver a high quality second record that reaches it's peak on the incredible I Am Nothing in the middle of the record. 7/10

Reviews: Below, Sideburn, My Regime The Ruins Of Beverast (Reviews By Paul)

Below: Upon A Pale Horse (Metal Blade Records)

Doom metal from Sweden? Hey, that's a new concept! Meet Below, a five piece from Nykoping whose second album Upon A Pale Horse was nearly mistaken for a new Candlemass release, such is the doom laden morbidity that crashed down from the first chords of Disappearing Into Nothing. Wave after wave of crushing riffs, pounding rhythms and the demonic screams of vocalist Zeb. If you enjoy the doom melancholic approach then this release will light your black candle. It's a solid, powerful opus which belies the relatively recent time the band have been together. Five years and two albums isn't that bad.

The Coven plods a little but the title track is a stunning ten minute epic complete with narrative intro and soaring vocals in the tradition of Johan Langqvist and Mats Leven. A little more pace with Suffer In Silence, a solid chugging track which allows Zeb to hit his best King Diamond operatic heights. It's good stuff. There is no let up with Hours Of Darkness and the magnificent 1000 Broken Bones dynamic and impressive and uncannily reminiscent of the late great Ronnie James Dio, the 7th anniversary of his untimely passing weirdly coinciding on the same day as the review. Powerful and creative. Closing track We Are All Slaves is another gargantuan piece, full of emotion and huge sound and a fantastic ending to a superb release. Upon A Pale Horse is essential listening. 9/10

Sideburn: #Eight (Fastball Music)

The world of rock and metal continues to present bands who have been plying their trade for decades with little appreciation from the wider world. Or that’s how it feels at times. When you come across a band like Sideburn, who have been chugging away for 20 years and are on album number eight, you begin to wonder who else you are missing out on. Anyway, Sideburn are one of those few bands who come from Switzerland (so not the Swedish outfit of the same name - Ed). #Eight is a dusty, rocky, blues soaked fuzzy guitar driven affair which follows the standard pattern of such legends as AC/DC, Rose Tattoo and Airbourne. In fact, I was convinced they were Aussies such is the swagger which is usually associated with those loveable antipodeans. (Or Countrymen Krokus - Ed)

Sunshine, beer and the faithful 4/4 beat, guitar riffs that ooze with sleazy pub rock, it’s all here. Roland Pierrehumbert not only has one of the best names in rock but a cigarette drawling voice which sits superbly with this type of music. The aptly named Mikael Riffart lays down the simple but efficient guitar work with axe partner Lawrence Lina whist the rhythm section of Nick Thornton and drummer Lionel Blanc are as reliable as the Williams/Rudd affiliation of old. Yes, this is good time rock ‘n’ roll, no frills but lots of thrills. The band kick it out for 45 minutes and include a routine cover of Motorhead’s No Class to bring a raucous release to a stomping finish. If you fancy something for a summer drive then grab the Sideburn. It’s good fun. 8/10

My Regime: Derranged Patterns (Scarlet Records)

Swedish metal output is currently in overdrive with the entire range of genres crossing the decks. Welcome to My Regime, a four piece thrash outfit who nail their colours to the mast from the opening salvo of the intro track for this, their second album in a year. It's a merger of Slayer, Anthrax and Testament rolled into a reasonable thrash bundle. It's certainly nothing new but if you feel that the crunching drive of Araya and co do it for you then you should enjoy it. Apart from the fact that vocalist Spice sounds exactly like the Slayer front man, there is also some heavy doomier elements ala Sabbath.

Check out the mid-section of Off To War which segues neatly from the obvious Slayer riffs which are everywhere on this release. As I said it's not at all new but there are certain tracks which move a little outside the blueprint. The Cage contains the clearest Slayer riff since World Painted Blood but also tries to add some subtle atmosphere and changes which I think works well. The band are tight, with some fine guitar from Marvin Kairenus whilst the engine of Alexander Sekulovski and Bob Ruben provide a concrete platform to thrash it up at full speed. Album closer Time Slipping Out Of Tune shifts to Testament's trademark rampant bass lines whilst retaining the all out Slayer thrashfest of old. Possibly the best Slayer album since, well, probably Repentless. 7/10

The Ruins Of Beverast: Exuiva (Van Records)

Multi-instrumentalist Alexander Von Meilenwald’s project The Ruins Of Beverast return with album number five, the haunting and quite astonishing Exuiva. There are some bands where labels just don’t work and The Ruins Of Beverast is one such unit. Although Von Meilenwald is the sole performer, you would never believe this listening to this work. It is epic in its magnitude and ambition, a shimmering peaceful yet chaotic release which demands repeated plays to absorb. With black metal, doom and death metal juxtaposing comfortably throughout, the only difficulty is trying to determine the massive layered effects which occur in every track.

The title track kicks off with a 15-minute descent into madness before the most unbelievable Sutur Barbaar Maritime, a quite exceptionally evocative piece. The melancholic atmosphere combined with severe heaviness is almost overpowering on occasion, such as during Maere (On A Stillbirth’s Tomb) which meanders and then detonates with equal levels of sinister resolve. The choral echoes in the background merely embellish an already devilishly ominous sound. There are so many influences which ease in and out of this release.

You hear bands such as Finland’s Vainaja, the UK’s Fen and Winterfylleth and Norwegian Black Metal legends Darkthrone weave around you as the music does its work. The Pythia’s Pale Wolves, another magnificent 14 minute plus track even contains the eeriest bagpipes in the background. I cannot conceive of how this sound is created but it is just majestic in every respect. Cross the bridge between Agard and Midgard and enter The Ruins Of Beverast. A journey you cannot regret. 9/10

Reviews: Snakecharmer, Inglorious, The Picturebooks, Roguenoire (Reviews By Paul)

Snakecharmer: Second Skin (Frontiers Records)

Back in 2013 the debut album from the Blues soaked rock outfit Snakecharmer earned high praise here at the Musipedia with a 9/10. For those of us who loved old school Whitesnake, Snakecharmer were a delight. With Neil Murray and Micky Moody from Coverdale’s original line-up combining with Laurie Wisefield, Harry James, Adam Wakeman and the magnificent voice of Chris Ousey, the band filled a void and brought a modern touch to the sound that Whitesnake gave us in those halcyon days of the 1980s.

Well, Moody has moved on, replaced by Simon McBride (Solo Artist/Sweet Savage) and the band has released sophomore album Second Skin. On first listen I wasn’t over enthused, a couple of decent tracks, some superb blues guitar work underpinned by Wakeman’s reliable smooth keyboards and Ousey’s voice soaring in and out but several routine mid-paced tunes. And then I realised that this is never going to be full of innovative new music. Snakecharmer do what they do and they do it well. The two live shows I’ve seen from them have contained around 50% Whitesnake songs, so whilst they are now only 1/6 Whitesnake, they remain firmly rooted in the Snake history.

Second Skin isn’t going to change the world in any way, but it is a pleasant solid and well produced album that is enjoyable to listen to without being particularly memorable. Opening track Sounds Like A Plan kicks off proceedings with gusto, and the album then cruises without ever really hitting top gear, listen to tracks such as Punching Above My Weight, Follow Me Under and Forgive & Forget for examples. Ousey’s voice remains a delicious hybrid of Coverdale and Paul Rogers and he is given several opportunities to really let the lungs open up, especially on the slower pace of tracks like I’ll Take You As You Are.

Wisefield’s playing has always been a joy, melodic and measured and he doesn’t disappoint whilst McBride adds a new dimension to the formula. Harry James, who obviously doesn’t have enough to do in Thunder and Magnum must do this type of stuff in his sleep and demonstrates what a great drummer he is throughout. At 50 minutes long, it’s probably a little too long but given the four year interval the band are perfectly entitled to restate their musical chops. By all accounts their recent show at The Globe was beset by sound issues so maybe it’s as well I was unable to make it. A reasonable follow up by a collective who may have been expected to deliver slightly stronger. 7/10

Inglorious: II (Frontiers Records)

Inglorious are a band whose trajectory is certainly in the ascendancy. They have wowed all who have seen them since they broke on the UK rock scene around three years ago. Huge amounts of exposure from Planet Rock, impressive performances across the Country in the live arena and at festivals has cemented their status as a band to see. Last year’s debut release was well received and hot on the heels comes II. It's fair to say that Nathan James and band mates nail their colours firmly to the old-school rock sound mast of bands like Zeppelin, Purple, Bad Company and of course Whitesnake. If you haven’t heard this man sing, you could be forgiven for thinking it was David Coverdale (expect of course he won’t hit such notes these days). His voice is really something. Blues soaked rock n’ roll from start to finish, what Inglorious have in comparison to Snakecharmer is desire, stomp and a vibrancy that was absent for much of Second Skin.

I Don’t Need Your Loving, Taking The Blame and Tell Me Why are all strong songs which form the opening salvo. There is little original about II, it follows the hard rock blueprint which the legends laid down all those years ago. Produced by the legendary Kevin Shirley, it is exceptionally polished, has a huge sound and harks back to the days when bands created music organically in the same room, rather than the piecemeal approach of Pro Tools. With Wil Taylor having left the band after recording, original rhythm guitarist Drew Lowe has returned to the fold to work once more with lead guitarist Andreas Eriksson, bassist Colin Parkinson and drummer Phil Beaver. I don’t for one minute think that inglorious are the future of rock as a certain Planet Rock presenter has proclaimed but they have done is carved a niche for themselves in a market which has an insatiable appetite for the retro sound. II is a solid release and I look forward to seeing them in July as they perform on the top of the mountain at Steelhouse. 8/10

The Picturebooks: Home Is A Heartache (Another Century Records)

The latest in the alternative rock and blues duo, this time The Picturebooks from Gutersloh in Germany. Home Is A Heartache is 14 tracks which take Rival Sons, The White Stripes, The Graveltones, Royal Blood and The Record Company and mix it into a blast of angst driven blues and rock which is at times catchy and interesting and at other times a little dull. My problem with this … it’s just the same song 14 times over. Sure, there are subtle differences but this is drums and guitar echoing around the same format. Play track 2, Wardance and then play track 13 Heathen Love with its Zeppelin riff and it is the same thing all over again. I’m sure the good people at Planet Rock will think this is revolutionary. It’s just boring. 5/10

Rouge Noire: M.I.L.F. (Self Released)

Okay, I’m going to put this right out there. This is one of the most routine albums I’ve heard for years. It’s not rubbish, it’s just mundane. RougeNoire are a female outfit from Milan who have been kicking around for over 10 years and whose press is either poorly translated or hyped beyond belief. Hard rock it may be, but there is little here to suggest this is genuinely original or inventive. They can play and the songs are totally inoffensive. Half way through and I was yawning and searching for the next release to review. A Night Of Perdition may shade it as the best song on here but that’s not really saying much. Calling yourself Black Mamba, Hellcat and Foxy Lady doesn’t do you any favours either. Probably one to side-step if truth be told. 4/10

Reviews: The Night Flight Orchestra, Other View, Imperivm

The Night Flight Orchestra: Amber Galactic (Nuclear Blast)

Björn "Speed" Strid and David Andersson will probably be best known respectively as singer and guitarist of melodic death metal/metalcore Soilwork but in parallel they have experienced a fluffier career as the 80's loving AOR driven rocking of The Night Flight Orchestra. The album covers are spacey, neon drenched pieces that contain hard rocking numbers that you would hear on any mid 80's American rock album.  This record opens with the keyboard friendly Midnight Flyer which is the sort of song Blackmore recorded with Graham Bonnet and Joe Lynn Turner with David Andersson and Richard Larsson taking the roles of Blackmore and Airey duelling in the solo sections.

I must say Speed's vocals are so suited to this music, he has always been a good vocalist in Soilwork but here he really shines, very Bonnet-like delivery on the soulful Gemini and the bluesy Sad State Of Affairs. The band also features Sharlee D'Angelo (Arch Enemy) on bass, Jonas Källsbäck on drums and Sebastian Forslund who plays congas, percussion and guitar so it's a bit of a Swedish supergroup that have come together to recapture the classic late 70's to mid 80's melodic-driven rock and they have done it very well.

This is their third album and once again it's at a very high level from the funkier stylings of Domino to the saccharine Josephine which continues the traditions of naming big ballads after women while Space Whisperer draws from their namesake ELO and Something Mysterious blatantly copies from Survivor. Amber Galactic would have been a million seller in 1985, with the music scene the way it is now that won't happen but you can indulge at hope in some of the best melodic rock of 2017 get on board with The Night Flight Orchestra it's a wild ride indeed. 9/10

Other View: When Daylight Is Gone (Self Released)

We're a bit like the Starship Enterprise (NCC-1701) here at MoM, we like to go boldly and seek out new bands from around the world, now there are hundreds of bands releasing albums every month from all over the globe and some are terrible but some are thankfully great. As many of you may have noticed I'm the progger in the group, if it's complicated and a little OTT I'm probably going to listen to it. Italian progressive metal band Other View are one such band, after a little digging I found that this the band's second full length record, their first was more straightforward power metal affair but this one takes their sound to exciting places.

Vantage the song that starts the record has synths to die for, they are really the lead instrument here relegating the guitars to the background. When The Daylight Is Gone is a very modern progressive album that sounds takes it's cues from Haken, Coheed & Cambria and Circus Maximus there's a lot of edm style electronics from Matteo Cidda on Dead, thick riffage from Van and Francesco Tuscano on Carnivore which is an ode to the lycanthrope and Lon Hawk's vocals are emotive and soar high with clarity and passion especially on Lightyears which is a superb 80's style rocker. In the outer reaches of the Milan music scene Other View are a band that you may not know but I urge you if you like concise but progressive metal with melodic touches this 8 song record will really get your blood flowing, live long and prosper Other View this is very good work. 8/10

Imperivm: Rome Burns (Virus Records)

As you can probably see Imperivm are a band that deal in Roman history, their name is in the Latin style (v's no u's). It's useful then that they come from Italy so this is their history and they can treat it with respect. Personally I love an album that deals with history and I'm especially drawn to the lyrics on this record as it deals with Ancient Rome, now I've got a degree in Classics so I always find it interesting to see how bands interpret the stories of the era into song, where as Ex Deo do this with blood gore and death metal, Imperivm take the Sabaton route of doing it with histrionic power metal.

This means guitar/keyboard duals galore, rampaging drums and galloping basslines throughout, the songs all deal with historical events, the opening salvo of Last Breath sounds like Helloween (the overarching sound of the band in general) and deals with the end of the Republic with the Ides Of March. The almost choral title track is built on big organ riffs with orchestrations, while Spartacus Never Dies is a rampaging rally against Pompey The Great. The vocals of Spartacus (yes the band use pseudonyms) are good suiting the power metal backing, he doesn't sky scrape but they are by no means gruff and his European pronunciation is endearing.

Mostly the band are versatile ably dealing with folk metal on Behind The Alps, the Maiden-like The Final War and the ballad No Wife No Queen with ease. Rome Burns is a great power metal album based on a subject I hold dear, I can see myself playing this album a lot and in our continuing journey to find new bands Italy's Imperivm really stand out. 8/10

Reviews: The Lonely Robot, Selene, Revival

Lonely Robot: The Big Dream (InsideOut)

Musician/producer/writer all round Renaissance man John Mitchell has returned to his solo love affair that is the no rules, no boundaries Lonely Robot project. Since the release of the record Mitchell has been busy with Frost* touring and recording as well a his usual job of producing, mixing for other bands. In between all this he has managed to record another Lonely Robot album, once again there is a loose concept but whereas Please Come Home saw the astronaut isolated in the darkness of space, now he awakens in a surreal garden that Mitchell supposes "mirrors 'A Midsummer Night's Dream' [almost] a solipsistic haze" with the astronaut trapped inside his own mind this has allowed Mitchell to bring the album 'down to earth' so to speak allowing more organic textures to the songs. T

his has been helped that since the debut Lonely Robot have been established as a live band featuring Steve Vantsis (Fish/Tilt) on bass, Liam Holmes on keys and his Frost* bandmate Craig Blundell behind the skins. Blundell also contributes drums to the album with Mitchell pretty much playing everything else, although Nick Beggs adds some additional bass. The songs shine once again with the album having a texture of their own that are both different to the previous record but audibly continue the themes established. Pop, rock, prog, folk and many more are all covered here with the songs shorter more direct and at time softer, where as Sigma and Everglow are the heavy hitters of the record and will be the rock radio staples, the more subtle softer tunes like The Divine Art Of Being and the folky In Floral Green which features mystical backing vocals from Bonita McKinney.

Elsewhere the album pairs interesting musical soundscapes with spoken word narration from Lee Ingleby (Inspector George Gently/Line Of Duty). With two albums of uncompromising musical experimentation, a third on the way and more 'one-off' live shows planned to once again weave his musical tapestry John Mitchell has returned with another sterling release that will seal his position as one of the (usually) British musical polymath's in the realms of Peter Gabriel, Kate Bush and more recently Steven Wilson. 10/10

Selene: The Ravages Of Time (Self Released)

I reviewed Selene's EP in 2014 but somehow missed out on reviewing their debut full length in 2015, the EP got a solid 7/10 and I mentioned that the band could diversify a little to really hit home in what is crowded genre. It looks as this is what the band have tried to do on this their second full length, the record is tighter, harsher and faster with guitarist/founder/songwriter John Connor describing it as "leaning more on our Power Metal roots" and while that is true it's still a record that sits comfortably in the symphonic metal genre due to the operatic vocals of Shonagh Lyons. I would say my review copy had scratchy production which detracted from the listening experience but The Ravages Of Time is a good enough album for fans of this style, there are risks but not too many to change anything drastically, still if operatic, orchestral backed metal is your bag this Irish band will be for you. 7/10

Revival: Demo Album (Self Released)

Welsh metal four piece Revival has wowed me twice when I've seen them onstage so when their demo album dropped in to MoM towers I put it on the decks of doom and cranked up the volume. The album is a mixture of their Madness demo and their newest unreleased demo named Season Of The Wizard as such the production is a bit all over the place and a couple of the tracks are repeated, it's the songs on the Season Of The Wizard that stand out in audio quality as they are produced by the legendary Chris Tsangarides. In terms of influence the sounds of Down, Orange Goblin, BLS all loom large with I Am God, Chains are heavyweight stoner riffs favoured by Down but the band add the BLS style shredding to Tap Out and Danger.

Obviously with these sort of influences to their sound they also have a huge shot of Sabbath on Season Of The Wizard and their cover of Paranoid is pretty good too. Limited to just 100 physical copies pick this album up as it's a snapshot of a band at the very inception of their career and it bodes well for the rest of their career, the songs are punchy, the performances mature and the overall package is presented with professionalism. Revival are definitely bringing back the rock. 8/10