The Spotlight: Interview With Metal Church (By Paul)

Metal Church Interview

Ahead of their much anticipated show at Bristol's Thekla, we were extremely lucky to be interview Mike Howe and Kurdt Vanderhoof from the band. On a balmy evening a couple of hours before the gig we sat on the waterside next to the floating venue.

Mike returned to the band after 20 years in 2015 and the first product was the excellent XI. It seemed a good place to start so I asked Mike and Kurdt what it was like doing their first show together at the D&R Theater in their home base of Aberdeen, Washington. Mike: "that was scary as hell". Kurdt added "not only because of that but because of Rick" (Van Zandt - Metal Church lead guitarist). Mike explained that Rick had been hospitalised the night before the show. Kurdt laughed "yeah, it was like, welcome back a Mike!"

I moved on to ask about XI, which to me captures the essence of old school thrash with a freshness. Kurdt said "that was kind of the intention". How did the album come about? Kurdt explained "when Mike and I started working together again it was kinda like riding a bike. He hadn't written for a long time but when we knew, it was exciting, we were working together again and this time we didn't have anyone else telling us anything about it. We did it and when we said it was done it was done. We liked it so we continued to work on it and there were no outside influences for the first time. So that was great. Each song kept developing and it got more exciting and I think that shows a lot in exactly what you said; there's an enthusiasm, an excitement about it and I think that was good because that's what we were feeling". Mike added "it took us back to the eighties when we were young and we got to relieve what we had in the past".

I wanted to know about the reasons for the band's limited UK appearances and so I asked them how the British audiences worked for Metal Church, noting that the band play more regularly in Germany and other European countries. Mike explained "they are all offers, you know, promoters have to offer us the gig, it's not like we go hey, we're coming, you pay us, that's what it's about, whether we get offers from local promoters to bring us here. These were offers we could do. It's difficult being in a band and on tour, pulling a budget together that you can afford to go to all these places. This time it worked out."

Metal Church's sole U.K. gig last year was at the Underworld in London and I was fortunate enough to be there. I asked the band how the gig was. Mike and Kurdt agreed "it was great." Kurdt added "kinda like the last time, the crowd was great. I loved playing there". I noted that the band were receiving good responses all over the place, and having checked out recent shows in Europe on YouTube but I wanted to go back to that Underworld gig and the bizarre sight of a fan in full work suit who stage dived. 

Do the band get many stage divers these days? "It sounds familiar but I don't remember" said Kurdt. "We don't get many stage divers but it's funny watching, as our crowd and audience has gotten older with us so when they start moshing everyone's moshing just a little bit more carefully; you know, you can fall and break shit! Everyone's just gently moshing these days. It's hysterical but they still go fuck it, we're not stopping!"

I then asked about the venue for the gig. "On a fucking boat" said Mike. "It's really cool". (For those that don't know the Thekla is a former cargo ship that has been converted into a club with the main stage and auditorium deep in the hull of the ship). The band played 70000 Tonnes of Metal (with former vocalist Ronny Munro) and Kurdt noted that this was more 7,000 tonnes of metal. I wanted to know whether the band ever got to see anywhere that they played, especially with their heavy touring schedule (the band were flying to Greece seven hours after the show ended). 

Mike acknowledged that they'd been on the road for over four weeks which was is a big tour. They don't get time to see anything. "It's a big shame. I've never been to Dublin, we'd never been to Dublin, or Ireland and we played recently and we saw like, this much of it (gestures minuscule size). Kurdt adds "we see what's in walking distance of the bus". I asked about their gig at the Limelight in Belfast and Mike admitted it was a difficult day with some sound technicalities which meant hanging around and waiting. "You are kind of trapped there waiting for things to start" he noted. The gig was great though, both Mike and Kurdt noting that the audience was "raging".

I wanted to explore how much fun the band appeared to be having on stage, which was apparent at the Underworld in 2016 (and was totally the same during the night's show later) with loads of smiles. Mike joked, "we huff laughing gas before we go on stage (cue much laughter). "We're all high as fuck!" adds Kurdt. "It's the old guy pills they give you these days" laughed Mike, "its like the beginning we just talked about, we can't believe that we're here doing this at fifty something years old, so we are more grateful; the joy comes easy." 

Kurdt added "we're having fun, because when the whole thing started, the whole metal thing you know, you felt like a complete twat if you were still doing that on stage now, we are just having fun, we're smiling and we are really grateful to be there and more grateful that anyone is in the audience". "It's fun, we are having fun so we're not going to hide it, we're going to have fun". "We're going to enjoy it" added Mike. "It's metal but I'm not that angry anymore you know" said Kurdt. "As a kid it's real easy to be all tough and metal. Now, I'm 55, doing that shit would be stupid".

I moved on to ask the guys about the content of their songs. I'd noticed when listening to the Metal Church back catalogue just how current and topical heir material is. Kurdt immediately noted The Human Factor for one. I wanted to know whether the current state of the world continued to influence their writing. "I don't know if you can help but draw on it" said Kurdt, continuing that he and Mike do write topically but that on XI they wrote lyrics that sang well. 

"Maybe they didn't attach a big bunch of meaning to it, you know, it was more let's be a little bit more creative, let's not try to be so on point with everything, let's have more lyrics rather than narrative and I think what comes from that is more listenable". However, Kurdt was clear that the earlier stuff definitely does apply today too. Mike added that they were trying to be more organic. "We just wanted it to happen naturally, not force it or overthink it. I think that worked really well for us".

We moved onto the metal scene in the 1980s and I referenced the Big 4. Kurdt was quick to correct me. "It was the big 5. They kicked us out!" Mike added "actually we quit the big 5", cue much laughter. However, neither Mike or Kurdt felt that the band was overlooked in the thrash movement. "It was the big 5 in the beginning but because of the way things happened for us, with the line up changes, and management changes we just fell away from it. I get asked about it a lot, you know, are you kinda, not necessarily bitter but do you wonder about what happened and I say no. I know exactly what happened. It was bad management, bad record deals, bad decisions and line up changes, all those kind of things kind of fuck up your momentum".

Kurdt explained that the band are now the underdogs, noting that this is kind of cool. "Now we are the cool guys with the history. We get a lot of respect regardless which to me is amazing". "It means a lot" added Mike, "respect from your peers, it shows what you are doing is viable". I commented that the material continues to hold up well as the fans know it all. "What's really weird", adds Kurdt, "is that the fans are singing along with the new stuff and that never happens with bands, the heritage bands or the old guy bands. They all want to hear the old stuff. Our fans want to hear the old stuff but they are also into the new stuff. That is pretty huge for us". The band are playing a good chunk of new stuff in their current set, four songs in fact (Reset, Needle & Suture, Killing Your Time and No Tomorrow).

The Classics Live release captures essence of Metal Church live, but I wanted to know what the plans are for the next material. Mike revealed that "he's [Kurdt] already got a huge amount of songs structured already, written and ready to go. We have to get back, get off the road to get together", "and Mike and I will finish it off when we get home" adds Kurdt, hinting at an early 2018 release. Exciting times indeed.

We then moved on to the final question, the inevitable favourite sheep question which generated incredulity much mirth. Mike identified three, the Rockfell, "with really cool, like glasses on", the Ryeland who had "such a sad face, he's like a bear" and finally the panda bear resemblance of the Hampshire Down. Kurdt added the Herdwick and the Boreray. So for once, the black metal Jacob sheep didn't get a look in.

Interviewing for us, a huge honour. Getting to meet such legends as Mike Howe an Kurdt Vanderhoof is incredible, humbling and real fun. These guys were great company, really receptive and appreciative. Huge thanks to tour manager Tim Harding for setting it up and massive cheers to Kurdt and Mike for giving up their time. We can't wait for the new album and a return to U.K. shores.

Reviews: Moonbow, Circle, Angelwings

Moonbow: War Bear (Ripple Music)

Moonbow have the rhythm section made up of Steve Earle (Afghan Whigs, Hermano) on drums and former Valley Of The Sun Ryan McAllister on bass so the groove is all you are going to need with this Appalachian muscle music. Moonbow play stoner metal that calls for much beard wearing, tonnes of beer drinking and heavy riffing, The band was started by BMX legend Matt Bischoff and Hank 3 guitarist Davey McElfresh and it's got a gut load of groove, Davey plays mean, dirty riffs while Bischoff has a great voice his timbre is measured but he can let loose as well, sounding a bit like Mastodon's Brent. Vocally the record also features a guest slot from John Garcia, now if you like stoner.desert rock and you don't know who John Garcia is then stop reading and educate yourself.

War Bear is very polished but loose record with Bloodwash having a heavy bassline and a hazy sound that could just go on and on but eventually stops and the band move onto Death Of Giants which has a riff so thick it could be in government, Alone Eyes is all bass and drums with the guitar sliding in and out while California King just rocks with the soulful groove of Clutch. War Bear is a solid slab of stoner from Moonbow who continue Ripple Music's current form of bringing together the best stoner metal on the planet, crack a couple of Buds, sit back and enjoy the ride. 8/10

Circle: Terminal (Southern Lord)

Well this is bloody weird, repetitive guitar passages, 70's prog jangling and raw black metal vocals make Finland's Circles a particularly strange act to try and review. Musically the band are part Krautrock, part proto-metal with the huge classic synthesizer sounds and fuzzy guitar riffs the major backing however this prog rock revivalism is offset by the schizoid harsh vocals, you will never hear Tangerine Dream doing this! This band have been around for a while and released over 30 albums with the kind of frequency of Hawkwind (with 12 coming between 2003 and 2007) and indeed the same level of spoon licking madness.

It's this avant-garde approach that will either draw you in or see you off, the record can be hard work, give the 12 plus minute opening track Rakkautta Al Dente and see how you feel, if you sink into a world of experimental progressive jazz space rock then Terminal will be for you if find yourself jumping for the off button than may be give it a miss. Circle clearly make music for themselves and a loyal fanbase, their music is challenging and could be the undoing of even the most hardened progger, but give the album a bit of time and it turns into a very rewarding listen, just don't put it on when granny comes for tea. 7/10

Angelwings: The Edge Of Innocence (Pride & Joy Music)

There aren't many bands (to my knowledge) that hail from the British Overseas Territory of Gibraltar but Angelwings are out to prove that 'The Rock' rocks! They started life as a Nightwish tribute act so you you can make an educated leap about what they are going to sound like as their debut album opens with the excellent Wonderland you can hear Tuomas and co in the riffs, the orchestrations and yes the vocals, which are nearer to Annette Olzon than those of Tarja, they soar yes but not in the operatic glass shattering way of Tarja. The music reflects this too Glenn Cano's keys are key to many of the track with synths pulsing through tracks such as Forbidden Love while Memories is an atmospheric ballad led by a dulcet piano riff.

Liltih meanwhile relies heavily on the theatrical almost carnival sound of a wurlitzer favoured by Nightwish on the Imaginaerm before ramping up the gothic elements. The rest of the band all play well with Paul Cano's guitars, Darren Fa's bass and Mark Brooks' drums ramped up for The Fallen which is also the song that I think best displays Divi Cano's vocals with snarl in the verses before the high melodic passages come in the chorus. The Edge Of Innocence is a strong debut album from these Gibraltarians, it has all the prerequisites you would want from the style of music but doesn't fall into the trap of being too repetitive or generic. 7/10

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

Metal Church - Thekla, Bristol

The triumphant return of legend Mike Howe to the Metal Church ranks in 2015 saw the release of one of the best albums for many years in XI. Since then the band have toured the album hard and I finally achieved my goal of seeing them last year at The Underworld in London. A year on and the band are still pushing forward, hitting a four week run of club and festival dates across Europe. This included somewhat unbelievably a night at the ship turned venue The Thekla in Bristol. Metal Church almost on your doorstep? Too good to be true and as a result the Musipedia team were there in force.

Opening the evening's proceedings were Swiss outfit Comaniac (7) whose retro brand of thrash was enjoyable with tracks from their two releases played, well, at high speed! The band have been opening for Metal Church throughout the tour and Bristol was their final gig. They played it like they were opening at Wembley Stadium rather than a small venue and provided one of the evening's endearing moments when guitarist Valentin Mossinger broke a string. He rushed off stage leaving front man Jonas Schmid to take full lead duties which he did with great aplomb. The band soldiered on magnificently, not breaking stride in any way before Mossinger returned, accompanied by Mike Howe who stoked up the crowd before running back off. Comaniac received a decent reception and earnt much applause for their heroism under fire.

The lights dimmed once more and Brad Fiedel's spine tingling theme from Terminator 2 blasted out. I can't think of better intro music. Metal Church (10) began to lay waste to the packed audience with an hour and a half of some of the finest thrash and heavy metal ever written. Opening with Fake Healer the Church were in imperious form. Mike Howe owning the centre ground, the mighty Kurdt Vanderhoof distributing riffs at will whilst crammed to the right the excellent lead work of Rick Van Zandt pierced the air courtesy of a superb quality sound. The ever reliable Steve Unger combined his rampaging bass lines with main backing vocals whilst new drummer Stet Howland didn't miss a beat all night.

What I love about Metal Church is the quality of their songs. Whilst the band are heavy as hell the songs are beautifully composed, simple yet intricate with some razor sharp political and social commentary. the likes of Fake Healer, Date With Poverty and Beyond The Black remain relevant, clever and totally on point.

Metal Church's set comprised a set of classics interspersed with four killer tracks from XI. Howe' voice is stunning, hitting the notes perfectly on the new stuff, such as No Tomorrow and Killing Your Time whilst adapting it slightly to accommodate the older tunes, which included a magnificent Gods Of A Second Chance from 1993's Hanging In The Balance, the skull crushing Start The Fire and epic Watch The Children Pray from 1985's The Dark, complete with excellent participation from the mixed ages in the crowd. Metal Church pulled in a lot of old school fans who had been fortunate enough to have seen the band before and a number of younger metal heads who were revelling in the opportunity to see one of the the original members of the thrash movement at such close quarters.

As the evening moved towards its climax the band continued to grin and smile, clearly enjoying themselves despite their gruelling schedule (which extends through the summer across several countries), Howe genuine in his appreciation of the strong reception the band fully deserved. Then it was time, and Beyond The Black arrived. If you asked me to name one definitive Metal Church track it would be this beast. Powerful, sinister and magically constructed. Just brilliant. A double encore of the blistering Badlands and The Human Factor rounded off a superb evening from one of the often criminally overlooked icons of the heavy metal scene. With new music promised for 2018, there may yet be more opportunities to worship. I'm a believer. Bring it on.

Reviews: Cellar Darling, Rabid Bitch Of The North, The Sun Explodes

Cellar Darling: This Is The Sound (Nuclear Blast)

Cellar Darling are a trio of Anna Murphy (vocals, hurdy gurdy). Merlin Sutter (drums) and Ivo Henzi (guitars & bass), all three are formerly of Swiss folk metal act Eluveitie. Cellar Darling don't really stray to far from the musical endeavours of their former band but instead of the harsh/clean mix employed by Eluveitie Anna handles all the vocals for this record. Her voice is similar to that of Sharon Den Adel of Within Temptation and you can hear that clearly on the symphonic Black Moon which is one of the three singles that open this record. First track Avalanche has pagan chanting with the pulsing riffs of Amaranthe while Challenge is the folkiest song of the three with Anna's Hurdy Gurdy driving the song as Ivo gets a killer guitar solo at the end.

The metal part of this record sits more in the symphonic/power style than that of their previous band, the tones are darker and drawn from the pagan and Wicca world, Six Days has an industrial sound in opposition with the keys and flutes that come in middle of the piece, with little fills and epilogues the album draws similarities with Charlotte Wessels Phantasma project in 2015. Murphy has great vocals and is able to show them off much better here than she ever did with her previous band while Ivo and Merlin are the perfect foils for her angelic voice and hurdy-gurdying the three have spent a long time on the road together and it does show with the confidence exuded on this record, at 14 songs for the special edition they clearly have a wealth of material built up in their short existence and the fruits of their collective labour make this album a very choice cut for those with a love of folk-influenced metal. 8/10

Rabid Bitch Of The North: Nothing But A Bitter Taste (Hostile Media)

A big old slab of Northern Iron now from Norn Iron metal traditionalists Rabid Bitch Of The North who play loud, brash, heavy metal that's decked in leather, studs and wields a Rickenbacker bass, which precisely how bassist/vocalist Joe McDonnell makes his noise, he along with drummer Chris Condie and guitarist Gerry Mullholland make the noise contained on this record. They really buy into the NWOBHM mythology staccato riffs, one-two drum patterns and lead bass playing all feature heavily as the band use screeching highs and gritty lower vocals to give songs like Nothing But A Bitter Taste their attitude but will also split the audience in half, as they are a bit love or hate. The record has nothing you haven't heard before but it's fun enough for a bit of retroism in the modern day. 7/10

The Sun Explodes: We Are Of These Walls (Self Released)

With the continuing evolution of the genre many call djent there are many bands now successfully that marry a cacophony of riffs with songwriting that engages. The Sun Explodes are one of the more recent bands to come out of the technical metal origins but they like many of their compatriots have adjusted the formula to something that is a bit more accessible and melodic. The vocals for one are excellent Dave Maclachlan has an expressive vocal and he also adds the keys to the heavyweight emotive songs such as Mirrorgazer which closes the album strongly.

The rest of the record is full of heavy low tuned metal with big meaty riffs the order of the day, filled with progressive touches and groove the band really show their talent on the excellent Spake Of Tongue which brings all their elements together while Orro/Seven Sisters are the more ambient middle section. The Sun Explodes is a strong album that as I've said sits in the djent realms but pushes them yet again. 7/10

Reviews: Anthriel, Greta Van Fleet, Moscow

Anthriel: Transcendence (Lion Music)

If you're a Finnish band that play neo-classical progressive power metal then you will immediately be compared to the genre leaders Stratovarius, Sonata Arctica, Wintersun, so Anthriel will have a mountain to climb from the first track. The Calling starts the record with Bowie/Floyd-like acoustic number as the synths shimmer giving a interstellar opening for the proceedings that lulls you in to the record as the orchestral elements swell and the riff for Under Burning Skies comes in like it's travelling on the wind and then the drums kick in and we have the first indication of Anthriel's true style, which is American sounding progressive metal with Symphony X and Fates Warning coming to mind.

You immediately focus on the technical riffs and virtuoso solos of Timo Niemistö who handles a fret board with the tenderness of a lover but abuses it like a metalhead does their liver. Behind him are the frantic rhythm section of Antti Horttana (bass) and Henrikki Markkula (drums) they control the changes of pace, the rampaging metallic sections but also give the lighter more melodic parts a deft hand, check out the aggressive opening of the 11 minute Oath Of Darkness which has all of this in one song the chunky verses, frequent tempo changes and a hook-laden chorus a towering guitar solo, impassioned vocals phrasing and a keyboard solo.

Those last to parts along with the shredding guitars are key to Anthriel's appeal, Antti Hakulinen's keyboards take the reins as a lead instrument in their own right duelling and soloing with it's six-string cohort in unison, on Siren's Song they take a more classic prog route but Painted Shadows is pure Stratovarius baroque-metal. Simo Silvan's vocals to round out the top class performances on this record, they are powerful, reasonably low and raspy but in this sort of music I prefer it to the soaring ear-piercing delivery of Timo Kotipelto, Silvan has similar elocution to Russel Allen of Symphony X thus the earlier comparison. Transcendence is the band's second album and it's a must buy for anyone that loves progressive/power metal. 9/10  

Greta Van Fleet: Black Smoke Rising (Republic Records)

"In the days of my youth I was told what it means to be a man" these are the opening lines to one of the most iconic debut albums of all time. Led Zeppelin I was the start of the biggest thing to hit rock n roll since The Beatles, in January 1969 the swaggering mix of classic Southern US blooze and rock n roll was brought to the nth degree with fuzzy guitars, thundering bass, powerhouse drumming and a blue-eyed soul howl like no other. Zep grabbed the population by the crotch and didn't let go until they were megastars. Well no it seems four young men from Frankenmunth, Michigan are trying to do the same, the mysteriously named Greta Van Fleet (who apparently is a Frankenmunth native) have arrived with four track EP that has balls bigger than the NBA, FA and NFL combined. The band is made up of three brothers Joshua, Samuel, Jacob Kiszka and along with Daniel Wagner they have written an EP that made the hairs on the back of my neck stand on end, we've probably said numerous times on this blog so and so sounds like Zeppelin, well other bands may sound like, Greta Van Fleet are the closest you can get.

Jacob's guitars are loose and explosive, Samuel contributes the stomping basslines and the organs that drive the title track, while Daniel Wagner thumps the tubs like he hates them. "So far so what?" I hear you cry well on top of this nice classic rock noise are the astonishing vocals of Joshua, he is a dead ringer vocally for Robert Plant having the same phrasing and range as Percy, which is even more impressive when you watch their video for Black Smoke Rising and see that he is just the slip of a boy. The four tracks on this record all point to great things for the band, I've already mentioned the funky title track, well that's proceeded by the folky Flower Power which sits in the vein of Going To California and Gallows Pole. The heavy rockers come from Highway Tune which leaves you breathless before punching you in the goolies on Safari Song, both of these tunes are primal rock fury and in conjunction with the other two songs on this EP, Greta Van Fleet have the chops to go stratospheric, they know what it means to be a man, lets see if they can grow into something special. 8/10

Moscow: Queen Of Sin (Self Released)

Whether you call her Tsaritsa (queen) like the Russian fans do or you use Moscow – her nom de guerre in the international music scene, she certainly knows how to attract the bearded rocker to her cause, much like classic metal pin-up Lita Ford, the young and beautiful Moscow knows how to use her sexuality to sell her musical ability. Leaving Russia at a young age she trained for singing, acting and dancing in both Cambridge and New York this girl has rock n roll spirit that drew her to the Sunset Strip where her favourite bands lived in a maelstrom of excess and debauchery, this seemed to be the place for Moscow and if you watch the video for this EP's title track you can see she revels in the dangerous, overly sexualised, sleazy rock favoured by Motley Crue, GNR and Aerosmith with distinct modern sound of Asking Alexandria and In This Moment.

I've concentrated on her image a lot in this review so far, perhaps unfairly, it's blatantly part of the package of course but she can actually perform, her vocals are strong with Maria Brink an obvious comparison in both the cleans and the screams, she is called the Queen Of Rock by many of supporters and there is a royal charisma and confidence to her performances with a strong cast of musicians forming her studio band, Queen Of Sin does what a an EP should it makes you want to hear a full length and see the performer live, let's hope that's sooner rather than later. 7/10   

Reviews: Cheap Trick, Styx, Wizard (Reviews By Paul)

Cheap Trick: We’re All Right (Universal Music)

Having waited seven years for the arrival of Bang, Zoom, Crazy…Hello, Cheap Trick is straight back at ya with album no.18. There is no real change of style with We’re All Right, just high tempo pop rock from start to finish. Robin Zander is on top form whilst the rock ‘n’ roll guitar of Rick Nielsen is scintillating. The opening salvo is classic Cheap Trick, You Got It Going On and first single Long Time Coming each just over three minutes each and pure bubble gum. There’s more than an edge of Flush The Fashion era Alice Cooper on the fast moving Radio Lover, the radio friendly Lolita is sure to become a live favourite and the continuing Beatles vibe that has always flowed through the band remains intact throughout.

Brand New Name On An Old Tattoo is reminiscent of the hard edge that Lennon, McCartney and co possessed but it’s the cover of Blackberry Way (originally by The Move) which really reminds you why the band remain known as the Japanese Beatles. Whilst We’re All Right may not have quite the initial impact that last year’s Bang, Zoom, Crazy…Hello did, it is still a demonstration why Cheap Trick remain one of the most loved rock outfits of all time. Their rare visit to Bristol at the end of this month should be quite an evening. 9/10

Styx: The Mission (Universal Music)

I’ve never had much time for Styx. Formed in 1972 in Chicago, their high-pitched harmonies and musical theatre style really didn’t push my buttons in any way. They were always there in the background, the odd-track appearing on Planet Rock but never really grabbing the attention, apart from the ghastly Babe. The Mission is their 16th full release, and arrives 12 years after their last album, Big Bang Theory. The Mission is a concept album about a mission to Mars. With most of the vocals delivered by guitarist Tommy Shaw, who was also the main composer, the album moves from the high paced and rocky Gone Gone Gone to the much more sedate Locomotive.

It’s a polished, beautifully constructed album, as you would expect for a band of such stature. The guitar work of Shaw and fellow guitarist James ‘JY’ Young is unsurprisingly of high quality, although the synthesizers tend to dominate on many of the tracks. The album moves smoothly through the story with tracks such as Time May Bend, the six-minute Red Storm and the operatic Khedive before concluding with Mission To Mars, another graceful, synth-led tune. I guess if you like the harmonies of Yes and ELO then you are likely to be a fan of Styx. I can appreciate the cleverness and musicianship. It just doesn’t float my boat. 7/10

Wizard: Fallen Kings (Massacre Records)

Formed way back in 1989, Wizard is a German power metal outfit who are about as close to Manowar as you could get without rubbing yourself in olive oil whilst dressed in a fur loin cloth and shouting “Death to false metal” whilst running down your local high street. This is album no.11 for the band, and a demonstration as to why the German nation love DeMaio and co so much.

We Are The Masses, track number 2 on this opus could sit comfortably on any Manowar release, so closely does it follow the blue print. Vocalist Sven D’Anna’s high pitched signing and the huge sound. Tracks such as Live Your Life, Brothers In Spirit and Let Us Unite will have you raising your arms in homage. It’s anthemic, rife with epic imagery and rather ludicrous to be honest. Competently performed, it’s all just a little contrived. I’d save your cash for something with a little more to give. 6/10

Reviews: Valor, Scarletborn, Jaw Bones

Valor: Arrogance- The Fall (Pitch Black Records)

Valor were formed in 2002 by ex-Battleroar members Vaggelis Krouskas (vocals) and Chris Remoundos (bass) who along with Spyros Soldatos (guitars) and Thodoris Andritsos (drums) they released their debut EP in 2004, Arrogance-The Fall is their third full length and it's another record that is chock full of epic power metal that marries heavy riffs with more orchestral elements since forming the band have added guitarist Vassilis Kourkoutas and keyboardist Thanasis Lois to their ranks and this means the songs gallop along at pace with harmony guitars and keyboards duelling throughout.

Most of the songs to seem to fly by in a flurry of galloping riffs, explosive solos and symphonic elements to give the record a layered texture. Although it's the songs that take the time to add a bit of crunch or groove such as Arrogant Fall or Another Time do resonate in the memory longer. The production of Vaggelis is bright and lets every instrument stand out while his vocals are powerful and clean sounding almost exactly like Blaze Bayley, Flying Away particularly could sit on X Factor or Virtual XI with ease. If you love the sound of dual guitar wielding tough power metal with restrained but ever-present symphonic touches then Arrogance - The Fall will be up your alley, the Greeks are able to deliver very strong power metal and Valor are another band that do it well. 8/10

Scarletborn: A Royal Hunt (Straight From The Heart)

Scarletborn are a three-piece from Volos in Greece. Their music is categorised as melodic death metal and that is pretty accurate as Ethan Tziokas vocals have duality associated with the genre he growls on tracks such as the heavy Imploring Giants which also features Wardrums Yannis Popadopoulos on vocals but also Ethan hows he can sing in a low clean on We Tore The Sun. Yannis is one of the four guests on this record with Nightrage's Marios Iliopoulos on guitar for the more melodic To Be Obscure, Bob Katsionis on Lethargos also lending their talent.

Musically the band are excellent, Aggelos Triantos is a frantic rhythm machine drumming up a storm on Antlers Crown (which features John McRis on guitar) with this many guest guitarists it's easy to ignore Fotis Tampas' contribution of all the guitars and bass that gives this record the musical foundations of In Flames and early Trivium. A Royal Hunt is a pretty strong debut from this trip, how this will translate live, the band seem to be sans a bassist and a second guitarist, is anyone's guest but on record at least they have all the boxes ticked. 7/10

Jaw Bones: Wrongs On A Right Turn (Sliptrick Records)

Thessaloniki's Jaw Bones are young and angry with a riff packed debut album, there's stoner, grunge and punk on this record as it opens with the attitude filled Communication is delivered like a megaphone in the face with Disciple having the groove of early Soundgarden which continues into Ego Tripper that has funkier tones to it but with the bands rawness still coming through. The Ride To Nowhere is a much more psychedelic affair as is the slow burning Song Of The Nightingale and Should Know Better ramps up the riffage. With Greek metal flooded with bands in the stoner style they need to adapt their style to stand out from the pack and Jaw Bones do this by adding doom on A Thousand Masks along with the punk and grunge sounds mentioned earlier. Wrongs On A Right Turn will be instrumental in taking Jaw Bones in the right direction. 7/10

Reviews: Gov't Mule, Entrails, Temple Of Lies, Onegodless (Reviews By Paul)

Gov't Mule: Revolution Come Revolution Go (Universal Music)

Formed by Warren Haynes and Allen Woody back in 1994 as a side project from The Allman Brothers, the Mule have churned out releases more regularly than “that there” mule produces dung. Revolution Come Revolution Go is album number 10 and it is as laid back and awesome as all the others. The Allman Brothers were of course, one of the greatest Southern rock bands that ever existed, with a plethora of epic tunes that far exceed the well-known Jessica (Top Gear soundtrack for the uninitiated). With a revolving door of musicians when they play live, the nucleus of the band has been constant for several years, with Haynes and drummer Matt Abts the original members joined by Keyboardist Danny Louis and Jorgen Carlsson on bass. Revolution Come Revolution Go is a social statement on the current political position in the States.

Check out opener Stone Cold Rage for a fiery example. It’s an album that is worth investing time in, and time is what is needed with a running time of 113 minutes and 18 tracks. But what superb music it is, with the relaxed feel of The Allmans coursing through the album. It’s mellow but angry at the same time. Confidence oozes through the tracks, Haynes velvety deep South vocals melting into each song whilst the keyboards dip in and out, underpinning the quality. Meanwhile the guitar work is exemplary, dripping with soulful blues and Southern rock.

Listen to Pressure Under Fire, Louis’ swirling keyboards quite magnificent. The title track is a Black Crowes style funk soaked meander, a quite beautiful piece that builds slowly, pace changing as progress is achieve, the component parts combining to make it just magical with some sublime interplay as the track descends into an almost freeform jazz piece towards the final third. Gov't Mule make a rare appearance in Cardiff toward the end of October this year. I shall be making my way there to see this quite magnificent band in action. I strongly advise you to do the same. 9/10

Entrails: World Inferno (Metal Blade)

Although Swedes Entrails operated for several years in the 1990s, their recording history only began in 2008 when the band picked up the reigns again and reformed. Led by guitarist Jimmy Lundqvist, World Inferno is album number four, and in their own words is “death metal and no fucking else”. Whilst they clearly haven’t sorted out their grammar, Entrails deliver well on this release, which is a real slab of old school death metal in the veins of Entombed, Grave and Carcass.

The band also capture some of the real early thrash thuggery of Slayer and Metallica, such as on the mighty Condemned To The Grave, a real spine crusher of a track. World Inferno is a fine release, massively heavy whilst also laden with hooks, powerful as an armoured tank on the rampage. It is well worth grabbing a copy if you like your death metal hard and heavy. 9/10

Temple Of Lies: The Serial Killer Suite (Attic Records)

Midlands based Temple Of Lies third album doesn’t fuck about. It’s clear from the start that Monster Magnet feature highly in their list of influences. Throw in the stoner groove of Orange Goblin and the old school sound of Leviathan era Mastodon and you’ve got one hell of a mix. The band remind me of Texas Hippie Collective and Hogjaw, two US outfits whose groove laden riffing is comfortably matched here. 48 minutes of relentlessly heavy and impressive metal with a blistering edge, the combination Si Shaw, Jon Scranney, Jags and Alex Gamble effortlessly delivering some warped and twisted tunes. Tracks such as Epic Doom, Modeus Operandi and the pounding bass lines of single Skin are all sinister and yet appealing. Get down to the The Temple of Lies. It’s time for worship. 8/10

Onegodless: Mourner (Self Released)

Founded by Dutch bass player Robin Zielhorst (Cynic, Exivious, Our Oceans) alongside vocalist Pieter Verpaalen (Textures), Yordi Lopez (Red Eyes, 3D Monster) and Yuma van Eekelen (Pestilence, Exivious), ONEGODLESS play what they have termed “heavystonerluesgrooverockslugemetal”. To be fair, all those genres flash in and out of this heavy long player, with Zielhorst’s crazed bass lines battling with the heavy riffage of Lopez’s guitar. It’s solid stuff, with some powerful and brutal tunes. The chug of Unstable contrasts with the robust Burn the Sun, the consistent groove giving each track a pumped-up feel. Verpaalen’s vocals are a little one dimensional for me but fit the style of the band who at times have a similar feel to Midland’s groove masters Obzidian. It’s worth a spin. 7/10

A View From The Back Of The Room: Metal 2 The Masses Final 2017

Metal 2 The Masses South Wales Final 2017, Fuel Rock Club, Cardiff

In case you live under a rock and don't know what it is the Metal 2 The Masses is UK wide battle of the bands competition for unsigned acts. In each region a certain number of acts enter and are whittled down by audience votes until four bands reach the final. In the final the votes are cast by Bloodstock's Simon Hall and the winner is given a chance to perform on BOA's New Blood Stage among other things. Because of the nature of the event I think it would be unfair for me to give a score for each of the bands as Simon has probably got more experience doing this than I have, so with that in mind I'll just give my opinion on the bands and give a blow-by-blow of this great evening

The hot sun beat down on what was a glorious day in Cardiff, the majority of the crowd and indeed the bands were installed outside the venue with refreshments in hand, the venue itself was pressure cooker, many of us with a larger disposition roasting like a rack of lamb, but we dutifully filed into the performance area for the first of four unsigned, underground bands for the local scene.

The lots were drawn at random so it was Rhondda 3 piece Incursion that took to the stage first. Their combination of death/thrash metal was ideal to start the evening, having brought a large rambunctious crowd with them to the evening from the get-go frontman/guitarist Johnny called for pits with the crowd duly obliged and even got involved for a pretty good wall of death, the between song banter revealed that the band don't take themselves seriously and their hard hitting metal has the wall-of-noise heaviness of SYL and the groove of Devildriver, as you'd expect the band picked a set that displayed their strongest elements and at the climax the wall were sweating such was the action down the front. The gauntlet was laid down now it was up to the other three bands to equal or better it.    

Next up were Revival the Blackwood band are no strangers to these pages and the youngsters once again put on mature masterclass of classic groove driven metal, opening with the tried and tested trio of Madness, Season Of The Wizard and Captain's Quarters Finley, Luke, Alex and Dafydd play like a band twice their age and with the crowd building throughout they through everything at the show, hooking you in with their grooves, fluid soloing and excellent vocals, their stage presence is also super Dafydd smashes away, Alex prowls his side of the stage like a predator, Luke has a reserved otherworldly coolness about him and Finley just moshes like no one is watching. Revival are a refreshing band to watch playing old style music but with a youthful exuberance, they also received a great response at the end of their set, consider the gauntlet met.

Between the bands, most of the time was spent outside with fluid replenished and faces towelled off discussing the previous bands, it was great to see so many people involved int he event and actively discussing and debating about music and also supporting the local scene.

Back inside and it was time for melodic death metal from Cwmbran...yes Cwmbran, as Democratus took to the stage ready and raring to go with their politically inspired aggressive death metal that fuses dual guitar riffage and clean/harsh vocals. Those vocals come from Steve Jenkins a friend of the blog since his days with Counterhold and while Counterhold were good, Democratus are marginally different beast, their songs are more aggressive and complicated with Is This Fear and Deity pulled out to really incite the crowd to go nuts. Steve's imposing presence and experience as a frontman are the benefit to this band, he knows how to control a crowd and his voice is excellent moving from guttural roars to powerful cleans as the band behind play some top drawer melo-death full of harmonic guitars and grunt. Again the crowd went nuts with action in the pit growing until the end of the set.

Three reasonably aggressive metal bands down and one more band to go, everyone was revving up for the end and it came with the most unique band of the night, Cardiff band Malum Sky are a progressive metal act that draw on distorted riffs, soaring harmonics, odd time signatures, ambient textures and a varied melting pot approach to song writing. Drummer Joe Wilkes and bassist Saki Patsiouras drive the songs along with their dynamic rhythm section, they are in charge of the time and pace changes while Jon Evans and Michael Després bewitch with some incredible guitar prowess that rapidly shifts tone from clean ethereal notes to a metal crunch, as all of this is going on instrumentally frontman Ben Honebone conducts himself in the best way, getting down and dirty with the punters as he unleashes the clearest vocal phrasing of the night, however his vocals are used as and instrument in their own right never outdoing anything else. The music is well crafted and well received but stood out due the sheer difference of what proceeded it.

As the set came to an end there was a swathe of appreciation not only for Malum Sky but all the bands that appeared and then it was a time to compose ourselves and wait for the results. Happily we didn't need to wait in silence as what has now become customary at these events is that the previous year's winners headline the night. Last year's winners were the black metal madness of Agrona, who have gone on to bigger and better things since then and do seem to be adding members every time I watch them play, having witness their black ritual a mere seven days previous to this event I can confirm that they once again filled Fuel with riffs as sharp as a switchblade, more smoke than Stars In Their Eyes and heaving load of Satanic blackened metal to really destroy the venue properly after a night of quality metal. Very little I can say really as they were on the same form as they were the weekend before, they all perform so well it's hard to tear yourself away, things got tasty down the front leaving the venue very very moist.

With all the music due to be played having been played and the raffle drawn it was time for the decision, the tension was palpable but the announcement came and the winners were Malum Sky who will now play the New Blood Stage. Well done to them and to all the bands, it was a hard decision as all four bands played their hearts out and left it all on stage. What made it all the better for me though was the camaraderie between the bands, yes it was a competition but the mutual respect that existed between the bands was admirable and the high turnout to showed that despite predictions to the contrary live music and the underground scene in Wales at least is pretty good at least. Big thanks to Simon and the team at Bloodstock for tirelessly doing these competitions all over the UK to highlight how strong the British independent metal scene is.  

Reviews: Iced Earth, Furyborn, Analog Bandits

Iced Earth: Incorruptible (Century Media)

Iced Earth have never been a band where things have run smoothly they have an almost revolving door policy of vocalists and musicians throughout their 11 albums, however after their previous release Plagues Of Babylon the band seemed to be their most stable in years with singer Stu Block firmly in place, Luke Appleton the new bass player, Troy Steele on lead guitar and Jon Schaffer the anchor for everything, however after the release of the album the band took a break from touring due to Schaffer's cervical fusion surgery, in that time long-time drummer Brent Smedley returned to the fold and Steele left with Jake Dreyer formerly of Kobra And The Lotus, Witherfall and previously White Wizzard taking over on the six strings.

The band started writing and the result of these sessions is the band's twelfth record Incorruptible Block and Appleton remain as of course does Schaffer which means that this record will sound like Iced Earth but where as some previous records have been bogged down by the Set Abominae concept this record has 10 individual tracks that all deal with different lyrical concepts, Great Heathen Army opens the record with the thrashy riffs of Schaffer cranking out at full volume as Block croons the story of Vikings, it's Iced Earth do Viking Metal and they do it well, Black Flag comes next an this is deep in the Running Wild trench telling of Pirates with a galloping riff and Brothers is about the relationship between Schaffer and Block.

Seven Headed Whore is vicious and nasty thrash metal while the epic finale Clear The Way is based on Irish Brigade at the Battle Of Fredericksburg returning to the Civil War motifs they played with on The Glorious Burden. As just a side note I've always enjoyed the way Schaffer treats history, it seems to be a genuine passion of his which as a historian myself is commendable. Anyway back to the album and it's the strongest record Iced Earth have done in along time, it dips a little in the middle but climbs back towards the end. It's certainly the best of the trio produced with Stu Block who gives his most definitive vocal performance so far, they have always been one of my favourite acts and to hear them giving their best performance in years made me bang my head in appreciation. 8/10


Furyborn: Dawn Of Leviathan (Self Released)

Five go mad in Dorset as the full length record from Furyborn graced my desk at MoM Towers. The band play in their own words 'weaponized melodeath savagery' and it's hard to argue as the intro Second Sun gives way to one of the heaviest records of the year, opening with the vicious title track Furyborn set out their stall early with razor sharp lighting fast riffs, heavy blast beating, some melodic leads and vocals that switch effortlessly between growls and powerful cleans, the title track grabs you by the throat and doesn't let go, shortening your breath not allowing you struggle free until the orchestral outro, it's only a brief rest bite though as The Reckoning brings the industrial stomp of Fear Factory stamping you in the face like Orwell's famous quote, the solos cut in for short bursts of virtuosity but then it's back to headbanging groove.

With the outright heaviness of this album, it's only after repeated plays you hear the Maiden-esque dual leads and the symphonic touches that weave their way through the record. Furyborn are Jut Tabor on vocals (both Jekyll and Hyde), Nick Richardson lead guitars (solos-a-go-go), Rob Walker rhythm guitars (riffs like a bastard), Timmy Hodgeson bass (ruptures your spleen) and Tim Coulson drums (gives artillery fire) together they play like they are far beyond later in their careers than seven years, there's a maturity and sens of purpose to the music, the band have found an identity that suits them it's this aggressive but accessible sound that will see them ascend rapidly in the UK metal scene. Melodeath Savagery? yes and so much more, bludgeoning breakdowns, soaring guitars solos and album that makes you pay attention. Now to watch the Leviathan rise and conquer! 9/10

Analog Bandits: Invocation (Self Released)

Analog Bandits cite their influences as Thrice, The Dear Hunter, Mastodon, Dance Gavin Dance, Dredg, and The Mars Volta so you can get a feel of what they sound like. Musically their mix of groovy progressive rock is very interesting and intriguing with changing time signatures, off-kilter melodies and very quirky style. For a three piece the music is technically proficient and polished mixing the rock and R&B in a cement mixer of prog weirdness, however the record does fall down with the vocals which are a bit Marmite, some will love them but others will hate the nasal quality to them. Invocation is a high concept record about two characters called Petrus and Stendention but you really have to listen to the record to figure out what the hell is going on. I'd say for fans of The Dear Hunter, The Mars Volta and Coheed And Cambria, Analog Bandits will be ones to watch, it's the sort of prog that could be played on BBC Radio 1 and that's not a criticism it's just more old school proggers will dismiss it which is a shame as the ability on display is of a high level, it just might be trying to please all of the people all of the time. 6/10