Black Path: Final Act - Martyr (Self Released)
Greek death metal is always of a high quality and Black Path are no exception, the gnarly riffs and gruff grunts burst out of your speakers on the back of blastbeat flurries, obvious influences would be Rotting Christ and Septicflesh with the latter more noticeable due to the technicality of the music on display and the melodic guitar playing that fills this record.
The Athens band have been around since 2009 and this debut album is a strong statement of intent, that intent is to rip your face off which it does, My Exile has complicated guitar pieces and a heavy groove that sounds like Nile, Blackened Requiem is based on insane drumming and The God That Lied is guitar fans wet dream with the fluid playing on display.
You can hear that their sound has been perfected in the live arena before being cut on to record, they are talented performers and they really know their craft pushing the limitations of it with every song. Black Path are a new name in the filed of technical death metal but they are a name to listen out for, if Suffocation, Bloodbath and Cannibal Corpse are your bag then you'll love the frenzied precision of Black Path. 8/10
The Curf: Death And Love (Self Released)
The Curf's tagline is "Where there is smoke, there is bong" and this love for recreational horticulture infects their music, Dark Hado sounds as if it's played at half speed with heavy rumbling basslines from Spyros vibrating your skull. I've written about the Greeks love of psych/stoner metal (I may even write a book about it at some point) but they really seem to indulge themselves when it comes to the genre.
On this the bands second record The Curf have really found an atmospheric style to their playing with Let Go a creeping doom laden piece that sees Pepper leading with his drums as guitarist/vocalist Chris rarely takes his foot off the fuzz pedal, as the fat stoner/doom riffs keep coming. Death And Love has an impending sense of doom about it, a chemically enhanced paranoia if you will but it's a great album for a late night session, if Kyuss was jamming with Iron Monkey and they had access to a bowlful of hash this may be the result. Hail to the leaf indeed. 7/10
Skydawn: Destiny Is Near (Self Released)
Ouch...Skydawn have a lot of promise, their 3 track EP has some good musicianship on it with the band taking a AOR driven approach to metal, but they are let down by the vocals. They frequently go flat and can't quite reach the highs. Three songs is enough. Avoid. 3/10
Tuesday, 1 August 2017
Sunday, 30 July 2017
Reviews: Alice Cooper, Byzantine, Rage, Thunderstick (Reviews By Paul)
Alice Cooper: Paranormal (earMusic)
Where do you start with a legend like Alice Cooper? From the late 1960s the man has been a real survivor with a string of anthems that litter his vaudeville shock rock theatrics in the live arena. It's fair to say that Cooper relies heavily on the early 70s for the bulk of his live material and if you listen to 2011's Welcome 2 My Nightmare you'd understand why as it was bunk. In fact you'd have to go way back to 1991 and Hey Stoopid to find a live staple in Feed My Frankenstein. However, that might well be about to change with Paranormal.
Written in collaboration with long time producer Bob Ezrin who shits this kind of throwaway rock before his first cup of tea, there is sufficient classic Cooper here to interest most rock fans. I have to admit I find Cooper's recorded music overrated and due to my reliance on Planet Rock for DAB listening, a bit overplayed. His vocals are as raspy as ever but the music is a little more interesting. Guest appearances by Roger Glover on Paranormal gets the album off to a strong start, whilst The appearance of the Rev.
Willie G from the mighty ZZ Top on Fallen In Love adds a dose of class. Larry Mullen from U2 is amongst the other guests on the release. Fireball with its ZZ Top backing beat gets my vote as the best track on the album, a high intensity tune with some additional effects on Cooper's voice mixing it up superbly. A real foot tapper. Of course, it's not all great stuff and Holy Water with its Jebus praise is quite disturbing but unsurprising given his born again status, whilst Genuine American Girl also curdles your milk.
Still, after his last release this is a slick and polished release which in the main is rather better than expected and includes a couple of tracks with the original remaining band members. A few live cuts add little to the extra addition but do demonstrate that Cooper's live show is heavier than the candy floss sound on record. Not essential but certainly an enjoyable listen. 7/10
Byzantine: The Cicada Tree (Metal Blade)
This is the sixth release by the progressive metallers from Charleston, West Virginia. It's a tasty beast, and from opener New Ways To Bear Witness there are sufficient hooks and grooves to grab you by the throat and drag you in. Get stuck into the Pantera/LOG hybrid of Vile Maxim and revel in something rather special. There's bits of everything in the mix, from nu metal to thrash with clean vocals alongside gruff deliveries.
It's frantic and energetic stuff. Brian Henderson's guitar work is imaginative with chopping riffs intertwining with the numerous time changes and shifts in direction. Chris OJ Ojeda has a strong range and his clean/gruff mixed sound during Map Of The Creator is curiously reminiscent of bands such as Scar Symmetry and even Staind at times.
The whole album really does ebb and flow in direction and style, at times complex and at others down right dirty. The battering ram of Trapjaw showcases the quality of Matt Bowles powerful drumming whilst the title track changes pace completely. It's an interesting release and one that requires a little bit of investment. It won't be to all tastes but certainly worth a listen. 7/10
Rage: Seasons Of The Black (Nuclear Blast)
Close to 12 months ago I gave Rage's last album a paltry 5/10 and a rather scathing review. Much of that was down to the sheer temerity of the band's cover of Rush's Bravado. But like a good STD it's hard to get rid off and yes, here is album number 23 (or is it 24?) To be fair to Peter Wagner and his two band mates, Marco Rodriguez and Vassilos Manitaopoulos, Seasons Of The Black is really enjoyable with the band playing to their strengths. Raucous rampant balls out heavy metal, which gets the head nodding and the blood pumping.
It's still rather generic but with the songs stronger and the band focusing on no-nonsense heads down metal, overall it kicks much harder. The power metal roots shine through on tracks such as Justify with its Alestorm like swagger, whilst the title track hits the thrash button. It's Germanic metal, ala Accept, Grave Digger et al. Nothing special but continued hi fives to a band that just continues to rock out. 6/10
Thunderstick: Something Wicked This Way Comes (Self Released)
Any mention of the underrated NWOBHM outfit Samson prompts two immediate responses. They were the band where Iron Maiden found Bruce Dickinson and they were the band with that “nutter” of a drummer, the gimp masked Thunderstick. Well, many years after the world of rock last heard of the masked Barry Graham Purkis, he is back with a new release, Something Wicked This Way Comes. It’s a weird release, stuck way back in the 1980s both in tempo and style of writing and production quality.
Thunderstick is joined by long time guitarist Dave Kilford and new arrivals Martin Shallard, the fantastically titled Rex Thunderbolt on bass and vocalist Lucie V. A promising start with Dark Night, Black Light, which stomps its way into the album in classic NWOBHM style, but it becomes a little routine and tired the longer the album progresses. Lucie V’s vocals are decent, her dusky tones comfortably meshing with the hard rock on offer and old Thunderstick can still hammer the skins with quality. It’s just that the songs are just not very good.
The Shining lumbers for over seven minutes without going anywhere, Go Sleep With the Enemy (I Dare Ya) belongs on a NWOBHM compilation of also rans, whilst the closing acoustic I Close My Eyes is just awful. Full marks to Barry for resurrecting the mask. Unfortunately, it’s 2017 not 1981. Time has moved on. 5/10
Where do you start with a legend like Alice Cooper? From the late 1960s the man has been a real survivor with a string of anthems that litter his vaudeville shock rock theatrics in the live arena. It's fair to say that Cooper relies heavily on the early 70s for the bulk of his live material and if you listen to 2011's Welcome 2 My Nightmare you'd understand why as it was bunk. In fact you'd have to go way back to 1991 and Hey Stoopid to find a live staple in Feed My Frankenstein. However, that might well be about to change with Paranormal.
Written in collaboration with long time producer Bob Ezrin who shits this kind of throwaway rock before his first cup of tea, there is sufficient classic Cooper here to interest most rock fans. I have to admit I find Cooper's recorded music overrated and due to my reliance on Planet Rock for DAB listening, a bit overplayed. His vocals are as raspy as ever but the music is a little more interesting. Guest appearances by Roger Glover on Paranormal gets the album off to a strong start, whilst The appearance of the Rev.
Willie G from the mighty ZZ Top on Fallen In Love adds a dose of class. Larry Mullen from U2 is amongst the other guests on the release. Fireball with its ZZ Top backing beat gets my vote as the best track on the album, a high intensity tune with some additional effects on Cooper's voice mixing it up superbly. A real foot tapper. Of course, it's not all great stuff and Holy Water with its Jebus praise is quite disturbing but unsurprising given his born again status, whilst Genuine American Girl also curdles your milk.
Still, after his last release this is a slick and polished release which in the main is rather better than expected and includes a couple of tracks with the original remaining band members. A few live cuts add little to the extra addition but do demonstrate that Cooper's live show is heavier than the candy floss sound on record. Not essential but certainly an enjoyable listen. 7/10
Byzantine: The Cicada Tree (Metal Blade)
This is the sixth release by the progressive metallers from Charleston, West Virginia. It's a tasty beast, and from opener New Ways To Bear Witness there are sufficient hooks and grooves to grab you by the throat and drag you in. Get stuck into the Pantera/LOG hybrid of Vile Maxim and revel in something rather special. There's bits of everything in the mix, from nu metal to thrash with clean vocals alongside gruff deliveries.
It's frantic and energetic stuff. Brian Henderson's guitar work is imaginative with chopping riffs intertwining with the numerous time changes and shifts in direction. Chris OJ Ojeda has a strong range and his clean/gruff mixed sound during Map Of The Creator is curiously reminiscent of bands such as Scar Symmetry and even Staind at times.
The whole album really does ebb and flow in direction and style, at times complex and at others down right dirty. The battering ram of Trapjaw showcases the quality of Matt Bowles powerful drumming whilst the title track changes pace completely. It's an interesting release and one that requires a little bit of investment. It won't be to all tastes but certainly worth a listen. 7/10
Rage: Seasons Of The Black (Nuclear Blast)
Close to 12 months ago I gave Rage's last album a paltry 5/10 and a rather scathing review. Much of that was down to the sheer temerity of the band's cover of Rush's Bravado. But like a good STD it's hard to get rid off and yes, here is album number 23 (or is it 24?) To be fair to Peter Wagner and his two band mates, Marco Rodriguez and Vassilos Manitaopoulos, Seasons Of The Black is really enjoyable with the band playing to their strengths. Raucous rampant balls out heavy metal, which gets the head nodding and the blood pumping.
It's still rather generic but with the songs stronger and the band focusing on no-nonsense heads down metal, overall it kicks much harder. The power metal roots shine through on tracks such as Justify with its Alestorm like swagger, whilst the title track hits the thrash button. It's Germanic metal, ala Accept, Grave Digger et al. Nothing special but continued hi fives to a band that just continues to rock out. 6/10
Thunderstick: Something Wicked This Way Comes (Self Released)
Any mention of the underrated NWOBHM outfit Samson prompts two immediate responses. They were the band where Iron Maiden found Bruce Dickinson and they were the band with that “nutter” of a drummer, the gimp masked Thunderstick. Well, many years after the world of rock last heard of the masked Barry Graham Purkis, he is back with a new release, Something Wicked This Way Comes. It’s a weird release, stuck way back in the 1980s both in tempo and style of writing and production quality.
Thunderstick is joined by long time guitarist Dave Kilford and new arrivals Martin Shallard, the fantastically titled Rex Thunderbolt on bass and vocalist Lucie V. A promising start with Dark Night, Black Light, which stomps its way into the album in classic NWOBHM style, but it becomes a little routine and tired the longer the album progresses. Lucie V’s vocals are decent, her dusky tones comfortably meshing with the hard rock on offer and old Thunderstick can still hammer the skins with quality. It’s just that the songs are just not very good.
The Shining lumbers for over seven minutes without going anywhere, Go Sleep With the Enemy (I Dare Ya) belongs on a NWOBHM compilation of also rans, whilst the closing acoustic I Close My Eyes is just awful. Full marks to Barry for resurrecting the mask. Unfortunately, it’s 2017 not 1981. Time has moved on. 5/10
Friday, 28 July 2017
Reviews: Cats In Space, Formicarius, Bad Solution
Cats In Space: Scarecrow (Self Released)
Do you remember those halcyon days when Foreigner, 10cc, Supertramp, ELO and Cheap Trick ruled the airwaves? Well Cats In Space remember and haven't really looked forward since, their music not only has an AOR vibe it's an unashamedly grandiose tribute to the massive acts that ruled the airwaves in the late 70's and 80's check out Mad Hatter's Tea Party it has the insistent piano and phased guitar made famous by Foreigner but lyrics from Lewis Carroll. Scarecrow is the band's second album and it hasn't changed anything, the album is chock full of sunny melodies that put a smile on your face and nod your head vigorously, they shift between pacey hard rock, kooky pop rock (Clown In Your Nightmare) and everything in between, they go full baroque and roll on the closing title track which is a climactic epic for the record.
Ably led by guitarist Greg Hart and keyboardist Andy Stewart the band are by no means a bunch of fresh faced kids Greg and Andy have worked together for over 30 years, guitarist Dean Howard has played with such varied acts as T’Pau, Bad Company, Ian Gillan, Airrace & Toby Jepson, bassist Jeff Brown is the current bass player/singer of The Sweet (which explains the massive choruses on Scars), Steevi Bacon (has the best name) is alumni of Robin Trower and frontman Paul Manzi not only has incredible hair but a massive soulful voice that naturally lends itself to any style from the Queen meets Supertramp of September Rain, the spirit of Tramp returns on the poppy Felix & The Golden Sun.
The album is real restoration piece hand picking the best bits of the late glam and early AOR sound and making them shine as brightly as possible, it's overblown, over-produced, multi-tracked and doesn't take itself too seriously, take a song like Two Minutes 59 which is a track that has that running time about a track with that running time (it's meta). Scarecrow much like the band that recorded it has no agenda, the idea to rock out as often as possible and with feeling. Having seen the band briefly at a concert it will be good to see them in the confines of The Globe in September. With an album this strong it should be a heck of a show. 8/10
Formicarius: Black Mass Ritual (Schwarzdorn Production)
It's easy to forget that black metal is a British invention, it was Venom that truly set the template but as musical tastes changed this darkest of all metals moved Northward to the frozen forests of Scandinavia where it gained popularity, notoriety and infamy in equal measure. Acts such as Akercocke and Cradle of Filth have flown the British black metal flag for years now but within the last 10 years I'd say British black metal has had somewhat of a resurgence due to the myriad of underground and extreme festivals popping up.
The most recent addition to this unholy cauldron of bands are Formicarius (they get their name from Johannes Nider's 1475 book which was the second book ever printed to discuss witchcraft).The band are formed from members of De Profundis, Phyrexia and Premature Birth, with an extreme pedigree and a feature on the Speed Kills VII compilation this London mob are dead set on grabbing the black metal throne with both bloodstained hands. They set about it in the right way unleashing furious riffs straight away and thunderous blastbeast carry the songs like the horses of those men of the apocalypse.
What Formicarius do have in spades though is atmosphere, something that is as important to black metal as it is to symphonic and Gothic acts, there are unnerving synths throughout that simmer just beneath the chaos. There are times when the album knocks you back with it's sheer grandeur, waves upon waves of furious riffs, squawked vocals and keys pounding away make for an exciting listen from the first few notes, Black Mass Ritual also has a song called May The Rats Eat Your Eyes which instantly gives them extra points. Hail to British black metal! 8/10
Bad Solution: The War Within (Self Released)
Bad Solution are a Polish/UK based band from London, their music has been described as a "chunkier Shinedown" and I couldn't say it any better myself, Bad Solution love a big riff, a love that is only surpassed by their love of a massive chorus, The War Within is their debut full length following an EP in 2015 and it's a love letter to the American radio rock sound with the groove of FFDP and the aforementioned choruses tracks such as Drowning grind along with a crunch but I'd say there are one too many weaker offerings, Nothing (You Don't Know Me) takes more of a nu metal turn, Self Destruct is a saccharine ballad and Echoes Of The City is boring.
Therein lies the problem with Bad Solution they are competent but nothing particularly interesting, it's straight down the line American radio rock that is good listen for the length of the record but almost instantly forgettable. The War Within has a lot of promise but it's not harnessed for anything more than a few songs The Last Lie being one. They may have the tag of being a chunkier Shinedown but unlike their American comparison this debut lacks that 'it' factor. 6/10
Do you remember those halcyon days when Foreigner, 10cc, Supertramp, ELO and Cheap Trick ruled the airwaves? Well Cats In Space remember and haven't really looked forward since, their music not only has an AOR vibe it's an unashamedly grandiose tribute to the massive acts that ruled the airwaves in the late 70's and 80's check out Mad Hatter's Tea Party it has the insistent piano and phased guitar made famous by Foreigner but lyrics from Lewis Carroll. Scarecrow is the band's second album and it hasn't changed anything, the album is chock full of sunny melodies that put a smile on your face and nod your head vigorously, they shift between pacey hard rock, kooky pop rock (Clown In Your Nightmare) and everything in between, they go full baroque and roll on the closing title track which is a climactic epic for the record.
Ably led by guitarist Greg Hart and keyboardist Andy Stewart the band are by no means a bunch of fresh faced kids Greg and Andy have worked together for over 30 years, guitarist Dean Howard has played with such varied acts as T’Pau, Bad Company, Ian Gillan, Airrace & Toby Jepson, bassist Jeff Brown is the current bass player/singer of The Sweet (which explains the massive choruses on Scars), Steevi Bacon (has the best name) is alumni of Robin Trower and frontman Paul Manzi not only has incredible hair but a massive soulful voice that naturally lends itself to any style from the Queen meets Supertramp of September Rain, the spirit of Tramp returns on the poppy Felix & The Golden Sun.
The album is real restoration piece hand picking the best bits of the late glam and early AOR sound and making them shine as brightly as possible, it's overblown, over-produced, multi-tracked and doesn't take itself too seriously, take a song like Two Minutes 59 which is a track that has that running time about a track with that running time (it's meta). Scarecrow much like the band that recorded it has no agenda, the idea to rock out as often as possible and with feeling. Having seen the band briefly at a concert it will be good to see them in the confines of The Globe in September. With an album this strong it should be a heck of a show. 8/10
Formicarius: Black Mass Ritual (Schwarzdorn Production)
It's easy to forget that black metal is a British invention, it was Venom that truly set the template but as musical tastes changed this darkest of all metals moved Northward to the frozen forests of Scandinavia where it gained popularity, notoriety and infamy in equal measure. Acts such as Akercocke and Cradle of Filth have flown the British black metal flag for years now but within the last 10 years I'd say British black metal has had somewhat of a resurgence due to the myriad of underground and extreme festivals popping up.
The most recent addition to this unholy cauldron of bands are Formicarius (they get their name from Johannes Nider's 1475 book which was the second book ever printed to discuss witchcraft).The band are formed from members of De Profundis, Phyrexia and Premature Birth, with an extreme pedigree and a feature on the Speed Kills VII compilation this London mob are dead set on grabbing the black metal throne with both bloodstained hands. They set about it in the right way unleashing furious riffs straight away and thunderous blastbeast carry the songs like the horses of those men of the apocalypse.
What Formicarius do have in spades though is atmosphere, something that is as important to black metal as it is to symphonic and Gothic acts, there are unnerving synths throughout that simmer just beneath the chaos. There are times when the album knocks you back with it's sheer grandeur, waves upon waves of furious riffs, squawked vocals and keys pounding away make for an exciting listen from the first few notes, Black Mass Ritual also has a song called May The Rats Eat Your Eyes which instantly gives them extra points. Hail to British black metal! 8/10
Bad Solution: The War Within (Self Released)
Bad Solution are a Polish/UK based band from London, their music has been described as a "chunkier Shinedown" and I couldn't say it any better myself, Bad Solution love a big riff, a love that is only surpassed by their love of a massive chorus, The War Within is their debut full length following an EP in 2015 and it's a love letter to the American radio rock sound with the groove of FFDP and the aforementioned choruses tracks such as Drowning grind along with a crunch but I'd say there are one too many weaker offerings, Nothing (You Don't Know Me) takes more of a nu metal turn, Self Destruct is a saccharine ballad and Echoes Of The City is boring.
Therein lies the problem with Bad Solution they are competent but nothing particularly interesting, it's straight down the line American radio rock that is good listen for the length of the record but almost instantly forgettable. The War Within has a lot of promise but it's not harnessed for anything more than a few songs The Last Lie being one. They may have the tag of being a chunkier Shinedown but unlike their American comparison this debut lacks that 'it' factor. 6/10
Reviews: Accept, Paradise Lost (Reissue), King Leviathan (Reviews By Paul)
Accept: The Rise Of Chaos (Nuclear Blast)
After Blind Rage failed to impress back in 2014, the German masters are back very much alive and kicking with album number 15. just over 45 minutes of traditional Accept heavy metal, demonstrating that if it ain't broke you don't fix it. The Rise Of Chaos stomps from the opening thrashings of Die By The Sword, only pausing when final track Race To Extinction closes. It is heavy as hell, pacy and full of jagged riffs that cut deep. Check out the power of the title track, a total anthem, or the battery of new drummer Christopher Williams on No Regrets. Wolf Hoffman and Uwe Lulis, making his debut on record for the band, produce heads down no nonsense metal which cannot fail to warm the most metal of hearts.
After Blind Rage failed to impress back in 2014, the German masters are back very much alive and kicking with album number 15. just over 45 minutes of traditional Accept heavy metal, demonstrating that if it ain't broke you don't fix it. The Rise Of Chaos stomps from the opening thrashings of Die By The Sword, only pausing when final track Race To Extinction closes. It is heavy as hell, pacy and full of jagged riffs that cut deep. Check out the power of the title track, a total anthem, or the battery of new drummer Christopher Williams on No Regrets. Wolf Hoffman and Uwe Lulis, making his debut on record for the band, produce heads down no nonsense metal which cannot fail to warm the most metal of hearts.
I especially enjoyed the nostalgic look back to the older recording styles in Analog Man, an observation on society outlined in typical Accept style. "My cell phone is smarter than me" bemoans Mark Tornillo, with a Balls To The Wall riff permeating throughout. it's the fourth vocal outing for Mark Tornillo and the man excels himself with a quite magnificent performance. His gutter soaked growl has slotted so comfortably into the band that you'd rightly ask Udo who? It's simple and that is what makes Accept so brilliant. They do simple fantastically well. Produced by Andy Sneap, this is an album that defines pure heavy metal in 2017. An essential listen. 9/10
Paradise Lost: One Second [20th Anniversary Reissue] (Music For Nations)
Few bands have evolved their sound in such dramatic ways as Halifax’s doom merchants Paradise Lost. The 20th anniversary reissue of One Second allows a breather, time to reflect on just how technically good the band is, their continual metamorphosis always managing to retain the darkness. As the band prepares for the imminent release of Medusa, which promises more of the sombre death growling of 2015’s superb The Plague Within, the differences between album number six could not be more different.
One Second was another change of direction from the band, who had already moved slightly away from their gothic doom tinged metal for a more industrial and electronic style. 1995’s masterpiece Draconian Times received positive reaction, with the 20th anniversary shows in 2015 selling out. So, two years after Draconian Times, One Second received a much more lukewarm reaction. Full of electronica and synths, there appeared little to grab the death doom metal fanatic by the hair. However, with the benefit of hindsight, One Second is a fabulous album. From the opening lines “And for one second, I lost my head …” Nick Holmes clean and controlled vocals shine. The Numan-esque Mercy, with its dark atmospheric feel, is a superb rock/goth song with beautiful melody. The title track remains a blisteringly good song, whilst the stomp of Say Just Words remains a fan favourite to this day.
One Second, 20 years after its release, still sounds fresh. The boldness of tracks like Soul Courageous, a track that The Mission could quite easily slip into their set, and the haunting album closer Take Me Down, with its eerie synthesizer lines, still hold weight today. Blood Of Another provided a reminder of the gloomy melancholic which the band revelled in, which we loved them for then and which remains with them now. I find this album more enjoyable now than when it was first released, mainly as Draconian Times had proved to be such a solid release. Disappear wasn’t fantastic as a track, the sound of the drum machine unwelcome but overall One Second stands alongside the rest of the Paradise Lost catalogue with its head held proud. A worthwhile reminder of the confidence of one of the UK’s best metal bands of all time. Oh, and the extended edition gives you a welcome live show from Shepherd’s Bush Empire in 1998. 8/10
King Leviathan: Paen Heretica (Infernum Records)
Blackened thrash metal from Brighton? Yes indeed, and King Leviathan are not fucking around. Their debut album is a masterful mixture of occult, thrash and black metal which entwines the listener from the opening bars of Primative Baptism, and then assaults with an aural battery that is sadistic in intent but pleasurable all the same. Adam Sedgwick's mix of growling and clean vocals works surprisingly well, giving the tracks breadth and substance. The guitar work is brutal, Rob Kuhler's slicing lead work sharper than the master butcher's cleaver.
There's no respite from the pulverising drumming of Danny Yates and Sam Forrester's thunderous bass lines. With the imperious swagger of Behemoth and the all out energy of Sylosis, King Leviathan certainly have delivered one of the albums of the year. Check out Kingdom, a pure masterpiece which crushes all. This is a band that will make you shiver, scream and roar. Get this album. It's a monster. 9/10
Thursday, 27 July 2017
Reviews: Prospekt, Galderia, Death Valley Knights
Prospekt: The Illuminated Sky (Sensory Records)
Oxford natives Prospekt's second album is a revelation. It's their first with singer Michael Morris and he really has an incredible voice, high and powerful he soars above the top quality progressive metal. The band sit in the American style of prog metal with Dream Theater and Symphony X the main references, there is also influences of Euro Prog/Power band such as Circus Maximus and Pagans Mind.
These are some of my favourite bands so naturally I will like this record however like is not the word I would to describe it, I love this record it's chock full of cinematic progressive metal, in fact 10 songs of it, complexity blends with simplicity and it is a wonderful thing. Lee Lulands guitar prowess is up there with Pertucci and Romeo technically brilliant but with passionate, classically trained expressionism.
You can't even hear the join when Greg Howe unleashes his six string fury on Alien Makers Of Discord. Lee is not the only member of the band with virtuosity as Phil Wicker and Blake Richardson play the chunky, heavy rhythms of modern prog, it's Rox Capriotti's keys provide the cinematic soundscapes and all together the band are simply stunning.
Just check out Cosmic Emissary, Titan, the powerful Akaibara and the epic finale of Where Masters Fall which features Dragonforce's Marc Hudson. The Illuminated Sky is a stunning album, before now Prospekt have never really come on my radar but mark my words I will be following this band closely from now on. A perfect progressive metal album. 10/10
Galderia: Return Of The Cosmic Men (Massacre Records)
Galderia play bouncy symphonic power metal, the type the Germans do perfectly, Galderia though are not German they come from France and have had a potted history only releasing their debut album in 2012 despite being around since 2009. Clearly they take their time as this is only their second record. Return Of The Cosmic Men is a galloping slice of power metal with the rapid fire riffs and orchestral synths of modern day Helloween or Blind Guardian with High Up In The Air, Shining Unity, Legions Of Light and the folky Celestial Harmony are the obvious examples.
They mix up their traditional power metal with more varied sounds on tracks such as the rockier Blue Aura, the electronic thump of Living Forevermore and the power balladry of Wake Up The World, what also sets them apart is that guitarists Seb Chabot, Tom Schmitt and bassist Bob Saliba all take it in turns behind the lead mic (Seb taking the majority) it's this vocal trio that really make this record interesting as they intertwine and give each song a different edge.
Away from the trio drummer J.C batters his kit and Julien embellishes it all with his soaring keys. It's evident that taking their time pays off for Galderia, Return Of The Cosmic Men is a top drawer power metal record up there with the best of the big German hitters, kudos to the men from Marseille for a great album. 8/10
Death Valley Knights: Valhalla Vintage (Self Released)
Dirty biker metal crew Death Valley Knights are an act steeped in British metal history (even though they were founded by a Texan), their sound is the sort of bass heavy leather clad metal favoured by Priest, Saxon and even Motorhead, with a debut under their belts this EP is their most recent release and it's very impressive, firstly it sounds huge, the production is colossal, as soon as the opening bars of the title track kick in your head starts nodding with the twin axe attack of Priest.
They aren't a one trick pony though it's not all Maiden/Priest/Saxon worship with Be The Grizzly having a progressive edge, Taste Of The Kill takes in 80's thrash and Shut Up And Drink is a party song written by Saxon on a boozy night out, as Jake Thorsten sings just like Biff. Death Valley Knights and Valhalla Vintage in particular is air guitar heaven, make sure they are tuned properly, crank up the volume, press play and enjoy! 8/10
Oxford natives Prospekt's second album is a revelation. It's their first with singer Michael Morris and he really has an incredible voice, high and powerful he soars above the top quality progressive metal. The band sit in the American style of prog metal with Dream Theater and Symphony X the main references, there is also influences of Euro Prog/Power band such as Circus Maximus and Pagans Mind.
These are some of my favourite bands so naturally I will like this record however like is not the word I would to describe it, I love this record it's chock full of cinematic progressive metal, in fact 10 songs of it, complexity blends with simplicity and it is a wonderful thing. Lee Lulands guitar prowess is up there with Pertucci and Romeo technically brilliant but with passionate, classically trained expressionism.
You can't even hear the join when Greg Howe unleashes his six string fury on Alien Makers Of Discord. Lee is not the only member of the band with virtuosity as Phil Wicker and Blake Richardson play the chunky, heavy rhythms of modern prog, it's Rox Capriotti's keys provide the cinematic soundscapes and all together the band are simply stunning.
Just check out Cosmic Emissary, Titan, the powerful Akaibara and the epic finale of Where Masters Fall which features Dragonforce's Marc Hudson. The Illuminated Sky is a stunning album, before now Prospekt have never really come on my radar but mark my words I will be following this band closely from now on. A perfect progressive metal album. 10/10
Galderia: Return Of The Cosmic Men (Massacre Records)
Galderia play bouncy symphonic power metal, the type the Germans do perfectly, Galderia though are not German they come from France and have had a potted history only releasing their debut album in 2012 despite being around since 2009. Clearly they take their time as this is only their second record. Return Of The Cosmic Men is a galloping slice of power metal with the rapid fire riffs and orchestral synths of modern day Helloween or Blind Guardian with High Up In The Air, Shining Unity, Legions Of Light and the folky Celestial Harmony are the obvious examples.
They mix up their traditional power metal with more varied sounds on tracks such as the rockier Blue Aura, the electronic thump of Living Forevermore and the power balladry of Wake Up The World, what also sets them apart is that guitarists Seb Chabot, Tom Schmitt and bassist Bob Saliba all take it in turns behind the lead mic (Seb taking the majority) it's this vocal trio that really make this record interesting as they intertwine and give each song a different edge.
Away from the trio drummer J.C batters his kit and Julien embellishes it all with his soaring keys. It's evident that taking their time pays off for Galderia, Return Of The Cosmic Men is a top drawer power metal record up there with the best of the big German hitters, kudos to the men from Marseille for a great album. 8/10
Death Valley Knights: Valhalla Vintage (Self Released)
Dirty biker metal crew Death Valley Knights are an act steeped in British metal history (even though they were founded by a Texan), their sound is the sort of bass heavy leather clad metal favoured by Priest, Saxon and even Motorhead, with a debut under their belts this EP is their most recent release and it's very impressive, firstly it sounds huge, the production is colossal, as soon as the opening bars of the title track kick in your head starts nodding with the twin axe attack of Priest.
They aren't a one trick pony though it's not all Maiden/Priest/Saxon worship with Be The Grizzly having a progressive edge, Taste Of The Kill takes in 80's thrash and Shut Up And Drink is a party song written by Saxon on a boozy night out, as Jake Thorsten sings just like Biff. Death Valley Knights and Valhalla Vintage in particular is air guitar heaven, make sure they are tuned properly, crank up the volume, press play and enjoy! 8/10
Wednesday, 26 July 2017
A View From The Field: Friday At Amplified 2017
Amplified Festival
What could be better? The beautiful location of the Gloucestershire countryside, three days of established headliners and the cream of the UK metal and alt/rock scene all in one place. Sounds great until you remember the fucking British weather. After several glorious weeks of wall to wall sunshine the weather turned in the days before the event leaving anxious checks of the forecast which appeared to change every five minutes.
However, the omens looked promising as I left storm battered South Wales early on Friday morning. The sun reappeared and having negotiated my way through the parking and the steep hill which led to the campsite, it was time to have a look around the layout. Fair play, an ambitious four stages set across a couple of acres of farmland, with the Tavern stage nicely sheltered, the Shoot Your Hoops stage more exposed and the main arena housing the Very Metal Art stage at one side and the Red Stripe Main at the other end of the vast expanse. I’m not sure how many the organisers were expecting but you could have fitted 5000 in this area comfortably. A variety of bars and food outlets circled the main arena along with a couple of traders. Having purchased a pint of potent cider mainly to secure my Amplified/SOPHIE polycarbonate cup, it was time for some music.
Opening the Very Metal Art Stage was female quintet Dorja (7). The band had played Fuel in Cardiff the night before but showed no signs of ill-effects as they punched out their hard rock with gusto. Although there was a strong wind blowing Ayim Almas’ mighty fine vocals cut through with ease, the sound crisp and clear. Alongside her, the twin guitar attack of Holly Henderson and Rosie Botterill and familiar face for those in the South West scene, one Becky Baldwin with her thundering Rickenbacker bass. Tracks from the band’s debut EP Target Practice were well received by the small but enthusiastic crowd. A small drum solo was unnecessary but Dorja finished with a storming cover of Black Sabbath’s Mob Rules, the instantly recognisable riff getting heads nodding whilst Almas carried the RJD vocal with aplomb.
Across the arena to see Liverpool duo Rival Bones (8) blast out 30 minutes of impressive hard rock. For a duo, guitarist/vocalist James Whitehouse and drummer Chris Thompson make hell of a noise and whilst the Royal Blood comparisons are inevitable Rival Bones struck me as having a bit more to offer. Mixing tracks from their debut EP alongside a newie written for the festival the band demonstrated great energy and enthusiasm which quickly won over the sparse gathering in front of the main stage. Whitehouse has a gritty but appealing voice and his between song banter was spot on. Closing with the rocking You Know Who You Are, the band are one to watch and well worth checking out if you get the chance.
So far so good and with the weather windy but dry it was back to the VMA stage to catch the Metallica infused thrash of Glaswegians Damaj (7). Their brand of groove ridden thrash was thoroughly enjoyable, with The Wrath Of The Tide particularly agreeable. Front man Daniel Stewart has a Hetfield style delivery, and this worked well with the type of thrash which is very much focused on early Metallica. Alongside Stewart, lead guitarist James Haggart shredded for his life, with some brutal solos. Bassist David Douglas hammered the shit out of his five-string bass whilst new drummer Ciaran Whyte, resplendent in A Farewell To Kings Rush shirt looked incredibly comfortable for only his second gig with the band. Damaj played like they were headlining and are another UK band well worth a look.
After an aborted attempt to catch Departed for an interview (delayed and ultimately didn’t play) the metalcore tones of Brighton’s Bleed Again (7) blasted across the field. I don’t like metalcore one bit but these guys gave it everything, encouraging and coercing another very small gathering to get involved. With new release Momentum receiving enthusiastic reviews, the set consisted of that material. Vocalist James Dawson delivering with gusto, bursting the veins in the neck whilst the brutal riffage of Simon Williams and Chris Pratt delivered real damage. If you like your metalcore with an extra dose of brutality then the South Coast outfit will be very much to your tastes.
The Fallen State (8) are about as far away from metalcore as you can get but their generic hard rock worked well in the blustery conditions. With melody and enthusiasm, the band looked sharp from their recent support to Trapt and in fine shape for some forthcoming action with Puddle Of Mudd. Impressive frontman Ben Stenning has a superb voice and the charisma necessary to win over the small but enthusiastic throng stage front. The band blasted through their 30 minutes, with songs from The View From Ruin EP which ranged from calmer rockers to all out headbangers allowing guitarists Jon Price and Dan Oke to up the riffage. Certainly, a band with promise.
Another band with promise but a totally different sound is Codex Alimentarius (8). The Exeter outfit’s crushing groove based metal takes no prisoners. It’s probably unsurprising given that these guys have serious support time logged with legends like Vader and Krisiun that they were sharp and focused. The three-pronged guitar assault was impressive and vocalist Ray Arall possesses a death growl which could wake the dead. Tracks from The Hand Of Apophis EP were welcomed by the hardy souls at the VMA stage whose skulls had visibly caved by the time that Baptised finished the impressive set. Think of Lamb Of God meets Obituary with a technical slant and you won’t be far away. If these boys play near you it’s worth getting an earful. Just be warned. This band should come with a warning.
A quick listen to Tess Of The Circle as I wandered back to the tent didn’t impress enough to stay and judging by the handful of punters assembled in front I wasn’t the only one. However, one band who do impress is The Amorettes (7), the Scottish three-piece of Gill Montgomery, Hannah McKay and Heather McKay who I’d last encountered with a solid opening set for Black Star Riders. The girls kicked out all the jams as the rain started to enter the equation. Another solid set comprising tracks from their three albums and finishing with a decent bit of audience participation on Hot And Heavy. The band’s enthusiasm always wins me over and today was no different.
As the rain took hold of the site, coming down in biblical proportions ala Download 2016, it was from the bar area that I viewed Exist Immortal (7). The West London outfit were visibly encouraged by the few hardcore members of the crowd (also known as nutters!) who formed an impromptu mosh pit to the band’s melodic technical metal. Even from across the arena their enthusiasm was evident and whilst they don’t float my boat their energy could only be admired.
At this point all hell broke loose weather wise, with torrential rain swamping the entire site. I made the decision to pack up and head for home. With a leaking tent and half of my gear already soaked, I didn’t fancy getting even more wet and miserable overnight. Sure, I may be soft, but I hate camping at the best of times so I don’t really give a shit what anyone else thinks to be honest. It’s not an award-winning endurance event. I understand that several bands were cancelled before the bar area hosted Acid Reign and an intimate set from Puddle of Mudd.
I’m glad that the organisers managed to sort it out and for those that stayed, well done. With a night in a warm bed and a day of torrential rain following, my first Amplified Festival was shorter than anticipated. I hope the crowds turn up as Friday’s attendance was slim.
Oh, and one suggestion. Outdoor festivals in the UK live and die by the weather, so whilst the cost is obviously an issue, why not place some marquees strategically in front of the stages? It would allow punters to watch whilst not drowning and on those rare occasions provide some respite from the sun. Just a thought.
What could be better? The beautiful location of the Gloucestershire countryside, three days of established headliners and the cream of the UK metal and alt/rock scene all in one place. Sounds great until you remember the fucking British weather. After several glorious weeks of wall to wall sunshine the weather turned in the days before the event leaving anxious checks of the forecast which appeared to change every five minutes.
However, the omens looked promising as I left storm battered South Wales early on Friday morning. The sun reappeared and having negotiated my way through the parking and the steep hill which led to the campsite, it was time to have a look around the layout. Fair play, an ambitious four stages set across a couple of acres of farmland, with the Tavern stage nicely sheltered, the Shoot Your Hoops stage more exposed and the main arena housing the Very Metal Art stage at one side and the Red Stripe Main at the other end of the vast expanse. I’m not sure how many the organisers were expecting but you could have fitted 5000 in this area comfortably. A variety of bars and food outlets circled the main arena along with a couple of traders. Having purchased a pint of potent cider mainly to secure my Amplified/SOPHIE polycarbonate cup, it was time for some music.
Opening the Very Metal Art Stage was female quintet Dorja (7). The band had played Fuel in Cardiff the night before but showed no signs of ill-effects as they punched out their hard rock with gusto. Although there was a strong wind blowing Ayim Almas’ mighty fine vocals cut through with ease, the sound crisp and clear. Alongside her, the twin guitar attack of Holly Henderson and Rosie Botterill and familiar face for those in the South West scene, one Becky Baldwin with her thundering Rickenbacker bass. Tracks from the band’s debut EP Target Practice were well received by the small but enthusiastic crowd. A small drum solo was unnecessary but Dorja finished with a storming cover of Black Sabbath’s Mob Rules, the instantly recognisable riff getting heads nodding whilst Almas carried the RJD vocal with aplomb.
Across the arena to see Liverpool duo Rival Bones (8) blast out 30 minutes of impressive hard rock. For a duo, guitarist/vocalist James Whitehouse and drummer Chris Thompson make hell of a noise and whilst the Royal Blood comparisons are inevitable Rival Bones struck me as having a bit more to offer. Mixing tracks from their debut EP alongside a newie written for the festival the band demonstrated great energy and enthusiasm which quickly won over the sparse gathering in front of the main stage. Whitehouse has a gritty but appealing voice and his between song banter was spot on. Closing with the rocking You Know Who You Are, the band are one to watch and well worth checking out if you get the chance.
So far so good and with the weather windy but dry it was back to the VMA stage to catch the Metallica infused thrash of Glaswegians Damaj (7). Their brand of groove ridden thrash was thoroughly enjoyable, with The Wrath Of The Tide particularly agreeable. Front man Daniel Stewart has a Hetfield style delivery, and this worked well with the type of thrash which is very much focused on early Metallica. Alongside Stewart, lead guitarist James Haggart shredded for his life, with some brutal solos. Bassist David Douglas hammered the shit out of his five-string bass whilst new drummer Ciaran Whyte, resplendent in A Farewell To Kings Rush shirt looked incredibly comfortable for only his second gig with the band. Damaj played like they were headlining and are another UK band well worth a look.
After an aborted attempt to catch Departed for an interview (delayed and ultimately didn’t play) the metalcore tones of Brighton’s Bleed Again (7) blasted across the field. I don’t like metalcore one bit but these guys gave it everything, encouraging and coercing another very small gathering to get involved. With new release Momentum receiving enthusiastic reviews, the set consisted of that material. Vocalist James Dawson delivering with gusto, bursting the veins in the neck whilst the brutal riffage of Simon Williams and Chris Pratt delivered real damage. If you like your metalcore with an extra dose of brutality then the South Coast outfit will be very much to your tastes.
The Fallen State (8) are about as far away from metalcore as you can get but their generic hard rock worked well in the blustery conditions. With melody and enthusiasm, the band looked sharp from their recent support to Trapt and in fine shape for some forthcoming action with Puddle Of Mudd. Impressive frontman Ben Stenning has a superb voice and the charisma necessary to win over the small but enthusiastic throng stage front. The band blasted through their 30 minutes, with songs from The View From Ruin EP which ranged from calmer rockers to all out headbangers allowing guitarists Jon Price and Dan Oke to up the riffage. Certainly, a band with promise.
Another band with promise but a totally different sound is Codex Alimentarius (8). The Exeter outfit’s crushing groove based metal takes no prisoners. It’s probably unsurprising given that these guys have serious support time logged with legends like Vader and Krisiun that they were sharp and focused. The three-pronged guitar assault was impressive and vocalist Ray Arall possesses a death growl which could wake the dead. Tracks from The Hand Of Apophis EP were welcomed by the hardy souls at the VMA stage whose skulls had visibly caved by the time that Baptised finished the impressive set. Think of Lamb Of God meets Obituary with a technical slant and you won’t be far away. If these boys play near you it’s worth getting an earful. Just be warned. This band should come with a warning.
A quick listen to Tess Of The Circle as I wandered back to the tent didn’t impress enough to stay and judging by the handful of punters assembled in front I wasn’t the only one. However, one band who do impress is The Amorettes (7), the Scottish three-piece of Gill Montgomery, Hannah McKay and Heather McKay who I’d last encountered with a solid opening set for Black Star Riders. The girls kicked out all the jams as the rain started to enter the equation. Another solid set comprising tracks from their three albums and finishing with a decent bit of audience participation on Hot And Heavy. The band’s enthusiasm always wins me over and today was no different.
As the rain took hold of the site, coming down in biblical proportions ala Download 2016, it was from the bar area that I viewed Exist Immortal (7). The West London outfit were visibly encouraged by the few hardcore members of the crowd (also known as nutters!) who formed an impromptu mosh pit to the band’s melodic technical metal. Even from across the arena their enthusiasm was evident and whilst they don’t float my boat their energy could only be admired.
At this point all hell broke loose weather wise, with torrential rain swamping the entire site. I made the decision to pack up and head for home. With a leaking tent and half of my gear already soaked, I didn’t fancy getting even more wet and miserable overnight. Sure, I may be soft, but I hate camping at the best of times so I don’t really give a shit what anyone else thinks to be honest. It’s not an award-winning endurance event. I understand that several bands were cancelled before the bar area hosted Acid Reign and an intimate set from Puddle of Mudd.
I’m glad that the organisers managed to sort it out and for those that stayed, well done. With a night in a warm bed and a day of torrential rain following, my first Amplified Festival was shorter than anticipated. I hope the crowds turn up as Friday’s attendance was slim.
Oh, and one suggestion. Outdoor festivals in the UK live and die by the weather, so whilst the cost is obviously an issue, why not place some marquees strategically in front of the stages? It would allow punters to watch whilst not drowning and on those rare occasions provide some respite from the sun. Just a thought.
Tuesday, 25 July 2017
Reviews: In This Moment, Minus Inferno, The Kindred
In This Moment: Ritual (Atlantic Records)
Ritual is LA ban In This Moment's sixth album and it sees them yet again advance their sound, they have successfully tackled metalcore before moving towards the more industrial soundscapes of their most recent records. This album sees the band adapt their sound again with guitarist Chris Howorth saying "stylistically, I think we went a little bit more raw" while vocalist Maria Brink went as far as to say there is a definitive less sexual side "I wanted to show people and definitely women a different side of strength in me that was a really powerful force in me that didn't need the sexual part" the change is obvious from the outset the electronics have been toned down in favour of mystical blues vibes.
The album was inspired by Brink's trip to Salem Massachusetts and you can really hear the occult, spiritual side come through, struggles with God and the Devil are evident on the clap and stomp of Oh Lord as Brink prays for mercy, you can hear Howorth really playing up a storm aided by Randy Weitzel, Black Wedding has the throbbing heaviness of previous albums riffs on Billy Idol's White Wedding and features the Metal God himself Rob Halford on guest vocals, this heaviness moves through to Joan Of Arc and the crushing River Of Fire.
Ritual is an impressive, dark record that shows a more mature side of the band, they even manage to pull off a evil sounding cover of Phil Collins' In The Air Tonight. Those who thought the band were a little style over substance will be pleasantly surprised with this record, it's the band playing at their best and taking their sound in another direction, In This Moment have reinvented themselves again and this time their serious. 8/10
Minus Inferno: Blizzard Of Souls (Morning Star Heathens)
Classic heavy metal or traditional heavy metal is best from the UK, sorry everyone else, we invented it. The NWOBHM was instrumental in creating thrash, power and black metal, it made global superstars of Iron Maiden, Judas Priest and yes even Def Leppard. In more recent times the genre has been adopted and some may say perfected by both the Swedes and the Canadians but the plucky Brits can still strap on a bullet belt, skin tight trousers and rock it like it's 1982. This is where Minus Inferno come in, they play the classic dual guitar slinging metal that was born in the NWOBHM they pay tribute to it on the song Minus Inferno which tells you to rock out and that the metal will be both forever and for life. Musically they don't stray too far from the trad metal blueprint with James Ennis and Charlie Peterson trading riffs and solos as Casey Hastings and Craig Meadows lock down the rhythm section and James Mitchell has an ideal vocals for the band. The production is a bit wispy but it means there is an authenticity to the record, it's neither big nor clever but it's proper British metal from the Gloucester band. 7/10
The Kindred: The Weight EP (Sumerian Records)
Well...this is a bit good. Ottawa natives The Kindred are right at the cusp of the modern progressive rock curve, they have intense technicality, but they also have a knack for songwriting shared by UK act Haken. It's not djent as it's not strictly metal, though they have a heaviness and a groove of acts like Tesseract, they also have a alternative element due to Johnny's melodic vocals and the huge keyboards of Matt Young. Stray Away takes a big vocals hook and pairs it with Gojira fret slides, building to a anthemic end. Wake has a driving rumble from Eric and Kenny as Ben and Steve play the off kilter guitar riffs. The Weight EP is a very strong EP that is right at the forefront of modern progressive music, emotive, heavy and technically gifted without slacking on the songwriting. 7/10
Ritual is LA ban In This Moment's sixth album and it sees them yet again advance their sound, they have successfully tackled metalcore before moving towards the more industrial soundscapes of their most recent records. This album sees the band adapt their sound again with guitarist Chris Howorth saying "stylistically, I think we went a little bit more raw" while vocalist Maria Brink went as far as to say there is a definitive less sexual side "I wanted to show people and definitely women a different side of strength in me that was a really powerful force in me that didn't need the sexual part" the change is obvious from the outset the electronics have been toned down in favour of mystical blues vibes.
The album was inspired by Brink's trip to Salem Massachusetts and you can really hear the occult, spiritual side come through, struggles with God and the Devil are evident on the clap and stomp of Oh Lord as Brink prays for mercy, you can hear Howorth really playing up a storm aided by Randy Weitzel, Black Wedding has the throbbing heaviness of previous albums riffs on Billy Idol's White Wedding and features the Metal God himself Rob Halford on guest vocals, this heaviness moves through to Joan Of Arc and the crushing River Of Fire.
Ritual is an impressive, dark record that shows a more mature side of the band, they even manage to pull off a evil sounding cover of Phil Collins' In The Air Tonight. Those who thought the band were a little style over substance will be pleasantly surprised with this record, it's the band playing at their best and taking their sound in another direction, In This Moment have reinvented themselves again and this time their serious. 8/10
Minus Inferno: Blizzard Of Souls (Morning Star Heathens)
Classic heavy metal or traditional heavy metal is best from the UK, sorry everyone else, we invented it. The NWOBHM was instrumental in creating thrash, power and black metal, it made global superstars of Iron Maiden, Judas Priest and yes even Def Leppard. In more recent times the genre has been adopted and some may say perfected by both the Swedes and the Canadians but the plucky Brits can still strap on a bullet belt, skin tight trousers and rock it like it's 1982. This is where Minus Inferno come in, they play the classic dual guitar slinging metal that was born in the NWOBHM they pay tribute to it on the song Minus Inferno which tells you to rock out and that the metal will be both forever and for life. Musically they don't stray too far from the trad metal blueprint with James Ennis and Charlie Peterson trading riffs and solos as Casey Hastings and Craig Meadows lock down the rhythm section and James Mitchell has an ideal vocals for the band. The production is a bit wispy but it means there is an authenticity to the record, it's neither big nor clever but it's proper British metal from the Gloucester band. 7/10
The Kindred: The Weight EP (Sumerian Records)
Well...this is a bit good. Ottawa natives The Kindred are right at the cusp of the modern progressive rock curve, they have intense technicality, but they also have a knack for songwriting shared by UK act Haken. It's not djent as it's not strictly metal, though they have a heaviness and a groove of acts like Tesseract, they also have a alternative element due to Johnny's melodic vocals and the huge keyboards of Matt Young. Stray Away takes a big vocals hook and pairs it with Gojira fret slides, building to a anthemic end. Wake has a driving rumble from Eric and Kenny as Ben and Steve play the off kilter guitar riffs. The Weight EP is a very strong EP that is right at the forefront of modern progressive music, emotive, heavy and technically gifted without slacking on the songwriting. 7/10
Sunday, 23 July 2017
Reviews: Wintersun, Necromandus, Rock Goddess (Reviews By Paul)
Wintersun: The Forest Seasons (Nuclear Blast)
It’s been a long time since the metal world went a little weak at the knees when the Finns delivered Time I, one of the most epic albums of all time. There was pretty much universal praise, such was the quality of this release and the band proved they could deliver it live. Five years have since passed, and it’s been a bumpy road for the band. If you follow the band and/or main driving force Jari Maenpaa on any social media platform then you’ll know all about it. In order to deliver Time II the band wanted to created their own studio and to do this they needed to raise funds. Their crowd funding campaign was dramatic and relentless, with close to €500,000 pledged.
However, instead of Time II, Wintersun has delivered The Forest Seasons, an intense four track piece which captures the four seasons of the year. Each track is lengthy, with The Forest That Weeps (Summer) the shortest at just over 12 minutes in length. All the Wintersun trademarks are present. Blast beats, epic tempos and time changes, clean vocals interchanging with intense harshness, huge guitar solos and operatic sweeps. The heaviest season is probably Eternal Darkness (Autumn) which rages relentlessly for over 14 minutes. It’s either magnificent or some of the most overblown bollocks ever recorded. I am somewhere in the middle on this. Whilst clearly appreciating the intricacy of each composition, you can’t help but wonder if there is sometimes just a little bit too much sophistication. Loneliness (Winter) is case in point.
The song contains some beautiful flowing sections with Maenpaa’s synths sustaining the majestic feel, soaring vocals capturing the epic flavour but bloody hell it goes on. And on. And maybe that’s me missing the point. After all the sheer majesty of Time I was the complexity of the pieces. That’s where I struggle with this album. It’s not Time II. It’s not Time I. But it feels like the band have tried to create Time I ½. Whether repeated plays will allow me the time to warm to it I don’t know. I just don’t know if I have the time to commit (no pun intended). 7/10
It’s been a long time since the metal world went a little weak at the knees when the Finns delivered Time I, one of the most epic albums of all time. There was pretty much universal praise, such was the quality of this release and the band proved they could deliver it live. Five years have since passed, and it’s been a bumpy road for the band. If you follow the band and/or main driving force Jari Maenpaa on any social media platform then you’ll know all about it. In order to deliver Time II the band wanted to created their own studio and to do this they needed to raise funds. Their crowd funding campaign was dramatic and relentless, with close to €500,000 pledged.
However, instead of Time II, Wintersun has delivered The Forest Seasons, an intense four track piece which captures the four seasons of the year. Each track is lengthy, with The Forest That Weeps (Summer) the shortest at just over 12 minutes in length. All the Wintersun trademarks are present. Blast beats, epic tempos and time changes, clean vocals interchanging with intense harshness, huge guitar solos and operatic sweeps. The heaviest season is probably Eternal Darkness (Autumn) which rages relentlessly for over 14 minutes. It’s either magnificent or some of the most overblown bollocks ever recorded. I am somewhere in the middle on this. Whilst clearly appreciating the intricacy of each composition, you can’t help but wonder if there is sometimes just a little bit too much sophistication. Loneliness (Winter) is case in point.
The song contains some beautiful flowing sections with Maenpaa’s synths sustaining the majestic feel, soaring vocals capturing the epic flavour but bloody hell it goes on. And on. And maybe that’s me missing the point. After all the sheer majesty of Time I was the complexity of the pieces. That’s where I struggle with this album. It’s not Time II. It’s not Time I. But it feels like the band have tried to create Time I ½. Whether repeated plays will allow me the time to warm to it I don’t know. I just don’t know if I have the time to commit (no pun intended). 7/10
Necromandus: Self Titled (Mandus Music)
I must admit I knew nothing about Necromandus. They split up in 1973 when I was three years old. Their first album Orexis Of Death, produced by none other than the Iron Man Tony Iommi didn’t see the light of day until 1999. By the time the band re-emerged last year, only drummer Frank Hall from the original line-up was still alive. So, with only one original member, does Necromandus capture that 1970s sound? Well the answer is a resounding yes.
Full of the atmospheric stoner doom that Sabbath made their own but which is now captured so well by bands such as The Sword, the album is 45 minutes of trippy riffage, melancholic keyboards and some decent hard rock. John Branch has a vocal style perfect for the band. The groove of Alauna and Limpert Man contrasts with the psychedelic space rock style of Hymn To Her. Guitarist Dan Newton does a great job throughout, with some very crunchy riffs whilst John Marcangelo’s keyboards add depth and texture. It’s unlikely the band is ever going to remain anything other than a “what might have been” but this is a good stab at bringing more focus to the name. 7/10
Rock Goddess: It’s More Than Rock ‘N’ Roll EP (Bite You To Death Records)
Back in 1977 sisters Jody and Julie Turner formed Rock Goddess. A power trio from Wandsworth who rode the crest of the NWOBHM and alongside Girlschool raised the flag for UK female metal bands. The original line-up was completed by Tracey Lamb and it’s that line-up that has returned on this new EP. Rock Goddess’ history is littered with bad luck and it’s good to see the band back up and running. Whether this EP will help their profile at all is debatable. The three tracks are all formulaic and routine with the closing track We’re All Metal on a par with the worst of Anvil do little to elevate the pulse. Perhaps it might be better to stick with the old stuff? 5/10
I must admit I knew nothing about Necromandus. They split up in 1973 when I was three years old. Their first album Orexis Of Death, produced by none other than the Iron Man Tony Iommi didn’t see the light of day until 1999. By the time the band re-emerged last year, only drummer Frank Hall from the original line-up was still alive. So, with only one original member, does Necromandus capture that 1970s sound? Well the answer is a resounding yes.
Full of the atmospheric stoner doom that Sabbath made their own but which is now captured so well by bands such as The Sword, the album is 45 minutes of trippy riffage, melancholic keyboards and some decent hard rock. John Branch has a vocal style perfect for the band. The groove of Alauna and Limpert Man contrasts with the psychedelic space rock style of Hymn To Her. Guitarist Dan Newton does a great job throughout, with some very crunchy riffs whilst John Marcangelo’s keyboards add depth and texture. It’s unlikely the band is ever going to remain anything other than a “what might have been” but this is a good stab at bringing more focus to the name. 7/10
Rock Goddess: It’s More Than Rock ‘N’ Roll EP (Bite You To Death Records)
Back in 1977 sisters Jody and Julie Turner formed Rock Goddess. A power trio from Wandsworth who rode the crest of the NWOBHM and alongside Girlschool raised the flag for UK female metal bands. The original line-up was completed by Tracey Lamb and it’s that line-up that has returned on this new EP. Rock Goddess’ history is littered with bad luck and it’s good to see the band back up and running. Whether this EP will help their profile at all is debatable. The three tracks are all formulaic and routine with the closing track We’re All Metal on a par with the worst of Anvil do little to elevate the pulse. Perhaps it might be better to stick with the old stuff? 5/10
Friday, 21 July 2017
Reviews: Carach Angren, Limbonic Art, Execration (Review By Rich)
Carach Angren: Dance And Laugh Amongst The Rotten (Seasons Of Mist)
Dutch symphonic black metallers Carach Angren are back with their fifth album Dance And Laugh Amongst The Rotten. Carach Angren seem to be a very polarising band in metal at the moment being either adored or despised and that opinion is unlikely to change with this new album as Carach Angren stick to their tried and trusted sound.
If you haven't heard Carach Angren before their sound is very much in the style of melodic Scandanavian black metal mixed with a classical, symphonic sound. They take the most melodramatic parts of Cradle Of Filth and the most epic parts of Dimmu Borgir and mix them together. This is a sound that has worked for them on four previous albums and they don't stray from it here. Also like previous albums there is a concept behind the album. This time the story involves a young girls obsession with a ouija board.
Whilst still a very enjoyable album most felt that previous album This Is No Fairytale was a weak point for the band with the material being very formulaic and less inspired than previous albums. Although Dance And Laugh Amongst The Rotten is an improvement over the previous album it still falls into a lot of the trappings where many of the songs are easily forgettable and the band feels like it is going through the motions. Where this album does work though is through the stunning symphonic arrangements which are equally epic, bombastic, dark and haunting.
Carach Angren have released another enjoyable album which although is an improvement over the disappointing This Is No Fairytale does not match the bands stunning early albums such as Lammendam or Death Came Through A Phantom Ship. 7/10
Limbonic Art: Spectre Abysm (Candlelight/Spinefarm)
Norwegian black metal fiends Limbonic Art return with their first album in seven years Spectre Abysm. Finding out information about this new release has been difficult with very little information being released as to who is currently in the band. (Since their previous release Limbonic art have been essentially a solo project of main founding member Daemon - Ed). All I do know is that this is a belter of a black metal album and a much welcomed return for Limbonic Art.
The music on Spectre Abysm is the perfect fusion of the more atmospheric and aggressive sides of black metal. Layers of keyboards add a feel of real dark malevolence whilst savage tremolo riffs and blastbeats tear your face off. There are seven tracks here of black metal majesty with highlights being Triumph Of Sacrilege, Omega Doom and Ethereal Traveller.
My only criticism of Spectre Abysm is that two of the tracks are pretty much wasted only really serving as an interlude or introduction to the track that follows but overall Limbonic Art have made a triumphant return with an album that mixes old school black metal ferocity with mood and atmosphere. 8/10
Execration: Return To The Void (Metal Blade Records)
Although well known for its black metal Norway has a very good death metal scene with one of those bands being Execration. Return To The Void is the fourth album by the band and is a very interesting take on the death metal sound.
There are an array of influences evident as well as death metal with a sound that incorporates elements of black metal, doom metal and progressive metal. It's an album that mixes moments of sheer aggression with moments which can only be described as psychedelic.
It's a very unique take on death metal and proves the genre still has a few tricks up its sleeve but unfortunately it's not an album that really sticks with you. Being such an intense listen and with so much going on this is an album that will likely take several listens to truly get it. Regardless it's good to hear an alternative and progressive take on a genre that many people say has run out of ideas. 7/10
Dutch symphonic black metallers Carach Angren are back with their fifth album Dance And Laugh Amongst The Rotten. Carach Angren seem to be a very polarising band in metal at the moment being either adored or despised and that opinion is unlikely to change with this new album as Carach Angren stick to their tried and trusted sound.
If you haven't heard Carach Angren before their sound is very much in the style of melodic Scandanavian black metal mixed with a classical, symphonic sound. They take the most melodramatic parts of Cradle Of Filth and the most epic parts of Dimmu Borgir and mix them together. This is a sound that has worked for them on four previous albums and they don't stray from it here. Also like previous albums there is a concept behind the album. This time the story involves a young girls obsession with a ouija board.
Whilst still a very enjoyable album most felt that previous album This Is No Fairytale was a weak point for the band with the material being very formulaic and less inspired than previous albums. Although Dance And Laugh Amongst The Rotten is an improvement over the previous album it still falls into a lot of the trappings where many of the songs are easily forgettable and the band feels like it is going through the motions. Where this album does work though is through the stunning symphonic arrangements which are equally epic, bombastic, dark and haunting.
Carach Angren have released another enjoyable album which although is an improvement over the disappointing This Is No Fairytale does not match the bands stunning early albums such as Lammendam or Death Came Through A Phantom Ship. 7/10
Limbonic Art: Spectre Abysm (Candlelight/Spinefarm)
Norwegian black metal fiends Limbonic Art return with their first album in seven years Spectre Abysm. Finding out information about this new release has been difficult with very little information being released as to who is currently in the band. (Since their previous release Limbonic art have been essentially a solo project of main founding member Daemon - Ed). All I do know is that this is a belter of a black metal album and a much welcomed return for Limbonic Art.
The music on Spectre Abysm is the perfect fusion of the more atmospheric and aggressive sides of black metal. Layers of keyboards add a feel of real dark malevolence whilst savage tremolo riffs and blastbeats tear your face off. There are seven tracks here of black metal majesty with highlights being Triumph Of Sacrilege, Omega Doom and Ethereal Traveller.
My only criticism of Spectre Abysm is that two of the tracks are pretty much wasted only really serving as an interlude or introduction to the track that follows but overall Limbonic Art have made a triumphant return with an album that mixes old school black metal ferocity with mood and atmosphere. 8/10
Execration: Return To The Void (Metal Blade Records)
Although well known for its black metal Norway has a very good death metal scene with one of those bands being Execration. Return To The Void is the fourth album by the band and is a very interesting take on the death metal sound.
There are an array of influences evident as well as death metal with a sound that incorporates elements of black metal, doom metal and progressive metal. It's an album that mixes moments of sheer aggression with moments which can only be described as psychedelic.
It's a very unique take on death metal and proves the genre still has a few tricks up its sleeve but unfortunately it's not an album that really sticks with you. Being such an intense listen and with so much going on this is an album that will likely take several listens to truly get it. Regardless it's good to hear an alternative and progressive take on a genre that many people say has run out of ideas. 7/10
Thursday, 20 July 2017
Reviews: Kabbalah, River Black, Impure Wilhemina (Reviews By Paul)
Kabbalah: Spectral Ascent (Twin Earth Records)
Spanish trio Kabbalah play retro occult rock. It’s an unmistakable sound, one which will either get you excited or pass you by. Sabbath style doom laden riffs, harmonies a plenty and an underlying current of evil, it’s all here. The band make a sound much larger than their number. Check out the show stopping The Reverend with its unmistakable fuzzy guitar sound, or the White Stripes stomp of The Darkness Of Time, both rather splendid in their 70s sound, and both supernaturally different. It’s the haunting Dark Revelation which steals the plaudits for me, slightly longer with several changes of tempo, it undulates and manoeuvres through a sinister path, reeking of malevolence. Reminiscent of many occult bands doing the rounds, Kabbalah are closer to Lucifer, Orchid and Witch Mountain than the more commercially accessible Ghost. Atmospheric, ominous and full of character, Spectral Ascent is a worthy release. 8/10
River Black: Self-Titled (Seasons Of Mist)
Coming at you hard and heavy from the East Coast of the USA, River Black is a punishingly aggressive metal/hardcore outfit comprising stalwarts of the scene Mike Oldener, Dave Witte, Brett Bamberger and John Adubato. It’s terrifying in parts, Oldener’s visceral delivery intense and brutal. Huge sledgehammer riffs courtesy of Adubato and machine gun intensity drumming from Witte combine to deliver the aural assault that you probably didn’t need but are sure as fuck going to get. Most of the tracks are short, to the point and bristling with anger. South X South, the stomping Move and the mighty album closer Everywhere are all bruisers with additional forearm smash. The pits for this mob would be substantial, frightening and far too extreme for an old man like me. Still, if it floats your boat, it’s rather tasty. 8/10
Impure Wilhelmina: Radiation (Seasons Of Mist)
Another day, another band who have been around for years ploughing their artistic pathway. In the case of Geneva based Impure Wilhelmina, that’s over 20 years. Radiation is their latest release, the sixth album in their catalogue. The band is led by Michael Schindl, vocalist, guitarist and main composer and lyricist. The band specialises in a more eclectic emotional brand of hard rock, tipping across the line to a more metal approach on occasion. This release is no different with a myriad of sounds from The Smiths to Anathema all buried in the mix. Every track is a complex animal, with multiple layers and complex arrangements. Shcindl’s melancholic vocals wring with emotion. It’s a soul-searching album, intelligent and clever. If you like alt-rock with a harder edge, it is certainly worth investing the time. 7/10
Spanish trio Kabbalah play retro occult rock. It’s an unmistakable sound, one which will either get you excited or pass you by. Sabbath style doom laden riffs, harmonies a plenty and an underlying current of evil, it’s all here. The band make a sound much larger than their number. Check out the show stopping The Reverend with its unmistakable fuzzy guitar sound, or the White Stripes stomp of The Darkness Of Time, both rather splendid in their 70s sound, and both supernaturally different. It’s the haunting Dark Revelation which steals the plaudits for me, slightly longer with several changes of tempo, it undulates and manoeuvres through a sinister path, reeking of malevolence. Reminiscent of many occult bands doing the rounds, Kabbalah are closer to Lucifer, Orchid and Witch Mountain than the more commercially accessible Ghost. Atmospheric, ominous and full of character, Spectral Ascent is a worthy release. 8/10
River Black: Self-Titled (Seasons Of Mist)
Coming at you hard and heavy from the East Coast of the USA, River Black is a punishingly aggressive metal/hardcore outfit comprising stalwarts of the scene Mike Oldener, Dave Witte, Brett Bamberger and John Adubato. It’s terrifying in parts, Oldener’s visceral delivery intense and brutal. Huge sledgehammer riffs courtesy of Adubato and machine gun intensity drumming from Witte combine to deliver the aural assault that you probably didn’t need but are sure as fuck going to get. Most of the tracks are short, to the point and bristling with anger. South X South, the stomping Move and the mighty album closer Everywhere are all bruisers with additional forearm smash. The pits for this mob would be substantial, frightening and far too extreme for an old man like me. Still, if it floats your boat, it’s rather tasty. 8/10
Impure Wilhelmina: Radiation (Seasons Of Mist)
Another day, another band who have been around for years ploughing their artistic pathway. In the case of Geneva based Impure Wilhelmina, that’s over 20 years. Radiation is their latest release, the sixth album in their catalogue. The band is led by Michael Schindl, vocalist, guitarist and main composer and lyricist. The band specialises in a more eclectic emotional brand of hard rock, tipping across the line to a more metal approach on occasion. This release is no different with a myriad of sounds from The Smiths to Anathema all buried in the mix. Every track is a complex animal, with multiple layers and complex arrangements. Shcindl’s melancholic vocals wring with emotion. It’s a soul-searching album, intelligent and clever. If you like alt-rock with a harder edge, it is certainly worth investing the time. 7/10
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