Interview With Fabio Of Serenity
Before their gig at Bannermans Bar, we were lucky enough to interview Serenity bassist Fabio D'amore, who was the primary writer of Lionheart.
Nick: So you're getting into the UK leg of the tour, how are you finding it so far?
Fabio: Yeah, everything is cool, I mean it's the first time we're doing a real UK tour because back in 2011 we played 3 or 4 shows in the UK supporting Delain and more than that, we've just played London all the time, plus Cardiff back then in 2012. Other than that, nothing has been done, so it's like the first time, basically new cities, Yesterday Newcastle, Sheffield, today Edinburgh. Yeah, it's a new adventure, let's say. We need to grow our fanbase here so yeah, it feels like being on tour for the first time.
Nick: Yeah, I've spoken to a few friends who are fans, and a lot of the time when I've said we're seeing Serenity, they've said we'd love to see them again, and they haven't come here for a while so it's good that you're trying to expand the range of places.
Fabio: Yeah, we're trying to. Actually, Scotland, it's always been the Cathouse in Glasgow, although I think the band has never....I think we were discussing earlier, there was something planned maybe here in Edinburgh, but it was cancelled when Georg had his ear inflammation in 2009.
Nick: So you're experiencing the new cities now in the U.K, are you taking in the culture and the sights as you go around? Having a chance to see much of the cities?
Fabio: Uh, not really, as you know, when you're headliners you have plenty of things to do; Soundchecks, interviews, most of the time inconvenient parking [Laughs] Difficult weather, although it's the first day we've had such weather, although it's the UK. Today for example, I would have really like to have really liked to visit the city but because of this weather and stupid me, I forgot a jacket.
Stief: Yeah, we did the same, we had to buy ours.
Fabio: So yeah, unfortunately it was not possible, but it will be great. I mean back then, when we were a support act, most of the time, you have more time, you have to wait for the headliner to soundcheck and back then I remember visiting Manchester and Leamington Spa. That was great.
Nick: So you can eye up some cities when you've got some time off, maybe come back and see them in your free time.
Fabio: Yeah, definitely, and come back maybe with a bigger production.
Nick: Oh that'd be ideal
Stief: So speaking of going to different cities, how do you find the audiences in the U.K? are they different from European audiences?
Fabio: I think the British audience in general is, it's really passionate. Although we didn't have the biggest crowds in the world up to now, because it's the first time for us, so we have to grow our fanbase but nevertheless it was really, really exciting. Huge feedback even yesterday in Newcastle, with such a small audience, it felt like Wembley.
Nick: Yeah, you see it on the social media, the reaction. People really enjoyed it, especially Sheffield.
Fabio: Yeah, Sheffield was real good, but I have a pretty good feeling for tonight as well.
Nick: That's good! I think that as well, there's not a massive metal scene here in Edinburgh, so I think when there is a gig, people flock to it.
Fabio: I really hope so, I'm looking forward to it.
Stief: How would you describe your musical style to someone who's never listened to you before?
Fabio: That's always a tricky question, because you never know where to start from. I basically would say symphonic metal, very melodic with a lot of influences from classical music, and also the revival from the 80's and 70's sometimes, with bands like Toto or Queen. Two elements, if you unite them together, it's somehow, we have a pretty good image.
Nick: Becomes quite epic, doesn't it?
Fabio: Yes, bombastic, as Georg always used to say.
Nick: [laughs] That's a good word for it.
Fabio: Yeah, so, choirs, and live vocals is one of our highlights.
Nick: Yeah definitely, I feel this brand of music in the genre, the vocals are always important, they're emotional, aren't they?
Fabio: Yeah, I must say we are all pretty good lead singers, so if people come all together, it works.
Nick: I think in Lionheart, that's even more obvious than maybe some of the previous albums. You hear more of the backing vocals become involved a lot more.
Fabio: Yeah, definitely.
Nick: So when it comes to symphonic/power metal, they say a lot of bands are compared to each other, and a lot of bands are thrown together. We've heard a lot of people compare you and Kamelot.
Fabio: I remember.
Nick: What would you say makes you stand out above the other bands? You probably touched upon it in the last answer
Fabio: Yes, I don't know if I dare to say standing above, as this is a matter of taste, I guess? But I guess we are different in this vocal aspect, I don't remember any Kamelot shows with big choirs made by the band itself, and I love Kamelot, but I guess we concentrate really a lot of time...you will see tonight, there is something special tonight for the Scottish audience. You will see, we really concentrate ourselves, working a lot on vocals, especially acapella. Really working, the four or five of us, depending if we have a female guest or not, working especially on vocals.
Because our instruments, Okay, everyone can play quite okay, and when we are together, we have to define this or that, but on the vocals, I must say, we spend a lot of time, defining 'I'm singing this, you're singing that' trying to find the combination. As you might understand, on the record, there's a huge choir singing, not only us, but other people involved then you have to reduce everything to four or five of us. which is not easy. [Laughs]
Nick & Stief: [Both laugh] Yeah
Fabio: So I also give a little bit of direction because I'm a vocal coach myself, so it's 'Andy does this, because he's more into this kind of range, I do the high pitched stuff, Georg is for sure doing the lead vocals, and Nick in this case is sometimes going up, sometimes going down, for sure doing the harsh vocals when needed' therefore you have a lot of combinations, so I think this is the aspect you were mentioning that may make us differ from the other bands.
Nick: Yeah, I'm glad you said that, as it's something we've definitely picked up on recently, so it's paying off, the work you're putting into it.
Fabio: Yeah, I don't know how many other bands are doing this, in the small/medium circuit like we are. Just remembered back then, I think they still do this, Pain Of Salvation, they really concentrate on this vocal aspect, but must admit it's not so common, everything goes into the playback.
Nick: A lot of bands focus on the riffage and breakdowns.
Fabio: Yeah for sure, song shape and so on.
Nick: You mentioned working with female vocalists, you've worked with a few in the past. Amanda Somerville and you've got Clementine as well. What's it like working with them and are there any plans to work with them again in the future as they obviously brought a lot to the albums they were on?
Fabio: I mean, I don't even have to mention Amanda, because she's always top-notch but what to say? I mean she's brilliant, she has always been doing great stuff for us, and I hope she does it in the future. Actually there would have been an idea to bring her live at some special event but I don't think it's easy to involve her.
Nick: She's involved in a lot of things.
Fabio: Yeah, and when the time is not matching your t-shirt [Gesturing at Stief's Avantasia t-shirt] with Avantasia you know? and family business, she's having a family so I don't think it's so easy for her, but yeah, we will try hard. One day maybe it happens, and then we can play live Perfect Woman and Changing Fate with her. As for Clemmy, I mean, she's been in the band in the past as a fixed member and now she's in Visions. We're touring with Visions Of Atlantis at least twice a year, in one and a half months, we're again together, I'm pretty sure she's going to be on stage with us for another song.
Nick: That's good to know. When you're picking the female vocalists or other vocalists to work with you, do you look for the vocals to fit the song? or do you work the album around vocalists?
Fabio: Depends if you mean only on the album or live?
Nick: I'd say album.
Fabio: Album wise, we for sure look for the right vocalist, and sometimes maybe it's not even the right idea to pick a female in the end, or the other way round; maybe there was a part where Georg was singing, and we say 'Ok, maybe this would have been great with female vocals.' I still remember, I mean maybe no-one could ever imagine, but our single, Spirit In The Flesh where I'm singing the lead vocals, this would have been a female part. Back then I just had to sing the guideline for a possible female guest, but in the end it ended up me, because it was already good like this. [laughs] Definitely very difficult to sing, because it's very high, but this is my range.
Stief: How is it touring with Temperance and Alight.
Fabio: Well, everything is working great, I'm Italian myself so it's easier with them to communicate and have some little extra fun [laughs] I mean, the drummer from Alight, Mirko, is one of my best friends, and I know the guys from Temperance as well from other shows, and we will have to play some more shows in one and a half months for the Symphonic Metal Nights Part II tour. So yeah, it's very easy.
Nick: Yeah, with Temperance, we were coming to see you guys anyway, but particularly for Stief here, Temperance are a Musipedia favourite
Stief: We've followed them from the beginning.
Fabio: They're pretty good live. You will be astonished, because they are really brilliant, since a long time, we haven't heard a support act as good.
Stief: So you're touring the Lionheart album, We've noticed it's darker than your previous albums
Fabio: Would you say that?
Nick: Well, lyrically it's about the Crusades, and Richard Lionheart, and lyrically it seems to us a little bit darker. Would you agree with that and if so, was that something you were aiming for?
Fabio: I wrote most of the lyrics so uh...no, I don't think we have been aiming for a darker concept, but I guess it was just a matter of fact. As always we are, as you know, talking about historical concepts, but I really, really must say, I want to underline the fact there is always a little bit of creation behind it, so it's 90% actually what happened, but we were also not there. This is what we have been told by history books and so on. So, as a metal band, we have to try also to fit the concept into our music and vice versa and I always really want to think how in that situation Richard Lionheart was feeling.
It's the same process I did when I wrote the lyrics in Codex Atlanticus, the previous album about Leonardo DaVinci. It's the same thing you know; What we were talking about happened, but maybe not that very particular situation. We wanted to imagine something behind the story, there fore, it could be, I don't know, maybe the lyrics could sound or seem darker because of that particular theme, but honestly I wrote the lyrics, I wasn't paying too much attention about the crusades and religion, and I've seen comments from the US really offended, like 'Hey guys, you're doing really great music but your christian lyrics...' What? what are you talking about? This is not what I was...I'm even agnostic, so I don't really care. But I know history, and Georg is a history professor himself, so I think we cannot be called a Christian band. We're not having the crusade as our personal theme, it's just a situation.
Nick: Yes, exactly.
Fabio: I mean, I don't dislike the word 'dark', I really like it. If you got it dark, I think my lyrics were pointing in that direction, but not voluntarily. But if you mean 'dark' in terms of mysterious, reflexive and I'll say, mystic, then I like it, but if it's dark, or some people interpret it in a religious way, then I don't like it.
Nick: Yeah, I think you hit the nail on the head there, maybe the atmosphere around it is a bit more dark.
Fabio: Yeah, that's cool, I just wanted to make sure. Too many times I've been asked this question, and really, I pay attention to what the people say, you know to improve yourself, and I read some comments that were completely shocking to me because this is not what I was thinking when I wrote these lyrics, you know? I wrote them, not them, I know what I was thinking, yeah, it's really weird, and I sometimes like to point it out, if you don't mind.
Nick: No, definitely, it's why we asked the question as well, it's always interesting to know how people perceive your music, it's a shame that people get too passionate the other way that they...
Fabio: But even without thinking.
Nick: Yeah exactly.
Stief: They just see the words there and leap at it.
Fabio: So superficial, you know, I mean, if you get the music and if you like it, it means you're not totally superficial, but if you interpret the whole record as a christian record, then you don't understand anything.
Nick: They've not really listened to it properly.
Fabio: Or even read it properly.
Nick: You mentioned there the work you put into the album, I'm guessing you do a fair bit of research because you say about 90% of it is fact.
Fabio: Oh, we do, yeah.
Nick: How much time do you put into looking into the history and researching it, before you start putting the lyrics in?
Fabio: It's really not easy, because you know, having such a person like Georg being the lead singer and also a history professor, it's not easy to get to a point where he wants to go, because he really cares about having a clear image about what we are doing in terms of his profession. So everything has to be on point, although, it's power metal, it has to be cheesy sometimes [Laughs]
Nick: [laughs] Exactly
Fabio: But it is cheesy because of the melodies, not because of the theme. We are not native speakers, so we pick up words that sound great for us and define the concept. This is the time we have to put before everything is ready, this is the difficulty behind it and I have to say, it requires time. But once I have the vocal line from him, we discuss 'okay, that song has to talk about, I don't know, Jerusalem' then I know, I see the scene already. Actually, we have been in Jerusalem, a little bit before. We were in Israel in Tel Aviv, we visited Jerusalem, and then we had the idea of Golgotha and so on, so therefore I was already having pictures.
I have the theme from him, I have the vocal line, therefore the research can take a little less time, then I can make it. But sometimes, for sure, its longer because I'm not so keen in that specific theme, I'm not a history professor, my mum was, so sometimes I even ask her, and she suggests some points of view that maybe we didn't think about, therefore the research is taking a little more time. All in all, this is the most important time, before writing the lyrics, the theme has to be real clear.
Stief: and do you all discuss that as a band?
Fabio: Actually, not really, the main factor is normally Georg, as I repeat, it's also his profession, and he really cares that we are not saying bullshit.
Stief: Just not making every thing up.
Fabio: We cannot really make everything up, but a little bit of make up has to be there, because I think this is the fun. This is how we see it; This really happened, and I could place it in my own world of creation.
Nick: I'll probably go away and appreciate the albums even more now that I know the work that's gone into it.
Fabio: and maybe tonight, you can even think about it when you are watching the show, think about what I said, because most of the lyrics came from me on the last album, so you can maybe now understand them even better. I hope [laughs]
Stief: There are a few metal festivals around the U.K, have you shown interest in taking part in any.
Fabio: Actually I just remembered we had one UK festival planned, but we had to cancel because AC/DC was down town with Axl Rose singing, and it was the same evening so they postponed to the day after, but we could not make it to the day after for another show therefore we had to cancel. This was the only occasion I remember about the UK. But for sure, I really would like to play a UK festival.
Stief: Yeah, we attend one called Bloodstock nearly every year.
Fabio: Bloodstock, I know, yeah.
Nick: I think that you would fit in really well there, there's a good range of genres representation, and I think a lot of people would appreciate you being at that festival.
Fabio: Definitely, if you can call the promoter [laughs]
Nick: We'll get a petition going [laughs] Are there any festivals worldwide that you'd love to play or anything that you're aiming to play in the future?
Fabio: I think Summerbreeze is one of the few we still haven't played, I wouldn't dislike it, it's also not too far from where I live, so it would make everything so much easier, because Wacken, you know it's great, but it's so far away [laughs]
Stief: We'll keep an eye out for that [laughs]. Even though it's only been a year since Lionheart's release and you're still touring it, have you had any ideas springing up for any new albums yet or are you just focusing on getting the tour over and done with.
Fabio: Actually, yes, a new release, but you will understand better tonight. There's something special planned for February, including another type of touring activity. You will understand better tonight, it's about acoustic. That's part of the special gift for the Scottish audience tonight, but then you will understand better.
Nick: So we're from Wales, as you know, and we're famous for our Sheep. We always do this at the Musipedia as a funny last question to end on. We have a selection of sheep and we just want you to pick your favourite sheep.
Fabio: [laughs] Okay, that's cool! [He looks at the selection] I like this one.
Stief: The Manx Loaghtan...it's the horns, isn't it.
Fabio: [Laughs] Yeah!
Nick: That's brilliant, well, we appreciate your time and we're looking forward to the show.
Friday, 14 September 2018
Reviews: Mob Rules, Wytch Hazel, Ladykillers, Anguish Force (Reviews By Paul H)
Mob Rules: Beast Reborn (SPV/Steamhammer)
Album number nine for the German power metallers. Back in 2016 I was scathing in my review of Tales From Beyond, which I thought was their ninth album at the time, slating it as a mid-noughties Iron Maiden tribute. Well, with new guitarist Sönke Janssen in the fold for this one, the same Germanic power metal blueprint remains firmly in place, with the same Iron Maiden influences coursing through virtually every track. Many bands use Maiden as an influence, and I can’t knock that one iota. The Irons are legend, after all. Take Sinister Light; duel guitar harmonies, soaring vocals and a thumping engine, the melodic breakdown and some shredding guitar solos. All good. Very Metal. But the Maiden influence creeps in like bindweed through an abandoned garden. Children’s Crusade steals riffs galore from Futureal, whilst the atmospheric War Of Currents, which appears to be about Edison and the light bulb, would once again sit on a latter-day Maiden album without any problem at all.
Album number nine for the German power metallers. Back in 2016 I was scathing in my review of Tales From Beyond, which I thought was their ninth album at the time, slating it as a mid-noughties Iron Maiden tribute. Well, with new guitarist Sönke Janssen in the fold for this one, the same Germanic power metal blueprint remains firmly in place, with the same Iron Maiden influences coursing through virtually every track. Many bands use Maiden as an influence, and I can’t knock that one iota. The Irons are legend, after all. Take Sinister Light; duel guitar harmonies, soaring vocals and a thumping engine, the melodic breakdown and some shredding guitar solos. All good. Very Metal. But the Maiden influence creeps in like bindweed through an abandoned garden. Children’s Crusade steals riffs galore from Futureal, whilst the atmospheric War Of Currents, which appears to be about Edison and the light bulb, would once again sit on a latter-day Maiden album without any problem at all.
If you like your power metal, then Beast Reborn contains all the ingredients necessary. It is polished, so shiny that you can see your own face in it and comes across with a swagger and a quality that befits a band closing in on their 25th anniversary. Klaus Dirks can hold a note, and the rest of the band are tight and compact. There are certainly some epic tunes, with Revenant Of The Sea the pick. I’m not sure that the cover of Dio’s Sacred Heart does much but it’s a faithful and solid version. My biggest gripe remains the repetitive Maiden melodies. However, it’s certainly an improvement of Tales From Beyond and for that we should all be thankful. 7/10
Ladykillers: Champagne & Cocaine (Rolling Thunder Records)
The debut album from Ladykillers was called Greatest Tits. Champagne & Cocaine is the sophomore release and you’d be unsurprised to read that the three-piece hail from Texas and cite their approach as ‘Loud bikes, loud guitars, pretty women, sleazy bars’. It’s therefore also completely unsurprising that their album is 36 minutes of hard rocking, unreconstructed filthy dirty hard rock and roll which picks you up and slams you back down. Hard. The band, Kyle. B. Bellinger on guitar and vocals, Chad Montoya on bass and vocals and drummer Zach Hoop, throw down in the style of Orange Goblin, Blind Haze and Witchtripper, albeit with a slightly sludgier delivery. It certainly isn’t a bad release, but overall doesn’t really pull up any trees. 6/10
Anguish Force: Chapter 7 (Dawn Of Sadness)
Unsurprisingly this is the seventh album from Italian thrashers Anguish Force, a band known simply as Anguish from 1995 – 2003. I’m going to be blunt: the band are quite simply awful and how they have released six other albums is beyond comprehension. Routine, plodding thrash and heavy metal with a vocalist who struggles with every style he tries. Whilst they may well proclaim “heavy metal is our mission” (whatever that means), I struggled to get through this album more than once, with The Other 11 September amongst the worst songs I’ve ever heard. However, full kudos to the band for managing to cover a track by the Canadian muscle mountain Thor and make it even worse. Yes, Thunder In The Tundra, which was a bag of shit the first time round is just dire. One of the worst albums I’ve heard for years. 3/10
Wytch Hazel: II Sojorn (Bad Omen Records)
Combine the folk of Jethro Tull and the harmonies of Wishbone Ash and Thin Lizzy and you get Wytch Hazel, a four-piece from Lancaster that are fully immersed in the NWOBHM sound. Formed in 2011, this latest release is a delightfully old school sound, with a warmth and feel which will resonate with those schooled on bands such as Ash and Lizzy. Superb duel guitar work from Colin Hendra and Matt Gatley throughout transports the listener to a simpler time when music was really all about fuzzy guitars, endless jams and innovative creation.
Hendra’s drawling vocal sits perfectly in the folk edged tunes, such as Wait On The Wind, a nostalgic piece which allows you to close your eyes and drift away. There’s nothing about this release I dislike. Neil Corkery (bass) and drummer Jack Spencer play it simple and effective, and tracks such as Still We Fight, See My Demon and the thumping Slaves To The Righteous all hit the right spot. This is a great retro-soaked release. I love it. 8/10
Ladykillers: Champagne & Cocaine (Rolling Thunder Records)
The debut album from Ladykillers was called Greatest Tits. Champagne & Cocaine is the sophomore release and you’d be unsurprised to read that the three-piece hail from Texas and cite their approach as ‘Loud bikes, loud guitars, pretty women, sleazy bars’. It’s therefore also completely unsurprising that their album is 36 minutes of hard rocking, unreconstructed filthy dirty hard rock and roll which picks you up and slams you back down. Hard. The band, Kyle. B. Bellinger on guitar and vocals, Chad Montoya on bass and vocals and drummer Zach Hoop, throw down in the style of Orange Goblin, Blind Haze and Witchtripper, albeit with a slightly sludgier delivery. It certainly isn’t a bad release, but overall doesn’t really pull up any trees. 6/10
Anguish Force: Chapter 7 (Dawn Of Sadness)
Unsurprisingly this is the seventh album from Italian thrashers Anguish Force, a band known simply as Anguish from 1995 – 2003. I’m going to be blunt: the band are quite simply awful and how they have released six other albums is beyond comprehension. Routine, plodding thrash and heavy metal with a vocalist who struggles with every style he tries. Whilst they may well proclaim “heavy metal is our mission” (whatever that means), I struggled to get through this album more than once, with The Other 11 September amongst the worst songs I’ve ever heard. However, full kudos to the band for managing to cover a track by the Canadian muscle mountain Thor and make it even worse. Yes, Thunder In The Tundra, which was a bag of shit the first time round is just dire. One of the worst albums I’ve heard for years. 3/10
Thursday, 13 September 2018
Reviews: Monstrosity, Siege Of Power, Burgerkill, Once Human (Reviews By Paul S & Matt)
Monstrosity: The Passage Of Existence (Metal Blade Records) [Paul S]
I really enjoy writing reviews for the Musipedia Of Metal. One of the downsides of it, however, is some of the death metal about at the moment. There seem to be about a billion death metal bands that fit into a category of not quite technical death metal, not quite old school death metal, half arsed, lack lustre, generic death metal. Every week I seem to get at least 1 album like this, and I’ll struggle to think of ways to describe it other than just ‘shit, generic death metal’. After a while, giving these albums enough listens to review them in a fair way starts to feel like a real chore. Sometimes ‘shit, generic death metal’ makes me want to cry, as I force myself to listen to music I knew was awful after 2 songs. I won’t name any names here, but it is the bane of a reviewers life, and it does sometimes make me quite depressed.
But, just when I think I can’t take any more, along comes the new Monstrosity album to make everything good again. The Passage Of Existence is a fantastic death metal album, just stunning. This album has been a long time coming. This is the 6th Monstrosity album, the first since 2007’s Spiritual Apocalypse. In a career that has spanned 28 years, 6 albums might not sound like a lot, but Monstrosity deal in quality, not quantity.
The 12 tracks here, are to a degree, a little old school in style, but the soloing is in a more Technical style, in that they are incredibly well played and melodic. The riffs are incredibly tight and well written, no half arsed Morbid Angel rip offs like in ‘SGDM’. There are a lot of solos on this album, but as they are so well played, and add too the songs, that's not a bad thing. The track Dark Matter Invocation has a solo that carries on through the subsequent verse. With any other band, this would be an incoherent mess, but Monstrosity pull it off brilliantly. The production job on this album is also very good. The guitar and bass sounds are about as good as you’ll hear on any death metal album, the drums sound real and organic, and the overall mix is spot on.
It’s difficult to single out any particular part of The Passage Of Existence for praise, as it’s all so good. There isn’t anything particularly groundbreaking in this album, it isn’t doing anything that hasn’t been done before. It’s just that every component of the album is about 10% better than anything anyone else is doing at the moment. Every aspect is just so beautifully done, so well thought out, so well played. If you’ve never listened to much death metal, this would be one hell of an introduction. If you already like death metal, then this is essential. 9 / 10
Siege Of Power: Warning Blast (Metal Blade Records) [Paul S]
Siege Of Power is an extreme metal super group comprised of Chris Reifert – Vocals (Autopsy, Violation Wound, Abscess, Painted Doll), Paul Baayens – Guitars (Asphyx, ex-Hail of Bullets, Thanatos), Theo van Eekelen – Bass (ex-Hail of Bullets, ex-Houwitser, ex-Grand Supreme Blood Court), Bob Bagchus – Drums (ex-Asphyx, Soulburn, ex-Grand Supreme Blood Court). With a who’s who of death metal illuminates like that, this album, although a first album, has a lot to live up to. The style on offer here is mainly Thrash with a healthy dose of old school Death metal, and a bit of old school Hardcore thrown in for good measure. As the title suggests this album is a blast.
Fast, simple riffs, short screaming solos and through it all Chris Reifert’s distinctive howl, and (bad taste) funny lyrics. the influences here are fairly obvious; Carnivore, Discharge and S.O.D. are a clear influences on this album, although in the case of S.O.D. maybe a little too much. Opening track Conquest For What is so close to S.O.D.’s March Of The S.O.D. I thought I’d put the wrong album on when I first heard it. I’m hoping this was a homage and was done on purpose. Aside from wearing their influences a little too clearly on their sleeves, this is a great album.
It has taken me back to the days (about 1987) when thrash was fun and death metal was fresh new and exiting. The riffs are simple, but they zip and crack with energy, and are about as tight as thrash / death/hardcore riffs get. Most of the songs are under 3 minutes, so it feels like the album shifts along at one hell of a pace. There isn’t anything particularly new or original here, but it is so much fun you don’t really care! 8/10
I really enjoy writing reviews for the Musipedia Of Metal. One of the downsides of it, however, is some of the death metal about at the moment. There seem to be about a billion death metal bands that fit into a category of not quite technical death metal, not quite old school death metal, half arsed, lack lustre, generic death metal. Every week I seem to get at least 1 album like this, and I’ll struggle to think of ways to describe it other than just ‘shit, generic death metal’. After a while, giving these albums enough listens to review them in a fair way starts to feel like a real chore. Sometimes ‘shit, generic death metal’ makes me want to cry, as I force myself to listen to music I knew was awful after 2 songs. I won’t name any names here, but it is the bane of a reviewers life, and it does sometimes make me quite depressed.
But, just when I think I can’t take any more, along comes the new Monstrosity album to make everything good again. The Passage Of Existence is a fantastic death metal album, just stunning. This album has been a long time coming. This is the 6th Monstrosity album, the first since 2007’s Spiritual Apocalypse. In a career that has spanned 28 years, 6 albums might not sound like a lot, but Monstrosity deal in quality, not quantity.
The 12 tracks here, are to a degree, a little old school in style, but the soloing is in a more Technical style, in that they are incredibly well played and melodic. The riffs are incredibly tight and well written, no half arsed Morbid Angel rip offs like in ‘SGDM’. There are a lot of solos on this album, but as they are so well played, and add too the songs, that's not a bad thing. The track Dark Matter Invocation has a solo that carries on through the subsequent verse. With any other band, this would be an incoherent mess, but Monstrosity pull it off brilliantly. The production job on this album is also very good. The guitar and bass sounds are about as good as you’ll hear on any death metal album, the drums sound real and organic, and the overall mix is spot on.
It’s difficult to single out any particular part of The Passage Of Existence for praise, as it’s all so good. There isn’t anything particularly groundbreaking in this album, it isn’t doing anything that hasn’t been done before. It’s just that every component of the album is about 10% better than anything anyone else is doing at the moment. Every aspect is just so beautifully done, so well thought out, so well played. If you’ve never listened to much death metal, this would be one hell of an introduction. If you already like death metal, then this is essential. 9 / 10
Siege Of Power: Warning Blast (Metal Blade Records) [Paul S]
Siege Of Power is an extreme metal super group comprised of Chris Reifert – Vocals (Autopsy, Violation Wound, Abscess, Painted Doll), Paul Baayens – Guitars (Asphyx, ex-Hail of Bullets, Thanatos), Theo van Eekelen – Bass (ex-Hail of Bullets, ex-Houwitser, ex-Grand Supreme Blood Court), Bob Bagchus – Drums (ex-Asphyx, Soulburn, ex-Grand Supreme Blood Court). With a who’s who of death metal illuminates like that, this album, although a first album, has a lot to live up to. The style on offer here is mainly Thrash with a healthy dose of old school Death metal, and a bit of old school Hardcore thrown in for good measure. As the title suggests this album is a blast.
Fast, simple riffs, short screaming solos and through it all Chris Reifert’s distinctive howl, and (bad taste) funny lyrics. the influences here are fairly obvious; Carnivore, Discharge and S.O.D. are a clear influences on this album, although in the case of S.O.D. maybe a little too much. Opening track Conquest For What is so close to S.O.D.’s March Of The S.O.D. I thought I’d put the wrong album on when I first heard it. I’m hoping this was a homage and was done on purpose. Aside from wearing their influences a little too clearly on their sleeves, this is a great album.
It has taken me back to the days (about 1987) when thrash was fun and death metal was fresh new and exiting. The riffs are simple, but they zip and crack with energy, and are about as tight as thrash / death/hardcore riffs get. Most of the songs are under 3 minutes, so it feels like the album shifts along at one hell of a pace. There isn’t anything particularly new or original here, but it is so much fun you don’t really care! 8/10
Burgerkill: Adamantine (BKHC Records) [Paul S]
Burgerkill are an Indonesian extreme metal band that have been active since 1995. The band have been a big deal in their native Indonesia, winning several awards. To be honest, this album is the first thing I’ve heard from the band. Adamantine is the bands 5th album, and is the follow up to 2011’s well received album, Venomous. The bands name is apparently the name of a burger bar in Bandung, capital city of West Java, that the members of the band used to frequent. The band chose the name as a joke, 23 years later they still have the same name, which if nothing else, shows dedication to comedy, which I respect.
So, what do we have from Burgerkill on their fifth album? Well, we get 9 tracks of, mainly, technical death metal. I say mainly, as there are quite a few different styles going on here. In addition to the tech death, there are also several pieces that are more hardcore in feel, some of the verses have this hardcorey style. There is also quite a lot of tech/djent /math metal parts as well, the track integral has a fantastic softer technical part that genuinely could have come from an Animals As Leaders album.
The quality of the musicianship on this album is very impressive. The solos are every bit as impressive as any technical death metal album I’ve heard. The rhythms are tight and well played, and although complex in places, they never sacrifice tunefulness for technicality. Some of the transitions between the more disparate sections on this album could have been handled a little better, maybe the band need to focus this part of their writing to smooth them out. Although, all the parts themselves are very good, and very well played.
This is a very enjoyable technical death metal album, a small amount of focus in the songwriting and Burgerkill could be something really special. I look forward to hearing more from the Indonesian metal scene. 7/10
Once Human: Stage Of Evolution (earMusic) [Matt]
The band formed by Logan Mader and Lauren Hart have released two studio albums but they have taken it on the road and from their US tour last year supporting Dragonforce they have managed to record this live album as Logan Mader says "I know it’s uncommon for a band who is not headlining to record a live album. We were able to pull it off because today’s technology and compact size of the necessary gear is a part of our everyday monitoring system" They've managed to capture this performance well with most of the songs coming from the Evolution and a few from The Life I Remember Hart commands the stage with her snarling deathy vocals which jar with her softly spoken Australian accent (though she is American) when she's talking to the crowd whipping up support for Dragonforce or thanking the fans fro coming.
The songs here don't really differ from the album versions with Mader's grinding riffs the major force behind the chaos as Hart let's rip. If you're not familiar with the songs here don't worry though as there will be one that you will know, the band bring out Fred from Dragonforce for a vicious rendition of Davidian which brings up the problem I've had a few times now which is: can it be cover if you wrote it? Answers on a postcard please. It's a tight set that whizzes past like a good support set should and it's a good reflection of Once Human's electric stage show. 7/10
Burgerkill are an Indonesian extreme metal band that have been active since 1995. The band have been a big deal in their native Indonesia, winning several awards. To be honest, this album is the first thing I’ve heard from the band. Adamantine is the bands 5th album, and is the follow up to 2011’s well received album, Venomous. The bands name is apparently the name of a burger bar in Bandung, capital city of West Java, that the members of the band used to frequent. The band chose the name as a joke, 23 years later they still have the same name, which if nothing else, shows dedication to comedy, which I respect.
So, what do we have from Burgerkill on their fifth album? Well, we get 9 tracks of, mainly, technical death metal. I say mainly, as there are quite a few different styles going on here. In addition to the tech death, there are also several pieces that are more hardcore in feel, some of the verses have this hardcorey style. There is also quite a lot of tech/djent /math metal parts as well, the track integral has a fantastic softer technical part that genuinely could have come from an Animals As Leaders album.
The quality of the musicianship on this album is very impressive. The solos are every bit as impressive as any technical death metal album I’ve heard. The rhythms are tight and well played, and although complex in places, they never sacrifice tunefulness for technicality. Some of the transitions between the more disparate sections on this album could have been handled a little better, maybe the band need to focus this part of their writing to smooth them out. Although, all the parts themselves are very good, and very well played.
This is a very enjoyable technical death metal album, a small amount of focus in the songwriting and Burgerkill could be something really special. I look forward to hearing more from the Indonesian metal scene. 7/10
Once Human: Stage Of Evolution (earMusic) [Matt]
The band formed by Logan Mader and Lauren Hart have released two studio albums but they have taken it on the road and from their US tour last year supporting Dragonforce they have managed to record this live album as Logan Mader says "I know it’s uncommon for a band who is not headlining to record a live album. We were able to pull it off because today’s technology and compact size of the necessary gear is a part of our everyday monitoring system" They've managed to capture this performance well with most of the songs coming from the Evolution and a few from The Life I Remember Hart commands the stage with her snarling deathy vocals which jar with her softly spoken Australian accent (though she is American) when she's talking to the crowd whipping up support for Dragonforce or thanking the fans fro coming.
The songs here don't really differ from the album versions with Mader's grinding riffs the major force behind the chaos as Hart let's rip. If you're not familiar with the songs here don't worry though as there will be one that you will know, the band bring out Fred from Dragonforce for a vicious rendition of Davidian which brings up the problem I've had a few times now which is: can it be cover if you wrote it? Answers on a postcard please. It's a tight set that whizzes past like a good support set should and it's a good reflection of Once Human's electric stage show. 7/10
Wednesday, 12 September 2018
A View From The Back Of The Room: Serenity (Live Review By Nick & Stief)
Serenity, Temperance, Alight, Bannerman's Bar, Edinburgh
[Nick] After an interview with Serenity earlier in the day, a quick dash back to the hotel before we returned to Bannerman’s just in time to enjoy Alight (8) with a nice pint in hand. Alight hail from Italy and their relatively broken English meant there was very little chat between songs, however this was not a problem as the band’s evident passion for their music and then fun that they were having instantly rubbed off onto the crowd. Walking around the small stage and jumping at every opportunity the crowd joined in with no promoting required. The highlight of this set was one that was to be a trend throughout the night...the vocals.
[Nick] After an interview with Serenity earlier in the day, a quick dash back to the hotel before we returned to Bannerman’s just in time to enjoy Alight (8) with a nice pint in hand. Alight hail from Italy and their relatively broken English meant there was very little chat between songs, however this was not a problem as the band’s evident passion for their music and then fun that they were having instantly rubbed off onto the crowd. Walking around the small stage and jumping at every opportunity the crowd joined in with no promoting required. The highlight of this set was one that was to be a trend throughout the night...the vocals.
Lead vocalist Catia was the star of this set, effortlessly delivering vocals at either end of the spectrum while not dropping a note throughout the set. Hauntingly beautiful at times this lady hopefully has a massive career in front of her, hopefully that will be with Alight who deserve a big push with their music that is reminiscent of Musipedia favourites Triaxis, except with an extra hand full of symphony thrown in. Paired with the stunning vocals of Catia the musicianship of Roberto's solid guitar rhythms and chunky breakdowns when required, Monika’s bouncy bass and Mirko's well tempered drums, Alight were a joy to behold and a cracking way to start the evening.
[Stief] next up was a personal treat, Temperance (8). Having followed their progress from their beginnings back in 2013, this tour was a great chance to finally see them. Despite a few microphone issues at the beginning, which continued to pop up from time to time through their set, the quintet waste no time getting into it, and from start to finish, it's clear they're loving every second here, their joy contagious. Newcomers Alessia Scolleti and Michele Guaitoli are extremely comfortable in centre stage, and seeing them live, they show a great synchronisation both in vocal style and how they perform. Marco Pastorino provides back up vocals, clearly happy to allow the other two to take the spotlight a bit more. The smaller venue means, as with the other bands, certain elements such as keyboards etc. are replaced by tape, which is sometimes drowned out by the live elements; however, this doesn't detract from the brilliant set, both Scolleti and Guaitoli showing great voice control and a wide range over the six songs. As they end with huge smiles on their faces, you can't help but smile with them.
[Nick] Entering the stage to the traditional Deus Lo Vult theme, Serenity (10) spared no time and jumped straight into what was to be the first of many anthems throughout the set, United. Not having the chance to see the band since their date in Cardiff back in 2012, I was pretty excited to see them, and again, as I always do, I forgot how immense the vocals of Georg are. We always hear people say that this singers vocals are just as good live as they are on record, when it is very rarely the case. Not here, six years on and Georg's vocals are still as pure and as clean as ever, and you could be forgiven to think that they weren’t live, but oh my they were! And were again the highlight of this set as the band powered through a handful of songs including Hero, New Horizons and personal favourite Iniquity. Ensuring they gave a nod to the majority of their back catalogue the band even offered up a new acoustic song performed live only once before called In The Name Of Scotland. This was always going to be met with rapturous applause and celebration by the die hard Scottish fans, and rightfully so... It was a little beauty of a song. The crowd then kindly returned the favour by serenading the band with The Flower Of Scotland. Throughout the set the crowd joined in in most songs, singing at the top of their voices, jumping around and generally having a great time.
[Stief] next up was a personal treat, Temperance (8). Having followed their progress from their beginnings back in 2013, this tour was a great chance to finally see them. Despite a few microphone issues at the beginning, which continued to pop up from time to time through their set, the quintet waste no time getting into it, and from start to finish, it's clear they're loving every second here, their joy contagious. Newcomers Alessia Scolleti and Michele Guaitoli are extremely comfortable in centre stage, and seeing them live, they show a great synchronisation both in vocal style and how they perform. Marco Pastorino provides back up vocals, clearly happy to allow the other two to take the spotlight a bit more. The smaller venue means, as with the other bands, certain elements such as keyboards etc. are replaced by tape, which is sometimes drowned out by the live elements; however, this doesn't detract from the brilliant set, both Scolleti and Guaitoli showing great voice control and a wide range over the six songs. As they end with huge smiles on their faces, you can't help but smile with them.
[Nick] Entering the stage to the traditional Deus Lo Vult theme, Serenity (10) spared no time and jumped straight into what was to be the first of many anthems throughout the set, United. Not having the chance to see the band since their date in Cardiff back in 2012, I was pretty excited to see them, and again, as I always do, I forgot how immense the vocals of Georg are. We always hear people say that this singers vocals are just as good live as they are on record, when it is very rarely the case. Not here, six years on and Georg's vocals are still as pure and as clean as ever, and you could be forgiven to think that they weren’t live, but oh my they were! And were again the highlight of this set as the band powered through a handful of songs including Hero, New Horizons and personal favourite Iniquity. Ensuring they gave a nod to the majority of their back catalogue the band even offered up a new acoustic song performed live only once before called In The Name Of Scotland. This was always going to be met with rapturous applause and celebration by the die hard Scottish fans, and rightfully so... It was a little beauty of a song. The crowd then kindly returned the favour by serenading the band with The Flower Of Scotland. Throughout the set the crowd joined in in most songs, singing at the top of their voices, jumping around and generally having a great time.
We were joined a few times by both Georg and Fabio both of which highlighted how much fun they were having playing to the smaller crowd. This was evident to see as banter was exchanged throughout (even with us Welsh) drinks were exchanged and birthday girls brought on stage to share a moment with her crush Georg. Despite all this adding to the occasion, all this aside, the music was still delivered to the highest quality. Fabio's bass was smooth throughout the set dictating the atmosphere of each song, also proving why he is a vocal coach hitting some of the highest notes possible when called upon. Guitarist Cris was able to offer the deepest and darkest of breakdowns one minute then roll of the most delicate of solos and ride the next... This young lad is talented. Combined with his shrieking death growls, he has the lot! Finally Andreas on drums, who as Fabio mentioned can wrongful go in noticed at times, but without his hard hitting guidance and pounding bass pedals the magic that serenity want to create on stage would simply fall apart. These guys are a family and that is obviously both from the interview pre show and the performance they put on live, so tight yet done with so much ease.
Finishing the set with a triple whammy of The Final Crusade, Reduced To Nothingness and Follow Me the band ended the set in style. Allowing the adoring fans to sing along and have one last moment of jumping around in unison. Leaving them with no other option to chant “please come back” as Serenity left the stage. I for one really hope they do, this was a perfect example of how to out on a show that was both about the fans and the band, both felt equal here and the music brought everyone together... And damn was it good music!
A quick word on the venue; Bannerman’s Bar. A bar that is dedicated completely to metal. The decorations throughout were evident but not over the top, a great selection of real ales, metal music of all genres playing on the jukebox, equally as passionate staff and the gig hall although small was perfect. The sound was some of the best I’ve heard in a long time and the respect the patrons had for the venue was evident. Cardiff is crying out for a venue such as this run in exactly the same vein and for no other reason than metal. I certainly will be looking out for gigs here in the future as I’d love to experience Bannerman’s again.
Finishing the set with a triple whammy of The Final Crusade, Reduced To Nothingness and Follow Me the band ended the set in style. Allowing the adoring fans to sing along and have one last moment of jumping around in unison. Leaving them with no other option to chant “please come back” as Serenity left the stage. I for one really hope they do, this was a perfect example of how to out on a show that was both about the fans and the band, both felt equal here and the music brought everyone together... And damn was it good music!
A quick word on the venue; Bannerman’s Bar. A bar that is dedicated completely to metal. The decorations throughout were evident but not over the top, a great selection of real ales, metal music of all genres playing on the jukebox, equally as passionate staff and the gig hall although small was perfect. The sound was some of the best I’ve heard in a long time and the respect the patrons had for the venue was evident. Cardiff is crying out for a venue such as this run in exactly the same vein and for no other reason than metal. I certainly will be looking out for gigs here in the future as I’d love to experience Bannerman’s again.
Reviews: Dave Grohl, Idles, Nonpoint, Dynazty, Psychostick (Reviews By Alex & Stief)
Dave Grohl: Play (Self Released) [Alex]
You can’t help but like Dave Grohl. Regardless of your opinion on Foo Fighters or Nirvana, he is someone undeniably dedicated to his love of music, as he has made clear through his dedication to playing even with broken bones, and his seemingly never-ending list of projects he has been involved in with other musicians. Play sees him trying something new again: A 23 minute instrumental in which he plays all seven instruments. Ambitious? Maybe, but aesthetically the idea is not to show off, nor to aspire to be in the league of Steve Vai or Joe Satriani. Rather, the music here is kept quite rhythm based, reflecting Grohl background in punk and grunge rather than trying to be pretentiously complex. In the accompanying short film of the same name, we see children persevering their first instruments, reinforcing our frontman’s famous quote deriding X-factor and championing the next generation of musicians: ‘’Musicians should get in their garage and just suck, and they’ll have the best time in their lives, and all of a sudden they’ll become nirvana’’.
You can’t help but like Dave Grohl. Regardless of your opinion on Foo Fighters or Nirvana, he is someone undeniably dedicated to his love of music, as he has made clear through his dedication to playing even with broken bones, and his seemingly never-ending list of projects he has been involved in with other musicians. Play sees him trying something new again: A 23 minute instrumental in which he plays all seven instruments. Ambitious? Maybe, but aesthetically the idea is not to show off, nor to aspire to be in the league of Steve Vai or Joe Satriani. Rather, the music here is kept quite rhythm based, reflecting Grohl background in punk and grunge rather than trying to be pretentiously complex. In the accompanying short film of the same name, we see children persevering their first instruments, reinforcing our frontman’s famous quote deriding X-factor and championing the next generation of musicians: ‘’Musicians should get in their garage and just suck, and they’ll have the best time in their lives, and all of a sudden they’ll become nirvana’’.
With each musical shift here, from mellow and subdued to epic and commanding, you can hear the influences – Rush, the Clash, Killing Joke – taking toot and shaping his musical direction. Adding to the raw vibe emanating from every facet of Play is the decision to record every instrument part in one take, simply scrapping ones with mistakes and starting from scratch. We see this paying off especially in the final few minutes as the instrumental reaches a roaring and triumphant crescendoing, audibly illustrating that making music in any genre requires commitment, yet is a challenge that ultimately pays off. Or, as Dave Grohl excellently puts it as we see seven carbon copies of him walking into a studio and taking their seats by their instruments in the music video: ‘’I always feel like a kid again when I’m working. Like any kid, the reward is just to play’’ 8/10
Idles: Joy As An Act Of Resistance (Partisan Records) [Alex]
Notorious for their acerbically satirical brand of punk rock, flaunted by their debut: Brutalism, Idles could not just leave us in the clutches of the current political state without serving up some more of their uniquely sarcastic wit. To the uninitiated, they smash together influences ranging from stranglers to Fugazi, capturing perfectly the angst and wit, combined with a serious commitment to the music, to make those sounds sincere.
Colossus begins on a broodingly downtrodden note before exploding life, setting up the themes of striving to find joy in an age of negativity. Lead single, Danny Nedelko champions immigrants and their contribution to society with the artwork for the single reading ‘Rome wasn’t built in a day, nor solely by the Romans’. While there is an irony to singing about toxic masculinity and self-worth aggressively and forcefully, moments like Never Fight A Man With A Perm, Television, and Samaritans do so excellently with the later declaring ‘’I kissed a boy and I liked it’’.
Idles: Joy As An Act Of Resistance (Partisan Records) [Alex]
Notorious for their acerbically satirical brand of punk rock, flaunted by their debut: Brutalism, Idles could not just leave us in the clutches of the current political state without serving up some more of their uniquely sarcastic wit. To the uninitiated, they smash together influences ranging from stranglers to Fugazi, capturing perfectly the angst and wit, combined with a serious commitment to the music, to make those sounds sincere.
Colossus begins on a broodingly downtrodden note before exploding life, setting up the themes of striving to find joy in an age of negativity. Lead single, Danny Nedelko champions immigrants and their contribution to society with the artwork for the single reading ‘Rome wasn’t built in a day, nor solely by the Romans’. While there is an irony to singing about toxic masculinity and self-worth aggressively and forcefully, moments like Never Fight A Man With A Perm, Television, and Samaritans do so excellently with the later declaring ‘’I kissed a boy and I liked it’’.
Yet when Idles aren’t sardonically berating themselves for being ‘special snowflakes’ as on I’m Scum or making references to Dirty Dancing in order to rip into modern conceptions of romance as on Love Song, they are capable of being a lot more direct. ‘’Blighty wants his country back, fifty-inch screen in his Cul-De-Sac, as he cries at the price of a bacon bap’’ asserts Great, showing off a distinctly British sense of humor, the satire only perhaps bridging both sides of the Atlantic with the line ‘’Islam didn’t eat your hamster’’. On a personal note though, June is a slow and sombre song about the death of Talbots daughter, lines in the vein of ‘’Baby shoes, for sale, never worn’’ proving painfully emotional, proving there are some topics which bridge even the political or social divides we might possess
Clearly drawing on the concepts of their last record, a wide palette of lyrical topics are pinned up against the wall here, some of them drenched in controversy. Yet whether you agree with Idle's or not, the melodic yet aggressive sting of the instrumentation, mixed with the worldview-challenging insight and charm, could prove enough to win anyone over. 9/10
Nonpoint: X (Spinefarm) [Alex]
Give Nonpoint the respect they deserve. Now on their 9th studio outing, they have had a prolific career, honing their own sound and technical ability, and surviving the early 2000s which spat out and chewed up many acts in the post-grunge scene like a machine. In fact, while I will confess to never being a massive fan, I do sincerely understand the love and devotion from their cult following.
X still embodies many of the best features of alt-rock fused with metal, combining complex grove-like riffs and wailing solos. At the same time though, I can’t help but feel somewhat perturbed by regressions into some of the worst characteristics of nu-metal. Notably, on almost every song – from Chaos And Earthquakes to Passive Aggressive, vocalist Elias Soriano decides to rap obnoxiously. To clarify, I am by no means against combining hip-hop with metal – my love of Rage Against The Machine will disprove any claims to the contrary. In this case, however, the rapping stands so far out in the mix, I have trouble discerning the subtle nuances in the playing of the sincerely talented musicians.
Nonpoint: X (Spinefarm) [Alex]
Give Nonpoint the respect they deserve. Now on their 9th studio outing, they have had a prolific career, honing their own sound and technical ability, and surviving the early 2000s which spat out and chewed up many acts in the post-grunge scene like a machine. In fact, while I will confess to never being a massive fan, I do sincerely understand the love and devotion from their cult following.
X still embodies many of the best features of alt-rock fused with metal, combining complex grove-like riffs and wailing solos. At the same time though, I can’t help but feel somewhat perturbed by regressions into some of the worst characteristics of nu-metal. Notably, on almost every song – from Chaos And Earthquakes to Passive Aggressive, vocalist Elias Soriano decides to rap obnoxiously. To clarify, I am by no means against combining hip-hop with metal – my love of Rage Against The Machine will disprove any claims to the contrary. In this case, however, the rapping stands so far out in the mix, I have trouble discerning the subtle nuances in the playing of the sincerely talented musicians.
Any interplay between the music and the vocals becomes minuscule. Case in point, the three best songs on this entire album are the closers; Feel The Way I Feel, Position One and Paralysed, where the singing is melodic, and rises and falls in turn with the instrumental passages, creating an expressive and poignant atmosphere, in which the emotions and messages are not obscured by anyone. Alone, these closing moments are the mark of good musicians who deserve all the praise they get and more. Let’s hope that as they reach the latter stages of their career that they can continue to impress. 5/10
Dynazty: Firesign (AFM Records) [Stief]
Admittedly, this is my first time hearing the Swedish quintet but I'm very glad I have now. The sixth full album from the band, and it's a cracking one. It's great power metal from beginning to end, with shades of Orden Ogan and Amaranthe, while still keeping their own individual sound. Nils Molin's vocals are perfect for the band, never seeming to falter, as well as the constant riffage and harmonies from Love Magnusson and Mikael Lavér.
This great guitar work paired with Georg Härnsten Egg's drumming and Jonathan Olsson's bass give an almost industrial feel to the proceedings, while still retaining the power metal feeling of the bombastic with strings and synths weaving throughout the album. Standout tracks include the chuggingly great title track Firesign which involves some eerie synths midway and album closer The Light Inside The Tunnel, a great slice of pure power metal. Overall, a brilliant album, and a band I'm going to be checking out more often. 8/10
Psychostick: Do (Self-Released) [Stief]
As you all probably know by now, I'm a fan of some silly stuff, and it doesn't get sillier than Arizona's Psychostick. The first self-released album since 2003's We Couldn't Think Of A Title, it's what we've all come to expect from Psychostick; An album of heavy metal songs about mundane topics, including Bacon, Eggs And Cheese, Losing Keys, Being An Adult. The only problem is...nothing seems to have changed in the 4 years since IV: Revenge Of The Vengeance. Sure, the band sounds heavier, more refined, but the meat and potatoes of it (another song idea there) is that this entire album is disjointed, and feels like a jam session that the band just happened to record.
While there are some decent songs, most of them involving breakdowns with 'Rawrb' Kersey talking over them, or half-singing. Having reviewed them in the past, plus seeing them play the globe, I want it to be good, but for some reason, it isn't. There are only a few stand out songs, including the very relatable From The Heart, an acoustic ballad about hating people and the final song Flop, a Mindless Self Indulgence-esque song which pokes fun at the constant dance songs trying to force new dance moves on the public. That being said, with 22 songs on the album, most clocking at a minute and a half, and only a handful of good ones, I'm hoping the next thing Psychostick brings out is a bit more focused. 5/10
Dynazty: Firesign (AFM Records) [Stief]
Admittedly, this is my first time hearing the Swedish quintet but I'm very glad I have now. The sixth full album from the band, and it's a cracking one. It's great power metal from beginning to end, with shades of Orden Ogan and Amaranthe, while still keeping their own individual sound. Nils Molin's vocals are perfect for the band, never seeming to falter, as well as the constant riffage and harmonies from Love Magnusson and Mikael Lavér.
This great guitar work paired with Georg Härnsten Egg's drumming and Jonathan Olsson's bass give an almost industrial feel to the proceedings, while still retaining the power metal feeling of the bombastic with strings and synths weaving throughout the album. Standout tracks include the chuggingly great title track Firesign which involves some eerie synths midway and album closer The Light Inside The Tunnel, a great slice of pure power metal. Overall, a brilliant album, and a band I'm going to be checking out more often. 8/10
Psychostick: Do (Self-Released) [Stief]
As you all probably know by now, I'm a fan of some silly stuff, and it doesn't get sillier than Arizona's Psychostick. The first self-released album since 2003's We Couldn't Think Of A Title, it's what we've all come to expect from Psychostick; An album of heavy metal songs about mundane topics, including Bacon, Eggs And Cheese, Losing Keys, Being An Adult. The only problem is...nothing seems to have changed in the 4 years since IV: Revenge Of The Vengeance. Sure, the band sounds heavier, more refined, but the meat and potatoes of it (another song idea there) is that this entire album is disjointed, and feels like a jam session that the band just happened to record.
While there are some decent songs, most of them involving breakdowns with 'Rawrb' Kersey talking over them, or half-singing. Having reviewed them in the past, plus seeing them play the globe, I want it to be good, but for some reason, it isn't. There are only a few stand out songs, including the very relatable From The Heart, an acoustic ballad about hating people and the final song Flop, a Mindless Self Indulgence-esque song which pokes fun at the constant dance songs trying to force new dance moves on the public. That being said, with 22 songs on the album, most clocking at a minute and a half, and only a handful of good ones, I'm hoping the next thing Psychostick brings out is a bit more focused. 5/10
Tuesday, 11 September 2018
Reviews: Clutch, The Pineapple Thief, Seasick Steve, Dream Child (Reviews By Paul H & Matt)
Clutch: Book Of Bad Decisions (Weathermaker Music) [Paul H]
It’s becoming a challenge to find superlatives for the Maryland four-piece whose long awaited 12th album fulfils all expectations. Neil Fallon, Tim Sult, Dan Maines and Jean Paul Gaster continue to follow their own destiny, creating songs which fit with their own passion and vision. They don’t follow trends, they simply produce quality music. It is something you can only admire them for. After the success of 2013’s Earth Rocker and 2015’s Psychic Warfare, both albums that one could call more accessible than the previous releases, Clutch have not retreated one step but instead have expanded their repertoire once more.
It’s becoming a challenge to find superlatives for the Maryland four-piece whose long awaited 12th album fulfils all expectations. Neil Fallon, Tim Sult, Dan Maines and Jean Paul Gaster continue to follow their own destiny, creating songs which fit with their own passion and vision. They don’t follow trends, they simply produce quality music. It is something you can only admire them for. After the success of 2013’s Earth Rocker and 2015’s Psychic Warfare, both albums that one could call more accessible than the previous releases, Clutch have not retreated one step but instead have expanded their repertoire once more.
Book Of Bad Decisions certainly offers variety. At times the band are harking back to the ferocity of their early punk-edged almost hardcore sound, Gimme The Keys, or maintaining their cutting-edge narrative on the aggressive politically astute How To Shake Hands and pushing the boundaries with a huge brass section on the magnificent In Walks Barbarella. Fallon’s lyrical genius has never been questioned, but he excels on this tune: “Defcon Tractor Beams, Weaponised Funk, In Walks Barbarella, Set To Stun”. Weaponised funk! Brilliant stuff. The arrangement here is superb, and alongside Lionize’s Chris Brooks who adds sultry thick Hammond B3 organ, we find percussion from Mike Dillon, the tenor and baritone saxophone of Kevin Gatzke, Vinnie Ciesielski’s trumpet and trombone from Roy Agee, all sweetly arranged by Gatzke. Brooks adds keys on four tracks, suitable weight and heft on Emily Dickinson, as well as the title track, Sonic Counselor and of course In Walks Barbarella as well as subtler piano on Vision Quest and Wurlitzer on Hot Bottom Feeder.
Emily Dickinson offers delight in its variation, the chunky riffs at the start giving way to a mellow conclusion. Of course, as always, with Clutch it’s the sum of the parts. Gaster’s freestyle drumming has a sound big enough to remind you of Bonham, describing Maines steady bass lines as reliable is about as big a compliment as you can pay and Sult’s guitar work mesmerises and hypnotises once more, textured layers disguised underneath his laid-back style yet his work is also crucially vibrant. Meanwhile Fallon remains the ultimate rock wordsmith, his oratory flowing like a raging preacher on a street corner but with a much more important message. Take A Good Fire: “I remember hearing Sabbath for the first time, When I was thirteen years old, A large field outside Damascus, in the grip of October’s cold, Alder birch cedar boxwood pine, who among us can deny? We love a good fire”.
At 56 minutes and 15 songs you could argue that Book Of Bad Decisions is maybe a song or two too long but tracks like H.B. Is In Control (The H.B. standing for Hieronymus Bosch) and Hot Bottom Feeder retain all the groove and fire of classic Clutch. Book Of Bad Decisions is an album that deserves multiple plays to appreciate. It is pacey, laden with groove, clever changes and astute lyrics. It’s been three years. It has been worth the wait. Clutch is synonymous with quality and consistency. A fine album to add to an already amazing body of work. 10/10
The Pineapple Thief: Dissolution (Kscope) [Paul H]
For a band now on its 12th album, The Pineapple Thief show absolutely no signs of stagnation. 2016’s Your Wilderness was a fabulous release, as crisp and delicate as freshly fallen snow. Dissolution moves the bar forward once more, with the songwriting of Bruce Soord creative and fresh, allowing the band to demonstrate both subtle gentility as well as the harder elements which runs through the spine of this release. Dissolution is 43 minutes of sheer brilliance, with a fusion of rock, jazz, electronica scattered liberally amongst the inevitable progressive style which is synonymous with their name. Crashing riffs on Far Below and Threatening War nestle comfortably alongside the harmonies of Soord and long-standing members Jon Sykes and Steve Kitch. With Gavin Harrison returning to the drum stool for the second time, the rhythm section is assured throughout, and the musicianship is as one would expect, stunning.
The Pineapple Thief: Dissolution (Kscope) [Paul H]
For a band now on its 12th album, The Pineapple Thief show absolutely no signs of stagnation. 2016’s Your Wilderness was a fabulous release, as crisp and delicate as freshly fallen snow. Dissolution moves the bar forward once more, with the songwriting of Bruce Soord creative and fresh, allowing the band to demonstrate both subtle gentility as well as the harder elements which runs through the spine of this release. Dissolution is 43 minutes of sheer brilliance, with a fusion of rock, jazz, electronica scattered liberally amongst the inevitable progressive style which is synonymous with their name. Crashing riffs on Far Below and Threatening War nestle comfortably alongside the harmonies of Soord and long-standing members Jon Sykes and Steve Kitch. With Gavin Harrison returning to the drum stool for the second time, the rhythm section is assured throughout, and the musicianship is as one would expect, stunning.
The masterpiece of this magnificent release is White Mist, a quite astonishing penultimate track that is sheer perfection. With legendary American guitarist David Torn adding guitar, the 11 minutes weave and move organically; part Floyd, part Porcupine Tree but most definitely The Pineapple Thief. The acoustically beautiful intro to final song Shed A Light provides the perfect antidote to the stirred emotions of White Mist, before an electric outburst spikes the middle section, acoustic and electric sections then duel to close the album flawlessly. I’ve listened to this album continuously since it was released, and it continues to provide delicious moments of almost insatiable quality; much like that first drink after a thirsty hike, soaking up Dissolution is a moment that leaves you desperate for the same again. I didn’t think that the band could improve on Your Wilderness. Dissolution might just be their finest hour. 10/10
Seasick Steve: Can U Cook? (BMG) [Matt]
Something of a phenomenon this is Steve Wold's ninth full length album, the man known as Seasick Steve is something of an enigma with very D.I.Y aesthetic to his 'hobo blues' his guitars are homemade, his voice is weathered by years of travelling and his songs are usually tales of his colourful life. Since he was 'discovered' by his performance on Jools Holland's Hootenanny show, his career has been on an upward trajectory because his honest and irreverent homegrown blues. Opening with Hate Da Winter it's a self explanatory title about hating the winter (I would too if I had to live on the streets as Steve did during his youth) it's a marked difference from the early record which was just him his collection of odd stringed instruments and his Mississippi Drum Machine stomp box.
Here he has his now long term drummer Dan Magnusson a.k.a. Crazy Dan on drums and former Black Crowes slide guitar ace Luther Dickinson, it's the title track that show Dickinson's slide prowess adding a country funk to the fuzzy riff. As with all Seasick Steve records there's a melting pot of the USA's musical styles here with blues, soul, boogie, folk and Americana all catered for, his Dylanesque lament of the modern world Last Rodeo is a harmonica infused piece of folk, things get a sparse and moody for Chewin On Da Blues however Shady Tree is a bit more traditional, on the other hand Lay has a bit of drum and bass to it. Numerous styles on offer but all definitely Seasick Steve, look out for him on tour later this year, Steve's doing the cooking you bring the wine. 8/10
Dream Child: Until Death We Do Meet Again (Frontiers Records) [Matt]
Dream Child is a band formed Dio, Dio Disciples and Resurrection Kings guitarist Craig Goldy, (it was the nickname Ronnie have him) he was apparently discussing Rainbow's first two albums and how no one makes music like that any more when he was asked by Serafino to see if he could do it. Drawing on his time touring with the great man you can hear that the Dio influence comes through from the first track to the last, much if this is due to Goldy's guitar playing/arrangements and the vocals of Diego Valdez who sounds an awful lot like the RJD, his soulful snarl would sound perfect screaming Neon Knights or Holy Diver.
Seasick Steve: Can U Cook? (BMG) [Matt]
Something of a phenomenon this is Steve Wold's ninth full length album, the man known as Seasick Steve is something of an enigma with very D.I.Y aesthetic to his 'hobo blues' his guitars are homemade, his voice is weathered by years of travelling and his songs are usually tales of his colourful life. Since he was 'discovered' by his performance on Jools Holland's Hootenanny show, his career has been on an upward trajectory because his honest and irreverent homegrown blues. Opening with Hate Da Winter it's a self explanatory title about hating the winter (I would too if I had to live on the streets as Steve did during his youth) it's a marked difference from the early record which was just him his collection of odd stringed instruments and his Mississippi Drum Machine stomp box.
Here he has his now long term drummer Dan Magnusson a.k.a. Crazy Dan on drums and former Black Crowes slide guitar ace Luther Dickinson, it's the title track that show Dickinson's slide prowess adding a country funk to the fuzzy riff. As with all Seasick Steve records there's a melting pot of the USA's musical styles here with blues, soul, boogie, folk and Americana all catered for, his Dylanesque lament of the modern world Last Rodeo is a harmonica infused piece of folk, things get a sparse and moody for Chewin On Da Blues however Shady Tree is a bit more traditional, on the other hand Lay has a bit of drum and bass to it. Numerous styles on offer but all definitely Seasick Steve, look out for him on tour later this year, Steve's doing the cooking you bring the wine. 8/10
Dream Child: Until Death We Do Meet Again (Frontiers Records) [Matt]
Dream Child is a band formed Dio, Dio Disciples and Resurrection Kings guitarist Craig Goldy, (it was the nickname Ronnie have him) he was apparently discussing Rainbow's first two albums and how no one makes music like that any more when he was asked by Serafino to see if he could do it. Drawing on his time touring with the great man you can hear that the Dio influence comes through from the first track to the last, much if this is due to Goldy's guitar playing/arrangements and the vocals of Diego Valdez who sounds an awful lot like the RJD, his soulful snarl would sound perfect screaming Neon Knights or Holy Diver.
It's a bit of reunion this record Goldy has managed to get Rudy Sarzo (Dio, Ozzy, Whitesnake) on bass, former MSG man Wayne Findlay on guitar/keys and behind the kit is Simon Wright (Dio, ex-AC/DC) so three of the five members of this band have performed with Dio which is probably why the record harks back to those classic Dio days. You Can't Take Me Down has thumping Rainbow-like groove with Valdez giving his all, Under The Wire does pinch the keyboard riff from Tubular Bells but it's snorting opener setting the tone for some classic metal. The record is essentially a celebration of the career of RJD with the songs working from Rainbow, through Sabbath to his solo career, lovingly crafted by those who have actually played with him, it's better than Last In Line or Resurrection Kings (mainly due to the vocals) making it a very good listen if you're a fan of Dio in anyway! 8/10
Monday, 10 September 2018
Reviews: Vodun, The Skull, Gods Army, Ink
Vodun: Ascend (New Heavy Sounds)
The trio of Ogoun (Zel Kaute-drums), The Marassa (Linz Hamilton-guitars) and Oya (Chantal Brown-voice) return with the follow up to their rip roaring debut Possession since then the world has turned and the spirits and omens have become darker, the world is worse that it has been for a while and the music on Ascend reflects these seismic shifts in what is now seen as the norm, drawing on the lessons of history to be clarion call for action. Opening with the percussive power of Spirits Past the album kicks off with is a pro-feminism, anti-racist/fascist etc battle cry to stand up to those that oppress you (a theme repeated on this very aware record).
Ogoun's drumming is what gets this song kicking ass from the get go as Oya's incredible vocal howl evokes the spirits of ancestry to get you involved, before turning into a proto-thrash end as The Marassa riffs like a unleashed demon. A killer start that gives you what Vodun do best however what can hear here is progression, the record is more sophisticated than their debut, with broader brush strokes making wider musical palette, the trio bring in heavier riffs on the driving Started From, they pair these heavy riffs with the African beats and sax parps on Ogun's Fight. With Time Honoured a slower, sludgy, stoner, Sabbath sound that gives you a refreshing change of pace and a chance for some soulful sounds from Oya.
A difficult second album is not the case with Vodun their sophomore effort is not just better than their great debut it's got a wholly different edge to it, the African sounds are still here in abundance but everything's a lot tighter, more mature and angrier, a track like New Doom (featuring Turbowolf's Chris Georgiadis) which has everything tribal beats, the dual sneer and holler of the vocals and the shimmering/groove-driven guitars coming together as much bigger than the sum of their parts. A band shaped by their ideological/political history and their defiance of the current forms of oppression Vodun have taken their sound to more primal style of rage that I can't wait to see be unleashed on stage! 9/10
The Skull: The Endless Road Turns Dark (Tee Pee Records)
If you know doom then you'll know who Eric Wagner is, the vocalist of seminal Sabbath worshippers Trouble, he formed The Skull back in 2012 with Trouble bass player Ron Holzner, naming the band after Trouble's second album. Four years on from their debut album they've released their follow up and it's not a record that's going to be a surprise. What we have here is 45 minutes of bone crushing doom from the opening riff of the title track to the closing sustain of Thy Will Be Done it's fuzzy doom riffs right from the get-go and they don't really let up, Holzner's low four string in devilish union with Brian Dixon's punishing drums as the dual riff machines of Lothar Kelley and Rob Wrong play it like it's pulled pork, low and slow.
It's straightforward doom metal from two men who have done this kind of music their entire careers, what I always find fascinating though about Wagner's vocals are that they are certainly more Ozzy than Scott Weinrich (singer of Saint Vitus in case you don't doom), actually this record has many more melodic elements than a lot of doom bands, yes it's maudlin and gloomy but there are flashes of psychedelic light, like on The Longing which has great soaring lead playing or the jazzy From Myself Depart. The Endless Road Turns Dark is a record steeped in traditional doom, noted Trouble fanboy Dave Grohl is going to love it, but I'm sure you will too. Crank it up loud and get that head banging! 8/10
God's Army: Demonocracy (Rock Of Angels Records)
No! Wait! Come back! It's not a Christian band, there's no God bothering here in the vein of Stryper or our perennial favourite Enzo And The Glory Ensemble, I promise! The religion here is a simple one with no edict at all, the only thing to worship here is good old fashioned rock n roll. Formed by Gallows Pole singer and Scanner bassist John A.B.C. Smith and drummer Mark Cross (Tainted Nation, Tower Of Babel, ex Firewind, Helloween) who came together to record some muscular heavy rock that balances between melodic power metal and radio loving heavy rock.
They have big fist in the air moments such as The Replicant which is beast of track clocking in at over 13 minutes which works into a steady groove with some shredding solos from Ian O’Sullivan and Eddie Van Dahl who trade off in the instrumental middle which has to be homage to Maiden due to the gallops and twin harmonies. It's not an album with no substance though as good as music is, there's political message on this album which has soundbites from Orwell, Malala and Regan all fitting with their commentary on the current political climate.
Whether you want to get that deep is up to you but tracks like Games Without Frontiers, Final Destination and Free Your Mind (which I swear has nicked a Motley Crue riff) all rock hard, unfortunately they nearly ruin everything with a 'rock' cover of Old Blue Eye's My Way which is probably worse than the Sid Vicious version (which was at least ironic). Still ignoring this (you really must) Demonocracy is a pretty strong melodic metal album from this group of seasoned metal musicians. 7/10
Ink: Whispers Of Calliope (Wormholedeath Records)
The trio of Ogoun (Zel Kaute-drums), The Marassa (Linz Hamilton-guitars) and Oya (Chantal Brown-voice) return with the follow up to their rip roaring debut Possession since then the world has turned and the spirits and omens have become darker, the world is worse that it has been for a while and the music on Ascend reflects these seismic shifts in what is now seen as the norm, drawing on the lessons of history to be clarion call for action. Opening with the percussive power of Spirits Past the album kicks off with is a pro-feminism, anti-racist/fascist etc battle cry to stand up to those that oppress you (a theme repeated on this very aware record).
Ogoun's drumming is what gets this song kicking ass from the get go as Oya's incredible vocal howl evokes the spirits of ancestry to get you involved, before turning into a proto-thrash end as The Marassa riffs like a unleashed demon. A killer start that gives you what Vodun do best however what can hear here is progression, the record is more sophisticated than their debut, with broader brush strokes making wider musical palette, the trio bring in heavier riffs on the driving Started From, they pair these heavy riffs with the African beats and sax parps on Ogun's Fight. With Time Honoured a slower, sludgy, stoner, Sabbath sound that gives you a refreshing change of pace and a chance for some soulful sounds from Oya.
A difficult second album is not the case with Vodun their sophomore effort is not just better than their great debut it's got a wholly different edge to it, the African sounds are still here in abundance but everything's a lot tighter, more mature and angrier, a track like New Doom (featuring Turbowolf's Chris Georgiadis) which has everything tribal beats, the dual sneer and holler of the vocals and the shimmering/groove-driven guitars coming together as much bigger than the sum of their parts. A band shaped by their ideological/political history and their defiance of the current forms of oppression Vodun have taken their sound to more primal style of rage that I can't wait to see be unleashed on stage! 9/10
The Skull: The Endless Road Turns Dark (Tee Pee Records)
If you know doom then you'll know who Eric Wagner is, the vocalist of seminal Sabbath worshippers Trouble, he formed The Skull back in 2012 with Trouble bass player Ron Holzner, naming the band after Trouble's second album. Four years on from their debut album they've released their follow up and it's not a record that's going to be a surprise. What we have here is 45 minutes of bone crushing doom from the opening riff of the title track to the closing sustain of Thy Will Be Done it's fuzzy doom riffs right from the get-go and they don't really let up, Holzner's low four string in devilish union with Brian Dixon's punishing drums as the dual riff machines of Lothar Kelley and Rob Wrong play it like it's pulled pork, low and slow.
It's straightforward doom metal from two men who have done this kind of music their entire careers, what I always find fascinating though about Wagner's vocals are that they are certainly more Ozzy than Scott Weinrich (singer of Saint Vitus in case you don't doom), actually this record has many more melodic elements than a lot of doom bands, yes it's maudlin and gloomy but there are flashes of psychedelic light, like on The Longing which has great soaring lead playing or the jazzy From Myself Depart. The Endless Road Turns Dark is a record steeped in traditional doom, noted Trouble fanboy Dave Grohl is going to love it, but I'm sure you will too. Crank it up loud and get that head banging! 8/10
God's Army: Demonocracy (Rock Of Angels Records)
No! Wait! Come back! It's not a Christian band, there's no God bothering here in the vein of Stryper or our perennial favourite Enzo And The Glory Ensemble, I promise! The religion here is a simple one with no edict at all, the only thing to worship here is good old fashioned rock n roll. Formed by Gallows Pole singer and Scanner bassist John A.B.C. Smith and drummer Mark Cross (Tainted Nation, Tower Of Babel, ex Firewind, Helloween) who came together to record some muscular heavy rock that balances between melodic power metal and radio loving heavy rock.
They have big fist in the air moments such as The Replicant which is beast of track clocking in at over 13 minutes which works into a steady groove with some shredding solos from Ian O’Sullivan and Eddie Van Dahl who trade off in the instrumental middle which has to be homage to Maiden due to the gallops and twin harmonies. It's not an album with no substance though as good as music is, there's political message on this album which has soundbites from Orwell, Malala and Regan all fitting with their commentary on the current political climate.
Whether you want to get that deep is up to you but tracks like Games Without Frontiers, Final Destination and Free Your Mind (which I swear has nicked a Motley Crue riff) all rock hard, unfortunately they nearly ruin everything with a 'rock' cover of Old Blue Eye's My Way which is probably worse than the Sid Vicious version (which was at least ironic). Still ignoring this (you really must) Demonocracy is a pretty strong melodic metal album from this group of seasoned metal musicians. 7/10
Ink: Whispers Of Calliope (Wormholedeath Records)
It's a brave choice to open with a Tool cover but Greek alt/prog metal band do it well stripping Sober back to dark fear-laden acoustic version of the famed prog metal heroes. It's the first of a few choice slightly outside the norm covers. The other brave choice is a cover of NIN's Hurt a song that has taken on new life due to the definitive cover from Johnny Cash, here it's once again a good cover but will never have the gravitas and pain of the Cash cover. Every song here though is from a band that seem to have an influence on Ink, there's a lot of alt, grunge, prog, electronica and general dark weirdness on this record from Leonard Cohen, to Billy Idol, Smashing Pumpkins to Massive Attack it's a jukebox of miserablism that Ink do very well with their own songs.
The majority of the record is built on bleak, robotic synths and intense acoustic work outs, it works best on Rebel Yell which gets sparse and more anthemic Chris' vocals are passionate and distinctive as Kostas ushers in a clean electric guitar solo. As I've said the covers here are all good with a real mix of artists however it's the emotional finale of Temple Of The Dogs' Hunger Strike that is the most resonant in the memory as it serves as a fitting tribute to Chris Cornell's genius. I will admit it brought it year to the eye as clearly Cornell is big part of Ink's sound. Covers records can be something of a cash-in often relying on the big hits and shameless rip offs but on Whispers Of Calliope Ink have released an honest, inspired record. 8/10
Saturday, 8 September 2018
Reviews: Lord, Panegyrist, Penance Stare, Druglord (Reviews By Paul S & Sean)
Lord: Desperation Finds The Hunger In All Men (Heavy Hounds Records) [Paul S]
Desperation Finds Hunger In All Men is Lord’s final album. I’m not aware if they made the decision to disband before, during or after recording this album, but I am aware that this is it for this band. So, what have Lord produced for their swan-song? Desperation Finds Hunger In All Men is a complex beast, and it is a beast of an album. The album comes in at an hour and five minutes, and is mainly doom; I say mainly as there are a lot of other things going on as well as the really rather heavy doom. A lot of the songs have fast, hardcorey style sections in them to mix things up.
Desperation Finds Hunger In All Men is Lord’s final album. I’m not aware if they made the decision to disband before, during or after recording this album, but I am aware that this is it for this band. So, what have Lord produced for their swan-song? Desperation Finds Hunger In All Men is a complex beast, and it is a beast of an album. The album comes in at an hour and five minutes, and is mainly doom; I say mainly as there are a lot of other things going on as well as the really rather heavy doom. A lot of the songs have fast, hardcorey style sections in them to mix things up.
The vocals are interesting as well, there are 3 main voices on this album, 2 harsh and one clean. 1 of the harsh voices is huge and deep, death metal style vocal, the second is high register, almost shrill in quality. This high register shriek could be problematic to some listeners, it feels like the band is challenging the audience, if you give it time you get used to it and it stops being a problem. The clean voice makes me wonder why the band have used harsh vocals at all. Vocalist, Steven Kerchner has a huge voice, deep and gravelly, but incredibly soulful. It reminds me a little of Chris Cornell, or maybe a lower register John Bush, and is fantastic. At times it feels like the 3 voices are combative, fighting for dominance in a fairly full mix. This isn’t a problem, in fact, I think it’s exactly the effect the band were going for. This is a band that was happy to experiment and take risks, and I think this has worked.
The track Nature Knows No Kings is a case in point. The track is very complex, doomy parts that give way to hardcore, all three voices are used, some of which are spoken, and this track has that combative feel I mentioned earlier. La Fleur De Cobalt is another standout track, again a mix of doom and hardcore, although maybe a little less unhinged, the clean voice feels like it has dominance on this track, and by god it sounds great. The album is brought to a end by the track This Lonesome Linger, a beautiful acoustic track that also features female vocals, which in some parts are exquisite harmonies, and brings the album to a close in a very satisfying way.
Desperation Finds Hunger In All Men is a difficult album. It takes a while to get your head around it, and some effort. But if you allow it, this album will get into your head, and you will find it satisfying. All you need is a little time and an open mind, and you’ll get a lot out of it. I don’t suppose I can convince the band to try getting back together. 8/10
Panegyrist: Hierurgy (I, Voidhanger Records) [Sean]
A bell breaks the silence, bright as it is sonorous before diminishing into night. Eerie plainchant fills the empty void, uttered by hooded figures obscured in the thick, cloying incense emanating from an open brazier. A single voice continues the canticle, giving praise to something ancient and unknowable. Esoteric whispers slither and twist their way into the recital, with more malevolent energies inviting themselves amongst the unsuspecting congregation. Or something envisioned to that effect. So begins the opening track Hymn Of Inversion off Hierurgy, debut album of American avante-garde black metallers Panegyrist.
Idylls Of The Cave erupts with harrowing power, both the vocals and guitars swirling seamlessly in a controlled yet chaotic fashion. Panegyrist heap layer upon layer of sound, yet never losing themselves and create a fine balance amongst the dense cacophony with neither element encumbering the other. The complexity on offer is almost dizzying and devoid of meaningless self indulgence, the riffs continuously shifting but not until they have wormed their way into my subconsciousness. As the ritual continues on To Quicken Stone, the clean introduction briefly allows me a quick gasp for air before being plunged into it’s unfathomable depths. Slightly more straightforward than it’s predecessor, To Quicken Stone embraces the discordant but providing enough hooks to provide some sense of tangibility amid the maelstrom.
The Void Is The Heart Of The Flame substitutes the fury of the two former song for an eerie dreamscape, ushering in a greater sense of dynamics and once again showing the impressive capability of the band. The mental image conjured is one of a soul separated from it’s fleshy vessel, aimlessly wandering the dark aether. Pretentious musing aside, Panegyrist have me utterly transfixed in this dark pilgrimage of theirs. Ophidian Crucifix utilises the established elements of earlier songs, reintroducing the melody from Hymn Of Inversion to great effect. Bolstered by haunting solos and weeping keys, it's the most varied track on the album, perfectly encapsulating the essence and sheer diverse nature that is Panegyrist.
The end to this occultic exodus bring us to closer Hierurgy, a 12 minute bombastic excursion recounting Panegyrists otherworldly creativity. Although it’s a touch congested and slightly meandering in places, Hierurgy is a fitting closer to a thrilling and exhausting voyage. I gather my thoughts, or what is left of them. Hierurgy is wonderfully crafted debut of haunting peculiarity, forged by individuals with a deep understanding of their craft.
It’s sonically dense yet varied, daunting but not impenetrable. Coupled with the bands transcendental vision and musical daring, it effortlessly dances on the edge of complete and utter sensual (and spiritual) collapse. Armed with a bright production and prodigious talent, Panegyrist offer 6 sprawling psalms steeped in mystery and dread. Abandon your flesh, surrender your spirit and step into the dark. A bell breaks the silence, right as it is sonorous before diminishing into night. The ceremony begins anew. 9/10
Penance Stare: Scrying (Self Released)
Penance Stare is a blackened darkwave project based in Gateshead. This is a 1 person project, all instruments and vocals are performed by a woman known as Eln. The main sound here is electronic/industrial, with dissonant, dark guitar riffs, and vocals that are shimmering and ethereal. I can hear influences from Lycia, Cocteau Twins and Xastur, even a little bit of The Cure as well. The other artist that this bring to mind for me is Blut Aus Nord. Now, I am aware that B.A.N. have several different sounds, so I’d better be a bit more exact. Blut Aus Nord’s 2003 masterpiece The Work Which Transforms God contains 2 different types of song. Insanely fast, industrial black metal, and instrumental, dissonant soundscapes like Metamorphosis, Our Blessed Frozen Cells and Procession Of The Dead Clowns. Penance Stare’s sound is close to these instrumental tracks.
The vocals on Scrying are very interesting. The sound is quite reverb heavy, giving them an ethereal, almost hypnotic quality. The vocals are also quite low in the mix, definitely lower than most bands would do (maybe as the vocalist is also the person who plays all the instruments, there’s no petulant member insisting their contribution is to the fore). The style of the vocals give the tracks a floaty, ethereal quality, but the level they are at in the mix means they have the same importance as all the other instruments, so the vocals are just one of the instruments, not more or less important. The music on offer here is very dark in feel, but the vocals give a little light. This feels cathartic, it isn’t all darkness, there is a balance to the emotions on offer here. This is a darkwave album that has a lot more depth than a lot of Penance Stare’s contemporaries.
Scrying is a great piece of Darkwave/blackened ambient. The album is available on Bandcamp, you pay what you want, this deserves a decent amount of money. This is an album that is dark and dissonant, whilst being beautiful and ethereal at the same time. That is a pretty neat trick to pull off, and Penance Stare do it brilliantly! 8/10
Druglord: New Day Dying (Sludgelord Records)
This is Druglord’s second album, coming four years after their first album Enter Venus. The 3 piece from Richmond, Virginia, play a very heavy brand of doom/sludge, with maybe a little stoner influence thrown in for good measure. The sound on this album is massive; massive riffs, massive guitar sound, huge lurching rhythms, and vocals that cut through all the bass. The vocals are reminiscent of Yob’s Mike Scheidt, with a little of Lee Dorian as well. In some ways the sound of the music is a little like Dorians new project With The Dead. It isn’t all about heaviness though, the track Walk With God has an organ on it that gives the song depth, and makes it sound a little psychedelic as well. There are also some cracking Wah Wah infused, bluesy solo’s on offer here, which are very pleasing.
Although, all this is very good, there isn’t much in the way of variation. All the tracks have a similar feel to them, just small variations, there isn’t any massive experimentation, or mixing of styles. But having said that, what they do is a really great take on doom/stoner, so maybe variation isn’t needed. I get the feeling this material would go over really well live, I can imagine entire dance floors bouncing in time to these massive tunes. Thunderingly huge doom! 7/10
The track Nature Knows No Kings is a case in point. The track is very complex, doomy parts that give way to hardcore, all three voices are used, some of which are spoken, and this track has that combative feel I mentioned earlier. La Fleur De Cobalt is another standout track, again a mix of doom and hardcore, although maybe a little less unhinged, the clean voice feels like it has dominance on this track, and by god it sounds great. The album is brought to a end by the track This Lonesome Linger, a beautiful acoustic track that also features female vocals, which in some parts are exquisite harmonies, and brings the album to a close in a very satisfying way.
Desperation Finds Hunger In All Men is a difficult album. It takes a while to get your head around it, and some effort. But if you allow it, this album will get into your head, and you will find it satisfying. All you need is a little time and an open mind, and you’ll get a lot out of it. I don’t suppose I can convince the band to try getting back together. 8/10
Panegyrist: Hierurgy (I, Voidhanger Records) [Sean]
A bell breaks the silence, bright as it is sonorous before diminishing into night. Eerie plainchant fills the empty void, uttered by hooded figures obscured in the thick, cloying incense emanating from an open brazier. A single voice continues the canticle, giving praise to something ancient and unknowable. Esoteric whispers slither and twist their way into the recital, with more malevolent energies inviting themselves amongst the unsuspecting congregation. Or something envisioned to that effect. So begins the opening track Hymn Of Inversion off Hierurgy, debut album of American avante-garde black metallers Panegyrist.
Idylls Of The Cave erupts with harrowing power, both the vocals and guitars swirling seamlessly in a controlled yet chaotic fashion. Panegyrist heap layer upon layer of sound, yet never losing themselves and create a fine balance amongst the dense cacophony with neither element encumbering the other. The complexity on offer is almost dizzying and devoid of meaningless self indulgence, the riffs continuously shifting but not until they have wormed their way into my subconsciousness. As the ritual continues on To Quicken Stone, the clean introduction briefly allows me a quick gasp for air before being plunged into it’s unfathomable depths. Slightly more straightforward than it’s predecessor, To Quicken Stone embraces the discordant but providing enough hooks to provide some sense of tangibility amid the maelstrom.
The Void Is The Heart Of The Flame substitutes the fury of the two former song for an eerie dreamscape, ushering in a greater sense of dynamics and once again showing the impressive capability of the band. The mental image conjured is one of a soul separated from it’s fleshy vessel, aimlessly wandering the dark aether. Pretentious musing aside, Panegyrist have me utterly transfixed in this dark pilgrimage of theirs. Ophidian Crucifix utilises the established elements of earlier songs, reintroducing the melody from Hymn Of Inversion to great effect. Bolstered by haunting solos and weeping keys, it's the most varied track on the album, perfectly encapsulating the essence and sheer diverse nature that is Panegyrist.
The end to this occultic exodus bring us to closer Hierurgy, a 12 minute bombastic excursion recounting Panegyrists otherworldly creativity. Although it’s a touch congested and slightly meandering in places, Hierurgy is a fitting closer to a thrilling and exhausting voyage. I gather my thoughts, or what is left of them. Hierurgy is wonderfully crafted debut of haunting peculiarity, forged by individuals with a deep understanding of their craft.
It’s sonically dense yet varied, daunting but not impenetrable. Coupled with the bands transcendental vision and musical daring, it effortlessly dances on the edge of complete and utter sensual (and spiritual) collapse. Armed with a bright production and prodigious talent, Panegyrist offer 6 sprawling psalms steeped in mystery and dread. Abandon your flesh, surrender your spirit and step into the dark. A bell breaks the silence, right as it is sonorous before diminishing into night. The ceremony begins anew. 9/10
Penance Stare: Scrying (Self Released)
Penance Stare is a blackened darkwave project based in Gateshead. This is a 1 person project, all instruments and vocals are performed by a woman known as Eln. The main sound here is electronic/industrial, with dissonant, dark guitar riffs, and vocals that are shimmering and ethereal. I can hear influences from Lycia, Cocteau Twins and Xastur, even a little bit of The Cure as well. The other artist that this bring to mind for me is Blut Aus Nord. Now, I am aware that B.A.N. have several different sounds, so I’d better be a bit more exact. Blut Aus Nord’s 2003 masterpiece The Work Which Transforms God contains 2 different types of song. Insanely fast, industrial black metal, and instrumental, dissonant soundscapes like Metamorphosis, Our Blessed Frozen Cells and Procession Of The Dead Clowns. Penance Stare’s sound is close to these instrumental tracks.
The vocals on Scrying are very interesting. The sound is quite reverb heavy, giving them an ethereal, almost hypnotic quality. The vocals are also quite low in the mix, definitely lower than most bands would do (maybe as the vocalist is also the person who plays all the instruments, there’s no petulant member insisting their contribution is to the fore). The style of the vocals give the tracks a floaty, ethereal quality, but the level they are at in the mix means they have the same importance as all the other instruments, so the vocals are just one of the instruments, not more or less important. The music on offer here is very dark in feel, but the vocals give a little light. This feels cathartic, it isn’t all darkness, there is a balance to the emotions on offer here. This is a darkwave album that has a lot more depth than a lot of Penance Stare’s contemporaries.
Scrying is a great piece of Darkwave/blackened ambient. The album is available on Bandcamp, you pay what you want, this deserves a decent amount of money. This is an album that is dark and dissonant, whilst being beautiful and ethereal at the same time. That is a pretty neat trick to pull off, and Penance Stare do it brilliantly! 8/10
Druglord: New Day Dying (Sludgelord Records)
This is Druglord’s second album, coming four years after their first album Enter Venus. The 3 piece from Richmond, Virginia, play a very heavy brand of doom/sludge, with maybe a little stoner influence thrown in for good measure. The sound on this album is massive; massive riffs, massive guitar sound, huge lurching rhythms, and vocals that cut through all the bass. The vocals are reminiscent of Yob’s Mike Scheidt, with a little of Lee Dorian as well. In some ways the sound of the music is a little like Dorians new project With The Dead. It isn’t all about heaviness though, the track Walk With God has an organ on it that gives the song depth, and makes it sound a little psychedelic as well. There are also some cracking Wah Wah infused, bluesy solo’s on offer here, which are very pleasing.
Although, all this is very good, there isn’t much in the way of variation. All the tracks have a similar feel to them, just small variations, there isn’t any massive experimentation, or mixing of styles. But having said that, what they do is a really great take on doom/stoner, so maybe variation isn’t needed. I get the feeling this material would go over really well live, I can imagine entire dance floors bouncing in time to these massive tunes. Thunderingly huge doom! 7/10
A View From The Back Of The Room: Shiraz Lane (Live Review By Rhod Davies)
Shiraz Lane, Who Knows Didley, Excursia, Fuel Rock Club Cardiff
It has been a while since yours truly has done a live review on a concert. However when MOM headquarters offered me a chance to go to Fuel for this show as a birthday present, we weren’t going to pass up the chance.So with that myself and Sharon the wife head into the heaviest club on Womanby Street for another night of hard rock and metal.
Being a school night it’s never easy to get crowds out but Excursia (8) from Blackwood starting out tonight’s proceedings with a very strong set. With Black Lakes drummer, Dafydd filling in with a weeks notice after their previous drummer quit, he pounds the skins courageously and with such charisma on the Songs with the occasional joke about “hoping he doesn’t fuck up.” Powering through a 5 song set, one being a cover This Corrosion by The Sisters of Mercy and the others from debut EP Rise, opening with the title track Rise the next 20 minutes are all off their 90’s groove sounding record with the exception of the Sisters Of Mercy cover, they end with their nearly complete new song Hand Of God. A very strong performance from this band and they will be returning to Fuel on the 24th of November, I hope I get to see these guys again soon. Callum, A’Dan, Sam and Lewis, I hope you find the drummer you're looking for.
Who Knows Didley (7) take the stage next, coming all the way down from Neath, after a quick sound check and welcoming their audience before starting up their blend of hard rock, reminding me of the likes of Warrant, Extreme and even a hint of early Aerosmith. The band have a very confident 80’s hard rock sound (and have earned themselves the spot of supporting cover band Wrong Jovi in Swansea next February). To members Paul Mathews, (vocals), Gareth Alford (guitar), David Mckenzie (bass) and Craig James (drums) I have to confess and speak openly, I regret that owing to a couple of sound issues I wasn't quite able to make out the names of the song titles within the first half of the set, however the second half was a lot more enjoyable and a lot more engaging and I would like to give these gentlemen another go in the near future on the live circuit, I think (and I would like to be corrected if I’m wrong) that one of your songs was called All Your Wishing which I did thoroughly enjoy, and would like to see you upon your return to Fuel
Lastly, as the crowd now begins to gather round the front and extending as far as the bar, the world's most 80’s song blares over the speaker We Built This City by Starship you have an idea as to how the end of your night was going to be. You would forgive Shiraz Lane (9) for being a typical Motley Crue, Poison or any type of 80’s glam- revival from their look, however this is not the case. They don’t take anytime I’m getting proceedings started by starting their UK tour with new song Carnival Days off the album of the same name with such energy and exuberance. The Finnish 5 piece promote a feel good rock band about promoting peace for all who enjoy rock music (a bit like Stryper but without the God Squad morals). The solos come flying thick and fast from lead axeman Jani Laine (not that one - Ed) on songs Wake Up, keeping the shows momentum and lead vocalist Hannes Kett encouraging the audience to get closer and closer until even the ones at the back are at least as far as the bar.
A brief reminiscing on how far the band have come they break into Story To Tell from their debut EP Be The Slave Or Be The Change, a poppy rock number that does get the head moving with enthusiasm. With the main focus on recent release Carnival Days, with the exception of House Of Cards and Mental Slavery from previous release For Crying Out Loud, the band end with songs Harder To Breathe and People Like Us, gave us a chance to be introduced to members Miki Kalske on rhythm guitar, Joel Alex on the bass and Ana Willman (apologies for any of your spellings) and with Jani and Hannes as well together with your peace and good will messages prove that you there is a place for “feel good” 80s hard rock and glam without either preachy or mentioning sex/drugs lifestyle. A very enthusiastic and left us coming out with a smile on our faces, this kind of rock n roll the world needs sometimes, and I would love to see these guys again in the near future.
It has been a while since yours truly has done a live review on a concert. However when MOM headquarters offered me a chance to go to Fuel for this show as a birthday present, we weren’t going to pass up the chance.So with that myself and Sharon the wife head into the heaviest club on Womanby Street for another night of hard rock and metal.
Being a school night it’s never easy to get crowds out but Excursia (8) from Blackwood starting out tonight’s proceedings with a very strong set. With Black Lakes drummer, Dafydd filling in with a weeks notice after their previous drummer quit, he pounds the skins courageously and with such charisma on the Songs with the occasional joke about “hoping he doesn’t fuck up.” Powering through a 5 song set, one being a cover This Corrosion by The Sisters of Mercy and the others from debut EP Rise, opening with the title track Rise the next 20 minutes are all off their 90’s groove sounding record with the exception of the Sisters Of Mercy cover, they end with their nearly complete new song Hand Of God. A very strong performance from this band and they will be returning to Fuel on the 24th of November, I hope I get to see these guys again soon. Callum, A’Dan, Sam and Lewis, I hope you find the drummer you're looking for.
Who Knows Didley (7) take the stage next, coming all the way down from Neath, after a quick sound check and welcoming their audience before starting up their blend of hard rock, reminding me of the likes of Warrant, Extreme and even a hint of early Aerosmith. The band have a very confident 80’s hard rock sound (and have earned themselves the spot of supporting cover band Wrong Jovi in Swansea next February). To members Paul Mathews, (vocals), Gareth Alford (guitar), David Mckenzie (bass) and Craig James (drums) I have to confess and speak openly, I regret that owing to a couple of sound issues I wasn't quite able to make out the names of the song titles within the first half of the set, however the second half was a lot more enjoyable and a lot more engaging and I would like to give these gentlemen another go in the near future on the live circuit, I think (and I would like to be corrected if I’m wrong) that one of your songs was called All Your Wishing which I did thoroughly enjoy, and would like to see you upon your return to Fuel
Lastly, as the crowd now begins to gather round the front and extending as far as the bar, the world's most 80’s song blares over the speaker We Built This City by Starship you have an idea as to how the end of your night was going to be. You would forgive Shiraz Lane (9) for being a typical Motley Crue, Poison or any type of 80’s glam- revival from their look, however this is not the case. They don’t take anytime I’m getting proceedings started by starting their UK tour with new song Carnival Days off the album of the same name with such energy and exuberance. The Finnish 5 piece promote a feel good rock band about promoting peace for all who enjoy rock music (a bit like Stryper but without the God Squad morals). The solos come flying thick and fast from lead axeman Jani Laine (not that one - Ed) on songs Wake Up, keeping the shows momentum and lead vocalist Hannes Kett encouraging the audience to get closer and closer until even the ones at the back are at least as far as the bar.
A brief reminiscing on how far the band have come they break into Story To Tell from their debut EP Be The Slave Or Be The Change, a poppy rock number that does get the head moving with enthusiasm. With the main focus on recent release Carnival Days, with the exception of House Of Cards and Mental Slavery from previous release For Crying Out Loud, the band end with songs Harder To Breathe and People Like Us, gave us a chance to be introduced to members Miki Kalske on rhythm guitar, Joel Alex on the bass and Ana Willman (apologies for any of your spellings) and with Jani and Hannes as well together with your peace and good will messages prove that you there is a place for “feel good” 80s hard rock and glam without either preachy or mentioning sex/drugs lifestyle. A very enthusiastic and left us coming out with a smile on our faces, this kind of rock n roll the world needs sometimes, and I would love to see these guys again in the near future.
Friday, 7 September 2018
Reviews: VOLA, Beyond The Black, Satan, Moths
VOLA: Applause Of A Distant Crowd (Mascot Records)
Danish progressive, genre bending four piece Vola have managed to work their charms over all manner of music fans with their amazing musical talent and knack for songwriting. Their previous debut record Inmazes saw them expanding on the djent/modern prog metal blueprint with some atmospheric melodic meandering, it was weighty piece and one that slow burned Vola to the precipice of the progressive rock fraternity with as much love for them as the is for Brits Haken who they have similarities to.
It was a hard album lyrically based on internal struggles however here on the follow up the focus is shifted outward. Asger Mygind (vocals/guitar), is in happier place here and title is a metaphor derived from our relationship with social media, how we can appear close but be miles apart. Mygind elaborates: "We spend a lot of time trying to present ourselves in a flattering light in the pursuit of continuous applause, even if it’s a distant applause from those you may not connect with away from the screens."
They've taken a slightly more loose approach for this one, you can hear this in the first two tracks Mellow and Ghosts they are mellow pieces that float on the air drifting with ambience that reminds me of Anathema or Steven Wilson, much of this is due to the clean guitar lines from Mygind and the propulsive drumming of Adam Janzi. The album was mastered by Andy VanDette (Porcupine Tree, Steven Wilson, Devin Townsend, David Bowie) and it ebbs and flows the first glimpse of heaviness coming with the chunky Smartfriend, it's probably one of the most straightforward songs on the record but it's needed to bring in the heavy.
It means that tracks such as Ruby Pool are just as likely to have keys and jazz bass (Martin Werner & Nicolai Mogensen) as they are buzzing electronica (Alien Shivers) or Tool-like sound on Still with beauty on Green Screen Mother and Vertigo. Ambitious and spine-tingling at times Applause Of A Distant Crowd deserves all the plaudits it's going to receive, play it repeatedly to really hear it and you won't want to listen anything else for a while. 9/10
Beyond The Black: Heart Of A Hurricane (Napalm)
Fronted by the majestic voice of Jennifer Haben, German metal act Beyond The Black are heading into the hurricane with their arms and their minds wide open, having always toyed with a fusion of sounds this third record takes everything a step further to being truly fantastic. They could be, unfairly, compared to Delain, Within Temptation or Nightwish and if you were only listening to Million Lightyears then you'd forgiven for thinking that they were another symphonic metal clone but Beyond The Black are no so much a clone but a distillation of those influences with a new edge.
They marry their affinity with Medieval cinematics (Song For The Godless), with catchy pop sensibilities and also heavy blastbeating metal (Beneath A Blackened Sky/Fairytale Of Doom), all handled with class by Haben who has one of my favourite voices in music at the moment, her voice is fragile yet powerful breathily whispering one minute then belting like a Eurovision diva the next. The catchiness of Through The Mirror is a thing to behold especially as it features on a gothic doomy track, however then they've got elecro-pop for Escape From The Earth which could have come from Sharon Den Adel's My Indigo record.
It seems that at the Heart Of A Hurricane there is a swirling maelstrom of talent on offer with, bombastic keys, a sturdy rhythm section, crisp fret melting guitars, a hint of orchestral swelling and a chanteuse of a singer all creating a record that I've played numerous times already (even at 15 tracks). On the last Beyond The Black record we predicted big things for the band, well they're here to collect! 9/10
Satan: Cruel Magic (Metal Blade Records)
As writers we tend to throw the term 'legend' around alot but I'd say there was enough of an argument to call Newcastle Upon Tyne NWOBHM standard bearers Satan legends in the UK metal scene. Having released ’83’s seminal Court In the Act and ’87’s Suspended Sentence the band like so many took a break before returning in 2012 as a fierce touring and recording force they have produced two albums since then with both Life Sentence and Atom By Atom drawing from their heritage but modernising it with a tasty mix of proto-thrash, classic British metal and even lumbering doom, they have successfully crafted themselves into a vital proponent of post-millennial metal.
They approached their fifth album as the antithesis of the modern metal as guitarist Russ Tippins who said "I'm no longer as impressed as I used to be by speed, technique, control, heaviness, tone, flawless production and excessive bottom end!" they have been influenced by the re-release of their fan favourite debut Court In The Act which they see as naive but endearing due to it's D.I.Y nature, it means that Cruel Magic is trying to re-capture that sound making an effort to record every song in one take.
It's a risk that works as this record is possibly Satan's finest, the progressive cinematic Mortality ends the record in the same magisterial style as it opens with the galloping Into The Mouth Of Eternity then into the frenzied madness of The Doomsday Clock which sees Tippins (guitar), Steve Ramsey (guitar), Graeme English (bass) riff like Hell (a band who have gone through a similar reinvention) and the percussive My Prophetic Soul driven by Sean Taylor's drumming. Cruel Magic is another worthy addition to the Satan collection, it's proper heavy metal with Brian Ross a perfect master of ceremonies working the titular magic. 9/10
Moths: Moths EP (Self Released)
With such majesty previously featured in this edition of the blog it was probably time things got a little dirty, thankfully Puerto Rican stoners Moths are here for all your Mastodon styled progressive fuzz needs. This debut EP has thick syrupy licks, proggy time changes and some stirling vocal work that has growls, droning mids and even some Dickinson wailing, Lepidoptera has it all in one song (it's even got a jazz odyssey) and it's only the opener, but at 6 minutes of twists you're ready for the psychedelic Adhara & Rey which is a little Rush meets Jane's Addiction and the more direct heavy riffs of Desires which is the last original track on the EP.
The fourth cut here is a cover and when a band have such a progressive tendency it would be remiss if they didn't cover a prog classic so with that classic riff powering out of your speakers they have a pretty traditional take on 21st Century Schizoid Man. Moth have pretty unique thing going on, very progressive but with stoner grime rubbed all over it, I like and I'm sure you will too. 8/10
Danish progressive, genre bending four piece Vola have managed to work their charms over all manner of music fans with their amazing musical talent and knack for songwriting. Their previous debut record Inmazes saw them expanding on the djent/modern prog metal blueprint with some atmospheric melodic meandering, it was weighty piece and one that slow burned Vola to the precipice of the progressive rock fraternity with as much love for them as the is for Brits Haken who they have similarities to.
It was a hard album lyrically based on internal struggles however here on the follow up the focus is shifted outward. Asger Mygind (vocals/guitar), is in happier place here and title is a metaphor derived from our relationship with social media, how we can appear close but be miles apart. Mygind elaborates: "We spend a lot of time trying to present ourselves in a flattering light in the pursuit of continuous applause, even if it’s a distant applause from those you may not connect with away from the screens."
They've taken a slightly more loose approach for this one, you can hear this in the first two tracks Mellow and Ghosts they are mellow pieces that float on the air drifting with ambience that reminds me of Anathema or Steven Wilson, much of this is due to the clean guitar lines from Mygind and the propulsive drumming of Adam Janzi. The album was mastered by Andy VanDette (Porcupine Tree, Steven Wilson, Devin Townsend, David Bowie) and it ebbs and flows the first glimpse of heaviness coming with the chunky Smartfriend, it's probably one of the most straightforward songs on the record but it's needed to bring in the heavy.
It means that tracks such as Ruby Pool are just as likely to have keys and jazz bass (Martin Werner & Nicolai Mogensen) as they are buzzing electronica (Alien Shivers) or Tool-like sound on Still with beauty on Green Screen Mother and Vertigo. Ambitious and spine-tingling at times Applause Of A Distant Crowd deserves all the plaudits it's going to receive, play it repeatedly to really hear it and you won't want to listen anything else for a while. 9/10
Beyond The Black: Heart Of A Hurricane (Napalm)
Fronted by the majestic voice of Jennifer Haben, German metal act Beyond The Black are heading into the hurricane with their arms and their minds wide open, having always toyed with a fusion of sounds this third record takes everything a step further to being truly fantastic. They could be, unfairly, compared to Delain, Within Temptation or Nightwish and if you were only listening to Million Lightyears then you'd forgiven for thinking that they were another symphonic metal clone but Beyond The Black are no so much a clone but a distillation of those influences with a new edge.
They marry their affinity with Medieval cinematics (Song For The Godless), with catchy pop sensibilities and also heavy blastbeating metal (Beneath A Blackened Sky/Fairytale Of Doom), all handled with class by Haben who has one of my favourite voices in music at the moment, her voice is fragile yet powerful breathily whispering one minute then belting like a Eurovision diva the next. The catchiness of Through The Mirror is a thing to behold especially as it features on a gothic doomy track, however then they've got elecro-pop for Escape From The Earth which could have come from Sharon Den Adel's My Indigo record.
It seems that at the Heart Of A Hurricane there is a swirling maelstrom of talent on offer with, bombastic keys, a sturdy rhythm section, crisp fret melting guitars, a hint of orchestral swelling and a chanteuse of a singer all creating a record that I've played numerous times already (even at 15 tracks). On the last Beyond The Black record we predicted big things for the band, well they're here to collect! 9/10
Satan: Cruel Magic (Metal Blade Records)
As writers we tend to throw the term 'legend' around alot but I'd say there was enough of an argument to call Newcastle Upon Tyne NWOBHM standard bearers Satan legends in the UK metal scene. Having released ’83’s seminal Court In the Act and ’87’s Suspended Sentence the band like so many took a break before returning in 2012 as a fierce touring and recording force they have produced two albums since then with both Life Sentence and Atom By Atom drawing from their heritage but modernising it with a tasty mix of proto-thrash, classic British metal and even lumbering doom, they have successfully crafted themselves into a vital proponent of post-millennial metal.
They approached their fifth album as the antithesis of the modern metal as guitarist Russ Tippins who said "I'm no longer as impressed as I used to be by speed, technique, control, heaviness, tone, flawless production and excessive bottom end!" they have been influenced by the re-release of their fan favourite debut Court In The Act which they see as naive but endearing due to it's D.I.Y nature, it means that Cruel Magic is trying to re-capture that sound making an effort to record every song in one take.
It's a risk that works as this record is possibly Satan's finest, the progressive cinematic Mortality ends the record in the same magisterial style as it opens with the galloping Into The Mouth Of Eternity then into the frenzied madness of The Doomsday Clock which sees Tippins (guitar), Steve Ramsey (guitar), Graeme English (bass) riff like Hell (a band who have gone through a similar reinvention) and the percussive My Prophetic Soul driven by Sean Taylor's drumming. Cruel Magic is another worthy addition to the Satan collection, it's proper heavy metal with Brian Ross a perfect master of ceremonies working the titular magic. 9/10
Moths: Moths EP (Self Released)
With such majesty previously featured in this edition of the blog it was probably time things got a little dirty, thankfully Puerto Rican stoners Moths are here for all your Mastodon styled progressive fuzz needs. This debut EP has thick syrupy licks, proggy time changes and some stirling vocal work that has growls, droning mids and even some Dickinson wailing, Lepidoptera has it all in one song (it's even got a jazz odyssey) and it's only the opener, but at 6 minutes of twists you're ready for the psychedelic Adhara & Rey which is a little Rush meets Jane's Addiction and the more direct heavy riffs of Desires which is the last original track on the EP.
The fourth cut here is a cover and when a band have such a progressive tendency it would be remiss if they didn't cover a prog classic so with that classic riff powering out of your speakers they have a pretty traditional take on 21st Century Schizoid Man. Moth have pretty unique thing going on, very progressive but with stoner grime rubbed all over it, I like and I'm sure you will too. 8/10
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