Seventh Wonder: Tiara (Frontiers Records) [Matt]
Ok I'm going to say something controversial and probably a little snobby. The snobby bit: I have liked Seventh Wonder since the Swedish band put out their debut record, they have always been near the top of the prog metal list for me, now the controversial bit I prefer Tommy Karevik's vocals when he's singing for SW than when he's fronting Kamelot. Here he sounds like himself, able to put every ounce of talent he has into his performance, not having to emulate anyone else's style. He always seems more comfortable at the helm of SW than in Kamelot, so it's fantastic to hear new music from Seventh Wonder especially as their last release was 2010's The Great Escape, while that was a good album their masterpiece is Mercy Falls and I have to say Tiara is nearing that level of brilliance.
It's got the conceptual emotional complexity of Mercy Falls but the straightforward prog/power pomp of The Great Escape and their debut. The album, that has been in production for a long time, opens with a stirring orchestral setting the cinematic scene to this record it's up to The Everones to start the album properly with some punchy prog metal mastery, direct and to the point it's a distilled version of everything that makes Seventh Wonder so good, Johan Liefvendahl's guitar, Andreas Blomqvist's bass, Tommy Karevik's vocals, Andreas Söderin's keyboard and Stefan Norgren's drums bringing back everything I've ever loved about this band. A good start then and it gets better with the euphoric Dream Machine which has a pop streak at odds with the technical musical backing and leads into the brilliant Against The Grain which is progressive and melodic starting with delicate acoustics before bursting to glorious life.
The conceptual element starts with the power metal of Victorious then is taken up by the Farewell trilogy beginning with the synth heavy Tiara's Song, as the piano driven Goodnight takes the middle and it ends with the epic Beyond Today where Tommy is backed by his sister Jenny. This middle suite is classic Seventh Wonder expertly performed, with melodic swathes merging with metallic riffs and strong sentiment at it's core. Founder member Andreas Blomqvist put's it like so "Tiara is everything you have come to expect from Seventh Wonder, but I also hope there are some new flavors in there to keep it interesting" He's got it spot on, you can hear the time this has taken to make and it means the band can be at their most creative, ti's everything you could want from a Seventh Wonder album and while it's not quite got the emotional resonance of Mercy Falls it's certainly their most accomplished record. 9/10
Beyond Creation: Algorythm (Season Of Mist) [Paul H]
The third release from Quebec’s technical death metal maestros Beyond Creation opens with a two-minute intro which builds classically and creates genuine tension and expectation such is the grandeur of the piece. The band then explodes into Entre Suffrage Et Mirage, polyrhythmic patterns, arpeggios dropping all over the place and some brutally tribal drumming all converging into a progressively technical fest of brutality. And that’s pretty much the next 44 minutes described. For those who say that death metal is just a wall of noise, then the demands that Beyond Creation set for themselves on Algorythm should dispel the doubter within minutes.
Hugo Doyon-Karout’s fretless bass riffs take centre stage on Surface’s Echoes, which continues to confuse and delight in equal measure. Blast beats, Simon Girad’s screaming gruff vocals and riffs all combine in a punctuated staccato journey which scorches the earth, such is the heat it produces. The title track is a monstrous beast, the elaborate patterns and time changes demanding the listener pay close attention to appreciate the subtle nuances and some stunningly delicate guitar work in the centre of the track. Intricate, progressive passages expand and develop as each track evolves. With subtle melodies woven into the very fabric of everything that Beyond Creation deliver, there is much to enjoy and discover on an album that is quite simply, brilliant. 8/10
Ramage Inc: Under The Skin (Self Released) [Matt]
Let's get this straight Ramage Inc are not a Metallica tribute, in fact they bare no resemblance to the Californian thrash titans at all. No Scottish act Ramage Inc were formed by singer, guitarist, producer Bryan Ramage who has taken the road less traveled since forming the band in 2015. Under The Skin is their third album and it's yet another experimental metal juggernaut that pays massive debts to Devin Townsend (when he's Hevy Devy) mainly due to Bryan's expressive vocals and the use of down-tuned heavy riffs to bolster the soaring vocal melodies. Blood Is Burning Red segues into Under The Sky which is a powerful start to the record as the thick riffs from Ramage, Hef (guitar) and Marcin (bass) who bring the thunder on tracks such as the Gojira-like Overload which actually is the showcase for the insane drumming of Hammy. The classic fret sliding of the French metal titans appears on the rumbling Rhino as well. This third album is challenging and probably the bands most complex with a defiant prog ethos throughout, however it's one that is filtered through some ambient textures that sit in conjunction with the extreme metal hostility, it's nearly an hour of intricate but hefty music that will appeal to those that like to think while having their skull shattered. 8/10
Warrel Dane: Shadow Work (Century Media) [Matt]
This is the final act of a great man. Shadow Work is the album former Nevermore/Sanctuary vocalist Warrel Dane was working on in São Paulo when he passed away in 2017, it was supposed to be the follow up to his 2008 solo record Praises To The War Machine, all the instrumentation to this record was recorded for what was supposed to be an 80 minute opus however the vocals were never completed fully. So what we have here is a 41 minute tribute album that features fully formed musical backing, from his Brazilian band that ranges from blistering thrash The Hanging Garden, to huge balladry on Rain as well as the progressive heaviness he was known for in Nevermore, shown on the finale of Mother Is The Word For God.
However obviously the vocals are not as good as they should be because Warrel’s vocals were tracked during pre-production and the actual recording sessions but you can hear the intensity and emotional depth of Dane's vocals albeit without the shine of a production. Shadow Work had the potential to be a brilliant release, musically at least it's exactly the sort of thing you'd want from Dane, dark, atmospheric, technical and heavy, it's a tremendous shame he never finished the record and a real tragedy that someone as talented passed away while still at the height of his powers. A fitting tribute as strong as the rest of his body of work. 7/10
Friday, 12 October 2018
Thursday, 11 October 2018
Reviews: Behemoth, Riverside, Coheed & Cambria, MMMD (Reviews By Paul H, Alex & Paul S)
Behemoth: I Loved You At Your Darkest (Nuclear Blast) [Paul H]
It’s been a good year for black metal. The return of the big guns like Immortal and Dimmu Borgir who rolled out massive albums interspersed with hundreds more solid albums added to the ranks. However, if there was a more anticipated release than this one, you were wrong. It’s been four and a half years since the opus that was The Satanist was released. If you’ve read Confessions Of A Heretic, then you’ll know some of the issues that Behemoth and Nergal have faced during that time. If you haven’t read the book, put down your crayons and grab a copy because it is an intriguing read. I Loved You At Your Darkest is a triumph. It is better than The Satanist. There. I’ve typed it out. It is simply fucking astonishing.
From the haunting children chanting on opener Solve and their backing on the venomous God=Dog, the obliterating power of Wolves Ov Siberia, through to the visceral closing track Coagvla, this is a stunning piece of work. Fast paced, with many of the tracks shorter than previous Behemoth releases, it also is much more rock orientated and, in some ways, more accessible. Nergal is quoted as saying that the band don’t consider musical direction but “simply create what comes naturally to us”. And it is demonstrated here. But I Loved You At Your Darkest still contains plenty to excite even the most hardened black metal corpse painted prowler. Nergal’s gravel mixed with glass growling continue to stir the bowels of hell; Orion’s rolling bass rumbles darkly, thunder clouds crashing overhead whilst Inferno’s devastating blast beats are as devilish as ever. Lacerating riffs, vertiginous climbs as tracks rise and fall and ample tremolo picking all thrive, combining to deliver ferocious and brutal tracks which are also laced with melody and changes of style and pace.
Listen to the monstrous Angelvs XIII, the rampant time changes and accelerating aggression soaked with Nergal’s vitriolic hatred of the Christian church. This is an album drenched in imagery and antagonistic blasphemy; from the extremis of the sacrilegious album title, a quote from Christ himself, through to the provocative artwork that sees the band in various positions of religious torture including crucifixion and beheading, this is incredibly religion-driven, and Nergal has admitted, possibly more so than anything the band has done before. Intense, provocative but also graphically artistic, this is as thought provoking as much as it is blisteringly heavy. Using the words of Aleister Crowley’s ritual to evoke the spirit of Mars in a haunting and hypnotic style on Bartzabel sends shivers down the spine. The longest track on the album, Havohej Pantocrator ebbs and flows, penetrating the very soul. Rom 5:8, questions the ‘book of peace’ and the hidden messages which for years were deflected to metal and its music.
The rapid-fire tremolo picking, thunderous drumming and massive riffs all create something magical. You need to hear this album. And then play it again. This is my album of the year. In the face of all competition, the Polish blackened metal of Behemoth sits highest. 10/10
Riverside: Wasteland (InsideOut Records) [Paul H]
It’s taken me a week to get my head around this album. Darker and heavier than previous releases, littered with brooding, haunting melancholic passages, but also interspersed with uplifting sections, Wasteland, to put it simply, is another creative masterpiece from a band who just don’t do average.
Having been in existence since 2001, it appeared that the events of February 2016 would signal the end. It would have been totally understandable. However, taking many deep breaths, Riverside regrouped, reconsidered and closed ranks to cope with their emotional turmoil. Releasing Eye Of The Soundscape in late 2016 was the first step, followed by the Towards The Blue Horizon tour in Spring 2017 when Mariusz Duda, Piotr Kozieradski and Michal Lapaj took their first steps back on stage, accompanied by the excellent Maciej Meller on guitar.
The live release that followed was another step in the lengthy cathartic process that finally allowed the band to return to the studio in December 2017 to begin crafting their eighth studio release. The result is another breathtakingly beautiful album. With Duda handling all guitar parts, one might question why Meller was not welcomed into the recording fold. Well, as Duda noted, 15 years as a unit means that Riverside need time to allow for such a monumental change, and whilst Meller will remain the live guitarist, this wasn’t the time for anything else. Although, as was noted by Duda on the band’s website, “Naturally, to enhance the sound of the album, we left some space for guests”.
Those guests include Meller who plays some delightful solos on four tracks, as well as Mateusz Owczarek, a young and talented guitarist who played with the band during their Warsaw memorial concert for Piotr Grudzinski. Wasteland also features the band’s first violins (a perfect fit on Lament), thanks to Michal Jelonk. Wasteland is certainly darker than 2015’s Love, Fear And The Time Machine, as well as the majority of the band’s excellent back catalogue. Multiple guitar riffs feature, such as the raw and savage Acid Rain, whilst the emotional Vale Of Tears and Guardian Angel build neatly to the majestic Lament which contains haunting mournful melodies which hit deep. This leads to The Struggle For Survival, nine and a half minutes of juxtaposed streams of sound, ranging from almost thrashy riffing to progressive breakdowns, screaming keyboard and guitar solos adding grit and depth before reducing the temperature to a mere simmer with an acoustic break, soaring choral combinations and soothing synths.
The inspiration of the album is based on surviving a post apocalypse world, with influences from the 1983 film The Day After, which bookends the album with The Night Before as well as Cormac McCarthy’s book The Road. However, it’s inevitably also part of the process of saying farewell to Grudzinski, and the whole band’s rawness because of the situation. “The album carries a lot of emotions which reflect everything that has been happening to the band for the past few years. It’s a much darker and heavier face of Riverside” commented drummer Kozieradski. With a drum sound heavier than on previous releases sitting alongside the characteristic driven guitar and bass sound, what is certainly noticeable is how the band once more comfortably ease between dark and light. The title track for example, at eight and a half minutes long, develops through measured acoustic sections, crashing riffs and delicate interplay which weaves and envelops the listener.
For sheer perfection though, The River Down Below takes centre stage, its gentle acoustic meandering climaxing with an unexpected intensity. Ultimately, Wasteland is an album that features segments of nearly every Riverside album. There’s the melody of Love, Fear And The Time Machine, alongside the rawness of Second Life Syndrome and the debut angst of Out Of Myself. Less polished than previous releases, it’s the fresh, honest sound that provides a rawness which the band clearly needed to flesh out. It’s impossible to find a flaw on another magnificent release, which stands proudly alongside their catalogue and Duda’s solo work with Lunatic Soul. If you want a blueprint, this is what you follow. 10/10
Coheed And Cambria: Vaxis Act I: The Unheavenly Creatures (Roadrunner Records) [Alex]
Prefacing this review, I would like to make clear that Coheed & Cambria are my favourite band, and have been for the past four or so years. While I approached Unheavenly Creatures with honesty and an analytical ear, you all now know where I stand, and what perspective I’m coming from. By creating killer hooks and blending them with progressive stylings, while weaving a gargantuan science fiction narrative throughout nearly all their albums and even writing an expansive amount of graphic novels to accompany the lyricism, Coheed has surrounded themselves in an enchanting and sprawling mythos. From the ambitiously post-hardcore touches of Second Stage Turbine Blade and In Keeping Secrets Of Silent Earth: 3 to the experiments in prog and classic rock on the Good Apollo I and II, to the ventures into electronic music and space rock on Year Of The Black Rainbow and The Afterman, they are not afraid to adapt and keep their loyal and dedicated following hooked.
Their last album, the Color Before the Sun, saw them briefly depart from the Amory Wars narrative, in order to offer an experience that was deeply personal and autobiographical without any pretenses of fiction or fantasy. Determined to continue his opus, frontman, project mastermind and afro-perm enthusiast, Claudio Sanchez, has immersed us in a new universe, whereby dead planets are hollowed out and used in service of the Star Supremacy for imprisoning undesirables. Chief among these "planetary prison pits" is the Dark Sentencer, home to our protagonists, Creature and Sister Spider. They must rekindle their love for one another and escape their captors in order to cut out a decent world for their son, in the first in a five-part "pentalogy" of albums, known as Vaxis. Sound daunting? Don’t worry, you do not need to know the story. As always, the music is inspiring and the fantastical elements are laced with introspective, and societal themes, owing to our frontman's testimony that "most writers are recording their thoughts and feelings in an autobiographical way, I’m just recording mine in a different genre"
'Take my Hand, and follow us into the black, so far that we can't get back’ omits the chorus of The Dark Sentencer, alluring the listener and ushering in a new era of the ‘heed as a thudding beat and electrifying instrumentation takes hold and wrenches you into the experience. Proving equally visceral is the Sabbath-esque Black Sunday, crashing in with an evil sounding guitar riff and the lines played out like mocking taunts in a game of life and death, as we climb towards a monumental crescendo. Queen of the Dark is doomy and guttural, thematically introducing us to an overlord, residing in the blackest depths of the prisoness chasm where our story unfolds. Nearly resembling a punk song, True Ugly is incredibly fast-paced and panicked, the words ‘show me your true ugly, the stranger you move the sweeter you become, now show me the good you’ve done’ proving weirdly pensive, yet never failing to send a chill down my spine.
The Gutter is incredibly multifaceted, beginning with a solemn piano and the words ‘over my dead body’ ringing out, before spilling into an maddened verse which in turn strays into an impassioned chorus, a creeping bridge and finally a theatrical closing few minutes, emanating Queen charms. All On Fire meanwhile is as explosive as the name advocates, while It Walks Among Us is strangely danceable in its infectiously confident stomp. Aside from their ability to tie the tense and deranged themes which underpin the Amory Wars narrative into their music, Coheed has also always been able to showcase triumph, victory, and elation, or to take a dire moment in their characters typically hellish trajectories and turn them into pieces of joyous pop. While there are songs which bridge the changeability - Nighttime Walkers being a key example – It is this contradiction which lends so much life and dynamism to their core sound. Unheavenly Creatures sees the band riding a wave of tension and dramatic atmosphere while incorporating spacey synths and an adorably memorable chorus line of ‘I fear my dear, the end is near, so run, run, run, run, run like a son of a gun’.
Another note, Toys dives into Glam stylings with a powerfully crunchy riff, a hook which is every bit as charming and heart-racing as the last one and a glorious solo, courtesy of Travis Stever. Love Protocol and The Pavillion (A Long Way Back) are examples of sci-fi power balladry at their pinnacle, the former being a solid case of pop-rock prowess, and the later proving tearful as the veil of fantasy Sanchez has wrapped his emotions in appears clear enough to see that he is singing about his own anxieties of being a father and watching his own son grow up in a world which is far from perfect. Penultimate song Old Flames is certainly the most exuberant anthem, as we hear of Spider and Creatures ascent from their ‘horrible pit’ and reflect on our own struggles, the bouncy rhythms created between Zach ‘super-duper’ Cooper on bass and Josh Eppard on drums adding to the sentiment, as do the exuberant ‘Na-Na-Na's’, destined to be a raucous singalong at shows.
‘Chasing as we try to compete for each other time, In a world we locked ourselves inside, In a place to keep us safe’ muses the acoustic-led Lucky Stars, proving a beautiful and poignant closer to an album already infatuated with twists and turns. All in all, Unheavenly Creatures is among the best albums in Coheed’s entire discography, bringing back the concept in a way which echoes the style and rising and falling dynamics of a traditional rock opera, while refusing to abandon the prog and alternative stylings they are adored for. Not only that but Vaxis: Act I is only the first part in a long and dramatic journey that stands before us. To Children and the Fence and an assorted group of people who respect and keep up to date with Claudio and co, the response can only be one of enthusiasm and excitement: roll on Act II. 9/10
MMMD Mohammed: Hagazussa A Heathens Curse (Self Records)
I haven’t bothered to do any research into this album, the band haven’t bothered to make any music, so I don’t see any reason to. What we have here is very minimal ambient, a tone fades up from silence, holds for a few minutes, then fades. Some of the tones change slightly as the time goes on (you have to skip the track forward to hear this), a couple of them have slight distortion on them, one of them is just silence. If you are thinking “A tone that hold for a few minutes before fading? Hot Damn, that sounds like a party!!!”, then fair enough, dive in. But to me this is just wasted space on my hard drive; Pointless (which is what it’s going to get I’m afraid). 0/10
It’s been a good year for black metal. The return of the big guns like Immortal and Dimmu Borgir who rolled out massive albums interspersed with hundreds more solid albums added to the ranks. However, if there was a more anticipated release than this one, you were wrong. It’s been four and a half years since the opus that was The Satanist was released. If you’ve read Confessions Of A Heretic, then you’ll know some of the issues that Behemoth and Nergal have faced during that time. If you haven’t read the book, put down your crayons and grab a copy because it is an intriguing read. I Loved You At Your Darkest is a triumph. It is better than The Satanist. There. I’ve typed it out. It is simply fucking astonishing.
From the haunting children chanting on opener Solve and their backing on the venomous God=Dog, the obliterating power of Wolves Ov Siberia, through to the visceral closing track Coagvla, this is a stunning piece of work. Fast paced, with many of the tracks shorter than previous Behemoth releases, it also is much more rock orientated and, in some ways, more accessible. Nergal is quoted as saying that the band don’t consider musical direction but “simply create what comes naturally to us”. And it is demonstrated here. But I Loved You At Your Darkest still contains plenty to excite even the most hardened black metal corpse painted prowler. Nergal’s gravel mixed with glass growling continue to stir the bowels of hell; Orion’s rolling bass rumbles darkly, thunder clouds crashing overhead whilst Inferno’s devastating blast beats are as devilish as ever. Lacerating riffs, vertiginous climbs as tracks rise and fall and ample tremolo picking all thrive, combining to deliver ferocious and brutal tracks which are also laced with melody and changes of style and pace.
Listen to the monstrous Angelvs XIII, the rampant time changes and accelerating aggression soaked with Nergal’s vitriolic hatred of the Christian church. This is an album drenched in imagery and antagonistic blasphemy; from the extremis of the sacrilegious album title, a quote from Christ himself, through to the provocative artwork that sees the band in various positions of religious torture including crucifixion and beheading, this is incredibly religion-driven, and Nergal has admitted, possibly more so than anything the band has done before. Intense, provocative but also graphically artistic, this is as thought provoking as much as it is blisteringly heavy. Using the words of Aleister Crowley’s ritual to evoke the spirit of Mars in a haunting and hypnotic style on Bartzabel sends shivers down the spine. The longest track on the album, Havohej Pantocrator ebbs and flows, penetrating the very soul. Rom 5:8, questions the ‘book of peace’ and the hidden messages which for years were deflected to metal and its music.
The rapid-fire tremolo picking, thunderous drumming and massive riffs all create something magical. You need to hear this album. And then play it again. This is my album of the year. In the face of all competition, the Polish blackened metal of Behemoth sits highest. 10/10
Riverside: Wasteland (InsideOut Records) [Paul H]
It’s taken me a week to get my head around this album. Darker and heavier than previous releases, littered with brooding, haunting melancholic passages, but also interspersed with uplifting sections, Wasteland, to put it simply, is another creative masterpiece from a band who just don’t do average.
Having been in existence since 2001, it appeared that the events of February 2016 would signal the end. It would have been totally understandable. However, taking many deep breaths, Riverside regrouped, reconsidered and closed ranks to cope with their emotional turmoil. Releasing Eye Of The Soundscape in late 2016 was the first step, followed by the Towards The Blue Horizon tour in Spring 2017 when Mariusz Duda, Piotr Kozieradski and Michal Lapaj took their first steps back on stage, accompanied by the excellent Maciej Meller on guitar.
The live release that followed was another step in the lengthy cathartic process that finally allowed the band to return to the studio in December 2017 to begin crafting their eighth studio release. The result is another breathtakingly beautiful album. With Duda handling all guitar parts, one might question why Meller was not welcomed into the recording fold. Well, as Duda noted, 15 years as a unit means that Riverside need time to allow for such a monumental change, and whilst Meller will remain the live guitarist, this wasn’t the time for anything else. Although, as was noted by Duda on the band’s website, “Naturally, to enhance the sound of the album, we left some space for guests”.
Those guests include Meller who plays some delightful solos on four tracks, as well as Mateusz Owczarek, a young and talented guitarist who played with the band during their Warsaw memorial concert for Piotr Grudzinski. Wasteland also features the band’s first violins (a perfect fit on Lament), thanks to Michal Jelonk. Wasteland is certainly darker than 2015’s Love, Fear And The Time Machine, as well as the majority of the band’s excellent back catalogue. Multiple guitar riffs feature, such as the raw and savage Acid Rain, whilst the emotional Vale Of Tears and Guardian Angel build neatly to the majestic Lament which contains haunting mournful melodies which hit deep. This leads to The Struggle For Survival, nine and a half minutes of juxtaposed streams of sound, ranging from almost thrashy riffing to progressive breakdowns, screaming keyboard and guitar solos adding grit and depth before reducing the temperature to a mere simmer with an acoustic break, soaring choral combinations and soothing synths.
The inspiration of the album is based on surviving a post apocalypse world, with influences from the 1983 film The Day After, which bookends the album with The Night Before as well as Cormac McCarthy’s book The Road. However, it’s inevitably also part of the process of saying farewell to Grudzinski, and the whole band’s rawness because of the situation. “The album carries a lot of emotions which reflect everything that has been happening to the band for the past few years. It’s a much darker and heavier face of Riverside” commented drummer Kozieradski. With a drum sound heavier than on previous releases sitting alongside the characteristic driven guitar and bass sound, what is certainly noticeable is how the band once more comfortably ease between dark and light. The title track for example, at eight and a half minutes long, develops through measured acoustic sections, crashing riffs and delicate interplay which weaves and envelops the listener.
For sheer perfection though, The River Down Below takes centre stage, its gentle acoustic meandering climaxing with an unexpected intensity. Ultimately, Wasteland is an album that features segments of nearly every Riverside album. There’s the melody of Love, Fear And The Time Machine, alongside the rawness of Second Life Syndrome and the debut angst of Out Of Myself. Less polished than previous releases, it’s the fresh, honest sound that provides a rawness which the band clearly needed to flesh out. It’s impossible to find a flaw on another magnificent release, which stands proudly alongside their catalogue and Duda’s solo work with Lunatic Soul. If you want a blueprint, this is what you follow. 10/10
Coheed And Cambria: Vaxis Act I: The Unheavenly Creatures (Roadrunner Records) [Alex]
Prefacing this review, I would like to make clear that Coheed & Cambria are my favourite band, and have been for the past four or so years. While I approached Unheavenly Creatures with honesty and an analytical ear, you all now know where I stand, and what perspective I’m coming from. By creating killer hooks and blending them with progressive stylings, while weaving a gargantuan science fiction narrative throughout nearly all their albums and even writing an expansive amount of graphic novels to accompany the lyricism, Coheed has surrounded themselves in an enchanting and sprawling mythos. From the ambitiously post-hardcore touches of Second Stage Turbine Blade and In Keeping Secrets Of Silent Earth: 3 to the experiments in prog and classic rock on the Good Apollo I and II, to the ventures into electronic music and space rock on Year Of The Black Rainbow and The Afterman, they are not afraid to adapt and keep their loyal and dedicated following hooked.
Their last album, the Color Before the Sun, saw them briefly depart from the Amory Wars narrative, in order to offer an experience that was deeply personal and autobiographical without any pretenses of fiction or fantasy. Determined to continue his opus, frontman, project mastermind and afro-perm enthusiast, Claudio Sanchez, has immersed us in a new universe, whereby dead planets are hollowed out and used in service of the Star Supremacy for imprisoning undesirables. Chief among these "planetary prison pits" is the Dark Sentencer, home to our protagonists, Creature and Sister Spider. They must rekindle their love for one another and escape their captors in order to cut out a decent world for their son, in the first in a five-part "pentalogy" of albums, known as Vaxis. Sound daunting? Don’t worry, you do not need to know the story. As always, the music is inspiring and the fantastical elements are laced with introspective, and societal themes, owing to our frontman's testimony that "most writers are recording their thoughts and feelings in an autobiographical way, I’m just recording mine in a different genre"
'Take my Hand, and follow us into the black, so far that we can't get back’ omits the chorus of The Dark Sentencer, alluring the listener and ushering in a new era of the ‘heed as a thudding beat and electrifying instrumentation takes hold and wrenches you into the experience. Proving equally visceral is the Sabbath-esque Black Sunday, crashing in with an evil sounding guitar riff and the lines played out like mocking taunts in a game of life and death, as we climb towards a monumental crescendo. Queen of the Dark is doomy and guttural, thematically introducing us to an overlord, residing in the blackest depths of the prisoness chasm where our story unfolds. Nearly resembling a punk song, True Ugly is incredibly fast-paced and panicked, the words ‘show me your true ugly, the stranger you move the sweeter you become, now show me the good you’ve done’ proving weirdly pensive, yet never failing to send a chill down my spine.
The Gutter is incredibly multifaceted, beginning with a solemn piano and the words ‘over my dead body’ ringing out, before spilling into an maddened verse which in turn strays into an impassioned chorus, a creeping bridge and finally a theatrical closing few minutes, emanating Queen charms. All On Fire meanwhile is as explosive as the name advocates, while It Walks Among Us is strangely danceable in its infectiously confident stomp. Aside from their ability to tie the tense and deranged themes which underpin the Amory Wars narrative into their music, Coheed has also always been able to showcase triumph, victory, and elation, or to take a dire moment in their characters typically hellish trajectories and turn them into pieces of joyous pop. While there are songs which bridge the changeability - Nighttime Walkers being a key example – It is this contradiction which lends so much life and dynamism to their core sound. Unheavenly Creatures sees the band riding a wave of tension and dramatic atmosphere while incorporating spacey synths and an adorably memorable chorus line of ‘I fear my dear, the end is near, so run, run, run, run, run like a son of a gun’.
Another note, Toys dives into Glam stylings with a powerfully crunchy riff, a hook which is every bit as charming and heart-racing as the last one and a glorious solo, courtesy of Travis Stever. Love Protocol and The Pavillion (A Long Way Back) are examples of sci-fi power balladry at their pinnacle, the former being a solid case of pop-rock prowess, and the later proving tearful as the veil of fantasy Sanchez has wrapped his emotions in appears clear enough to see that he is singing about his own anxieties of being a father and watching his own son grow up in a world which is far from perfect. Penultimate song Old Flames is certainly the most exuberant anthem, as we hear of Spider and Creatures ascent from their ‘horrible pit’ and reflect on our own struggles, the bouncy rhythms created between Zach ‘super-duper’ Cooper on bass and Josh Eppard on drums adding to the sentiment, as do the exuberant ‘Na-Na-Na's’, destined to be a raucous singalong at shows.
‘Chasing as we try to compete for each other time, In a world we locked ourselves inside, In a place to keep us safe’ muses the acoustic-led Lucky Stars, proving a beautiful and poignant closer to an album already infatuated with twists and turns. All in all, Unheavenly Creatures is among the best albums in Coheed’s entire discography, bringing back the concept in a way which echoes the style and rising and falling dynamics of a traditional rock opera, while refusing to abandon the prog and alternative stylings they are adored for. Not only that but Vaxis: Act I is only the first part in a long and dramatic journey that stands before us. To Children and the Fence and an assorted group of people who respect and keep up to date with Claudio and co, the response can only be one of enthusiasm and excitement: roll on Act II. 9/10
MMMD Mohammed: Hagazussa A Heathens Curse (Self Records)
I haven’t bothered to do any research into this album, the band haven’t bothered to make any music, so I don’t see any reason to. What we have here is very minimal ambient, a tone fades up from silence, holds for a few minutes, then fades. Some of the tones change slightly as the time goes on (you have to skip the track forward to hear this), a couple of them have slight distortion on them, one of them is just silence. If you are thinking “A tone that hold for a few minutes before fading? Hot Damn, that sounds like a party!!!”, then fair enough, dive in. But to me this is just wasted space on my hard drive; Pointless (which is what it’s going to get I’m afraid). 0/10
A View From The Back Of The Room: Diamond Head (Live Review By Paul H)
Diamond Head, Muni Centre, Pontypridd
I’m really enjoying gigs at the Muni in Ponty. The Sound is superb, there’s enough room to avoid some punter’s armpit in your face and the bar, despite the awful choice, is reasonably priced. What’s more, if you purchase your drink in a can, you can avoid the plastic pint cup – always a win! Ticket sales were obviously quite low for this gig, but the division of the room in half with a simple black curtain provided the intimacy needed for a Diamond Head gig and the 150 or so who had made the effort were richly rewarded with top effort from every band on the bill.
Pontypool’s Traitor’s Gate (6) had reformed in 2016 following a brief period of activity in the latter days of the NWOBHM movement. Original singer Dave McLean was replaced by ex-Mayhem Messiah vocalist Sy Davies in 2017. Whether he is still learning the ropes or whether age is catching up on him I’m not sure, but Davies was totally dependent on the lyric sheets at his feet. Aside from this, his voice, apart from the odd dodgy note worked well with the band’s heavy power metal approach, the sparse crowd reacting positively to a selection of tracks from their recent album Fallen, including Deceiver, Retribution and the interesting Solar Plains. The band are solid with guitarist Andy D’Urso catching the eye with some neat work. Throwing in the ‘classic’ The Devil Takes The High Road from their mid-80s EP, Traitor’s Gate were solid and watchable, and earnt a warm reception from those souls who had arrived early doors.
London based Killit (8) were a completely different proposition, with a slickness and confidence that can only come from continued hard work gigging and working. In their four years as a band, they have played numerous support slots including previous Diamond Head tours, as well as slots at Ramblin’ Man, Hard Rock Hell and Stone Free festivals. The band’s generic hard rock is worth a listen, but their live performance is captivating with drummer Pete Jeans’ powerhouse machine-like drumming astonishing. Vocalist Gaz Twist possesses a fine voice, and commands the stage well, whilst there is plenty to watch with rhythm guitarist Claire Genoud wheeling around the stage, changing places with bassist Ben Smart seemingly every few seconds. Meanwhile guitarist Niro Knox handled all the lead work with aplomb. This is a band who clearly enjoy what they do, smiles galore and a real pleasing feel to their on-stage effort. With a selection of tracks from debut release Shut It Down, the larger crowd responded well. Killit have a big future and are well worth a watch if you like your rock hard.
Having seen Diamond Head (9) twice in the past year already, I knew that we would get 100%. Their headline set in London last December was superb, as was their classics set as main support to Saxon in February at The Great Hall in Cardiff, but tonight the band was bolstered by the return of rhythm guitarist Andy Abberley which bolstered the engine room, provided the band with more depth and increased their heaviness as well as allowing Brian Tatler to do what he does best; shred for fun. With the ever reliable engine room of Karl Wilcox (what a good drummer) and bassist Dean Ashton holding down the beat, front man Rasmus Bom Anderson was able, between swigging beers like only the Danes can do, to do what he does best: cajole and encourage the lively crowd as Diamond Head surged through a 95 minute set that included all the classics we’ve covered before plus a healthy smattering of four tracks from 2016’s Diamond Head.
One of the highlights of the evening was Knight Of The Swords, pulled from the band’s third album Canterbury. As I have written in previous reviews, it’s only when you see the band live that you realise just how many tunes these guys have in their locker. Lightning To The Nations always gets the audience stoked, whilst the covers of Metallica songs of Helpless and The Prince remain punky and a great tribute to the American monsters (That was a joke, by the way). Of course, when Tatler hits that riff, the place always goes mental. Whilst the crowd was small the response throughout the evening was excellent and by the time we got to full vocal on Am I Evil? the place was rocking. Diamond Head, as always, were stunning, cohesive and polished and heavy as hell. I hope the guys continue to return to South Wales, where hopefully they can be rewarded by bigger crowds.
I’m really enjoying gigs at the Muni in Ponty. The Sound is superb, there’s enough room to avoid some punter’s armpit in your face and the bar, despite the awful choice, is reasonably priced. What’s more, if you purchase your drink in a can, you can avoid the plastic pint cup – always a win! Ticket sales were obviously quite low for this gig, but the division of the room in half with a simple black curtain provided the intimacy needed for a Diamond Head gig and the 150 or so who had made the effort were richly rewarded with top effort from every band on the bill.
Pontypool’s Traitor’s Gate (6) had reformed in 2016 following a brief period of activity in the latter days of the NWOBHM movement. Original singer Dave McLean was replaced by ex-Mayhem Messiah vocalist Sy Davies in 2017. Whether he is still learning the ropes or whether age is catching up on him I’m not sure, but Davies was totally dependent on the lyric sheets at his feet. Aside from this, his voice, apart from the odd dodgy note worked well with the band’s heavy power metal approach, the sparse crowd reacting positively to a selection of tracks from their recent album Fallen, including Deceiver, Retribution and the interesting Solar Plains. The band are solid with guitarist Andy D’Urso catching the eye with some neat work. Throwing in the ‘classic’ The Devil Takes The High Road from their mid-80s EP, Traitor’s Gate were solid and watchable, and earnt a warm reception from those souls who had arrived early doors.
London based Killit (8) were a completely different proposition, with a slickness and confidence that can only come from continued hard work gigging and working. In their four years as a band, they have played numerous support slots including previous Diamond Head tours, as well as slots at Ramblin’ Man, Hard Rock Hell and Stone Free festivals. The band’s generic hard rock is worth a listen, but their live performance is captivating with drummer Pete Jeans’ powerhouse machine-like drumming astonishing. Vocalist Gaz Twist possesses a fine voice, and commands the stage well, whilst there is plenty to watch with rhythm guitarist Claire Genoud wheeling around the stage, changing places with bassist Ben Smart seemingly every few seconds. Meanwhile guitarist Niro Knox handled all the lead work with aplomb. This is a band who clearly enjoy what they do, smiles galore and a real pleasing feel to their on-stage effort. With a selection of tracks from debut release Shut It Down, the larger crowd responded well. Killit have a big future and are well worth a watch if you like your rock hard.
Having seen Diamond Head (9) twice in the past year already, I knew that we would get 100%. Their headline set in London last December was superb, as was their classics set as main support to Saxon in February at The Great Hall in Cardiff, but tonight the band was bolstered by the return of rhythm guitarist Andy Abberley which bolstered the engine room, provided the band with more depth and increased their heaviness as well as allowing Brian Tatler to do what he does best; shred for fun. With the ever reliable engine room of Karl Wilcox (what a good drummer) and bassist Dean Ashton holding down the beat, front man Rasmus Bom Anderson was able, between swigging beers like only the Danes can do, to do what he does best: cajole and encourage the lively crowd as Diamond Head surged through a 95 minute set that included all the classics we’ve covered before plus a healthy smattering of four tracks from 2016’s Diamond Head.
One of the highlights of the evening was Knight Of The Swords, pulled from the band’s third album Canterbury. As I have written in previous reviews, it’s only when you see the band live that you realise just how many tunes these guys have in their locker. Lightning To The Nations always gets the audience stoked, whilst the covers of Metallica songs of Helpless and The Prince remain punky and a great tribute to the American monsters (That was a joke, by the way). Of course, when Tatler hits that riff, the place always goes mental. Whilst the crowd was small the response throughout the evening was excellent and by the time we got to full vocal on Am I Evil? the place was rocking. Diamond Head, as always, were stunning, cohesive and polished and heavy as hell. I hope the guys continue to return to South Wales, where hopefully they can be rewarded by bigger crowds.
Wednesday, 10 October 2018
A View From The Back Of The Room: Glenn Hughes (Live Review By Paul H)
Glenn Hughes, Tramshed, Cardiff
When I was younger I never used to like Glenn Hughes. I was always a MK II Deep Purple fan. As a teenager getting seriously stuck into the back catalogue of one of the UK's seminal hard rock outfits, which included Mk III I was regularly frustrated by the way Hughes appeared to scream all over David Coverdale. “Hey” I thought, “you’ve got the bass and you’ve got one of the best singers in the world. Why do YOU need to sing as well?” Then he appeared with the title ‘The Voice Of Rock’. Who coined this phrase? And why are you the voice of rock? Why not Gillan, Plant or so many others? As I matured and my listening expanding, Hughes appeared on countless albums. 14 solo albums, and over 150 albums where he features suggested to me that maybe he’s not the arch-villain that I always painted him as. His 2008 album with Tony Iommi, Fused, is a superb release and his music with Black Country Communion always enjoyable, despite the £105 ticket prices for the rare shows in the UK.
However, when Hughes announced his Classic Deep Purple Live tour, the sceptic in me suggested that this was a rather clever way of cashing in on the current wave of nostalgia which has swept the music industry in general. Pop bands from the 1980s appear all over the place at sold out gigs and the rock world is by no means exempt. I’ve recorded my dislike of tribute bands over new bands before in these pages but from a marketing point, then the strategy is untouchable. The target audience inevitably focuses on those with the most disposable income, hence ticket sales are no challenge. The music transports the audience back to a time when life was much less complicated and messy, where the biggest challenge was where to score the next underage beer and whether you could make the last bus home.
Hughes and his excellent band rolled into Cardiff fresh from a successful headline set at Steelhouse Festival in July and having toured the same set of songs for several months, were as polished as that table in the 1983 Yellow Pages French Polisher advert (‘It’s just possible you may save my life’).
I first saw Laurence Jones (8) support Vintage Trouble in the same venue in June 2017. The Milton Keynes guitarist is another in the prolific line of young blues guitarists on the circuit. Jones has already released six albums and at 26 has already made a big splash in the blues pond. Adding a Hammond organ to his band is inspired, taking some of the pressure of Jones and adding some real girth to his songs. Like all blues guitarists, his music is heartfelt and soulful, but on occasion just a little generic. His seven-song set included one of his earliest songs, Foolin Me, which had more than a nod to Jimmy Page’s Since I’ve Been Loving You riffs, whilst the biggest cheers were unsurprisingly for the admittedly impressive cover of Dylan’s All Along The Watchtower (incorrectly credited to Hendrix) and the closing cover of CCR’s Fortunate Son. Two covers in a seven-song set, both songs over 45 years old, and that’s what the crowd loved most. I rest my case. Pleasing enough but a little lazy when you have six albums.
Arriving to a muted fanfare but with his face plastered over the backdrop and the amps in a tie-dye edit, Glenn Hughes (9) and band wasted little time in launching into a blistering Stormbringer. The Tramshed was by now full to bursting and having secured a space on the right of the barrier, the view of guitarist Soren Anderson and drummer Fernado Escobedo was sacrificed for a bit of space, cool air and comfort. Hughes setlist focused on the MK III version in the main, although he moved into Mk IV with a moving, if slightly overlong narrative about the late Tommy Bolin, playing the meandering Gettin Tighter, much to the approval of the old school in the house. Whilst much of my early focus had been on MK II, MK III (That’s Hughes, David Coverdale, Ian Paice, Jon Lord and Ritchie Blackmore) produced two phenomenal albums in Burn and Stormbringer. Unsurprisingly, the bulk of the set was drafted from those two albums.
When I was younger I never used to like Glenn Hughes. I was always a MK II Deep Purple fan. As a teenager getting seriously stuck into the back catalogue of one of the UK's seminal hard rock outfits, which included Mk III I was regularly frustrated by the way Hughes appeared to scream all over David Coverdale. “Hey” I thought, “you’ve got the bass and you’ve got one of the best singers in the world. Why do YOU need to sing as well?” Then he appeared with the title ‘The Voice Of Rock’. Who coined this phrase? And why are you the voice of rock? Why not Gillan, Plant or so many others? As I matured and my listening expanding, Hughes appeared on countless albums. 14 solo albums, and over 150 albums where he features suggested to me that maybe he’s not the arch-villain that I always painted him as. His 2008 album with Tony Iommi, Fused, is a superb release and his music with Black Country Communion always enjoyable, despite the £105 ticket prices for the rare shows in the UK.
However, when Hughes announced his Classic Deep Purple Live tour, the sceptic in me suggested that this was a rather clever way of cashing in on the current wave of nostalgia which has swept the music industry in general. Pop bands from the 1980s appear all over the place at sold out gigs and the rock world is by no means exempt. I’ve recorded my dislike of tribute bands over new bands before in these pages but from a marketing point, then the strategy is untouchable. The target audience inevitably focuses on those with the most disposable income, hence ticket sales are no challenge. The music transports the audience back to a time when life was much less complicated and messy, where the biggest challenge was where to score the next underage beer and whether you could make the last bus home.
Hughes and his excellent band rolled into Cardiff fresh from a successful headline set at Steelhouse Festival in July and having toured the same set of songs for several months, were as polished as that table in the 1983 Yellow Pages French Polisher advert (‘It’s just possible you may save my life’).
I first saw Laurence Jones (8) support Vintage Trouble in the same venue in June 2017. The Milton Keynes guitarist is another in the prolific line of young blues guitarists on the circuit. Jones has already released six albums and at 26 has already made a big splash in the blues pond. Adding a Hammond organ to his band is inspired, taking some of the pressure of Jones and adding some real girth to his songs. Like all blues guitarists, his music is heartfelt and soulful, but on occasion just a little generic. His seven-song set included one of his earliest songs, Foolin Me, which had more than a nod to Jimmy Page’s Since I’ve Been Loving You riffs, whilst the biggest cheers were unsurprisingly for the admittedly impressive cover of Dylan’s All Along The Watchtower (incorrectly credited to Hendrix) and the closing cover of CCR’s Fortunate Son. Two covers in a seven-song set, both songs over 45 years old, and that’s what the crowd loved most. I rest my case. Pleasing enough but a little lazy when you have six albums.
Arriving to a muted fanfare but with his face plastered over the backdrop and the amps in a tie-dye edit, Glenn Hughes (9) and band wasted little time in launching into a blistering Stormbringer. The Tramshed was by now full to bursting and having secured a space on the right of the barrier, the view of guitarist Soren Anderson and drummer Fernado Escobedo was sacrificed for a bit of space, cool air and comfort. Hughes setlist focused on the MK III version in the main, although he moved into Mk IV with a moving, if slightly overlong narrative about the late Tommy Bolin, playing the meandering Gettin Tighter, much to the approval of the old school in the house. Whilst much of my early focus had been on MK II, MK III (That’s Hughes, David Coverdale, Ian Paice, Jon Lord and Ritchie Blackmore) produced two phenomenal albums in Burn and Stormbringer. Unsurprisingly, the bulk of the set was drafted from those two albums.
Might Just Take Your Life and Sail Away followed, and by now it was clear that Hughes has protected those golden pipes magnificently. At 66 years of age, the man sings better than he did in 1974, his range astounding and each note crisp and clear. Those shrieks that once irritated me are integral to the songs, but his lower range was also fabulous, for example on the warming You Keep On Moving, the second track from the 1975 album Come Taste The Band. Hughes’ bass playing is up there with the greats, his intricate patterns and hard riffing fully a part as he commands centre stage. Whilst I could have done without the 1970s bloated and extended You Fool No-One, interspersed with its keyboard solo from Dane Jesper Bo Hansen, Anderson’s guitar solo and Highball Shooter before the reprise, there was no doubting the talent on display.
By now Hughes was in full flow, although his gushing “I love you all” was one of the few things that started to frustrate me. Lectures about peace, love and how ‘music is the healer’ may well resonate in a hot full beered up venue but try telling that to those losing their homes, queuing for food banks or wondering how to make the next rental payment. A mammoth Mistreated included a raucous sing-along before one of the two MK II tracks arrived. Inevitably, Smoke On The Water was belted out, segued with a little of Georgia On My Mind, the track written by Hoagmy Carmichael and Stuart Gorrell in the 1930s and associated with Ray Charles along with many others before the band quit the stage.
By now Hughes was in full flow, although his gushing “I love you all” was one of the few things that started to frustrate me. Lectures about peace, love and how ‘music is the healer’ may well resonate in a hot full beered up venue but try telling that to those losing their homes, queuing for food banks or wondering how to make the next rental payment. A mammoth Mistreated included a raucous sing-along before one of the two MK II tracks arrived. Inevitably, Smoke On The Water was belted out, segued with a little of Georgia On My Mind, the track written by Hoagmy Carmichael and Stuart Gorrell in the 1930s and associated with Ray Charles along with many others before the band quit the stage.
The encore was blistering though. An aggressive and fiery Burn got the place jumping before Hughes handed his bass tech his Yamaha and took solo vocals on an extended but totally epic Highway Star to end an impressive if ever so minorly irritating evening. Hughes as a musician is astonishing with his vocals superb and his band tight. I just wish he’d drop some of the narrative. Will his next tour be as full if he plays his own music? Who knows, but I have my doubts.
Tuesday, 9 October 2018
Reviews: Bad Wolves, Evil Scarecrow, Hammer King, Black Viper (Reviews By Matt, Pippy & Rich)
Bad Wolves: Disobey (Eleven Seven) [Matt]
Sometimes we miss things here at MoM towers and the one record we missed back in May was the debut from American metal supergroup Bad Wolves. Now supergroup is sometimes bandied around willy nilly but if you're a follower of the heavier end of American metal then you'll recognise everyone involved with this project. Bad Wolves is vocalist Tommy Vext (ex-Divine Heresy), drummer John Boecklin (ex-DevilDriver), lead guitarist Doc Coyle (ex-God Forbid), rhythm guitarist Chris Cain (ex-Bury Your Dead) and bassist Kyle Konkiel (ex-In This Moment ex-Scar the Martyr), to add to this they are managed by Zoltan Bathory of Five Finger Death Punch. With the membership the way it is you can probably guess what kind of music is contained within an album called Disobey it's aggressive, defiant, anti-authoritarian and made up of 13 raging, vicious cuts that are made to incite rebellion in the listener.
When you've got members ex members of God Forbid, Divine Heresy you're almost guaranteed the current climate in America to be the major talking point and with titles like the bludgeoning Officer Down which is an indictment of violence in the USA, along with the excellent chorus to No Masters which has Vext shouting about "Beating The Bastards". Musically it's thumping modern American metal with metalcore grooves from Cain, Konkiel and Boecklin getting the blood pumping with some distorted heaviness and thick, juicy riffs that switch between djent, thrash and groove as they let Coyle add some melo-death leads and in the true US metal style they have the harsh/clean dynamic in the vocals having harsh shouts in the verses and top level cleans for the choruses. Disobey is a rather brilliant album, I didn't have high hopes after all the massive press they had but it's all worth it sharp, modern American metal that is much more than just "that" Cranberries cover (which admittedly is superb reworking). 9/10
Evil Scarecrow - Chapter IV: Antartartica (DeadBox) [Pippy]
With lyrics that a surrealist artist would happily depict on to a canvas, Evil Scarecrows 4th studio album; Chapter IV: Antartartic, launches a tantalizing assault onto the awaiting ears of the listening. It is a delight for both new and old fans of the band, with their established strengths gathered from previous albums and live shows being embodied and displayed vastly over course of the 10 tracks. This talented group of musicians and creative minds have created an album that does not, let down the reputation of the band but merely adds to their arsenal of continuous upward movement.
Sometimes we miss things here at MoM towers and the one record we missed back in May was the debut from American metal supergroup Bad Wolves. Now supergroup is sometimes bandied around willy nilly but if you're a follower of the heavier end of American metal then you'll recognise everyone involved with this project. Bad Wolves is vocalist Tommy Vext (ex-Divine Heresy), drummer John Boecklin (ex-DevilDriver), lead guitarist Doc Coyle (ex-God Forbid), rhythm guitarist Chris Cain (ex-Bury Your Dead) and bassist Kyle Konkiel (ex-In This Moment ex-Scar the Martyr), to add to this they are managed by Zoltan Bathory of Five Finger Death Punch. With the membership the way it is you can probably guess what kind of music is contained within an album called Disobey it's aggressive, defiant, anti-authoritarian and made up of 13 raging, vicious cuts that are made to incite rebellion in the listener.
When you've got members ex members of God Forbid, Divine Heresy you're almost guaranteed the current climate in America to be the major talking point and with titles like the bludgeoning Officer Down which is an indictment of violence in the USA, along with the excellent chorus to No Masters which has Vext shouting about "Beating The Bastards". Musically it's thumping modern American metal with metalcore grooves from Cain, Konkiel and Boecklin getting the blood pumping with some distorted heaviness and thick, juicy riffs that switch between djent, thrash and groove as they let Coyle add some melo-death leads and in the true US metal style they have the harsh/clean dynamic in the vocals having harsh shouts in the verses and top level cleans for the choruses. Disobey is a rather brilliant album, I didn't have high hopes after all the massive press they had but it's all worth it sharp, modern American metal that is much more than just "that" Cranberries cover (which admittedly is superb reworking). 9/10
Evil Scarecrow - Chapter IV: Antartartica (DeadBox) [Pippy]
With lyrics that a surrealist artist would happily depict on to a canvas, Evil Scarecrows 4th studio album; Chapter IV: Antartartic, launches a tantalizing assault onto the awaiting ears of the listening. It is a delight for both new and old fans of the band, with their established strengths gathered from previous albums and live shows being embodied and displayed vastly over course of the 10 tracks. This talented group of musicians and creative minds have created an album that does not, let down the reputation of the band but merely adds to their arsenal of continuous upward movement.
Delightfully enticing song titles such as Cosmos Goth Moth Gong and Hurricanado, littering the album’s course; listeners are delivered dark often sci-fi and fantasy orientated lyrics delivered in a tale like manner with each track carefully building up to and leading onto the next. Such smooth transitioning between tracks, is echoed throughout the entire album in song tempo changes, whereby songs such as: Way To Die switch smoothly between lyrical style changes, complimented and guitar bridges which seal the transitions seamlessly. Antartartica, also beautifully highlights the bands ability to combine styles as it switches smoothly between elements of trash, death and the more laid back sounds of melodic metal (albeit it with a dark eerie sounding edge). This if anything, is testimony to the bands musical talent; as all though Antartartic is both the title and closing track of the album, it is a mighty 10 minutes in length.
Despite this, through the use of descriptive lyrics and echoing reflective instrumental parts (that would leave many an artist and literary fan alike, scrabbling to decipher the carefully curated imagery), the band still manage to keep the listener's attention for the entire track duration and end the album leaving the listening in anticipation for more. Another key track that stood out from the rest of the album was Hurricanado, situated in the midst of the track listings. This is a song that has had a few outings and taste of public receptions; long before the due album launch and from listening to it you can hear why. With the use of tactful pauses at key moments, the track lyrically builds suspense and with the added use of tempo changes and increase in riff intensity; Hurricanado securely cements itself a spot as one of the albums strongest tracks and rightfully centrally placed to balance the albums progression.
It is clear to see why fans have welcomed it so wholeheartedly. As albums go, this certainly one worth a listen purely because of it’s use of differing genre elements creating an appeal across the metal genres but also and equally for how well the band execute and deliver each track, creating anticipation for not only future music but what it would be like to hear this album live. 8/10
Hammer King: Poseidon Will Carry Us Home (Cruz Del Sur) [Matt]
Like with one of the best trilogies ever it's time for the Return Of The King. In this case it's Hammer King the power/trad metal band from the Rhineland in Germany. As many of you who read this blog we do like a bit of Teutonic power metal and we especially love a bit of the band lead by Titan Fox V their previous two installments have scored highly with us at Musipedia Of Metal so can this third record be as regarded? Well if your a fan of fantasy, wars, chest beating machismo and of course hammers, with the continuing saga of The Hammer King used as lyrical reference.
From the inception of the title track it's big fist pumping grooves that shifts into flurry of galloping riffs and a breathless rhythm section (7 Days And 7 Kings) and of course the numerous Maidenisms especially on Battle Of Wars which has Gino Wilde and Titan with some dual leads and Warriors Of Angelhill which has K.K Basement thumping those classical sounding bass lines you might recognise from Hallowed Be Thy Name. The classic heavy metal themes are so strong that you'd think this record was released in the heyday of UK and German heavy metal nods to Maiden (as I've said) but also Helloween and Running Wild, especially on Glorious Night Of Glory and the Nautical We Sail Cape Horn. Proper heavy metal once again from Hammer King, Poseidon is clearly with them here! 8/10
Hammer King: Poseidon Will Carry Us Home (Cruz Del Sur) [Matt]
Like with one of the best trilogies ever it's time for the Return Of The King. In this case it's Hammer King the power/trad metal band from the Rhineland in Germany. As many of you who read this blog we do like a bit of Teutonic power metal and we especially love a bit of the band lead by Titan Fox V their previous two installments have scored highly with us at Musipedia Of Metal so can this third record be as regarded? Well if your a fan of fantasy, wars, chest beating machismo and of course hammers, with the continuing saga of The Hammer King used as lyrical reference.
From the inception of the title track it's big fist pumping grooves that shifts into flurry of galloping riffs and a breathless rhythm section (7 Days And 7 Kings) and of course the numerous Maidenisms especially on Battle Of Wars which has Gino Wilde and Titan with some dual leads and Warriors Of Angelhill which has K.K Basement thumping those classical sounding bass lines you might recognise from Hallowed Be Thy Name. The classic heavy metal themes are so strong that you'd think this record was released in the heyday of UK and German heavy metal nods to Maiden (as I've said) but also Helloween and Running Wild, especially on Glorious Night Of Glory and the Nautical We Sail Cape Horn. Proper heavy metal once again from Hammer King, Poseidon is clearly with them here! 8/10
Black Viper: Hellions Of Fire (High Roller Records) [Rich]
In this day and age of multiple sub-genres and genre crossovers it’s refreshing to hear a band playing heavy metal like it’s 1983 which is exactly what Black Viper do. Hailing from Norway and featuring members of Deathhammer and Obliteration, Black Viper play a much overlooked and forgotten style of metal that was called speed metal with a sound that sits somewhere between NWOBHM and thrash metal. Coming after their well received demo in 2016, Hellions Of Fire is the band's debut album released through High Roller Records and is a blinding maelstrom of speed, melody and wild guitar solos. This being speed metal all the songs on Hellions Of Fire are fast with a certain degree of aggression but not on the level of thrash. There are strong melodies and catchy hooks throughout especially in the stunning guitar playing of Arild Myren Torp. The drumming by Cato Stormoen is frantic and intensive throughout whilst the bass playing by Kato Marchant is the glue that binds everything together.
The vocals by Salvador Armijo aren’t particularly great but are serviceable and work with the music throughout. With only seven songs and a running length of just under 48 minutes some of the songs do exceed their necessary length with lots of extended instrumentation but the musicianship on the album is so good that it doesn’t try your patience. The best songs though are the ones which are shorter and to the point such as Metal Blitzkrieg and Storming With Vengeance. The production is purposely raw and retro sounding but it works with the material. Overall Hellions Of Fire is a very promising debut album for Black Viper which should please old school metallers everywhere. 8/10
In this day and age of multiple sub-genres and genre crossovers it’s refreshing to hear a band playing heavy metal like it’s 1983 which is exactly what Black Viper do. Hailing from Norway and featuring members of Deathhammer and Obliteration, Black Viper play a much overlooked and forgotten style of metal that was called speed metal with a sound that sits somewhere between NWOBHM and thrash metal. Coming after their well received demo in 2016, Hellions Of Fire is the band's debut album released through High Roller Records and is a blinding maelstrom of speed, melody and wild guitar solos. This being speed metal all the songs on Hellions Of Fire are fast with a certain degree of aggression but not on the level of thrash. There are strong melodies and catchy hooks throughout especially in the stunning guitar playing of Arild Myren Torp. The drumming by Cato Stormoen is frantic and intensive throughout whilst the bass playing by Kato Marchant is the glue that binds everything together.
The vocals by Salvador Armijo aren’t particularly great but are serviceable and work with the music throughout. With only seven songs and a running length of just under 48 minutes some of the songs do exceed their necessary length with lots of extended instrumentation but the musicianship on the album is so good that it doesn’t try your patience. The best songs though are the ones which are shorter and to the point such as Metal Blitzkrieg and Storming With Vengeance. The production is purposely raw and retro sounding but it works with the material. Overall Hellions Of Fire is a very promising debut album for Black Viper which should please old school metallers everywhere. 8/10
A View From The Back Of The Room: Voivod (Live Review By Rich)
Voivod & Bio-Cancer at The Globe, Cardiff
Not only did they release one of the finest albums of the year but Voivod are also on tour celebrating their 35th anniversary of existence as a band and so it was off to The Globe for an evening of celebration with the band.
This was just a two band bill with no local support so kicking off the proceedings were Greek thrashers Bio-Cancer (6). Bio-Cancer are a very high energy band playing lightning fast thrash metal at insane speeds so it was a shame that the sound worked very much against the band with both guitars completely buried underneath a wall of vocals, bass and drums. The band played with plenty of energy and enthusiasm but the poor sound definitely ruined the performance for me. I’m not overly familiar with Bio-Cancer’s material so I couldn’t tell you what songs they played but there was very little variation between songs with most following the same sort of pattern. Also whilst fine on record the frenzied shrieks of frontman Lefteris can get a bit jarring when experienced live.
After 35 years of existence and a sound that is very uniquely their own I think it’s safe to use the tag legends with headlining band Voivod (9). Hitting the stage to a rapturous roar of approval from the audience Voivod ploughed through a set of new material, classics and rarities in their first ever appearance in the Welsh capital. The band were clearly having as much fun as the audience with lots of on stage beers, plenty of laughing and joking plus some silly and highly amusing instrumental doodling. It always makes such a difference when you clearly see a band enjoying themselves onstage and for me it really enhances the live experience. As well as providing plenty of fun the band also provided some seriously good music.
New material from The Wake sounded absolutely phenomenal with Obsolete Beings and Iconspiracy getting huge roars of approval from the crowd whilst there was plenty of classics from the band such as Post Society, Technocratic Manipulators, Order Of The Blackguards, Overreaction and live staple Voivod. The band also dug out some lesser played tunes such as The Prow from Angel Rat and Into My Hypercube from Nothingface. With 35 years of experience the performance was absolutely watertight with drummer Away and bassist Rocky holding down the twisting complexity of the rhythm section and guitarist Chewy positively channeling the spirit of the late great Piggy. Frontman Snake doesn’t have the strongest voice live but his on stage presence and warm demeanour makes you completely ignore any vocal shortcomings. Voivod left the stage to thunderous applause and roars of love and appreciation from the audience and at the end you just wished they could have played for longer. A hugely successful first appearance in Cardiff for the Canadian legends. Let’s just hope they return sometime soon!
Not only did they release one of the finest albums of the year but Voivod are also on tour celebrating their 35th anniversary of existence as a band and so it was off to The Globe for an evening of celebration with the band.
This was just a two band bill with no local support so kicking off the proceedings were Greek thrashers Bio-Cancer (6). Bio-Cancer are a very high energy band playing lightning fast thrash metal at insane speeds so it was a shame that the sound worked very much against the band with both guitars completely buried underneath a wall of vocals, bass and drums. The band played with plenty of energy and enthusiasm but the poor sound definitely ruined the performance for me. I’m not overly familiar with Bio-Cancer’s material so I couldn’t tell you what songs they played but there was very little variation between songs with most following the same sort of pattern. Also whilst fine on record the frenzied shrieks of frontman Lefteris can get a bit jarring when experienced live.
After 35 years of existence and a sound that is very uniquely their own I think it’s safe to use the tag legends with headlining band Voivod (9). Hitting the stage to a rapturous roar of approval from the audience Voivod ploughed through a set of new material, classics and rarities in their first ever appearance in the Welsh capital. The band were clearly having as much fun as the audience with lots of on stage beers, plenty of laughing and joking plus some silly and highly amusing instrumental doodling. It always makes such a difference when you clearly see a band enjoying themselves onstage and for me it really enhances the live experience. As well as providing plenty of fun the band also provided some seriously good music.
New material from The Wake sounded absolutely phenomenal with Obsolete Beings and Iconspiracy getting huge roars of approval from the crowd whilst there was plenty of classics from the band such as Post Society, Technocratic Manipulators, Order Of The Blackguards, Overreaction and live staple Voivod. The band also dug out some lesser played tunes such as The Prow from Angel Rat and Into My Hypercube from Nothingface. With 35 years of experience the performance was absolutely watertight with drummer Away and bassist Rocky holding down the twisting complexity of the rhythm section and guitarist Chewy positively channeling the spirit of the late great Piggy. Frontman Snake doesn’t have the strongest voice live but his on stage presence and warm demeanour makes you completely ignore any vocal shortcomings. Voivod left the stage to thunderous applause and roars of love and appreciation from the audience and at the end you just wished they could have played for longer. A hugely successful first appearance in Cardiff for the Canadian legends. Let’s just hope they return sometime soon!
A View From The Back Of The Room: Crowbar (Live Review By Paul Scoble)
Crowbar & Ingested, The Globe
The Globe has been getting some great bands in recently. Even with the quality gigs they have been putting on, getting a legendary doom/sludge band like Crowbar on a Saturday night is a bit of a coup. This fact was confirmed by the huge number of people who were there long before either band was due to take the stage.
First on the stage it was support band Ingested (7). The Manchester based slamming death metal band erupted on to the stage with massive amounts of energy. The band played a hugely tight set of breakdown heavy death metal. The crowd went suitably nuts, and a rather impressive moshpit then ensued. The sound was fantastic throughout the gig, loud but clear and full. This helped the band pretty much destroy the audience. Ingested played with passion and technical precision, musically they were impressive, and I also thought that frontman Jay Evans did a great job getting the crowd going and directing circle pits and a wall of death at the end of the set.
There was a huge feeling of anticipation before Crowbar (9) took to the stage. The bands emergence on to the stage was greeted with an enormous roar, the band looked just as happy to see the crowd as the crowd were to see them. Crowbar then proceeded to tear The Globe apart. The bands brand of huge sludgy doom shook the rafters, as the audience went nuts, and about half of the dance-floor became a moshpit.
The setlist was culled from all of the bands career, from the beginning to the most recent album. The set was weighted in favour of Odd Fellows Rest due to it being 20 years since it’s release (didn’t see anyone complaining about that). There was a small issue with 2 idiots who were more interested in fighting than dancing or moshing. The Globe's security intervened, and the 2 dickheads were removed with the minimum amount of fuss. Living legend, Kirk Windstein was in great form all night. His friendly, affable demeanour makes Kirk an incredibly engaging frontman. At one point telling the audience to look after each other in the mosh pit, as he said “We don’t want anyone to get hurt”. On top of being a great frontman, his voice was fantastic all night, soulful and full of personality when it was needed, and raging and harsh when it wasn’t.
The set was beautifully balanced. Crowbar have several different feels to their songs. There's the fast heavy ones and the more stonery songs, which have a bit more relaxed, tuneful feel to them. So, once we’ve had a fast one, there's a slower stoner feeling track to give the crowd a breather, before bringing the intensity back with one of the heavy as anything songs. This constant ebb and flow is one of the things that make Crowbar such a great live act. They know how to construct a setlist so the audience will get the most out of the gig. What we are dealing with is a band that are masters of their craft.
Aside from the problem with the two idiots, this was a great gig. The band were so relaxed and happy on stage, their positive energy was transferred to the audience, making this a really joyful, positive experience. I and the rest of the crowd went home filled with the euphoria of happy doom, what a lovely Saturday Night!
The Globe has been getting some great bands in recently. Even with the quality gigs they have been putting on, getting a legendary doom/sludge band like Crowbar on a Saturday night is a bit of a coup. This fact was confirmed by the huge number of people who were there long before either band was due to take the stage.
First on the stage it was support band Ingested (7). The Manchester based slamming death metal band erupted on to the stage with massive amounts of energy. The band played a hugely tight set of breakdown heavy death metal. The crowd went suitably nuts, and a rather impressive moshpit then ensued. The sound was fantastic throughout the gig, loud but clear and full. This helped the band pretty much destroy the audience. Ingested played with passion and technical precision, musically they were impressive, and I also thought that frontman Jay Evans did a great job getting the crowd going and directing circle pits and a wall of death at the end of the set.
There was a huge feeling of anticipation before Crowbar (9) took to the stage. The bands emergence on to the stage was greeted with an enormous roar, the band looked just as happy to see the crowd as the crowd were to see them. Crowbar then proceeded to tear The Globe apart. The bands brand of huge sludgy doom shook the rafters, as the audience went nuts, and about half of the dance-floor became a moshpit.
The setlist was culled from all of the bands career, from the beginning to the most recent album. The set was weighted in favour of Odd Fellows Rest due to it being 20 years since it’s release (didn’t see anyone complaining about that). There was a small issue with 2 idiots who were more interested in fighting than dancing or moshing. The Globe's security intervened, and the 2 dickheads were removed with the minimum amount of fuss. Living legend, Kirk Windstein was in great form all night. His friendly, affable demeanour makes Kirk an incredibly engaging frontman. At one point telling the audience to look after each other in the mosh pit, as he said “We don’t want anyone to get hurt”. On top of being a great frontman, his voice was fantastic all night, soulful and full of personality when it was needed, and raging and harsh when it wasn’t.
The set was beautifully balanced. Crowbar have several different feels to their songs. There's the fast heavy ones and the more stonery songs, which have a bit more relaxed, tuneful feel to them. So, once we’ve had a fast one, there's a slower stoner feeling track to give the crowd a breather, before bringing the intensity back with one of the heavy as anything songs. This constant ebb and flow is one of the things that make Crowbar such a great live act. They know how to construct a setlist so the audience will get the most out of the gig. What we are dealing with is a band that are masters of their craft.
Aside from the problem with the two idiots, this was a great gig. The band were so relaxed and happy on stage, their positive energy was transferred to the audience, making this a really joyful, positive experience. I and the rest of the crowd went home filled with the euphoria of happy doom, what a lovely Saturday Night!
Monday, 8 October 2018
Reviews: Hardcore Superstar, Thrice, Emma Ruth Rundle, Therapy? (Reviews By Alex)
Hardcore Superstar: You Can’t Kill My Rock N Roll (Gain Music Entertainment)
Just a cursory glance at the cover art of Hardcore Superstars 12th album will show you what you are in for. An overturned crucifix sits atop the bold album title, while the main picture portrays three nuns, smoking and drinking, the middle character wearing a mischievous smirk. Yep, you’re 100% right, the record is truly the embodiment of sleazy, prototypical, hair metal. That said, ridiculousness in music can be executed well, especially when a band takes advantage of their clichés. Credit where it's due, these guys do their best to capture the fun, indulgent atmosphere and hilariousness which always proved the most likeable aspects of bands like The Scorpions and Def Leppard in the golden age of this genre. Tricking you for a second into thinking we are in for a serious experience, the opening AD/HD begins with the words, ‘’is there a chance for me, they’ll never change my personality’’ ringing out over a somber keyboard.
Suddenly, a thunderous tempo sets in and Joakim Berg bellows the words just a moment ago sung so quietly, in a way which screams ‘who cares if there’s no chance for me, I love my personality’. Electric Rider, Have Mercy On Me, and the satisfyingly titled Never Cared For Snobbery are the same in their overzealous, life on the edge aesthetic yet refuse to take themselves too seriously and are committed to staying insatiably catchy. My Sanctuary and You Can’t Kill Rock And Roll even pull off the soppy ballad trick, dishing up sing-along choruses and euphoric guitar solos. Like everything with its influences so firmly defined, the cliché elements will cause some to take one listen and make a mental note to firmly avoid Hardcore Superstar for eternity. Yet while my immediate reaction was taken aback, I can’t help but admire the attitude and message on show here: one championing fun and making a good argument for why hairspray and glitter tainted metal still deserves a sentimental place in our hearts. 7/10
Thrice: Palms (Epitaph Records)
Carving out an obsessively melodic, and politically charged name for themselves within the early 2000’s melodic hardcore scene, records like The Artist In The Ambulance and Vheissu is still rightly enjoyed by a devoted following to this day. Conversely, while I always had my feet planted firmly in the Rise Against camp when it came to debates about which are better, I warmed to Thrice upon the release of their 2016 post-hiatus record, To Be Everywhere Is To Be Nowhere. That album was unrepentant punk with a strong, bluesy and classic rock core, taking in its stride the societal anger which defined their early works and making it sound sharper and cutting.
So, of course, I was excited when I heard that this comeback would not just be a one-off and that their tenth album would be experimental and embrace a darker sound, and continuing the history of social conciseness. Palms refuses to disappoint on any of these fronts. An ominous looping synth begins Only Us, almost hypnotically drawing you in, as layers of equally elusive instrumentation set in. ‘’we cast us aside, we silence our plea, but the system that terrifies you should terrify me’’ Kensrue wails as the song reaches its climactic seconds, in what is almost an impassioned speech, directed at the listener, setting up the topics and themes that will persist throughout.
The Grey has that raw bluesy swagger which they perfected so exquisitely on their last album and derides the pervasive Black and White nature of western politics, by which vast and sprawling concepts are robbed of complexity and molded into political pawns. Just Breathe and My Soul take an atmospheric, yet uneasy direction, dealing with personal emotion and psychological trauma, yet relating back to society when or frontman’s own uncertainty surrounding religion and belief creeps into his storytelling. With these experiments at play, Palms may be the least hardcore-influenced album in the entire history of this band, yet where those influences do sneak back in – Branch In The River, Hold Up A Light – they do so in a big way with massive choruses and an attitude which smacks of anger and disillusion.
Closing out on an almost theatrical premise with Blood On Blood and Beyond The Pines, we finish the record feeling as if we have experienced almost every facet of Thrice’s musical ability, and yet that they still may have more to offer. It’s by no means perfect, as the records Songwriting and production seem occasionally lacking. What Palms does show though is the growth and maturation of a band who care about the issues facing the world, while not being afraid to grow and develop past their former ideas 7/10
Just a cursory glance at the cover art of Hardcore Superstars 12th album will show you what you are in for. An overturned crucifix sits atop the bold album title, while the main picture portrays three nuns, smoking and drinking, the middle character wearing a mischievous smirk. Yep, you’re 100% right, the record is truly the embodiment of sleazy, prototypical, hair metal. That said, ridiculousness in music can be executed well, especially when a band takes advantage of their clichés. Credit where it's due, these guys do their best to capture the fun, indulgent atmosphere and hilariousness which always proved the most likeable aspects of bands like The Scorpions and Def Leppard in the golden age of this genre. Tricking you for a second into thinking we are in for a serious experience, the opening AD/HD begins with the words, ‘’is there a chance for me, they’ll never change my personality’’ ringing out over a somber keyboard.
Suddenly, a thunderous tempo sets in and Joakim Berg bellows the words just a moment ago sung so quietly, in a way which screams ‘who cares if there’s no chance for me, I love my personality’. Electric Rider, Have Mercy On Me, and the satisfyingly titled Never Cared For Snobbery are the same in their overzealous, life on the edge aesthetic yet refuse to take themselves too seriously and are committed to staying insatiably catchy. My Sanctuary and You Can’t Kill Rock And Roll even pull off the soppy ballad trick, dishing up sing-along choruses and euphoric guitar solos. Like everything with its influences so firmly defined, the cliché elements will cause some to take one listen and make a mental note to firmly avoid Hardcore Superstar for eternity. Yet while my immediate reaction was taken aback, I can’t help but admire the attitude and message on show here: one championing fun and making a good argument for why hairspray and glitter tainted metal still deserves a sentimental place in our hearts. 7/10
Thrice: Palms (Epitaph Records)
Carving out an obsessively melodic, and politically charged name for themselves within the early 2000’s melodic hardcore scene, records like The Artist In The Ambulance and Vheissu is still rightly enjoyed by a devoted following to this day. Conversely, while I always had my feet planted firmly in the Rise Against camp when it came to debates about which are better, I warmed to Thrice upon the release of their 2016 post-hiatus record, To Be Everywhere Is To Be Nowhere. That album was unrepentant punk with a strong, bluesy and classic rock core, taking in its stride the societal anger which defined their early works and making it sound sharper and cutting.
So, of course, I was excited when I heard that this comeback would not just be a one-off and that their tenth album would be experimental and embrace a darker sound, and continuing the history of social conciseness. Palms refuses to disappoint on any of these fronts. An ominous looping synth begins Only Us, almost hypnotically drawing you in, as layers of equally elusive instrumentation set in. ‘’we cast us aside, we silence our plea, but the system that terrifies you should terrify me’’ Kensrue wails as the song reaches its climactic seconds, in what is almost an impassioned speech, directed at the listener, setting up the topics and themes that will persist throughout.
The Grey has that raw bluesy swagger which they perfected so exquisitely on their last album and derides the pervasive Black and White nature of western politics, by which vast and sprawling concepts are robbed of complexity and molded into political pawns. Just Breathe and My Soul take an atmospheric, yet uneasy direction, dealing with personal emotion and psychological trauma, yet relating back to society when or frontman’s own uncertainty surrounding religion and belief creeps into his storytelling. With these experiments at play, Palms may be the least hardcore-influenced album in the entire history of this band, yet where those influences do sneak back in – Branch In The River, Hold Up A Light – they do so in a big way with massive choruses and an attitude which smacks of anger and disillusion.
Closing out on an almost theatrical premise with Blood On Blood and Beyond The Pines, we finish the record feeling as if we have experienced almost every facet of Thrice’s musical ability, and yet that they still may have more to offer. It’s by no means perfect, as the records Songwriting and production seem occasionally lacking. What Palms does show though is the growth and maturation of a band who care about the issues facing the world, while not being afraid to grow and develop past their former ideas 7/10
Emma Ruth Rundle: On Dark Horses (Sargent House)
Exploring ethereal, experimental rock through her solo project, Emma Ruth Rundle is a prolific musician, serving as the vocalist and guitarist for psychedelic-metal acts Marriages and Nocturnes, as well as holding down being a member of Red Sparrows. On Dark Horses, Rundle clings onto the spacey and minimalistic stylings she has become known for, each of the songs taking a loose structure, weaving from stints of unsettling ambiance to moments of disquieting noise. Unpredictably and fluctuations in volume or tone are tailored to keep the listener fixated, throughout the eight songs and forty minutes. It’s a feat which requires appropriate attention to have its desired effect yet may just intrigue with its strangeness.
Fever Dreams opens on a disturbing note, a persistent beat at a drum, disturbed only by distant guitars and Rundle's vocal undulations. Immediately, we are enclosed in tension, wondering what places we will be drawn to emotionally, and how we will be transported there. Contrary to a standard, rigid setup, music seems to lurch from ambient textures to distorted disarray. In creating these atmospheres, the instrumentals on Control or Dead Set Eyes take on a strangely writhing quality, almost as if someone has breathed new-born life into them and they are crying out in their newfound sentience. It is unsettling, yet quite beautiful, watching each new melody or chorus slowly bloom into life.
Post-rock or Experimental music will be the common markers used to distinguish Emma Ruth Rundles from more accessible contemporaries. Yet what I admire about it goes beyond labels, extending to the weird soundscapes, and the crucially tiny details which swell and surge like a water from the gaping mouth of a river. Certainly, it won’t be for everyone, yet deserves praise for its incredible qualities and layers, which prove both disturbing and uplifting 8/10
Therapy?: Cleave (Marshall Records)
Therapy? Yes, you read that right. Famous for serving up short-sharp doses of edgy Punk, the band with their name meant to sound that little bit eerier by the addition of a single question mark are back. I won’t pretend to have a long history with them, yet I occasionally find myself reveling in the rebellious and scuzzy tones of 19994’s Troublegum, lines like ‘’I’ve got nothing to do, but hang around and get screwed up on you’’ bringing a satisfied smirk to my face, as they do with the bands small yet dedicated following. That said, please believe me when I say that I wanted to like Cleave. How interesting would it have been if I could take a peek inside a new release by a sadly forgotten 90s act, setting me off on a ride of discovery into their catalogue or at the very least giving me a fresh taste of mischievous sarcasm? Unfortunately, however, Cleave gives me pitifully little to talk about.
Problems begin with the opener Wreck It Like Becket. Drums here are almost St. Anger levels of tinny, the one and only guitar riff is straddled and robbed of any power by the level of down tuning, and the bass appears missing from the mix altogether: combine that with really lazy rapping from the usually snarling and spitting Andy Cairns, and you begin to sense the rough ride you are in for. Kakistocracy begins somewhat better with a distinctive lead part before the idea is seemingly abandoned to make way for some poorly mixed drumming and obnoxiously typical ‘’Do you feel lost’’ lyrical platitudes. In fact, that’s a really big trip up for this entire experience.
Where the guitars are allowed to stand out, as, on Callow and Crutch, they lend the project just a little bit of that old energy I mentioned earlier. Yet for the most part, from Save Me to the ordinary to I Stand Alone, they are either taking a back seat or being repressed into oblivion. Put it this way, being a 3-piece, Therapy? Need to channel all the energy and infectiousness they possibly can. In this case, the production kneecaps a lot of the power, many of the attempts to be edgy or different fall flat, and the melodious which always lent something of an immature charm to this band are not as up to scratch these days. The result is a sterile, thrown together, and tediously dull sloppy mess of an album, which doesn’t so much as deserve a place in the cesspit of worst of the year lists, as it does space in the musical dustbin, where it can be easily disposed of and quickly forgotten. 2/10
Exploring ethereal, experimental rock through her solo project, Emma Ruth Rundle is a prolific musician, serving as the vocalist and guitarist for psychedelic-metal acts Marriages and Nocturnes, as well as holding down being a member of Red Sparrows. On Dark Horses, Rundle clings onto the spacey and minimalistic stylings she has become known for, each of the songs taking a loose structure, weaving from stints of unsettling ambiance to moments of disquieting noise. Unpredictably and fluctuations in volume or tone are tailored to keep the listener fixated, throughout the eight songs and forty minutes. It’s a feat which requires appropriate attention to have its desired effect yet may just intrigue with its strangeness.
Fever Dreams opens on a disturbing note, a persistent beat at a drum, disturbed only by distant guitars and Rundle's vocal undulations. Immediately, we are enclosed in tension, wondering what places we will be drawn to emotionally, and how we will be transported there. Contrary to a standard, rigid setup, music seems to lurch from ambient textures to distorted disarray. In creating these atmospheres, the instrumentals on Control or Dead Set Eyes take on a strangely writhing quality, almost as if someone has breathed new-born life into them and they are crying out in their newfound sentience. It is unsettling, yet quite beautiful, watching each new melody or chorus slowly bloom into life.
Post-rock or Experimental music will be the common markers used to distinguish Emma Ruth Rundles from more accessible contemporaries. Yet what I admire about it goes beyond labels, extending to the weird soundscapes, and the crucially tiny details which swell and surge like a water from the gaping mouth of a river. Certainly, it won’t be for everyone, yet deserves praise for its incredible qualities and layers, which prove both disturbing and uplifting 8/10
Therapy?: Cleave (Marshall Records)
Therapy? Yes, you read that right. Famous for serving up short-sharp doses of edgy Punk, the band with their name meant to sound that little bit eerier by the addition of a single question mark are back. I won’t pretend to have a long history with them, yet I occasionally find myself reveling in the rebellious and scuzzy tones of 19994’s Troublegum, lines like ‘’I’ve got nothing to do, but hang around and get screwed up on you’’ bringing a satisfied smirk to my face, as they do with the bands small yet dedicated following. That said, please believe me when I say that I wanted to like Cleave. How interesting would it have been if I could take a peek inside a new release by a sadly forgotten 90s act, setting me off on a ride of discovery into their catalogue or at the very least giving me a fresh taste of mischievous sarcasm? Unfortunately, however, Cleave gives me pitifully little to talk about.
Problems begin with the opener Wreck It Like Becket. Drums here are almost St. Anger levels of tinny, the one and only guitar riff is straddled and robbed of any power by the level of down tuning, and the bass appears missing from the mix altogether: combine that with really lazy rapping from the usually snarling and spitting Andy Cairns, and you begin to sense the rough ride you are in for. Kakistocracy begins somewhat better with a distinctive lead part before the idea is seemingly abandoned to make way for some poorly mixed drumming and obnoxiously typical ‘’Do you feel lost’’ lyrical platitudes. In fact, that’s a really big trip up for this entire experience.
Where the guitars are allowed to stand out, as, on Callow and Crutch, they lend the project just a little bit of that old energy I mentioned earlier. Yet for the most part, from Save Me to the ordinary to I Stand Alone, they are either taking a back seat or being repressed into oblivion. Put it this way, being a 3-piece, Therapy? Need to channel all the energy and infectiousness they possibly can. In this case, the production kneecaps a lot of the power, many of the attempts to be edgy or different fall flat, and the melodious which always lent something of an immature charm to this band are not as up to scratch these days. The result is a sterile, thrown together, and tediously dull sloppy mess of an album, which doesn’t so much as deserve a place in the cesspit of worst of the year lists, as it does space in the musical dustbin, where it can be easily disposed of and quickly forgotten. 2/10
Sunday, 7 October 2018
Reviews: Slash, Arabrot, Wolfheart, Creye (Reviews By Alex, Paul S, Rich & Paul H)
Slash With Myles Kennedy And The Conspirators: Living The Dream (Snakepit/Roadrunner) [Alex]
Eight years have passed since Slash, decided to kind of launch a solo career, by which I mean he has still been in collaboration with some equally talented performers. His self-titled debut was more of a compilation, seeing him collaborate with artists from Iggy Pop to Ozzy Osbourne, to Fergie, a venture which yielded some mixed results. One collaboration which did not yield disappointment, however, was the one with Myles Kennedy of Alter Bridge. His soaring vocal prowess just seemed to mix perfectly with the signature shredding style of the legendary Guns n’ Roses guitarist. Since then, the two have joined each other on a few sold-out tours and performed on three albums together. Living The Dream, as you may expect, is an album of straight up and unashamed hard rock, Glam metal attitude with some good ol’ fashioned rock n’ roll flair thrown into the mix.
Call Of The Wild opens proceedings, with a harsh, crunchy riff, almost in the vain of AC/DC, while Kennedy keeps his singing to a low purring, still exuding that traditional charm, yet with more hiss and bite to add some welcome diversity to the beloved classic tropes which these musicians have always championed. Serve You Right and Read Between The Lines have a little more of that old-fashioned sting. My Antidote and Mind Your Manners have a stylish 80’s-metal charm, showing the Conspirators at their absolute finest. That is to say when they aren’t utilising their talents for balladry or theatricalism. Guns n’ Roses could always adopt a more reserved nature when they needed to, as can all Alter Bridge - so when we hear that tone given life on the romantic Lost Inside The Girl and the acoustic-led The One You Loved Is Gone, it naturally fails to disappoint.
By bringing together the strengths of Kennedy and Slash, Living The Dream proves another wild experience. While it has its less exciting moments – I personally find myself skipping Slow Grind and Sugar Cane – there enough moments which prove strong, without having to imitate any previous successes of any of the performers involved. Maybe Slash’s desire to collaborate and learn from friends, evidenced by that debut solo album, is what keeps his deserved icon-status blasting loud and clear. 7/10
Eight years have passed since Slash, decided to kind of launch a solo career, by which I mean he has still been in collaboration with some equally talented performers. His self-titled debut was more of a compilation, seeing him collaborate with artists from Iggy Pop to Ozzy Osbourne, to Fergie, a venture which yielded some mixed results. One collaboration which did not yield disappointment, however, was the one with Myles Kennedy of Alter Bridge. His soaring vocal prowess just seemed to mix perfectly with the signature shredding style of the legendary Guns n’ Roses guitarist. Since then, the two have joined each other on a few sold-out tours and performed on three albums together. Living The Dream, as you may expect, is an album of straight up and unashamed hard rock, Glam metal attitude with some good ol’ fashioned rock n’ roll flair thrown into the mix.
Call Of The Wild opens proceedings, with a harsh, crunchy riff, almost in the vain of AC/DC, while Kennedy keeps his singing to a low purring, still exuding that traditional charm, yet with more hiss and bite to add some welcome diversity to the beloved classic tropes which these musicians have always championed. Serve You Right and Read Between The Lines have a little more of that old-fashioned sting. My Antidote and Mind Your Manners have a stylish 80’s-metal charm, showing the Conspirators at their absolute finest. That is to say when they aren’t utilising their talents for balladry or theatricalism. Guns n’ Roses could always adopt a more reserved nature when they needed to, as can all Alter Bridge - so when we hear that tone given life on the romantic Lost Inside The Girl and the acoustic-led The One You Loved Is Gone, it naturally fails to disappoint.
By bringing together the strengths of Kennedy and Slash, Living The Dream proves another wild experience. While it has its less exciting moments – I personally find myself skipping Slow Grind and Sugar Cane – there enough moments which prove strong, without having to imitate any previous successes of any of the performers involved. Maybe Slash’s desire to collaborate and learn from friends, evidenced by that debut solo album, is what keeps his deserved icon-status blasting loud and clear. 7/10
Arabrot: Who Do You Love (Pelagic Records) [Paul S]
Arabrot is Norwegian singer songwriter Kjetil Nernes. Who Do You Love comes 2 years after the last Arabrot album The Gospel. The Gospel was written and recorded while Nernes was recovering from a rare form of cancer, 2 years later (and now a father), it feels like he is reevaluating his life, after a very close brush with death. The title of the album comes from a Bo Diddly song, and there is a healthy amount of the blues in this album. The album starts with the fairly strait up rock track Moldoror’s Love, a simple, but effective way to start the album. The Dome has a relentless driving rhythm that reminds me a little of Talking Head’s Psycho Killer, but with a much more menacing guitar riff. Warning is a raucous, pounding track that is a little like a more punky Monster Magnet.
The first 3 songs give the album a great, uptempo start before it gets a little more complex. After a great triumvirate of driving rock songs comes Pygmalion, a soft, delicate track. The song is just keyboards and female vocals, sung by Karin Park, Nernes wife. Pygmalion is breathtakingly beautiful, and is a stunning interlude between strait up rockers and the darker material that comes after it. Next up is Arabrot’s version of a traditional spiritual; Sinnerman, made famous by Nina Simone. The track has cleaner guitars with a military style snare heavy drumming. Nernes uses a lower register singing style on this track. The effect is a little like Nick Cave And The Bad Seeds, but with a slightly more unhinged feel to it. Sinnerman is a great track, it really gets into your head, I challenge you to listen to it without singing along! After Sinnerman is the track Look Daggers, which starts with a spooky theremin sound, before a relentless rhythm starts and brings in simple, threatening guitar lines and vocals that Tom Waits would be proud of.
The slightly threatening feel continues with A Sacrifice, a slow burning rock track, which has mournful piano, violin and a great chorus. The album now gives the listener a break from the darker material with the more upbeat track Sons And Daughters. Sung by Karin Park again, this song has a much more positive feel to it, an uplifting piano line makes the song seem more hopeful, and a slide guitar helps this feeling of positivity. Last song Uniform Of A Killer could have come from the soundtrack to a western. Not a John Ford western; this is much more of a late sixties counterculture western, something like El Topo. The song has slide guitar throughout it, and that military style snare is back. There are also some keyboards and bells, to make the mix really interesting. Uniform Of A Killer is a great, atmospheric way to end the album.
Who Do You Love is a fantastic piece of work. Although I’ve mentioned quite a few, fairly normal acts in comparison with this album, all of it has been put through the Arabrot filter. This album reminds me of a dream. A dream filled with familiar, normal, everyday objects, but where nothing is as it should be. This is the normal, feeling threatening and dangerous, everything is slightly twisted, not quite right. The guitar and bass is a little too distorted, the vocals are a little to demented, the feel of the album is a little too sinister. So don’t worry Arabrot aren’t trying to get on Radio 2, this is still a twisted rock album. An album of huge quality and worth. I’ve really enjoyed listening to it, and comes highly recommended! 8/10
Wolfheart: Constellation Of The Black Light (Napalm Records) [Rich]
I’ve been a fan of the work of Tuomas Saukkonen for many years being an avid listener of his previous bands Before The Dawn, Black Sun Aeon and Dawn Of Solace but somehow have not yet managed to listen to his latest project Wolfheart despite Constellation Of The Black Light being the fourth album from the band. Wolfheart is unmistakably the sound of Tuomas Saukkonen and a continuation of the previously mentioned bands with a sound that mixes the more straightforward melodic death metal of Before The Dawn with the melancholy and dark melodies of Black Sun Aeon and Dawn Of Solace.
It’s a winning combination and results in Constellation Of The Black Light being one of the better albums I’ve heard this year from the ten minute plus epic opener Everlasting Fall, the symphonically tinged Defender and my personal favourite the aggressive yet hauntingly melodic Breakwater which is one of the best songs I’ve heard from Mr. Saukkonen. Wolfheart seem to be making a name for themselves in the metal world and it’s about high time that the work of Tuomas Saukkonen reached a wider audience. Here’s hoping that Constellation Of The Black Light will bring the much deserved attention the band requires. Now excuse me whilst I listen to the rest of the Wolfheart back catalogue…9/10
Creye: Self-Titled (Frontiers Records) [Paul H]
Arabrot is Norwegian singer songwriter Kjetil Nernes. Who Do You Love comes 2 years after the last Arabrot album The Gospel. The Gospel was written and recorded while Nernes was recovering from a rare form of cancer, 2 years later (and now a father), it feels like he is reevaluating his life, after a very close brush with death. The title of the album comes from a Bo Diddly song, and there is a healthy amount of the blues in this album. The album starts with the fairly strait up rock track Moldoror’s Love, a simple, but effective way to start the album. The Dome has a relentless driving rhythm that reminds me a little of Talking Head’s Psycho Killer, but with a much more menacing guitar riff. Warning is a raucous, pounding track that is a little like a more punky Monster Magnet.
The first 3 songs give the album a great, uptempo start before it gets a little more complex. After a great triumvirate of driving rock songs comes Pygmalion, a soft, delicate track. The song is just keyboards and female vocals, sung by Karin Park, Nernes wife. Pygmalion is breathtakingly beautiful, and is a stunning interlude between strait up rockers and the darker material that comes after it. Next up is Arabrot’s version of a traditional spiritual; Sinnerman, made famous by Nina Simone. The track has cleaner guitars with a military style snare heavy drumming. Nernes uses a lower register singing style on this track. The effect is a little like Nick Cave And The Bad Seeds, but with a slightly more unhinged feel to it. Sinnerman is a great track, it really gets into your head, I challenge you to listen to it without singing along! After Sinnerman is the track Look Daggers, which starts with a spooky theremin sound, before a relentless rhythm starts and brings in simple, threatening guitar lines and vocals that Tom Waits would be proud of.
The slightly threatening feel continues with A Sacrifice, a slow burning rock track, which has mournful piano, violin and a great chorus. The album now gives the listener a break from the darker material with the more upbeat track Sons And Daughters. Sung by Karin Park again, this song has a much more positive feel to it, an uplifting piano line makes the song seem more hopeful, and a slide guitar helps this feeling of positivity. Last song Uniform Of A Killer could have come from the soundtrack to a western. Not a John Ford western; this is much more of a late sixties counterculture western, something like El Topo. The song has slide guitar throughout it, and that military style snare is back. There are also some keyboards and bells, to make the mix really interesting. Uniform Of A Killer is a great, atmospheric way to end the album.
Who Do You Love is a fantastic piece of work. Although I’ve mentioned quite a few, fairly normal acts in comparison with this album, all of it has been put through the Arabrot filter. This album reminds me of a dream. A dream filled with familiar, normal, everyday objects, but where nothing is as it should be. This is the normal, feeling threatening and dangerous, everything is slightly twisted, not quite right. The guitar and bass is a little too distorted, the vocals are a little to demented, the feel of the album is a little too sinister. So don’t worry Arabrot aren’t trying to get on Radio 2, this is still a twisted rock album. An album of huge quality and worth. I’ve really enjoyed listening to it, and comes highly recommended! 8/10
Wolfheart: Constellation Of The Black Light (Napalm Records) [Rich]
I’ve been a fan of the work of Tuomas Saukkonen for many years being an avid listener of his previous bands Before The Dawn, Black Sun Aeon and Dawn Of Solace but somehow have not yet managed to listen to his latest project Wolfheart despite Constellation Of The Black Light being the fourth album from the band. Wolfheart is unmistakably the sound of Tuomas Saukkonen and a continuation of the previously mentioned bands with a sound that mixes the more straightforward melodic death metal of Before The Dawn with the melancholy and dark melodies of Black Sun Aeon and Dawn Of Solace.
It’s a winning combination and results in Constellation Of The Black Light being one of the better albums I’ve heard this year from the ten minute plus epic opener Everlasting Fall, the symphonically tinged Defender and my personal favourite the aggressive yet hauntingly melodic Breakwater which is one of the best songs I’ve heard from Mr. Saukkonen. Wolfheart seem to be making a name for themselves in the metal world and it’s about high time that the work of Tuomas Saukkonen reached a wider audience. Here’s hoping that Constellation Of The Black Light will bring the much deserved attention the band requires. Now excuse me whilst I listen to the rest of the Wolfheart back catalogue…9/10
Creye: Self-Titled (Frontiers Records) [Paul H]
Retro pop-rock in the classic AOR sound arrives once more from Sweden, a country which appears to have an insatiable appetite for the saccharine coated rock song. Formed in 2015 by guitarist Andreas Gullstrand, this is 14 songs of sheer terror; it’s so nice and cheerful that you might just lose self-control and break out the dance moves you didn’t even know you harboured, so deep were they locked away. Synth heavy in all the right places, it also includes a classic 1980s drum beat and some of the most glorious harmonies that rock can buy.
Yep, it’s absolutely awful but somehow, as with numerous Frontiers releases, the polish and shine makes it a rather tidy album. With the high-pitched soaring vocals of Robin Jidhed certainly the right match, and the rest of the band harmonising magnificently, tracks such as All We Need Is Faith, Different State Of Mind and the ghastly semi-ballad of Desperately Lovin’ will have those who love their rock on the soft side swooning and gushing with joy. 7/10
Yep, it’s absolutely awful but somehow, as with numerous Frontiers releases, the polish and shine makes it a rather tidy album. With the high-pitched soaring vocals of Robin Jidhed certainly the right match, and the rest of the band harmonising magnificently, tracks such as All We Need Is Faith, Different State Of Mind and the ghastly semi-ballad of Desperately Lovin’ will have those who love their rock on the soft side swooning and gushing with joy. 7/10
Reviews: In The Woods..., Sadist, Commonwealth, City Of Thieves (By Rich, Paul H & Alex)
In The Woods…: Cease The Day (Debemur Morti Productions) [Rich]
Coming two years after their stunning 2016 comeback album Pure, In The Woods… are back with their stunning fifth album Cease The Day. The band have been through a turbulent couple of years having come close to disbanding once again but with the addition of new members the band have forged on pouring all their anxieties and negativity of the past two years into the music you hear on Cease The Day. The result is a spellbinding and majestic piece of work that matches and in places surpasses their previous masterpiece Pure.The band have gone back to their black metal origins with a bit more aggression in the music this time round but black metal is just the foundation on which their sound is built with influences from progressive metal and doom metal at the forefront as well.
As well as aggression there is a distinct somber, contemplative and melancholic feel throughout the album. Opening track Empty Streets immediately sets the scene and mood for the album and like its predecessor Pure needs to be listened to as a whole rather than on a track by track basis though Cloud Seeder and Still Yearning particularly appealed to this reviewers ears. In The Woods… have surpassed themselves with Cease The Day with an album that sits in both light and darkness and all the shades in between the two. There were several moments throughout where my arms hairs were standing on end which is always a sign that I’m listening to something special. 9/10
Sadist: Spellbound (Scarlet Records) [Paul H]
Back in 2015 I reviewed Hyena, seventh album from Genoese technical progressive death metallers Sadist. I enjoyed it, giving the album a solid 7/10. Three years later and the Italians make a welcome return with their mix of complexity once more providing very interesting. This time the band has taken the unprecedented step of devoting Spellbound to the life and work of filmmaker Alfred Hitchcock. Each of the 11 tracks traces a plot of one of Hitchcock’s movies; hence we get The Birds, Notorious and Frenzy to name but three.
Sadist: Spellbound (Scarlet Records) [Paul H]
Back in 2015 I reviewed Hyena, seventh album from Genoese technical progressive death metallers Sadist. I enjoyed it, giving the album a solid 7/10. Three years later and the Italians make a welcome return with their mix of complexity once more providing very interesting. This time the band has taken the unprecedented step of devoting Spellbound to the life and work of filmmaker Alfred Hitchcock. Each of the 11 tracks traces a plot of one of Hitchcock’s movies; hence we get The Birds, Notorious and Frenzy to name but three.
With intricate time changes, layers of synths adding to the complexity as well as crushingly heavy passages, death growls galore and some blood-curdling moments, Spellbound is eclectic yet never dull. The jazz freestyle formation of Frenzy, for example, changes shape more often that 633 squadron ever did with its haunting piano. Bloody Bates pays homage to Psycho, a film that still gives me the willies all these years later and the eerie sinister intro paves way to some thunderous drumming If you like Scar Symmetry and Soilwork I would wager that you’d enjoy the progressive and technical nature of this album. 7/10
Commonwealth: Everyone Around Me (Nuclear Blast) [Alex]
Commonwealth writes Sentimental Indy songs with the emotionality of an act like the Wonder Years, combining this with instrumentation is more closely matched by the stripped-down nature of Car Seat Headrest or Remo Drive. True, these are hardly original, yet there is a certain charming amateurishness to the idea which reflects ordinary suburban life while remaining unafraid to tackle its harsh realities. Fear opens the theme social anxiousness, beginning with muted instrumentation and creeping rather than leaping into moments of exuberance, it does a decent job of setting the tone. ‘Welcome home to the rest of your life, you live paralyzed inside of your mind’ Tyler sings on Lost, with the music again taking a jagged approach, reverberating and reaching unpredictable highs and lows as if to give noise to anxiety.
Commonwealth: Everyone Around Me (Nuclear Blast) [Alex]
Commonwealth writes Sentimental Indy songs with the emotionality of an act like the Wonder Years, combining this with instrumentation is more closely matched by the stripped-down nature of Car Seat Headrest or Remo Drive. True, these are hardly original, yet there is a certain charming amateurishness to the idea which reflects ordinary suburban life while remaining unafraid to tackle its harsh realities. Fear opens the theme social anxiousness, beginning with muted instrumentation and creeping rather than leaping into moments of exuberance, it does a decent job of setting the tone. ‘Welcome home to the rest of your life, you live paralyzed inside of your mind’ Tyler sings on Lost, with the music again taking a jagged approach, reverberating and reaching unpredictable highs and lows as if to give noise to anxiety.
Playing to a similar idea, Neglect and Wilt feel nervous and distant, proving unforgivingly chilling, and bringing the serious concepts of isolation and seclusion to the forefront. Just as emotion has its peaks and chasms, however, so does the music on Everyone Around Me. Runaway and Happy liven matters, taking a remarkably hopeful tone, with the guitars soaring, and the bass and drums aiding in the ascent towards gigantic choruses. ‘The world is a better/bitter place’ contrast the choruses on the latter, creating a sentiment that while there is undoubtedly lots of morbidities to be found on this debut, it has positive underpinnings and messages. Overall, while I would argue that Commonwealth's first studio outing does not do precisely enough to define a unique identity for themselves, or to set that apart from contemporaries in pop punk and Indy, there is clearly an honesty and enthusiasm encircling this project. I, for one, will still be paying attention in the years to come 7/10
City Of Thieves: Beast Reality (Frontiers Records) [Paul H]
Another band that first came to our attention back in 2015 with their Incineration EP, the London three-piece is back with their debut album. Nothing much has changed, except that the swagger which was prevalent back then has taken a big step forward, and the music is significantly tighter. It’s dirty, it’s down, and it’s filthy gutter crawling rock n’ roll which draws greatly on the blues style of AC/DC, the sleaze of Aerosmith and of course, the downright raucous energy of Airborne.
City Of Thieves: Beast Reality (Frontiers Records) [Paul H]
Another band that first came to our attention back in 2015 with their Incineration EP, the London three-piece is back with their debut album. Nothing much has changed, except that the swagger which was prevalent back then has taken a big step forward, and the music is significantly tighter. It’s dirty, it’s down, and it’s filthy gutter crawling rock n’ roll which draws greatly on the blues style of AC/DC, the sleaze of Aerosmith and of course, the downright raucous energy of Airborne.
Tracks such as the foot stomping opener Reality Bites, the hyper paced Buzzed Up City and the smouldering Lay Me To Waste all please the aural senses. Bassist and vocalist Jamie Lailey has upped his smoky vocal delivery and he’s clearly been gargling with a bit of glass at times too. His booming bass lines hook neatly with Will Richards solid drumming which just leaves the savage riffs of Ben Auswick who clearly doesn’t know the meaning of the word ‘restraint’, such is the expression with which he lets loose. This is an album that sits neatly in the ‘put on, drive faster’ category. It’s a beast alright. 8/10
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