Burning Witches: Hexenhammer (Nuclear Blast)
Once again packed with proper speed metal riffs and produced by V.O Pulver and Destructions Scheimer the second album from Swiss metal band is the ideal accompaniment to its predecessor, there’s no honing to be needed here they had the defiant classic fist pumping heavy metal sound perfected on the debut so this doesn’t need to do anything else really. The band have garnered attention as they are an all female metal band, which is still sadly a rarity, however they should be judged as musicians and they can really play, check out a track like Open Your Mind which has thunderous rhythm gallops, slicing riffs and vocals that go from Halford shrieks to growls in an instant.
You get Priest throughout along with Mercyful Fate and Doro also both clear influences, it’s not all rampaging metal though they can do a ballad too, Don’t Cry My Tears has a Maiden-like hook too it but the style doesn’t really suit the vocals the band are better when they’re in full flight on big hitters such as Maiden Of Steel a feminist metal anthem. The record is based around the famous historical book the Malleus Maleficarum (a.k.a. The Hammer Of The Witches or Hexenhammer) that legitimated witch hunting. The album speaks about oppression, violence against the week and manipulation of facts all of which resonate today. Not a band to take it lying down Burning Witches are fighting against the macho world of metal at their own game with their own iron clad heaviness. Pure, classic metal like it's supposed to be! 8/10
Ursa: Abyss Between The Stars (Blood Music)
Ursa are a band that eek out slumbering sonic doom, they hail from the Sun drenched Bay Area of California, but their sound is lot colder and darker, it’s possibly why Blood Music in Finland have picked up this record for release. If you want to know what they’re all about listen to The Mountain that closes this 6 track album, it may only be 5 minutes long, the shortest song on the album but it’s got the scale of epic, fantasy influenced doom metal that owes as much to Candlemass and Rush as it does to The Sword and Neurosis, for every towering fuzz riff there’s a dreamy aura that floats past like a haze washing over you before the riffs come back to rattle your skull loose.
The sprawling doom riffs are well crafted by this trio who employ not only organs but also a banjo on Cave Of The Spider King added to the unearthly vocals and impressive sky reaching guitar solos (Serengeti Yeti), it’s the kind of cosmic epic doom metal that really gets my metal senses going. No major improvements needed or minor points deducted Ursa are seeking out that abyss with all the pot-powered focus they can muster. 8/10
Karybdis: In The Shadow Of Perception (Self Released)
Both breathtakingly savage and technically adventurous London based Melo-deathers Karybdis return with their third full length of blistering riffage, aggressive vocals and knack of going against expectations, lyrically especially they have shunned the bloodsplattered gore of their contemporaries instead they are focusing on the damage to the planet human beings are causing. The record opens with an orchestral swell but soon enough the bludgeoning begins, juicy breakdowns move into some sweeping strings and melodic uplifting solos adding the Swedish gleam of At The Gates to their American rage Lamb Of God mixed with Trivium and a hint of Sylosis.
The first track is American groove metal, the title track is pure fucking death metal with explosive blast beats and intricate guitar motifs exploding into a gloriously big chorus and beatdown at the climax. Manifestation is where the prog comes creeping in the orchestrations once again used to great effect before the insanity continues. Tech-metal continues to evolve from the realm of guitar nerds into the coolest train in town and Karybdis seem to be one of the bands spearheading it deftly balancing their brutality with their technicality, welcome the next chapter of these Brit metal warriors evolution! 8/10
Chaos Over Cosmos: The Unknown Voyage (Self Released)
So weird one this Chaos Over Cosmos are a two piece from Spain/Poland who didn't meet once during the making of this record such is the power of the internet. Javier Calderon is the vocals and lyrics while Rafal Bowman takes guitars, synths and programming, which is pretty much all the band need, there are no authentic drums here synths create the majority of the backing music with the guitars and vocals over the top however you don't notice due to the sheer musical journey this album takes you on. It's a heady brew of ambient synth textures that owe a debt to Yes, Hawkwind and Pink Floyd and galloping power metal which sounds like Maiden, Hammerfall or actually our own Fury. It's a strange concoction but it works, the ambient passages are enough to separate the rampaging drum blasts, searing solos and powerful vocals.
It's sort of like if Genesis played Maiden, I can't really get my head around it but I bloody enjoy it! It's only 5 songs long but they all have healthy run times clocking like prog epics the second track Armour Of The Stars (Xenogears) is a pretty good opening statement changing numerous times with some spoken word parts in there as well to make it totally overblown. Ok so the production is not the best but what do you expect from a DIY effort there are professional established bands doing this sort of thing much worse. It's and intriguing listen that's I'd encourage any progressive metal fans to pick up. 7/10
Wednesday, 14 November 2018
Tuesday, 13 November 2018
A View From The Back Of The Room: Blackberry Smoke (Live Review By Paul H)
Blackberry Smoke, The Tramshed, Cardiff
It has taken a while but Atlanta’s Blackberry Smoke finally made it to Cardiff in support of their latest album, Find A Light which was released in April this year. I’ve seen them in Birmingham, Bristol and London so it was pleasing not to have to travel far for this sold out event. Of course, the problem with a sold out event at The Tramshed is that it becomes just a bit too crowded. Luckily we were afforded seats as a result of the MJR Group’s really helpful support and assistance to Mrs H’s current health issues and this made the whole evening a lot more bearable. The whole vibe I get from the staff and security at this venue is always fantastic.
It has taken a while but Atlanta’s Blackberry Smoke finally made it to Cardiff in support of their latest album, Find A Light which was released in April this year. I’ve seen them in Birmingham, Bristol and London so it was pleasing not to have to travel far for this sold out event. Of course, the problem with a sold out event at The Tramshed is that it becomes just a bit too crowded. Luckily we were afforded seats as a result of the MJR Group’s really helpful support and assistance to Mrs H’s current health issues and this made the whole evening a lot more bearable. The whole vibe I get from the staff and security at this venue is always fantastic.
The Quaker City Night Hawks (QCNH) (7) hail from Fort Worth, Texas and have been together for close to ten years. They’re a rock n roll band in the true Southern tradition, steeped in the blues heavy rock from the 1970s but with a fresh modern spin. The band kicked through their set with pace and style, lead guitarist and vocalist David Matsler trading lead vocals with rhythm guitarist Sam Anderson. The band were enjoyable to watch and their music was certainly worth hunting out.
Main support was provided courtesy of the feisty punk garage rock of Junkyard (7), who come from Hollywood. Their latest album was given a solid review by Matt last year and whilst he didn’t feel the raw power of the band, their aggressive approach won over several fans, although maybe not the lady in the front row who looked aghast when vocalist David Roach climbed the barrier and inadvertently thrust his crotch in her face. The band, who formed originally in 1987 cross the stomp of AC/DC with the frenzy of the MC5 or The Stooges, and they certainly went for it. Clearly a challenge for some of the audience, I found them compelling and thoroughly entertaining.
I’ve written reviews about Blackberry Smoke (9) several times before. Their live shows just don’t disappoint. The band is slick, professional and extremely talented. They are also aware of heritage and threw in Come Together by The Beatles during the Sleeping Dogs medley along with a bit of Little Feat’s Sailin’ Shoes in their final medley. With a wider catalogue than ever their set list has become more varied in recent years. The band have a core number of songs and vary the reminder of the set from night to night which adds to the surprise. Older songs such as Ain’t Got The Blues, Shakin’ Hands With The Holy Ghost and Good One Comin’ On sit comfortably with newer songs such as Like An Arrow, Medicate My Mind and Flesh And Bone. Highlight of the evening was possibly The Whippoorwill, a track that is beautifully constructed and was fabulously delivered, the calm and gentle song perfect at slowing the pace right down. Charlie Starr may not interact with the audience that much, although he was taken with the Welsh flag on the barrier, preferring instead to let the music do the talking. His easy relaxed style is replicated by the rest of the band, including the no frills calmness of bassist Richard Turner who in the 18 months since the band were last on these shores has sprouted the most magnificent beard.
Main support was provided courtesy of the feisty punk garage rock of Junkyard (7), who come from Hollywood. Their latest album was given a solid review by Matt last year and whilst he didn’t feel the raw power of the band, their aggressive approach won over several fans, although maybe not the lady in the front row who looked aghast when vocalist David Roach climbed the barrier and inadvertently thrust his crotch in her face. The band, who formed originally in 1987 cross the stomp of AC/DC with the frenzy of the MC5 or The Stooges, and they certainly went for it. Clearly a challenge for some of the audience, I found them compelling and thoroughly entertaining.
I’ve written reviews about Blackberry Smoke (9) several times before. Their live shows just don’t disappoint. The band is slick, professional and extremely talented. They are also aware of heritage and threw in Come Together by The Beatles during the Sleeping Dogs medley along with a bit of Little Feat’s Sailin’ Shoes in their final medley. With a wider catalogue than ever their set list has become more varied in recent years. The band have a core number of songs and vary the reminder of the set from night to night which adds to the surprise. Older songs such as Ain’t Got The Blues, Shakin’ Hands With The Holy Ghost and Good One Comin’ On sit comfortably with newer songs such as Like An Arrow, Medicate My Mind and Flesh And Bone. Highlight of the evening was possibly The Whippoorwill, a track that is beautifully constructed and was fabulously delivered, the calm and gentle song perfect at slowing the pace right down. Charlie Starr may not interact with the audience that much, although he was taken with the Welsh flag on the barrier, preferring instead to let the music do the talking. His easy relaxed style is replicated by the rest of the band, including the no frills calmness of bassist Richard Turner who in the 18 months since the band were last on these shores has sprouted the most magnificent beard.
The packed venue responded with gusto throughout the night and from our vantage point above the main floor it was great to see the reactions of the various audience members to this band’s music. In general, in a week where audience behaviour has left much to be desired, the crowd seemed generally respectful of the Atlanta boys, although the man who decided to relieve himself against the bar door in the main arena should never be allowed to enter a music venue again. Closing with a stomping Ain’t Much Left Of Me, you could only marvel at the continued energy of a band that are always on the road, clocking up in excess of 250 gigs per annum. Blackberry Smoke deserve their success. Hopefully there is even better is to come for one of the hardest working bands in the business.
A View From The Back Of The Room: Reef
Reef & Broken Witt Rebels, Tramshed Cardiff
Everytime 90's Brit rockers Reef have played anywhere near me I seem to withere be away, working or at something else on the same night. Thankfully there was nothing stopping me from heading to the Cardiff date on their Revelation tour this time around. Having just the one support band meant a late start but as the room swelled to capacity the four souls tasked with warming everyone up stode onto the stage picked up their old school instruments and began with a blues-drenched fury.
Hailing from Birmingham (UK) the four piece blues machine that is Broken Witt Rebels (9) play the music of Birmingham (Alabama) infused with rump shaking grooves right down to their core, the rhythm section of Luke Davies and James Dudley get the body moving none more so than vocalist Danny Core who writhes with every single beat and hot tasty licks from James Tranter. Coming out of the gates with some bluesy rocking of Loose Change it was hot and sweaty work from band who have certainly perfected their craft every motion was choreographed to perfection as Core traded in his tambourine for a guitar allowing the band to really rock it up. With a sound not too dissimilar to Rival Sons the mix of alternative, blues even jangling indie it's the vocals of Core that really hook you, he's got the most whiskey soaked voice I've ever heard, raw and full of passion even when riffing his pipes left my gig partner open mouthed. Broken Witt Rebels are one of the bands tagged with 'ones to watch' status and for once I'm in agreement, a heavy gauntlet to lay down for the Bristol based rockers.
One of the bands that were part of that 90's Britrock school, Reef (8) have left a legacy of stone cold hits that are repeated on DAB & FM radio ad nauseum, just count how many times you've heard Place Your Hands, Come Back Brighter, Naked and Yer Old and you'll see that I'm right. Now these hits were nicely dispersed throughout their set with Place Your Hands coming as the tenth song just before Revelation from their glorious most recent album of the same name, opening with Naked and Stoned For Your Love it was a pretty raucous way to get the faithful and part-timers on board before exploring the wider reaches of their career. Soulful, blues based and knowing when to rock they are a live five-piece consisting of founder members Gary Stringer who's voice hasn't changed at all in all these years, his gravelly tones are still perfect for blasts of gospel such as How I Got Over and the brilliant Lone Rider while Jack Bessant's wizard like form stalked the stage cranking out the thick bass riffs.
They're joined by Jesse Wood on guitar who is cool, calm and collected peeling off licks like nobody's business flanked by their live keyboard player and drummer (founding drummer Dominic Greensmith left the band recently). The years of live performances meant they were a polished unit and playing to a devotee audience had them feeding off the crowd Stringer especially getting involved with the front row at times. I'm happy to have seen Reef and they were brilliant despite one or two of their fans being absolute pains in the arse the whole shebang was a great throwback but with enough newer material to remind you that they have plenty more in the tank.
Everytime 90's Brit rockers Reef have played anywhere near me I seem to withere be away, working or at something else on the same night. Thankfully there was nothing stopping me from heading to the Cardiff date on their Revelation tour this time around. Having just the one support band meant a late start but as the room swelled to capacity the four souls tasked with warming everyone up stode onto the stage picked up their old school instruments and began with a blues-drenched fury.
Hailing from Birmingham (UK) the four piece blues machine that is Broken Witt Rebels (9) play the music of Birmingham (Alabama) infused with rump shaking grooves right down to their core, the rhythm section of Luke Davies and James Dudley get the body moving none more so than vocalist Danny Core who writhes with every single beat and hot tasty licks from James Tranter. Coming out of the gates with some bluesy rocking of Loose Change it was hot and sweaty work from band who have certainly perfected their craft every motion was choreographed to perfection as Core traded in his tambourine for a guitar allowing the band to really rock it up. With a sound not too dissimilar to Rival Sons the mix of alternative, blues even jangling indie it's the vocals of Core that really hook you, he's got the most whiskey soaked voice I've ever heard, raw and full of passion even when riffing his pipes left my gig partner open mouthed. Broken Witt Rebels are one of the bands tagged with 'ones to watch' status and for once I'm in agreement, a heavy gauntlet to lay down for the Bristol based rockers.
One of the bands that were part of that 90's Britrock school, Reef (8) have left a legacy of stone cold hits that are repeated on DAB & FM radio ad nauseum, just count how many times you've heard Place Your Hands, Come Back Brighter, Naked and Yer Old and you'll see that I'm right. Now these hits were nicely dispersed throughout their set with Place Your Hands coming as the tenth song just before Revelation from their glorious most recent album of the same name, opening with Naked and Stoned For Your Love it was a pretty raucous way to get the faithful and part-timers on board before exploring the wider reaches of their career. Soulful, blues based and knowing when to rock they are a live five-piece consisting of founder members Gary Stringer who's voice hasn't changed at all in all these years, his gravelly tones are still perfect for blasts of gospel such as How I Got Over and the brilliant Lone Rider while Jack Bessant's wizard like form stalked the stage cranking out the thick bass riffs.
They're joined by Jesse Wood on guitar who is cool, calm and collected peeling off licks like nobody's business flanked by their live keyboard player and drummer (founding drummer Dominic Greensmith left the band recently). The years of live performances meant they were a polished unit and playing to a devotee audience had them feeding off the crowd Stringer especially getting involved with the front row at times. I'm happy to have seen Reef and they were brilliant despite one or two of their fans being absolute pains in the arse the whole shebang was a great throwback but with enough newer material to remind you that they have plenty more in the tank.
Monday, 12 November 2018
Reviews: Allfather, Alastor, The Prodigy, Damn Dice (Paul S, Paul H & Matt N)
Allfather: And All Will Be Desolation (Rotting Throne Records) [Paul S]
Allfather are a 5 piece from Kent, they’ve been going since 2014. And All Will Be Desolation is their second album coming 2 years since their very well received debut Bless The Earth With Fire. Allfather's sound is broadly doomy sludge (or possibly sludgy doom), but with influences from all over the metal spectrum. The album opens with the song Black Triangle, which starts with a clean, brooding guitar riff, before a riff the size mountain kicks in, and we are in massively heavy territory. After a slow pummelling start the track has a more mid-paced feel, but is still insanely heavy. The next track Citadels is faster, it has a similar pace to Crowbar’s faster material. This track has a relentless driving rhythm to it, it pounds the listener into the floor. Lord Betrayer has a slower feel to it, but in a way that is unfaltering and single-minded.
By Sword, By Famine, By Plague has a very slow start, the first half is as powerful and unstoppable as continental drift, and as heavy as a neutron star. Have you picked up on the fact that this is a really heavy album? The second half of the song is much faster, with a huge, headbanging groove to it, and a cracking solo, till the end where it slows down again for one of the heaviest riffs I’ve ever heard. Although Allfather have a very Doomy, Sludgy feel to them, there is a massive hardcore, punky attitude to all the material here. On the track Jackals Night the hardcore feel is brought to the fore for an absolute blast of a track; angry, fast and spitting blood and fire. After the ferocity of Jackals Night, comes the track Inherit The Dust, which has a slower more measured approach, don’t get me wrong, it’s still heavy but in a more tuneful melodic way. The final song Lampedusa is an eleven minute epic doom track which is based around a thundering bass riff, my god this stuff is heavy. And All Will Be Desolation is a fantastic album.
Well written, and with pacing that is nigh on perfect. When Allfather want to be insanely heavy they have the perfect tempo for it. When they want you to headbang, again, they have the perfect tempo, these sort of near perfect dynamics must make them an amazing live band. They have the heaviness of early Electric Wizard, the groove of Carnival Bizarre era Cathedral, the furious anger of Eyehategod and the swagger of Orange Goblin, whilst not actually sounding like any of those bands. Allfather have their own sound, they aren’t trying to anyone but themselves. Don’t be surprised if this album is featured in all the best album of the year lists in about a month, it’s going to be in mine. Did I mention that this album is really heavy? 9/10
Alastor: Slave To The Grave (RidingEasy Records) [Paul S]
This is Stockholm based Alastor’s first album, they released 2 EP’s in 2017. After a short intro, the album kicks off with Your Lives Are Worthless, which starts with a huge Sabbath infused riff. The track has a slight stonery feel to it, a relaxed tempo which induces gentle headbanging in the listener. The track has a real seventies feel to it, which is carried through the whole album. Drawn To The Abyss has just as massive guitar riffs as the first song, but this time we are joined by a hammond organ, increasing the hugeness, whilst also giving the track a bit of a psychedelic feel. NW588 is a much faster song than the first two, with more urgent drumming and great vocals. About halfway through the song slows down and gets more of a hard rock sense to it, with a really nice bluesy solo, and after having the sonic register filled with sound for most of the album, the space left in this section is a nice touch.
Next up we have the biggest curve ball on the album. Gone is a soft, gently strummed acoustic track. It acts as a midpoint to the album, clearing the pallet between the two huge half's of this album. In the last 2 minutes of the track, a drum beat comes in, which gives the song a bit of a jazz feel, a little like a rhythm from a Django Reinhardt song. The title track Slave To The Grave is another massive slab of psychedelic doom. Immense riffs, and a fantastic chorus. Final song The Spider Of My Love is a seventeen minute piece of epic hammond infused doom. An enormous track, slow grinding and in some ways quite menacing. The second half of the song is a huge instrumental, with extremely engaging solo’s and some great hammond work. The song is a great ending to a great album, beautifully musical, while at the same time being achingly heavy. Slave To The Grave is a really enjoyable album, it gets into your head after a while, you’ll be humming these huge riffs for weeks. Highly recommended. 8/10
The Prodigy: No Tourists (BMG Rights Management)
I really enjoyed The Prodigy’s last release, 2015’s The Day Is My Enemy. No Tourists falls significantly below that bar. Weaker, tired, unimaginative and far less stimulating, apart from the odd banger such as Timebomb Zone there is little to get excited about here. Of course, if you want new, innovative music from Liam Hewlett and co then you probably don’t really like The Prodigy. Their strength lies in the live arena, where the sparks can be generated from incendiary performances with the likes of Breath, Firestarter and Omen will still ignite the passions in a way No Tourists is unable to do. 4/10
Damn Dice: Thriller Killer (Self Released) [Matt N]
DAAAMN! This album was described to me as Guns N Roses meets metal but I felt like the lead singer of Damn Dice has more in common with Brian Johnson of AC/DC (higher acclaim in my books). But regardless, what a cool sound that I absolutely… didn’t care about at all. I’m not exactly sure why, my usual complaints about vocals being hidden in the mix don’t apply here, the album is well mixed, the guitars are awesome and heavy as all hell. The drums are interesting, fast paced and add a lot to the music unlike a lot of work I’ve reviewed. The guitar solos are classic rock and badass. And yet, I don’t like this album. Don’t think that means I don’t believe everyone involved in this is unbelievably talented; I fully believe Damn Dice are all incredible. In fact every opening riff immediately grabbed me and threatened to never let go. But when the vocals kick in… I lost interest.
And I suppose that’s the problem. I think the vocals are good; I just don't like the singer’s voice. Which is a horrible and deeply personal thing to say in a review. It almost seems unfair to write this review because the band is clearly incredible. I think I’d feel differently if I heard them live because these guys are unbelievably good. Go listen to this album, hear for yourself what I’m talking about. This album works on almost every level, the lyrics, the melodies, the rhythms, the solos… but I don’t like the vocals as they’ve been recorded. Maybe this is a case where I would prefer the vocals to be lower in the mix, I’m not entirely sure. Or maybe it’s that with this kind of metal/rock hybrid I am so used to hearing screamed vocals and gruffer vocalists that I am just not prepared to listen to Damn Dice at this point in time. That being said the big exception for me was the song Turn Back The Clock that I felt really suited the singer’s vocals, but then contrast that with Leaving With Nothing where I’m pretty sure some of the high notes are awkwardly flat. Still for what is their self proclaimed 'final album' it's a good one. 8/10
Allfather are a 5 piece from Kent, they’ve been going since 2014. And All Will Be Desolation is their second album coming 2 years since their very well received debut Bless The Earth With Fire. Allfather's sound is broadly doomy sludge (or possibly sludgy doom), but with influences from all over the metal spectrum. The album opens with the song Black Triangle, which starts with a clean, brooding guitar riff, before a riff the size mountain kicks in, and we are in massively heavy territory. After a slow pummelling start the track has a more mid-paced feel, but is still insanely heavy. The next track Citadels is faster, it has a similar pace to Crowbar’s faster material. This track has a relentless driving rhythm to it, it pounds the listener into the floor. Lord Betrayer has a slower feel to it, but in a way that is unfaltering and single-minded.
By Sword, By Famine, By Plague has a very slow start, the first half is as powerful and unstoppable as continental drift, and as heavy as a neutron star. Have you picked up on the fact that this is a really heavy album? The second half of the song is much faster, with a huge, headbanging groove to it, and a cracking solo, till the end where it slows down again for one of the heaviest riffs I’ve ever heard. Although Allfather have a very Doomy, Sludgy feel to them, there is a massive hardcore, punky attitude to all the material here. On the track Jackals Night the hardcore feel is brought to the fore for an absolute blast of a track; angry, fast and spitting blood and fire. After the ferocity of Jackals Night, comes the track Inherit The Dust, which has a slower more measured approach, don’t get me wrong, it’s still heavy but in a more tuneful melodic way. The final song Lampedusa is an eleven minute epic doom track which is based around a thundering bass riff, my god this stuff is heavy. And All Will Be Desolation is a fantastic album.
Well written, and with pacing that is nigh on perfect. When Allfather want to be insanely heavy they have the perfect tempo for it. When they want you to headbang, again, they have the perfect tempo, these sort of near perfect dynamics must make them an amazing live band. They have the heaviness of early Electric Wizard, the groove of Carnival Bizarre era Cathedral, the furious anger of Eyehategod and the swagger of Orange Goblin, whilst not actually sounding like any of those bands. Allfather have their own sound, they aren’t trying to anyone but themselves. Don’t be surprised if this album is featured in all the best album of the year lists in about a month, it’s going to be in mine. Did I mention that this album is really heavy? 9/10
Alastor: Slave To The Grave (RidingEasy Records) [Paul S]
This is Stockholm based Alastor’s first album, they released 2 EP’s in 2017. After a short intro, the album kicks off with Your Lives Are Worthless, which starts with a huge Sabbath infused riff. The track has a slight stonery feel to it, a relaxed tempo which induces gentle headbanging in the listener. The track has a real seventies feel to it, which is carried through the whole album. Drawn To The Abyss has just as massive guitar riffs as the first song, but this time we are joined by a hammond organ, increasing the hugeness, whilst also giving the track a bit of a psychedelic feel. NW588 is a much faster song than the first two, with more urgent drumming and great vocals. About halfway through the song slows down and gets more of a hard rock sense to it, with a really nice bluesy solo, and after having the sonic register filled with sound for most of the album, the space left in this section is a nice touch.
Next up we have the biggest curve ball on the album. Gone is a soft, gently strummed acoustic track. It acts as a midpoint to the album, clearing the pallet between the two huge half's of this album. In the last 2 minutes of the track, a drum beat comes in, which gives the song a bit of a jazz feel, a little like a rhythm from a Django Reinhardt song. The title track Slave To The Grave is another massive slab of psychedelic doom. Immense riffs, and a fantastic chorus. Final song The Spider Of My Love is a seventeen minute piece of epic hammond infused doom. An enormous track, slow grinding and in some ways quite menacing. The second half of the song is a huge instrumental, with extremely engaging solo’s and some great hammond work. The song is a great ending to a great album, beautifully musical, while at the same time being achingly heavy. Slave To The Grave is a really enjoyable album, it gets into your head after a while, you’ll be humming these huge riffs for weeks. Highly recommended. 8/10
The Prodigy: No Tourists (BMG Rights Management)
I really enjoyed The Prodigy’s last release, 2015’s The Day Is My Enemy. No Tourists falls significantly below that bar. Weaker, tired, unimaginative and far less stimulating, apart from the odd banger such as Timebomb Zone there is little to get excited about here. Of course, if you want new, innovative music from Liam Hewlett and co then you probably don’t really like The Prodigy. Their strength lies in the live arena, where the sparks can be generated from incendiary performances with the likes of Breath, Firestarter and Omen will still ignite the passions in a way No Tourists is unable to do. 4/10
Damn Dice: Thriller Killer (Self Released) [Matt N]
DAAAMN! This album was described to me as Guns N Roses meets metal but I felt like the lead singer of Damn Dice has more in common with Brian Johnson of AC/DC (higher acclaim in my books). But regardless, what a cool sound that I absolutely… didn’t care about at all. I’m not exactly sure why, my usual complaints about vocals being hidden in the mix don’t apply here, the album is well mixed, the guitars are awesome and heavy as all hell. The drums are interesting, fast paced and add a lot to the music unlike a lot of work I’ve reviewed. The guitar solos are classic rock and badass. And yet, I don’t like this album. Don’t think that means I don’t believe everyone involved in this is unbelievably talented; I fully believe Damn Dice are all incredible. In fact every opening riff immediately grabbed me and threatened to never let go. But when the vocals kick in… I lost interest.
And I suppose that’s the problem. I think the vocals are good; I just don't like the singer’s voice. Which is a horrible and deeply personal thing to say in a review. It almost seems unfair to write this review because the band is clearly incredible. I think I’d feel differently if I heard them live because these guys are unbelievably good. Go listen to this album, hear for yourself what I’m talking about. This album works on almost every level, the lyrics, the melodies, the rhythms, the solos… but I don’t like the vocals as they’ve been recorded. Maybe this is a case where I would prefer the vocals to be lower in the mix, I’m not entirely sure. Or maybe it’s that with this kind of metal/rock hybrid I am so used to hearing screamed vocals and gruffer vocalists that I am just not prepared to listen to Damn Dice at this point in time. That being said the big exception for me was the song Turn Back The Clock that I felt really suited the singer’s vocals, but then contrast that with Leaving With Nothing where I’m pretty sure some of the high notes are awkwardly flat. Still for what is their self proclaimed 'final album' it's a good one. 8/10
Reviews: Haken, Deathrite, Lost In Thought, Bitch Hawk (Alex, Sean, RIch & Paul S)
Haken: Vector (InsideOut Records) [Alex]
Despite straggling contemporary progressive metal as Opeth and Dream Theatre by at least twenty years, while Haken have lacked in permanency, they’ve excelled in quality - Visions and The Mountain, are already held up as classics within some circles. Showing their more humoured stripes, Affinity was in one part quintessentially 21st Century, and another part perfectly executed throwback. Notability posed the question of whether they would continue on a retro inspired pathway, or return to their visceral and dramaticized nature. Choosing instead to do both, Vector stands as a dark, brooding and venomous. Not shy conceptually, we deal with harsh clinical realities of experimentation, psychological torture, and medical vigilantism: Concepts precisely captured by the warped and vivid tone of the melodies intersecting and duelling with the instrumentation.
Clear begins proceedings. While only an introduction, the domineering synths emanate a chillingly psychotic anxiety. Disturbing the tension The Good Doctor, cuts through the atmosphere with a splicing lead melody and gnashing synths. ‘Electricity is the cure that he really needs, bring an empire to his knees’ relishes the voice of the surgeon portrayed here, the maniacal soundscapes, stressing the extremity of electro shock therapy, a condemned form of surgery, described in disturbing detail. Although the lyrics to Puzzle Box are left to be deciphered by the listener, they appears to tell of paranoia and obsession, musings in the vein of ‘A fleeting sense of self-worth, melts away into oblivion’ proving graphic while scarily relatable. Guiding our sensations, is the changeable and schizophrenic tone which staggers from quiet introspection, to panicked hysteria to a beautifully melodic chorus, poignantly asking ‘how can truth set us free when lies are all we have’. While being just as enthralling, Veil takes the approach of beginning a slow ballad with lush harmonies and subtle piano, before gradually swelling in dramatics, as sprawling complexity takes hold, and the words describes one desperately cleansing themselves of regret and guilt.
Already taken on an emotional thrill ride, Nil By Mouth guides us into a strange and alluring instrumental, taking us through all the different aspects of Haken’s musical character while making us reflect on the dystopian and difficult themes explored so far. To be saying so of an instrumental is high praise indeed, yet that’s testament to how excellently these songs flow and lead into one another. For another perfect example look at Host, which while despite a lot less dense and expansive than other moments on Vector, has the darker tone carried by downtrodden instrumentals and sombre lyricism, with such lines as ‘Sail away, goodbye, I’ve been left down here to die’ sending chills riveting through my nervous system. A Cell Divides closes the album, its precise nature speaking to the scientific and tentative themes. That said, as the record reaches its crescendoing seconds, the words ‘It’s the beauty in the flaw, the grace of imperfection’ ring out, emphasising that while this band and entire genre has a habit of cloaking any relatedness behind elaborate tales, at their core, they remain incredibly emotional and immersive. 9/10
Deathrite: Nightmare's Reign (Century Media) [Sean]
Death metal, death metal, death metal. You’ve always been there for me when black metal left me cold, when power metal mad me feel sickly and when prog straight up sent me to sleep. In many cases, I love you when you’re at your most simple and direct. No fucking about, just straight up impalement and more filth than an unwashed abattoir. Germany’s Deathrite very much belong to this category, highly influenced by the Stockholm rumblings with lashings of good ol’ crusty punk. A solid foundation to be sure but upon listening to new album, Nightmares Reign, it’s clear that’s there’s other demons lurking in the deep. Does tweaking with a well worn formula reap rewards? Or do Deathrite fall completely into the abyss? Let the ritual begin!
Ough! Fucking Ough! That’s what greets me after When Nightmares Reign atmospheric crescendo, transitioning into filthy d-beat beats and crunchy riffs. Consider me sold, as the punishing stomp is elevated even further by some really ripping solos. Then another “OUGH” as vocalist, Tony Heinrich, is intent on vomiting the entire contents of his being across Appetite For Murder. Then it slows, melody seeps in though this is a mere illusion. What comes is something akin to proto-black metal, briefly rearing it’s ugly head before returning to its deathly beginnings. And there we have it, the crux of the experimentation as Deathrite shift slightly between these different stances. At times embodying a Celtic Frost/Hellhammer stomp, other times like prime Dismember or even Autopsy during their slower moments. Demon Soul is downright nasty, whereas Bloodlust leans somewhat more into blackened territories, though still with one foot firmly planted into the grave. Temptation Calls is the strangest beast on the album. Starting with the typical death metal stomp, it suddenly slows down to settle in more melodic, dare I say, progressive waters. At 9 minutes, it’s a fitting if slightly overlong end of a filthy ride.
Let’s get down to it then; Nightmares Reign is not a huge departure from ye olde metal of death. Deathrite are far from leaving their deathly beginnings, but it’s evident that the Germans are indeed looking to different horizons. And for the most part, it works really well though it’s not without a few minor quibbles. There’s far more of an emphasis on groove than outright speed, which may disappoint and turn off some. For myself, the only issue was the length of the longer songs. Despite containing some great moments, they buckle ever so slightly due to their length, though this is hardly a blemish. In closing, Deathright’s more playful nature of Nightmares Reign empowers the Germans with a newfound air of versatility, neatly fitting into their rot ridden oeuvre. One more time lads, OUGH! 8/10
Lost In Thought: Renascence (Self Released) [Rich]
It’s been seven long years since Swansea based progressive metallers Lost In Thought released their debut album Opus Arise and this band has overcome a lot in that period from a horrific road accident which completely derailed the band to the band pretty much splitting into two to members leaving and for a while it looked like we would never get a second album out of the band. Thankfully with the addition of new members album number two Renascence is finally here and it has very much been worth the wait.
The original members of the band remaining are guitarist David Grey and drummer Chris Billingham and they have been joined by bassist Josh Heard, keyboardist Diego Zapatero and vocalist Deane Lazenby. The vocals by original vocalist Nate Loosemore were a definite highlight of the debut album but with Deane they have most an ever better singer with an incredibly rich powerful voice and an incredible range. The musicianship and songwriting throughout the album is second to none. The band is still very reminiscent of European progressive metal bands such as Anubis Gate, Pagan’s Mind and Vanden Plas but there’s a definite influence from bands such as Haken and Leprous this time round especially with the contemporary sounding keyboards and some of the guitar riffs almost veer into djent territory but this is by no means a bad thing with Lost In Thought ensuring that their progressive power metal style sounds very modern and up to date.
Renascence had me in awe from the get go with the opening double punch of A New Life and Ascendance sending my mouth agape and the hairs on my arms standing on end. The quality remains at this astonishingly high level throughout the entirety of the album with other notable songs being the melodic Save me whilst the heaviness is brought forth on Delirium and Legacy and the band reach epic proportions on the massive album closer Absolution.
It’s clearly evident that an incredible amount of love and hard work has gone into this album as it easily surpasses Opus Arise in terms of quality and Opus Arise is a brilliant album. Progressive metal fans seriously need to hear this album as it’s easily one of the finest releases of the year. A huge welcome back to Lost In Thought. 9/10
Bitch Hawk: Joy (Adrian Recordings) [Paul S]
Joy is Bitch Hawk’s second album. In fact it’s Bitch Hawks second album this year; their debut was released in January. The Stockholm based four piece clearly aren’t afraid of a bit of hard work, but is the album any good? Or are Bitch Hawk just putting out any old crap they can cobble together? Luckily for this reviewer, it’s the former, as this is a great piece of work.
The music on offer here is a mix of crossover thrash, hardcore and punk. First track Good News kicks the album off in very thrashy fashion, in fact this is probably the purest thrash on the album. Tight, fast riffs, aggressive vocals and great drums. Really impressive simple, crossover thrash. But, as I said this is an album with a few different moods. Baby Love is a slower looser track, more punk than thrash, but still with lots of energy, and a very heavy ending. EDM is slower still, and has a bit of an alternative metal sound, it’s got a fairly relentless feel to it, in some ways the slower tempo gives the song this relentless aspect. Optical Character Recognition has a fairly measured feel to it, probably the most controlled, well behaved track on the album.
Slime is a fairly loose hardcore track, faster than the songs that came before it, possibly a little power violence in execution. The hardcore is tighter and more aggressive with the sing Get Up Your Fine, fast and in your face, this track has a definite intent. The next track Rikspsyk is an out and out blast, in some ways it’s close to grindcore in it’s ferociousness. Joy is a great album. Although there are lots of different sounds on this album, the one thing they all have in common is energy, lots of energy. In fact Bitch Hawk have so much energy if science can find a way to tap into this energy, we might have found a replacement for fossil fuels! If you like fast music packed with exuberance, fun and masses of energy, definitely check this out. 8/10
Despite straggling contemporary progressive metal as Opeth and Dream Theatre by at least twenty years, while Haken have lacked in permanency, they’ve excelled in quality - Visions and The Mountain, are already held up as classics within some circles. Showing their more humoured stripes, Affinity was in one part quintessentially 21st Century, and another part perfectly executed throwback. Notability posed the question of whether they would continue on a retro inspired pathway, or return to their visceral and dramaticized nature. Choosing instead to do both, Vector stands as a dark, brooding and venomous. Not shy conceptually, we deal with harsh clinical realities of experimentation, psychological torture, and medical vigilantism: Concepts precisely captured by the warped and vivid tone of the melodies intersecting and duelling with the instrumentation.
Clear begins proceedings. While only an introduction, the domineering synths emanate a chillingly psychotic anxiety. Disturbing the tension The Good Doctor, cuts through the atmosphere with a splicing lead melody and gnashing synths. ‘Electricity is the cure that he really needs, bring an empire to his knees’ relishes the voice of the surgeon portrayed here, the maniacal soundscapes, stressing the extremity of electro shock therapy, a condemned form of surgery, described in disturbing detail. Although the lyrics to Puzzle Box are left to be deciphered by the listener, they appears to tell of paranoia and obsession, musings in the vein of ‘A fleeting sense of self-worth, melts away into oblivion’ proving graphic while scarily relatable. Guiding our sensations, is the changeable and schizophrenic tone which staggers from quiet introspection, to panicked hysteria to a beautifully melodic chorus, poignantly asking ‘how can truth set us free when lies are all we have’. While being just as enthralling, Veil takes the approach of beginning a slow ballad with lush harmonies and subtle piano, before gradually swelling in dramatics, as sprawling complexity takes hold, and the words describes one desperately cleansing themselves of regret and guilt.
Already taken on an emotional thrill ride, Nil By Mouth guides us into a strange and alluring instrumental, taking us through all the different aspects of Haken’s musical character while making us reflect on the dystopian and difficult themes explored so far. To be saying so of an instrumental is high praise indeed, yet that’s testament to how excellently these songs flow and lead into one another. For another perfect example look at Host, which while despite a lot less dense and expansive than other moments on Vector, has the darker tone carried by downtrodden instrumentals and sombre lyricism, with such lines as ‘Sail away, goodbye, I’ve been left down here to die’ sending chills riveting through my nervous system. A Cell Divides closes the album, its precise nature speaking to the scientific and tentative themes. That said, as the record reaches its crescendoing seconds, the words ‘It’s the beauty in the flaw, the grace of imperfection’ ring out, emphasising that while this band and entire genre has a habit of cloaking any relatedness behind elaborate tales, at their core, they remain incredibly emotional and immersive. 9/10
Deathrite: Nightmare's Reign (Century Media) [Sean]
Death metal, death metal, death metal. You’ve always been there for me when black metal left me cold, when power metal mad me feel sickly and when prog straight up sent me to sleep. In many cases, I love you when you’re at your most simple and direct. No fucking about, just straight up impalement and more filth than an unwashed abattoir. Germany’s Deathrite very much belong to this category, highly influenced by the Stockholm rumblings with lashings of good ol’ crusty punk. A solid foundation to be sure but upon listening to new album, Nightmares Reign, it’s clear that’s there’s other demons lurking in the deep. Does tweaking with a well worn formula reap rewards? Or do Deathrite fall completely into the abyss? Let the ritual begin!
Ough! Fucking Ough! That’s what greets me after When Nightmares Reign atmospheric crescendo, transitioning into filthy d-beat beats and crunchy riffs. Consider me sold, as the punishing stomp is elevated even further by some really ripping solos. Then another “OUGH” as vocalist, Tony Heinrich, is intent on vomiting the entire contents of his being across Appetite For Murder. Then it slows, melody seeps in though this is a mere illusion. What comes is something akin to proto-black metal, briefly rearing it’s ugly head before returning to its deathly beginnings. And there we have it, the crux of the experimentation as Deathrite shift slightly between these different stances. At times embodying a Celtic Frost/Hellhammer stomp, other times like prime Dismember or even Autopsy during their slower moments. Demon Soul is downright nasty, whereas Bloodlust leans somewhat more into blackened territories, though still with one foot firmly planted into the grave. Temptation Calls is the strangest beast on the album. Starting with the typical death metal stomp, it suddenly slows down to settle in more melodic, dare I say, progressive waters. At 9 minutes, it’s a fitting if slightly overlong end of a filthy ride.
Let’s get down to it then; Nightmares Reign is not a huge departure from ye olde metal of death. Deathrite are far from leaving their deathly beginnings, but it’s evident that the Germans are indeed looking to different horizons. And for the most part, it works really well though it’s not without a few minor quibbles. There’s far more of an emphasis on groove than outright speed, which may disappoint and turn off some. For myself, the only issue was the length of the longer songs. Despite containing some great moments, they buckle ever so slightly due to their length, though this is hardly a blemish. In closing, Deathright’s more playful nature of Nightmares Reign empowers the Germans with a newfound air of versatility, neatly fitting into their rot ridden oeuvre. One more time lads, OUGH! 8/10
Lost In Thought: Renascence (Self Released) [Rich]
It’s been seven long years since Swansea based progressive metallers Lost In Thought released their debut album Opus Arise and this band has overcome a lot in that period from a horrific road accident which completely derailed the band to the band pretty much splitting into two to members leaving and for a while it looked like we would never get a second album out of the band. Thankfully with the addition of new members album number two Renascence is finally here and it has very much been worth the wait.
The original members of the band remaining are guitarist David Grey and drummer Chris Billingham and they have been joined by bassist Josh Heard, keyboardist Diego Zapatero and vocalist Deane Lazenby. The vocals by original vocalist Nate Loosemore were a definite highlight of the debut album but with Deane they have most an ever better singer with an incredibly rich powerful voice and an incredible range. The musicianship and songwriting throughout the album is second to none. The band is still very reminiscent of European progressive metal bands such as Anubis Gate, Pagan’s Mind and Vanden Plas but there’s a definite influence from bands such as Haken and Leprous this time round especially with the contemporary sounding keyboards and some of the guitar riffs almost veer into djent territory but this is by no means a bad thing with Lost In Thought ensuring that their progressive power metal style sounds very modern and up to date.
Renascence had me in awe from the get go with the opening double punch of A New Life and Ascendance sending my mouth agape and the hairs on my arms standing on end. The quality remains at this astonishingly high level throughout the entirety of the album with other notable songs being the melodic Save me whilst the heaviness is brought forth on Delirium and Legacy and the band reach epic proportions on the massive album closer Absolution.
It’s clearly evident that an incredible amount of love and hard work has gone into this album as it easily surpasses Opus Arise in terms of quality and Opus Arise is a brilliant album. Progressive metal fans seriously need to hear this album as it’s easily one of the finest releases of the year. A huge welcome back to Lost In Thought. 9/10
Bitch Hawk: Joy (Adrian Recordings) [Paul S]
Joy is Bitch Hawk’s second album. In fact it’s Bitch Hawks second album this year; their debut was released in January. The Stockholm based four piece clearly aren’t afraid of a bit of hard work, but is the album any good? Or are Bitch Hawk just putting out any old crap they can cobble together? Luckily for this reviewer, it’s the former, as this is a great piece of work.
The music on offer here is a mix of crossover thrash, hardcore and punk. First track Good News kicks the album off in very thrashy fashion, in fact this is probably the purest thrash on the album. Tight, fast riffs, aggressive vocals and great drums. Really impressive simple, crossover thrash. But, as I said this is an album with a few different moods. Baby Love is a slower looser track, more punk than thrash, but still with lots of energy, and a very heavy ending. EDM is slower still, and has a bit of an alternative metal sound, it’s got a fairly relentless feel to it, in some ways the slower tempo gives the song this relentless aspect. Optical Character Recognition has a fairly measured feel to it, probably the most controlled, well behaved track on the album.
Slime is a fairly loose hardcore track, faster than the songs that came before it, possibly a little power violence in execution. The hardcore is tighter and more aggressive with the sing Get Up Your Fine, fast and in your face, this track has a definite intent. The next track Rikspsyk is an out and out blast, in some ways it’s close to grindcore in it’s ferociousness. Joy is a great album. Although there are lots of different sounds on this album, the one thing they all have in common is energy, lots of energy. In fact Bitch Hawk have so much energy if science can find a way to tap into this energy, we might have found a replacement for fossil fuels! If you like fast music packed with exuberance, fun and masses of energy, definitely check this out. 8/10
Sunday, 11 November 2018
Reviews: Opeth, Kalidia, Red Dragon Cartel, Algy Ward's Tank (Reviews By Paul H & Alex)
Opeth: Garden Of The Titans: Live At Red Rocks Amphitheater (Nuclear Blast) [Paul H]
Those of you who follow the Musipedia will know that Opeth sit in my top two favourite bands of all time. This release captures the band on the US leg of their Sorceress tour from 2017. Recorded at the stunning Red Rocks amphitheater in Denver, Colorado, it is a fabulous setting. This DVD/CD release was recorded at Red Rocks on 11th May 2017. I was fortunate enough to catch them later that year and this is a solid representation of the form that the band were in on that tour. With a dry sense of humour, Mikael Akerfeldt’s between song banter is always a highlight, including his continued deflection of the inevitable shouts for Freebird. Here it’s the music that really does the talking Garden Of The Titans captures Opeth in imperious and majestic form.
The DVD provides the visuals, with an impressive light show and clever imagery on the screens, as well as multi-angle shots of the band. All the musicians in this band combine to deliver some of the band’s complex and lengthy progressive songs that are both crushingly heavy and ethereally light. The fusion of prog, death metal, black metal, hard rock and jazz which makes Opeth unlike any other band around today. The setlist at Red Rocks was more varied that the UK tour but still contains some very heavy beasts indeed. The band opened the evening with the jazz intro segueing into Sorceress, the gruesomely heavy Ghost Of Perdition and then the intensity of Demon Of The Fall.
The Wilde Flowers and In My Time Of Need allow more delicate exploration and includes some impressive audience participation. It’s noticeable that keyboard player Joakim Svalberg is playing more of a role with his Hammond prominent but also his backing vocals supporting the others. Akerfeldt’s death growls do appear less effective but it’s a minor point as the pulverising Heir Apparent and an absolutely punishing Deliverance close the set. As live albums go this is just superb. 10/10
Kalidia: The Frozen Throne (Inner Wound Recordings) [Alex]
Theatricality and grandiosity are values I hold dear in music. Acts in the vein of Kalidia have the potential to create vast and gorgeous textures by daring to experiment. It’s not an objective measurement of quality, nor is it a standard I apply to everything. though it is a taste probably owing to an early love of Queen, film scores and – as an unashamed guilty pleasure - musical theatre. The Frozen Throne is certainly ambitious and even commendably takes some paths that I didn’t expect, only really falling short of being great in the comfortability of tired old clichés, and lack of obligation to their splendorous ideas
Let me stress that for a second album, this is by no stretch of the imagination a disappointment. Each member of the band plays with precision and Nicola Rosellini's vocals are beautifully melodic. Often you can see the makings of a great symphonic power quartet. Circles Spell introduces some alluring Middle Eastern influences, beginning with sitar and with a charming oriental hook lacing its way throughout, while aggressive instrumentation roars alongside. Likewise, To The Darkness I Belong contrasts distortion and thundering rhythms, with Celtic or Vaudevillian instruments, making the twisted fairy tales told across the lyricism feel animated and alive. Myth Of Masada and Go Beyond take these experiments to epic heights, placing the orchestration front and centre, rejoicing in their eloquence. It is in these moments among others, that The Frozen Throne sparkles and Glimmers with royal prestige.
With everything I’ve already said, my criticisms aren’t so much harsh as they are concepts which I think will be improved on, not far into Kalidia’s future. Firstly, for all the dazzling moments that exist, songs such as the opening Frozen Throne and the closing Queen Of The Forsaken do not display enough of a multifaceted nature or instrumental palate to make for a believable aesthetic. Incidentally, while I can respect Black Sails and Orpheus, for effectively creating tension they the same issue. Finally, if I can allude to film soundtracks again, one potential pitfall incurred in attempts to sound powerful is that every song ends up sounding like a battle sequence. That said, we do get a little nuance here, and that’s a skill which I’m hoping will bloom into radiant colour. Indeed, where there are problems, they are the pitfalls of talented musicians cutting out their own sphere of influence, as of fashioning a throne from ice 7/10
Red Dragon Cartel: Patina (Frontiers Records) [Paul H]
If I read right recently in the media, Patina may be Jake E Lee’s last album. Period. Featuring Phil Varzone (Skid Row) and bassist Anthony Esposito along side Lee and vocalist Darren James Smith, back in the fold having sorted his differences with Lee, we move forward four years after their eponymous debut. Patina is solid without being ball grabbing. This is classic rock in every sense, with an American larger than life production. Songs like Crooked Man with its Alice In Chains breakdown and the foot stomping Speedbag really catch the attention. However, there are a few turkeys here; average Chasing Ghosts and My Beautiful Mess both contenders for blandest song of the year. Whilst Lee’s guitar work is grittier and gnarly than before it retains the quality that secured his slot with Ozzy for those few glorious years albeit sans the songs with anything near the quality of the double ‘O’. One for background music whilst cooking methinks. 5/10
Algy Ward’s Tank: Sturmpanzer (Dissonance Productions) [Paul H]
Synonymous with the original Tank line-up which formed in 1980, Algy Ward was part of the band responsible for the legendary Filth Hounds of Hades album in 1982 at the height of the NWOBHM movement. Tank were regularly compared to Motörhead, mainly because they were a three-piece and because they displayed a similar punk-edged playing style. It’s been a pretty shambolic history ever since though, with the band changing line-ups, splitting into the Tucker/Evans Tank releasing three albums (and playing as a five-piece) whilst Ward released Breath of the Pit in 2013. This is, as it appears, a solo effort from Ward as he sings and plays all instruments. There are a couple of listenable songs here, but his vocal delivery was never his strong point and he reinforces that with a ropey performance. The seven-minute plus instrumental, Revenge Of The Filth Hounds Pt 1 & 2, a brooding affair, at least partially restores some pride to an otherwise simply average album. 4/10
Those of you who follow the Musipedia will know that Opeth sit in my top two favourite bands of all time. This release captures the band on the US leg of their Sorceress tour from 2017. Recorded at the stunning Red Rocks amphitheater in Denver, Colorado, it is a fabulous setting. This DVD/CD release was recorded at Red Rocks on 11th May 2017. I was fortunate enough to catch them later that year and this is a solid representation of the form that the band were in on that tour. With a dry sense of humour, Mikael Akerfeldt’s between song banter is always a highlight, including his continued deflection of the inevitable shouts for Freebird. Here it’s the music that really does the talking Garden Of The Titans captures Opeth in imperious and majestic form.
The DVD provides the visuals, with an impressive light show and clever imagery on the screens, as well as multi-angle shots of the band. All the musicians in this band combine to deliver some of the band’s complex and lengthy progressive songs that are both crushingly heavy and ethereally light. The fusion of prog, death metal, black metal, hard rock and jazz which makes Opeth unlike any other band around today. The setlist at Red Rocks was more varied that the UK tour but still contains some very heavy beasts indeed. The band opened the evening with the jazz intro segueing into Sorceress, the gruesomely heavy Ghost Of Perdition and then the intensity of Demon Of The Fall.
The Wilde Flowers and In My Time Of Need allow more delicate exploration and includes some impressive audience participation. It’s noticeable that keyboard player Joakim Svalberg is playing more of a role with his Hammond prominent but also his backing vocals supporting the others. Akerfeldt’s death growls do appear less effective but it’s a minor point as the pulverising Heir Apparent and an absolutely punishing Deliverance close the set. As live albums go this is just superb. 10/10
Kalidia: The Frozen Throne (Inner Wound Recordings) [Alex]
Theatricality and grandiosity are values I hold dear in music. Acts in the vein of Kalidia have the potential to create vast and gorgeous textures by daring to experiment. It’s not an objective measurement of quality, nor is it a standard I apply to everything. though it is a taste probably owing to an early love of Queen, film scores and – as an unashamed guilty pleasure - musical theatre. The Frozen Throne is certainly ambitious and even commendably takes some paths that I didn’t expect, only really falling short of being great in the comfortability of tired old clichés, and lack of obligation to their splendorous ideas
Let me stress that for a second album, this is by no stretch of the imagination a disappointment. Each member of the band plays with precision and Nicola Rosellini's vocals are beautifully melodic. Often you can see the makings of a great symphonic power quartet. Circles Spell introduces some alluring Middle Eastern influences, beginning with sitar and with a charming oriental hook lacing its way throughout, while aggressive instrumentation roars alongside. Likewise, To The Darkness I Belong contrasts distortion and thundering rhythms, with Celtic or Vaudevillian instruments, making the twisted fairy tales told across the lyricism feel animated and alive. Myth Of Masada and Go Beyond take these experiments to epic heights, placing the orchestration front and centre, rejoicing in their eloquence. It is in these moments among others, that The Frozen Throne sparkles and Glimmers with royal prestige.
With everything I’ve already said, my criticisms aren’t so much harsh as they are concepts which I think will be improved on, not far into Kalidia’s future. Firstly, for all the dazzling moments that exist, songs such as the opening Frozen Throne and the closing Queen Of The Forsaken do not display enough of a multifaceted nature or instrumental palate to make for a believable aesthetic. Incidentally, while I can respect Black Sails and Orpheus, for effectively creating tension they the same issue. Finally, if I can allude to film soundtracks again, one potential pitfall incurred in attempts to sound powerful is that every song ends up sounding like a battle sequence. That said, we do get a little nuance here, and that’s a skill which I’m hoping will bloom into radiant colour. Indeed, where there are problems, they are the pitfalls of talented musicians cutting out their own sphere of influence, as of fashioning a throne from ice 7/10
If I read right recently in the media, Patina may be Jake E Lee’s last album. Period. Featuring Phil Varzone (Skid Row) and bassist Anthony Esposito along side Lee and vocalist Darren James Smith, back in the fold having sorted his differences with Lee, we move forward four years after their eponymous debut. Patina is solid without being ball grabbing. This is classic rock in every sense, with an American larger than life production. Songs like Crooked Man with its Alice In Chains breakdown and the foot stomping Speedbag really catch the attention. However, there are a few turkeys here; average Chasing Ghosts and My Beautiful Mess both contenders for blandest song of the year. Whilst Lee’s guitar work is grittier and gnarly than before it retains the quality that secured his slot with Ozzy for those few glorious years albeit sans the songs with anything near the quality of the double ‘O’. One for background music whilst cooking methinks. 5/10
Algy Ward’s Tank: Sturmpanzer (Dissonance Productions) [Paul H]
Synonymous with the original Tank line-up which formed in 1980, Algy Ward was part of the band responsible for the legendary Filth Hounds of Hades album in 1982 at the height of the NWOBHM movement. Tank were regularly compared to Motörhead, mainly because they were a three-piece and because they displayed a similar punk-edged playing style. It’s been a pretty shambolic history ever since though, with the band changing line-ups, splitting into the Tucker/Evans Tank releasing three albums (and playing as a five-piece) whilst Ward released Breath of the Pit in 2013. This is, as it appears, a solo effort from Ward as he sings and plays all instruments. There are a couple of listenable songs here, but his vocal delivery was never his strong point and he reinforces that with a ropey performance. The seven-minute plus instrumental, Revenge Of The Filth Hounds Pt 1 & 2, a brooding affair, at least partially restores some pride to an otherwise simply average album. 4/10
A View From The Back Of The Room: Eden's Curse
Eden’s Curse, Fuel Rock Club
I’d been looking forward to this gig for a while, after the hugely well attended gigs we’d been to on the weekend it was nice to back to the smaller more ‘local’ shows. Having said that upon arriving just before the support I was a little disheartened to see just how few people were at the gig, especially because Eden’s Curse are currently on tour with Michael Schenker. This was a one off headline show on that tour before they made their way up to Prestatyn for Hard Rock Hell, support came from Traitor’s Gate (6) who we’d seen the previous month supporting Diamond Head and the set was pretty much the same just on a smaller stage, although this time there was not a lyric sheet to be seen. Playing to a few people has to be disheartening for many bands so kudos for them for putting in the effort but I’m just still not too fussed on Traitor’s Gate’s middle of the road NWOBHM on stage.
Next up were multi-national melodic metal band Eden’s Curse (8) who are a slick professional unit with years of experience on the stage, on record and in the case of bass player Paul Logue behind the producer’s chair. The band is currently touring their Testament record which showcases the best songs from both eras of Eden’s Curse with Michael Eden and Nikola Mijić behind the mic. When you listen to the album you can hear that the style doesn’t change much between the two singers only that AOR elements creep in with Mijić as the prog touches fade out. Coming onto the stage with their big backdrops they did seem a little cramped with keyboardist Christian "Chrism" Pulkkinen relegated to by the stage door, however it’s his table full of tech that allows Eden’s Curse to get that studio sound in the live arena, it means there’s big (taped) backing vocals and a well rounded sound bolstered by the use of an extensive sound desk!
The performance was more static than normal as the conditions of the venue wouldn’t allow much room to move but there was enough movement and passion from the band to keep the visual interest especially Nikola who’s voice is perfect. Guitarist Thorsten Köhne, takes a solitary position for most of the set but shreds with ease peeling off solos during every track. A brief mention to for John Clelland (drums) who brings the thump with Logue live. The set was basically the first disc of their new record in full and I believe in order (though I’d have to check), it was a good plan as essentially playing a ‘greatest hits’ meant that most knew at least a few of the songs. Now this is where I got a little annoyed, with the show, the crowd was small with even Nikola commenting (I mean they are used to playing to bigger crowds with Schenker) and for such a small crowd many of the ‘hardcore’ that is folks with Eden’s Curse t-shirts stood and talked through the first four songs with it being the most notable on ballad Turn The Page, although when I can hear the guys in front of me during a rocker like The Great Pretender then it strikes me that they might be at the wrong gig. I know we speak about this a lot but we’re all huge music fans here and it’s a collective pet hate of ours about ignorant people talking so loudly you can’t hear the band, especially at intimate gigs.
I could go on but I won’t only to say that Eden’s Curse got better as the night wore on with Kane’d co-vocalist Stacey taking the roles of Liv Kristine and Pamela Moore on Unconditional and Angels And Demons respectively, she unsurprisingly got the biggest cheer of the night (mainly due to half of Kane’d being in attendance) but for the most part this was brilliant set let down by a miserable Wednesday night crowd. Eden’s Curse are coming back next year and playing bigger venues in the Spring, go and check them out then as they are still one of the best and often overlooked bands in the scene.
I’d been looking forward to this gig for a while, after the hugely well attended gigs we’d been to on the weekend it was nice to back to the smaller more ‘local’ shows. Having said that upon arriving just before the support I was a little disheartened to see just how few people were at the gig, especially because Eden’s Curse are currently on tour with Michael Schenker. This was a one off headline show on that tour before they made their way up to Prestatyn for Hard Rock Hell, support came from Traitor’s Gate (6) who we’d seen the previous month supporting Diamond Head and the set was pretty much the same just on a smaller stage, although this time there was not a lyric sheet to be seen. Playing to a few people has to be disheartening for many bands so kudos for them for putting in the effort but I’m just still not too fussed on Traitor’s Gate’s middle of the road NWOBHM on stage.
Next up were multi-national melodic metal band Eden’s Curse (8) who are a slick professional unit with years of experience on the stage, on record and in the case of bass player Paul Logue behind the producer’s chair. The band is currently touring their Testament record which showcases the best songs from both eras of Eden’s Curse with Michael Eden and Nikola Mijić behind the mic. When you listen to the album you can hear that the style doesn’t change much between the two singers only that AOR elements creep in with Mijić as the prog touches fade out. Coming onto the stage with their big backdrops they did seem a little cramped with keyboardist Christian "Chrism" Pulkkinen relegated to by the stage door, however it’s his table full of tech that allows Eden’s Curse to get that studio sound in the live arena, it means there’s big (taped) backing vocals and a well rounded sound bolstered by the use of an extensive sound desk!
The performance was more static than normal as the conditions of the venue wouldn’t allow much room to move but there was enough movement and passion from the band to keep the visual interest especially Nikola who’s voice is perfect. Guitarist Thorsten Köhne, takes a solitary position for most of the set but shreds with ease peeling off solos during every track. A brief mention to for John Clelland (drums) who brings the thump with Logue live. The set was basically the first disc of their new record in full and I believe in order (though I’d have to check), it was a good plan as essentially playing a ‘greatest hits’ meant that most knew at least a few of the songs. Now this is where I got a little annoyed, with the show, the crowd was small with even Nikola commenting (I mean they are used to playing to bigger crowds with Schenker) and for such a small crowd many of the ‘hardcore’ that is folks with Eden’s Curse t-shirts stood and talked through the first four songs with it being the most notable on ballad Turn The Page, although when I can hear the guys in front of me during a rocker like The Great Pretender then it strikes me that they might be at the wrong gig. I know we speak about this a lot but we’re all huge music fans here and it’s a collective pet hate of ours about ignorant people talking so loudly you can’t hear the band, especially at intimate gigs.
I could go on but I won’t only to say that Eden’s Curse got better as the night wore on with Kane’d co-vocalist Stacey taking the roles of Liv Kristine and Pamela Moore on Unconditional and Angels And Demons respectively, she unsurprisingly got the biggest cheer of the night (mainly due to half of Kane’d being in attendance) but for the most part this was brilliant set let down by a miserable Wednesday night crowd. Eden’s Curse are coming back next year and playing bigger venues in the Spring, go and check them out then as they are still one of the best and often overlooked bands in the scene.
Saturday, 10 November 2018
A View From The Back Of The Room: Slayer (Review By Paul)
Slayer, Lamb Of God, Anthrax, Obituary, Motorpoint Arena, Cardiff
There wasn’t enough pyro over the entire fireworks weekend to match the ferocity that accompanied the final show in Wales from arguably the most influential metal band of all time. The juggernaut that is Slayer, accompanied by a bill that was sufficiently robust to have sold out many arenas without the headliners, rolled into the Welsh capital for one final reminder of their supremacy and sheer power.
Slayer have never been the most frequent visitors to Cardiff, having made a mere three appearances before this gig; all at the Motorpoint Arena with their last show the 2008 Unholy Alliance III show. Their last visit to South Wales had seen them sell-out the Newport Centre with ease in 2015. Now, 30 years after their initial appearance in South Wales when I was present at the Newport Centre on the World Sacrifice tour, it was time to pay respects and throw those horns as the Slatanic Whermacht assembled once more on the streets around the Motorpoint Arena. The buzz had been building for weeks but walking from the station one could sense the anticipation and excitement in the air.
With doors at the early time of 17:30, the MIA staff appeared to have done a bloody marvellous job of getting everyone through quickly and it was with relative ease and little queuing that we headed into the darkness in time to see the glinting backdrop of Floridian Death Metallers Obituary (8). If you want no frills, gnarly yet superbly executed death metal no-one does it better. With a short slot the band wasted no time in levelling the arena with an eight-song set which tore through the packed arena like chainsaws. Redneck Stomp set the pace, which didn’t let up. The buzzing guitars of Trevor Peres and Kenny Andrews hit low and hard, John Tardy prowled and growled and as the pits erupted it was pleasing to see that the Cardiff crowd were able to respond in appropriate style. As the strains of Slowly We Rot faded at the end of their blistering set, the arena was already gasping for air and steeling itself for round two.
There’s a standard reliability about Anthrax (7). They have some massive tunes and they hit the stage 20 minutes ahead of schedule with an urgency that was breathtaking. Thumping out Cowboys From Hell before launching into a rabid Caught In A Mosh, the arena melted into chaos and carnage and when the band then burst through Got The Time and I Am The Law it was, for a brief moment, 1986 all over again. With Scott Ian as intense as ever, Frank Bello running back and fore as it trying to extinguish a fire and Joey Belladonna on fine vocal form, Anthrax were looking good. Be All, End All from State Of Euphoria was a welcome addition to the set list, allowing guitarist Jonathan Donais to show his chops. All the while Charlie Benante hammered seven shades out of his kit. Evil Twin dropped the pace a little and as I’ve commented before, Antisocial weakened the set further. As I headed toward the back before the end of the set the traditional pantomime of Scott Ian stopping Indians for the 'War Dance’ cry played out. Don’t get me wrong, Anthrax were great, but out of the four bands this night they were the weakest for me.
I’d missed Lamb Of God (9) on their last tour but there was not a chance in hell I was doing that tonight. As the Virginians caused mass explosions across the arena with their choice to open the set with a monstrous Omerta. I know various people who don’t like LOG but they were clearly in the minority as the bulk of the crowd lost their shit. The groove metal that the band from Richmond play is infectious, and with a killer set this was a demonstration of potential future arena headliners. Ferociously heavy at times, Randy Blythe was the very picture of focus and intensity he prowled the stage, flanked by guitarists Willie Adler and Mark Morton. John Campbell’s thunderous bass lines linked with stand in drummer Art Cruz, the Prong drummer who has been filling in for Chris Adler for the past few months. Ruin was simply huge, whilst the three beasts dragged in from Sacrament destroyed. Walk With Me In Hell encouraged huge vocal support whilst the pits never stopped moving. The middle section contained two tracks from VII: Sturm Und Drang whilst it is unlikely that there are many better double endings than Laid To Rest and Redneck. It was infectious stuff and, in my opinion, fully justified the decision to put the band directly before Slayer.
9.25pm. The house lights dimmed, and four huge white crosses hung above the stage. Slowly, as Delusions Of Saviour poured out of the PA system, the crosses inverted and disappeared, replaced by the Slayer logo. Huge explosions and it was time for an hour and a half of unrelenting Slayer (10). I’ve seen Slayer many times, and there have been occasions when the band have been less than inspiring, but this show was as aggressive and violent as anything I’ve ever witnessed from them. The set list was immense, top track after top track bludgeoning the rabid crowd, all drawn towards the massive stage set, complete with copious amounts of flame and pyro. Repentless passed in the blink of an eye, Blood Red and Disciple came and went with similar ferocity, before the slower Mandatory Suicide allowed the old school to loosen necks and limbs. With Tom Araya almost static in the middle of the stage, and suddenly looking old and slightly unwell, it was left to Gary Holt and Kerry King who sliced, diced and shredded with a brutality almost beyond comprehension.
There wasn’t enough pyro over the entire fireworks weekend to match the ferocity that accompanied the final show in Wales from arguably the most influential metal band of all time. The juggernaut that is Slayer, accompanied by a bill that was sufficiently robust to have sold out many arenas without the headliners, rolled into the Welsh capital for one final reminder of their supremacy and sheer power.
Slayer have never been the most frequent visitors to Cardiff, having made a mere three appearances before this gig; all at the Motorpoint Arena with their last show the 2008 Unholy Alliance III show. Their last visit to South Wales had seen them sell-out the Newport Centre with ease in 2015. Now, 30 years after their initial appearance in South Wales when I was present at the Newport Centre on the World Sacrifice tour, it was time to pay respects and throw those horns as the Slatanic Whermacht assembled once more on the streets around the Motorpoint Arena. The buzz had been building for weeks but walking from the station one could sense the anticipation and excitement in the air.
With doors at the early time of 17:30, the MIA staff appeared to have done a bloody marvellous job of getting everyone through quickly and it was with relative ease and little queuing that we headed into the darkness in time to see the glinting backdrop of Floridian Death Metallers Obituary (8). If you want no frills, gnarly yet superbly executed death metal no-one does it better. With a short slot the band wasted no time in levelling the arena with an eight-song set which tore through the packed arena like chainsaws. Redneck Stomp set the pace, which didn’t let up. The buzzing guitars of Trevor Peres and Kenny Andrews hit low and hard, John Tardy prowled and growled and as the pits erupted it was pleasing to see that the Cardiff crowd were able to respond in appropriate style. As the strains of Slowly We Rot faded at the end of their blistering set, the arena was already gasping for air and steeling itself for round two.
There’s a standard reliability about Anthrax (7). They have some massive tunes and they hit the stage 20 minutes ahead of schedule with an urgency that was breathtaking. Thumping out Cowboys From Hell before launching into a rabid Caught In A Mosh, the arena melted into chaos and carnage and when the band then burst through Got The Time and I Am The Law it was, for a brief moment, 1986 all over again. With Scott Ian as intense as ever, Frank Bello running back and fore as it trying to extinguish a fire and Joey Belladonna on fine vocal form, Anthrax were looking good. Be All, End All from State Of Euphoria was a welcome addition to the set list, allowing guitarist Jonathan Donais to show his chops. All the while Charlie Benante hammered seven shades out of his kit. Evil Twin dropped the pace a little and as I’ve commented before, Antisocial weakened the set further. As I headed toward the back before the end of the set the traditional pantomime of Scott Ian stopping Indians for the 'War Dance’ cry played out. Don’t get me wrong, Anthrax were great, but out of the four bands this night they were the weakest for me.
I’d missed Lamb Of God (9) on their last tour but there was not a chance in hell I was doing that tonight. As the Virginians caused mass explosions across the arena with their choice to open the set with a monstrous Omerta. I know various people who don’t like LOG but they were clearly in the minority as the bulk of the crowd lost their shit. The groove metal that the band from Richmond play is infectious, and with a killer set this was a demonstration of potential future arena headliners. Ferociously heavy at times, Randy Blythe was the very picture of focus and intensity he prowled the stage, flanked by guitarists Willie Adler and Mark Morton. John Campbell’s thunderous bass lines linked with stand in drummer Art Cruz, the Prong drummer who has been filling in for Chris Adler for the past few months. Ruin was simply huge, whilst the three beasts dragged in from Sacrament destroyed. Walk With Me In Hell encouraged huge vocal support whilst the pits never stopped moving. The middle section contained two tracks from VII: Sturm Und Drang whilst it is unlikely that there are many better double endings than Laid To Rest and Redneck. It was infectious stuff and, in my opinion, fully justified the decision to put the band directly before Slayer.
9.25pm. The house lights dimmed, and four huge white crosses hung above the stage. Slowly, as Delusions Of Saviour poured out of the PA system, the crosses inverted and disappeared, replaced by the Slayer logo. Huge explosions and it was time for an hour and a half of unrelenting Slayer (10). I’ve seen Slayer many times, and there have been occasions when the band have been less than inspiring, but this show was as aggressive and violent as anything I’ve ever witnessed from them. The set list was immense, top track after top track bludgeoning the rabid crowd, all drawn towards the massive stage set, complete with copious amounts of flame and pyro. Repentless passed in the blink of an eye, Blood Red and Disciple came and went with similar ferocity, before the slower Mandatory Suicide allowed the old school to loosen necks and limbs. With Tom Araya almost static in the middle of the stage, and suddenly looking old and slightly unwell, it was left to Gary Holt and Kerry King who sliced, diced and shredded with a brutality almost beyond comprehension.
The speed was punishing. Little conversation from Araya allowed the band to bulldoze through the set, although his introduction to War Ensemble did allow for the crowd to join in. Paul Bostaph's battering ram drumming was exceptional. Postmortem and Black Magic were welcome additions in the middle of the set, both greeted by huge roars from old school fans. And so, it continued. Song. Bam. Song. Bam. Flames and pyro and lighting. Fast, furious and epic. So much lighting, cleverly matching the several switches of back drop enhanced the set and focused on separate periods of the bands career. This was a band who clearly wanted to ensure that they do go out with a bang. In what seemed like minutes it was Hell Awaits, with raging infernos at the back of the stage, it really looked like the band were playing in Old Nick’s front room.
The encore was perfect and if there were four songs that encapsulated what Slayer is all about, then it was these four. South Of Heaven segued into the most gargantuan Raining Blood I’ve ever seen, and suddenly it dawned that this was the end. Chemical Warfare snarled and ripped, played at breakneck speed before Angel Of Death, complete with Hannerman backdrop picked off the final survivors. As Araya said goodbyes, this was it. Hopefully it will be. As fantastic as Slayer were, one can only hope that their farewell tour really is that. Memories galore abound, and this was an evening with which to cement those memories and pay tribute to a truly legendary band.
Slayer, Lamb Of God, Anthrax & Obituary, Birmingham Arena
With ears still ringing from their epic finale in South Wales a mere two days before, I ended a busy work day with a rush across the second city to catch Floridian death metal legends Obituary (8) pick up from where they left off a couple of days before. The Birmingham Arena is at least twice as big as the Motorpoint in Cardiff and whilst the hardcore were crammed down the front there was vast spaces in the seats and towards the rear of the standing area. Undeterred, Obituary crashed through the same set as earlier with even more intensity and power. There is nothing about this band that isn’t worth watching, with the buzzsaw guitars decimating all around. From the opening bars of Red Neck Stomp to the grinding devastation of Slowly We Rot, Obituary continue to be one of the seminal bands from the death metal camp and remain mesmerising to watch despite the limited movement on stage. Crushing death metal at its absolute best.
The encore was perfect and if there were four songs that encapsulated what Slayer is all about, then it was these four. South Of Heaven segued into the most gargantuan Raining Blood I’ve ever seen, and suddenly it dawned that this was the end. Chemical Warfare snarled and ripped, played at breakneck speed before Angel Of Death, complete with Hannerman backdrop picked off the final survivors. As Araya said goodbyes, this was it. Hopefully it will be. As fantastic as Slayer were, one can only hope that their farewell tour really is that. Memories galore abound, and this was an evening with which to cement those memories and pay tribute to a truly legendary band.
Slayer, Lamb Of God, Anthrax & Obituary, Birmingham Arena
With ears still ringing from their epic finale in South Wales a mere two days before, I ended a busy work day with a rush across the second city to catch Floridian death metal legends Obituary (8) pick up from where they left off a couple of days before. The Birmingham Arena is at least twice as big as the Motorpoint in Cardiff and whilst the hardcore were crammed down the front there was vast spaces in the seats and towards the rear of the standing area. Undeterred, Obituary crashed through the same set as earlier with even more intensity and power. There is nothing about this band that isn’t worth watching, with the buzzsaw guitars decimating all around. From the opening bars of Red Neck Stomp to the grinding devastation of Slowly We Rot, Obituary continue to be one of the seminal bands from the death metal camp and remain mesmerising to watch despite the limited movement on stage. Crushing death metal at its absolute best.
Movement has never been a problem for New Yorkers Anthrax (8) who upped their game substantially from their performance a couple of nights earlier. Whether it was being in the home of heavy metal, the larger crowd or just a bit of rest between shows I don’t know but this was Anthrax hitting top gear. I still get irked by a double cover in a set of eight songs but whilst Antisocial still does little for me, Got The Time was blistering. Evil Twin remained a weak link but when you can bookend your set with Cowboys From Hell and include the monsters from Among The Living it certainly wasn’t a bad set. I’d still prefer Madhouse or Metal Thrashing Mad but fair play, Belladonna, Ian and co played a blinder.
On Monday I was close to the front for the raw aggressive groove of Lamb Of God (9). I’d taken a position much further towards the back but despite the additional distance there was no less fire in the Richmond outfit’s performance as they ripped through their set. Randy Blythe continues to run around the stage like a man possessed and his short speech about Black Sabbath raised a massive roar. The addictive groove laden metal these guys deliver really gets me moving and I was given a number of curious looks as the small bloke in a Motörhead Cymru t-shirt repeatedly lost it to the likes of Ruin, Laid To Rest and Redneck. Whilst the Birmingham crowd may have the numbers, the Welsh crowd certainly have the passion. A huge circle pit ensured that the action at the front was ferocious but towards the back there was lots of static observers. Such is life I guess.
Slayer (10) played an unrelenting barrage on Monday and didn’t look as if they had stopped. The larger arena allowed me a bit of distance to admire the stunning stage set, the pyro and lighting as heat inducing from 50 metres away as it was from ten. The set list may not have changed but there was nothing routine about the band’s effort. Holt and King riffed and shredded with a venom not seen for a long time, with War Ensemble and Dead Skin Mask particularly epic. The spectacle of Hell Awaits with huge swathes of flames burning at the back of the stage produced gasps from the audience whilst I was able to stand back and soak it up. The very bowels of hell on stage. Seasons In The Abyss and an even faster Dittohead also stood out, but it was the smooth taper from South Of Heaven into Reigning Blood that once again captured essence of Slayer. With the Hanneman banner once more choking me up as the band closed their set with Angel Of Death, I reflected that I still have one more opportunity to see this most relentless of metal outfits once more; roll on Madrid for viewing number 3.
On Monday I was close to the front for the raw aggressive groove of Lamb Of God (9). I’d taken a position much further towards the back but despite the additional distance there was no less fire in the Richmond outfit’s performance as they ripped through their set. Randy Blythe continues to run around the stage like a man possessed and his short speech about Black Sabbath raised a massive roar. The addictive groove laden metal these guys deliver really gets me moving and I was given a number of curious looks as the small bloke in a Motörhead Cymru t-shirt repeatedly lost it to the likes of Ruin, Laid To Rest and Redneck. Whilst the Birmingham crowd may have the numbers, the Welsh crowd certainly have the passion. A huge circle pit ensured that the action at the front was ferocious but towards the back there was lots of static observers. Such is life I guess.
Slayer (10) played an unrelenting barrage on Monday and didn’t look as if they had stopped. The larger arena allowed me a bit of distance to admire the stunning stage set, the pyro and lighting as heat inducing from 50 metres away as it was from ten. The set list may not have changed but there was nothing routine about the band’s effort. Holt and King riffed and shredded with a venom not seen for a long time, with War Ensemble and Dead Skin Mask particularly epic. The spectacle of Hell Awaits with huge swathes of flames burning at the back of the stage produced gasps from the audience whilst I was able to stand back and soak it up. The very bowels of hell on stage. Seasons In The Abyss and an even faster Dittohead also stood out, but it was the smooth taper from South Of Heaven into Reigning Blood that once again captured essence of Slayer. With the Hanneman banner once more choking me up as the band closed their set with Angel Of Death, I reflected that I still have one more opportunity to see this most relentless of metal outfits once more; roll on Madrid for viewing number 3.
Reviews: Anathema, Cancer, Terrorizer, Abstract Void (Reviews By Paul H & Sean)
Anathema: Internal Landscapes 2008-18 (Kscope Records) [Paul H]
The tenth anniversary of progressive label Kscope is a milestone that is worth raising a glass for. The label has been massively influential in the progressive rock scene, with a real who’s who of artists stabling with them. Iamthemorning, Steven Wilson, Gazpacho, Blackfield, Porcupine Tree, Godsticks, Lunatic Soul, Nordic Giants and Porcupine Tree are just a few. Add to that list Anathema. The Liverpudlians have spent the past decade nestled under the label’s wing, and it has certainly coincided with the emergence of one of the finest bands that the UK has ever produced. In his opening liner notes on this beautifully curated compilation, Daniel Cavanagh says “from the moment we agreed to a deal with Kscope in 2008 it felt that we were ready for a new beginning”.
During that decade the band released four quite breath-taking studio albums, each evolving organically, as well as a plethora of live releases and what Cavanagh terms “interim albums”. What’s particularly interesting about this release is that whilst it contains some of the best loved songs that the band have ever released, it also charts the highs and lows which they experienced. The creative peaks, the camaraderie in the studio and on the road, through to the melancholy that individual members experienced as they dealt with their personal demons and managed the slow but steady trajectory that their craft so richly deserves.
Tracks from Weather Systems, We’re Here Because We’re Here, Distant Satellites and 2017’s The Optimist all fit perfectly with the inevitable anthems of Untouchable. Part I and Part II sandwiched between Anathema and Thin Air. The inclusion of two tracks from those ‘interim albums’ ensures full representation from across the catalogue. The Goosebumps stood highest with the Dave Stewart collaboration and orchestral reinterpretation of J’ai Fait Une Promesse, released on the 2011 Falling Deeper album but originally on the band’s 1993 debut album Serenades. The 2008 acoustic release Hindsight is represented with Are You There? which originally featured on 2003’s A Natural Disaster. If this was the last set list I ever listened to, I would die a contented man. If there is a better, more progressive and intelligent band than Anathema then I don’t want to hear them. This is perfection. It may be a compilation album, but what a superb showcase of ten years’ worth of work from a band who can do no wrong in my eyes and ears. Buy it. Listen to it. Smile, weep, reflect and enjoy. 10/10
Cancer: Shadow Gripped (Peaceville Records) [Paul H]
Ironbridge death metal legends Cancer return from the studio with Shadow Gripped, their first release since 2005 and the first to feature the original line up of John Walker, Carl Stokes and Ian Buchanan since 1995. It was first time to return to 1990 and a quick spin of To The Gory End which always stokes the fires before commencing the wrestling match with album number 6. Shadow Gripped doesn’t disappoint, with ten tracks of gnarly, fiery and positively filthy old school death metal. Sometimes the simplest approach is the most effective, and tracks such as Ballcutter, Organ Snatcher and the brutally sinister Garrotte bludgeon without mercy. This is Cancer stripping back to the old days, peeling off the crap that critics have showered and lambasted them with post Death Shall Rise.
Having played the festival circuit for several years, the trio decided to head back to the studio with the sole intention of pleasing themselves with their output. As John Walker stated in the latest edition of the excellent Zero Tolerance, “we got the bug again. Yet we didn’t have any expectations, beyond pleasing ourselves”. It may be nothing particularly new, but the return to the sound which made those first two albums such cult classics is certainly in evidence on Shadow Gripped. There may not be as much flair and the band are possibly playing it safe but fuck, this is Cancer. They dictate their own path. If you don’t like it, I doubt they really care. 8/10
Terrorizer: Caustic Attack (The End Records) [Sean]
As we unwillingly subjected to passage of time, some of us are privileged to age like fine wine and mellow with each passing year. Others, however, remain as cantankerous and as angry as the day they were freed from their fleshy prison. No signs of mellowing here, always kicking and forever screaming which is thankfully the case for death/grind grandaddies Terrorizer. For those unaware, legendary skinsman Pete “Commando/The Feet” Sandoval has been leading the charge since their inception in 1986. Now back with a brand new line featuring current and former member of Monstrosity, Terrorizer are revamped, rearmed and ready to open fire. As soon as intro Turbulence, Terrorizer aren’t taking any prisoners with as son a Invasion fires it’s opening rounds. With Lee Harrisons's scathing tremolo riffs, Sandoval impeccable drumming and Sam Molina’s grunt, Caustic Attack continues to bulldoze it’s way through trench after trench of furious death metal. Crisis is an absolute ripper, opting for a more syncopated pace but no less punishing than its predecessor Devastate. Infiltration embraces some punky riffing before succumbing to rapid fire blast beats.
Poison Gas Tsunami is the equivalent of warfare, whilst Failed Assassin contains some truly stunning drum work. It’s heartening to hear after all these years that Sandoval has lost none of his potency, with Molina and Harris strengthening the pure power on display. Caustic Attack does exactly what it says on the tin, succeeding in being the veritable blitzkrieg that it set out to be. The only gripe here is a slight lack of variance among the carnage, due to the largely absent punk/grind flavour that meshed with the older works so well. The more death metal focused assault, whilst pretty fucking savage, does get at times a touch repetitive. Whilst undeniably brutal, it may turn off those hoping for the grinding glory of World Downfall. Musical pedantry aside, when it’s good it’s really fucking good and an enjoyable sledgehammer to the system. There’s plenty of righteous rage left in the tank, plenty of ire in the fire and Terrorizer still are as mean and brutal as the world we live in. 8/10
Abstract Void: Back To Reality (Self Released) [Paul H]
It took about 30 seconds to realise that this album was the output of a one-man project. It sounds it. There’s little soul or feeling here. Blackgaze, synthwave, whatever label you add to it can’t disguise the fact that it is awful. Programmed, muffled and lacking originality, no wonder the person behind it remains anonymous. I’ve read some very positive feedback about this and debut release Into The Blue so maybe it’s just me but I feel generous giving it the score I have. 1/10
The tenth anniversary of progressive label Kscope is a milestone that is worth raising a glass for. The label has been massively influential in the progressive rock scene, with a real who’s who of artists stabling with them. Iamthemorning, Steven Wilson, Gazpacho, Blackfield, Porcupine Tree, Godsticks, Lunatic Soul, Nordic Giants and Porcupine Tree are just a few. Add to that list Anathema. The Liverpudlians have spent the past decade nestled under the label’s wing, and it has certainly coincided with the emergence of one of the finest bands that the UK has ever produced. In his opening liner notes on this beautifully curated compilation, Daniel Cavanagh says “from the moment we agreed to a deal with Kscope in 2008 it felt that we were ready for a new beginning”.
During that decade the band released four quite breath-taking studio albums, each evolving organically, as well as a plethora of live releases and what Cavanagh terms “interim albums”. What’s particularly interesting about this release is that whilst it contains some of the best loved songs that the band have ever released, it also charts the highs and lows which they experienced. The creative peaks, the camaraderie in the studio and on the road, through to the melancholy that individual members experienced as they dealt with their personal demons and managed the slow but steady trajectory that their craft so richly deserves.
Tracks from Weather Systems, We’re Here Because We’re Here, Distant Satellites and 2017’s The Optimist all fit perfectly with the inevitable anthems of Untouchable. Part I and Part II sandwiched between Anathema and Thin Air. The inclusion of two tracks from those ‘interim albums’ ensures full representation from across the catalogue. The Goosebumps stood highest with the Dave Stewart collaboration and orchestral reinterpretation of J’ai Fait Une Promesse, released on the 2011 Falling Deeper album but originally on the band’s 1993 debut album Serenades. The 2008 acoustic release Hindsight is represented with Are You There? which originally featured on 2003’s A Natural Disaster. If this was the last set list I ever listened to, I would die a contented man. If there is a better, more progressive and intelligent band than Anathema then I don’t want to hear them. This is perfection. It may be a compilation album, but what a superb showcase of ten years’ worth of work from a band who can do no wrong in my eyes and ears. Buy it. Listen to it. Smile, weep, reflect and enjoy. 10/10
Cancer: Shadow Gripped (Peaceville Records) [Paul H]
Ironbridge death metal legends Cancer return from the studio with Shadow Gripped, their first release since 2005 and the first to feature the original line up of John Walker, Carl Stokes and Ian Buchanan since 1995. It was first time to return to 1990 and a quick spin of To The Gory End which always stokes the fires before commencing the wrestling match with album number 6. Shadow Gripped doesn’t disappoint, with ten tracks of gnarly, fiery and positively filthy old school death metal. Sometimes the simplest approach is the most effective, and tracks such as Ballcutter, Organ Snatcher and the brutally sinister Garrotte bludgeon without mercy. This is Cancer stripping back to the old days, peeling off the crap that critics have showered and lambasted them with post Death Shall Rise.
Having played the festival circuit for several years, the trio decided to head back to the studio with the sole intention of pleasing themselves with their output. As John Walker stated in the latest edition of the excellent Zero Tolerance, “we got the bug again. Yet we didn’t have any expectations, beyond pleasing ourselves”. It may be nothing particularly new, but the return to the sound which made those first two albums such cult classics is certainly in evidence on Shadow Gripped. There may not be as much flair and the band are possibly playing it safe but fuck, this is Cancer. They dictate their own path. If you don’t like it, I doubt they really care. 8/10
Terrorizer: Caustic Attack (The End Records) [Sean]
As we unwillingly subjected to passage of time, some of us are privileged to age like fine wine and mellow with each passing year. Others, however, remain as cantankerous and as angry as the day they were freed from their fleshy prison. No signs of mellowing here, always kicking and forever screaming which is thankfully the case for death/grind grandaddies Terrorizer. For those unaware, legendary skinsman Pete “Commando/The Feet” Sandoval has been leading the charge since their inception in 1986. Now back with a brand new line featuring current and former member of Monstrosity, Terrorizer are revamped, rearmed and ready to open fire. As soon as intro Turbulence, Terrorizer aren’t taking any prisoners with as son a Invasion fires it’s opening rounds. With Lee Harrisons's scathing tremolo riffs, Sandoval impeccable drumming and Sam Molina’s grunt, Caustic Attack continues to bulldoze it’s way through trench after trench of furious death metal. Crisis is an absolute ripper, opting for a more syncopated pace but no less punishing than its predecessor Devastate. Infiltration embraces some punky riffing before succumbing to rapid fire blast beats.
Poison Gas Tsunami is the equivalent of warfare, whilst Failed Assassin contains some truly stunning drum work. It’s heartening to hear after all these years that Sandoval has lost none of his potency, with Molina and Harris strengthening the pure power on display. Caustic Attack does exactly what it says on the tin, succeeding in being the veritable blitzkrieg that it set out to be. The only gripe here is a slight lack of variance among the carnage, due to the largely absent punk/grind flavour that meshed with the older works so well. The more death metal focused assault, whilst pretty fucking savage, does get at times a touch repetitive. Whilst undeniably brutal, it may turn off those hoping for the grinding glory of World Downfall. Musical pedantry aside, when it’s good it’s really fucking good and an enjoyable sledgehammer to the system. There’s plenty of righteous rage left in the tank, plenty of ire in the fire and Terrorizer still are as mean and brutal as the world we live in. 8/10
Abstract Void: Back To Reality (Self Released) [Paul H]
It took about 30 seconds to realise that this album was the output of a one-man project. It sounds it. There’s little soul or feeling here. Blackgaze, synthwave, whatever label you add to it can’t disguise the fact that it is awful. Programmed, muffled and lacking originality, no wonder the person behind it remains anonymous. I’ve read some very positive feedback about this and debut release Into The Blue so maybe it’s just me but I feel generous giving it the score I have. 1/10
Friday, 9 November 2018
Reviews: Last Union, A.M, Vibrant Heels, Johnny Wore Black (Matt H)
Last Union: Twelve (Rock Of Angels Records)
Italian progressive metal band Last Union have debuted their first album Twelve. It features Dream Theater's vocalist (James LaBrie - Ed) on four of the songs if that entices you. As someone who hasn’t ever listened to a single Dream Theater song it makes me question why he’s on four of these tracks. Was Last Union really that concerned that their work wouldn’t hold up without him? Well if that was anyone’s concern, I can proudly say that you needn’t worry. Last Union has released an epic debut album that deserves the praise it is receiving. Putting my considerable bias in favour of female vocalists in heavy music aside, the music of Last Union is immediately catchy and memorable without being overly simplistic.
On the other hand, occasionally the intros into the song don’t seem to match the song itself, creating a strange dissonance. Nowhere is that more obvious than in The Best Of Magic, a song that has a wonderful intro and matching chorus but the verses seem strangely different. Of course, it is entirely possible that my lack of understanding is due to a difference in culture. This is my first Italian metal band after all. So I’m willing to give a reasonable amount of doubt in that particular criticism. After all it’s the only one I can actually think up. I honestly think this is a terrific piece of work. And like most music I enjoy, it took me a few listens to really understand what was going on and become invested. As catchy as this music is, it isn’t immediately digestible. If you invest a little bit of yourself in Last Union then you’ll get a lot out of it. 8/10
A M: Believe (Self Released)
Is there a reason why your mix is so guitar focused? I mean… I love it, I love the guitars in this music but do you think maybe turning up the vocals a little bit would be a good idea? Anyway on to the review, I feel that it’s important to mention early on that I weirdly like this album. I think it’s really enjoyable whilst also not being particularly nuanced or developed in the way that I usually like my music. As a lyricist I tend to be focused on the poetry of a song but a lot of music isn’t interested in being that. Sometimes music is just raw grungy emotion. That’s exactly what we have here. Raw emotion in song form, it’s basically the essence of being a teenager distilled into music. The riffs are repetitive but powerful, the mix is focused on the guitars because it’s punky as all hell and gosh darn awesome. I don’t exactly know how to fully articulate an opinion on this music. There are aspects that I’m not so fond of I suppose.
The vocals have been messed with and had a radio filter placed on top of them, they’re dull in the mix and the instruments aren’t exactly eventful but with those things in mind there is something incredibly engaging about these songs. I had an absolute blast playing these in the background whilst I did other things. Perhaps the best way to describe this album is as a more powerful form of elevator music, something to head band along to whilst you move through your day. If you’re a teenager looking to express yourself without words please give this a listen. I am actually very encouraged to see these guys live because I want to experience the emotion of their music in the room with them. If the band in question read this review, please contact me so I can buy tickets to your shows, I am so up for more of this. In summary: All the songs are banging, guitar focused tunes that deserve at least one listen through. 7/10
Vibrant Heels: Driven (Self Released)
On the other hand, occasionally the intros into the song don’t seem to match the song itself, creating a strange dissonance. Nowhere is that more obvious than in The Best Of Magic, a song that has a wonderful intro and matching chorus but the verses seem strangely different. Of course, it is entirely possible that my lack of understanding is due to a difference in culture. This is my first Italian metal band after all. So I’m willing to give a reasonable amount of doubt in that particular criticism. After all it’s the only one I can actually think up. I honestly think this is a terrific piece of work. And like most music I enjoy, it took me a few listens to really understand what was going on and become invested. As catchy as this music is, it isn’t immediately digestible. If you invest a little bit of yourself in Last Union then you’ll get a lot out of it. 8/10
A M: Believe (Self Released)
Is there a reason why your mix is so guitar focused? I mean… I love it, I love the guitars in this music but do you think maybe turning up the vocals a little bit would be a good idea? Anyway on to the review, I feel that it’s important to mention early on that I weirdly like this album. I think it’s really enjoyable whilst also not being particularly nuanced or developed in the way that I usually like my music. As a lyricist I tend to be focused on the poetry of a song but a lot of music isn’t interested in being that. Sometimes music is just raw grungy emotion. That’s exactly what we have here. Raw emotion in song form, it’s basically the essence of being a teenager distilled into music. The riffs are repetitive but powerful, the mix is focused on the guitars because it’s punky as all hell and gosh darn awesome. I don’t exactly know how to fully articulate an opinion on this music. There are aspects that I’m not so fond of I suppose.
The vocals have been messed with and had a radio filter placed on top of them, they’re dull in the mix and the instruments aren’t exactly eventful but with those things in mind there is something incredibly engaging about these songs. I had an absolute blast playing these in the background whilst I did other things. Perhaps the best way to describe this album is as a more powerful form of elevator music, something to head band along to whilst you move through your day. If you’re a teenager looking to express yourself without words please give this a listen. I am actually very encouraged to see these guys live because I want to experience the emotion of their music in the room with them. If the band in question read this review, please contact me so I can buy tickets to your shows, I am so up for more of this. In summary: All the songs are banging, guitar focused tunes that deserve at least one listen through. 7/10
Vibrant Heels: Driven (Self Released)
Now this, this is my shit! Screaming into life with gutturally fried vocals and a ridiculously catchy riff the likes of which I’ve not heard since The Dead Kennedys Too Drunk To Fuck (catchiest riff ever written, screw you if you disagree), Vibrant Heels instantly made a fan of me with their opening song Royal Mud. I’ll be damned if I can hear what the vocalist is actually saying apart from the general gist but does that stop me from being heavily invested in what largely amounts to vocal noises with a guitar behind it? Absolutely not! I want this song playing when I’m driving everywhere. The awesome bass lines alone in Soak It Up are enough to appreciate this band. I wonder if it’s the seemingly punk inspired riffs that really make me appreciate this band? Everything this band is doing is worn on its sleeve. It’s straightforward, repetitive, catchy and therefore awesome. However by the fourth song is this album I did start to wonder if there was anything else to this band? It becomes slightly difficult to understand what’s going on with the lyrics when the vocals are so low in the mix and even more difficult when the screams kick in.
As much as I find this music viscerally engaging, my desire for something deeper in music is left sadly lacking by this. Maybe the lyrics are deep and truly profound but I can’t hear the damn things so I don’t really know. And on the subject of things that wear thin, would it kill anyone in this band to write a melody that doesn’t match the guitar riff or visa versa? I love the occasional harmonies that come straight out of a 50s doo-wop group but that’s about it for my appreciation of the melodies. Make no mistake this is yet another band that believes guitar is the most important instrument, I mean… I get it but it’s probably not true (side note: the guitars really are awesome)
I fear the reader will relate to my thought process far too well by listening to this album. I have a feeling this band would be better off releasing singles over albums so they don’t betray how one-note they can appear. With that being said, I’ll keep saying it, the guitars are amazing and perfect driving music. 5/10
Johnny Wore Black: Ultra Violent Light (EMP Label Group)
As much as I find this music viscerally engaging, my desire for something deeper in music is left sadly lacking by this. Maybe the lyrics are deep and truly profound but I can’t hear the damn things so I don’t really know. And on the subject of things that wear thin, would it kill anyone in this band to write a melody that doesn’t match the guitar riff or visa versa? I love the occasional harmonies that come straight out of a 50s doo-wop group but that’s about it for my appreciation of the melodies. Make no mistake this is yet another band that believes guitar is the most important instrument, I mean… I get it but it’s probably not true (side note: the guitars really are awesome)
I fear the reader will relate to my thought process far too well by listening to this album. I have a feeling this band would be better off releasing singles over albums so they don’t betray how one-note they can appear. With that being said, I’ll keep saying it, the guitars are amazing and perfect driving music. 5/10
Johnny Wore Black: Ultra Violent Light (EMP Label Group)
Johnny Wore Black’s album Ultra Violent Light isn’t my usual taste. As a critic it is expected that I can remove myself from opinion in order to critique the bare bones of the music I am given. And indeed that is always the attempt; to be truly reflexive and somehow compose criticism that transcends the public water cooler that the internet has become. So when I inform the readers of this review that I didn’t like this album as a whole, or indeed any of the songs individually, take that with however much salt is required to prevent ire towards my person. I found the folk style vocals of singer Jay Coen were admittedly talented and pretty but ultimately not what I look for in music of this genre. His style presents an almost passionless affect that left me waiting for every song to actually kick in. On the other hand, the melody lines, whilst not being particularly interesting, are repeated enough to remain lodged in your brain for a while. That being said, I thought the instrumental sections worked well and were well written. The drum lines are often simplistic but used to great effect in the songs. The guitars partner well doing a lot of the work that I usually expect the vocals to do in rock music. In searching for a way to summarise my feelings I turn towards my training in film and media.
The Kuleshov effect is a phenomenon in film that demonstrates the power of changing the mood of an image with the use of associated images. In this critic’s humble opinion, Johnny Wore Black implements this with their instruments; using them to create a different tone in a vocal performance that is often dull sounding. Nowhere is this compounded more than in Ultra Violent Light (great name), the eponymous track of the album. The vocals are so filtered and low in the mix that it falls on the instruments to bring forth the emotion required. Of course since I do not speak guitar, I am a little confused as to what emotion the band would like me to feel in this song. In this review I am unfortunately focused on the vocals and I believe that’s because I feel they reduce the power of the band. Clearly, talented musicians were involved in this but my inability to appreciate the vocal lines (and to be honest a lot of the lyrics) leaves me with mostly bored impressions of this band. Summary: Not my thing, but if you like it, that’s awesome. 4/10
The Kuleshov effect is a phenomenon in film that demonstrates the power of changing the mood of an image with the use of associated images. In this critic’s humble opinion, Johnny Wore Black implements this with their instruments; using them to create a different tone in a vocal performance that is often dull sounding. Nowhere is this compounded more than in Ultra Violent Light (great name), the eponymous track of the album. The vocals are so filtered and low in the mix that it falls on the instruments to bring forth the emotion required. Of course since I do not speak guitar, I am a little confused as to what emotion the band would like me to feel in this song. In this review I am unfortunately focused on the vocals and I believe that’s because I feel they reduce the power of the band. Clearly, talented musicians were involved in this but my inability to appreciate the vocal lines (and to be honest a lot of the lyrics) leaves me with mostly bored impressions of this band. Summary: Not my thing, but if you like it, that’s awesome. 4/10
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