A View From The Back Of The Room: Skindred (A Live Review By Neil Lewis)

Skindred, Those Damn Crows, Tigress, Who Knows Didley, Fallen Temples, Tribeless, Cwmbran Stadium, Cwmbran

So it was off to rainy Cwmbran for an event named Stadium Rocks, which saw a total of six
bands – all bar one mainly from the South Wales area - performing for the princely sum of £25 and headlined by the almighty Skindred. If you think that sounds like a no-brainer for me then you'd be correct. Thankfully the show was held indoors in a gym/basketball court rather than outside in the stadium itself - and after two solid days of rain I’m sure a number of the punters in attendance were thankful for that fact.

Up first on the day were Welsh valleys based alt-rock three piece Tribeless (7) whose sound is highlighted by the big big voice of Lydia McDonald. As a front, Lydia has an engaging stage presence and so does guitarist and second vocalist Latif Bryant, and overall their set was pretty tight stuff. All three members (the line-up is completed by drummer and backing vocalist Max Rhead) looked to be having a ball onstage despite the somewhat sparse crowd at this early point in the proceedings.

Next were six-legged riff machine and Musipedia faves Fallen Temples (8). "All we do is riffs" quipped guitarist/vocalist Adam Vaughan at one point and he isn't kidding. This was my first time seeing them and I have to say I was impressed. Old but new skool Sabbath-esque rock with very good stage presence especially from bassist Joe Lewis, who was as energetic and enthusiastic here as anyone on the night. Unfortunately, it looked like their set was slightly curtailed as we were running a few minutes late already but I'm pretty sure that a few new fans were made on this evening, this writer included.

Who Knows Didley? (5) were on next and their straight forward classic rock style was fairly enjoyable although somewhat forgettable to me to be honest. The sound balance seemed to be a little off to my ears as the guitar and vocals were about all I could hear throughout their set, although they may like it that way as no other bands seemed to be affected by this. Other than that sound, perhaps the most memorable thing about their set was vocalist Paul Matthews’ penchant for performing barefoot.

Chelmsford based pop rockers Tigress (4) were up next and even though their performance was good and their grunge-y sound isn’t terrible by any means they aren't really my sort of thing so they kinda just didn’t grab me at all.

Merch for the evening's main support band - Bridgend's Those Damn Crows (8) - was very conspicuous amongst the crowd throughout the proceedings thus far so they were greeted with some rapturous applause when they hit the stage. Their brand of Alter Bridge / Shinedown esque rock went down very well with the (partisan) crowd in attendance and they put on a pretty good performance as well. With their clear popularity and radio-friendly sound I wouldn't be too surprised to see the band headlining shows like this in the next few years.

If you've seen them before you'll know that Skindred (9) are one of those bands that use the veteran’s trick of warming up the crowd during their intermission. Said warm up tracks (Thin Lizzy's The Boys Are Back In Town, Queen's Don't Stop Me Now, Ramone's Blitzkrieg Bop and finally AC/DC's Thunderstruck) were thumping over the PA to herald the band's imminent arrival (an arrival sound tracked as always by their breakbeat flavoured reworking of The Imperial March). If you have seen the band before you also don't need me to tell you just how good in the live arena they are, with Newport’s own Mr Benji Webbe being one of the very best fronts in the business and on typically top form on this night. From his hilarious crowd-baiting banter to the spot on vocals whether they be the more aggressive ragga style (as used during set opener Sound The Siren) or the more melodic style (as highlighted by an acoustic rendition of Saying It Now). 

Tonight's show also included something Benji dubbed “the Skindred Sandwich Challenge” whereby a member of the audience had ten seconds to eat an entire supermarket sandwich, a challenge which the audience member failed. So they didn’t get to keep the sandwich. Or something…. We also had a spot of rabble rousing for the Welsh national rugby team who were playing in the semi-finals of the World Cup the following day, a match which the team unfortunately lost. Finally, we also had the obligatory Newport Helicopter during set closer Warning, which as usual went down an absolute storm. As is another tradition, the band exited the stage to the strains of Carly Simon's Nobody Does It Better to finish the night off. That song choice may not be subtle but in this writers's; opinion it may well be true.

If you’re interested, Skindred’s set list was as follows: Sound The Siren, Pressure, Ratrace, Machine, Ninja, That's My Jam, Saying It Now (acoustic), Kill The Power, Nobody, Big Tings, Warning.

A View From The Back Of The Room: Who Knows Didley, King Kraken & Eulogy (Live Review By Paul Hutchings)

Who Knows Didley, King Kraken and Eulogy. McCanns Rock And Ale Bar, Newport

The second visit to Newport’s live music scene in a fortnight and three bands very familiar to the readers of these pages. You may recall me getting all wistful about what makes a great gig in my review of the Ravenbreed gig at Le Pub two weeks ago (although the subsequent fall out within Ravenbreed was anything but great!). This was another in your face live at the local event which to me is where the pulsing heart of the entire rock and metal live music scene lives. Three cracking bands giving it their all regardless of the size of the crowd, all musically superb and a genuine love of what they do.

First up was Eulogy (9) who are maturing like a fine wine. Bolstered by the recent arrival of guitarist Darren Harris the band ironed out the technical demons and launched into a robust and thunderously heavy 40 minutes which was absorbing. Harris has given Eulogy a bit more beef and the duel guitar work with Mike Williams is working nicely. Anchoring the band, drummer Darren Goodwin held things steady, his harmonies with Williams and front man Neil Thomas one of many highlights. Thomas possesses a fantastic voice and once again used it to the full. Highlights of a set crammed full of goodies included Falling, Back To Life, Life That Once Was Mine and the fabulous Blood Red Skies which closed out their set. Always great value, Eulogy should not be missed if they are in your area. They play Fuel in Cardiff on 9th November should you have nothing else on that night.

It goes without saying that I’m a big fan of King Kraken (9). I’ve seen them loads this year and every time they continue to impress with different aspects of their show. I raved about them two weeks ago and this show was no different. Once again, they simply steam-rollered through the bar, causing the innocent bystanders supping their ale to nod heads and roar their approval. Although guitarist Adam Healy was decidedly peaky, his pallor mirroring his mustard trousers, his playing was as fluid as always. An eight-song set list provided more Kraken for your (hypothetical) money, and the additions to their set were well worth it. Veins and the fabulous Clutch grooved new song Chaos Engine slotted well into the set, the band tight, easing their way around the new track with firm yet careful steps. Front chunk (©Steve Moomin Jenkins) Mark Donoghue stalked the dance floor with menace, although his willing victim on Kidnap (a certain Mrs H) appeared to enjoy the encounter far too much. Kraken are moving to a heavier, thunderous sound and I for one endorse this totally. With news that the band will grace the O2 in Birmingham in February for HRH Metal breaking in the same week, the future continues to look exciting for one of South Wales’ most impressive outfits.

As frontman Paul Matthews noted in their set, there were no headliners just three bands giving it their all. He’s spot on and Who Knows Didley? (9) are a band that are quietly growing on me every time I see them. The band is now one cohesive unit, tight and composed which allows Matthews to lead in style from the front. Although his barefoot bravado was a worry given the smashed glass on the floor just an hour earlier, Didley totally demonstrated why they were deserving of a slot at Cwmbran stadium the following night. Tunes from Mindless Suburbia continue to worm their way into the consciousness, All Your Wishes highlighting the perfect combination of hard rock and pleasing harmonies. I’m sure the band went down a storm at the Cwmbran stadium. Another outfit who should soar in 2020 and who brought another great night of South Wales hard rock to a fitting close.

Reviews: Jimmy Eat World, Art Nation, Howling Giant, In Pain (Alex, Matt & Manus)

Jimmy Eat World: Surviving (Exotic Location Recordings) [Alex Swift]

Jimmy Eat World’s endurance never fails to surprise me. Viewed as a one-hit-wonder through the eyes of many and as instigators of the emo scene by others, every time they bring out a new album, they elicit the exact same reaction ‘oh wow, they’re still around’, and yet I can’t say they’ve ever made anything truly unlistenable. In fact, far from flaunting themselves, they have been happy to act as the support slot for several delighted upcoming artists. Now on their 10th album the motto is the same: Let’s not pretend to be something we’re not, let’s not lose ourselves to the trappings of mediocrity, let’s just survive and be happy. Notably, the album is a straightforward return to the guitar-led rock of classics in the vein of Clarity and Bleed American, making it somewhat reminiscent of the early 2000s, with one foot in pop-punk, and the other in a more mature, hard alternative sound.

Surviving starts us off on an anthemic note, which sets out the jaunty tone for the entire record as it builds from catchy power chords and hooky melodies to a bombastic finish. Criminal Energy has a more tense, angsty feeling at its heart, the interplay between the lead and rhythm guitars, and the consistent pulsing from the bass and drums, keeps the momentum ticking along nicely. In spite of being on the edges of becoming a ballad, Delivery manages to maintain enough heart and emotion throughout to continue delivering on the promise of genuineness. 555 is perhaps the weakest moment here, feeling closer to the synth-led approach experimented with on later works. Luckily, One Mil proves a fantastic centerpiece, the huge anthemic approach and sauntering contrasts make put this on par with early singles, which emphasized melody and dynamic range in order to spread their feelings of angsty cheerfulness.

All The Way (Stay), conveys that feeling of youthful innocence and joyful reminiscence pretty well, with enough sentimentality and lyrical depth to avoid genericism, not least aided by the addition of colorful harmonies and a saxophone solo. Similarly, Diamond beguiles with crisp riffing, lush phrases and a lyrical palette that perfectly treads the line between moody and optimistic – not unlike their breakout hit, The Middle, in that sense. Love Never is a take on a pop-inspired sound, executed in the right way. In fact, Recommit is the second of the ballads that keeps up an image of theatricality, without straying into melodrama or schmaltziness. In turn, Congratulations finish us out on a dramatic note, the pulsating nature, distorted instrumentals, and strong background vocals, all adding a lovely touch, making for a potent ending.

Surviving won't be remembered as a staple in the Jimmy Eat World catalogue. However, it will certainly be remembered, as one of their better works, especially by fans, and maybe even some casual onlookers to the alternative rock genre 7/10

Art Nation: Transition (Gain/Fifth Island Music) [Matt Bladen]

Swedish band Art Nation are an immensely successful band in their home country and they are now looking to replicate that success with their third album Transition. They will be much better trying to break the American market with this electronic infused melodic rock record. Having started their career as an AOR band this album, they have had a radical change in their line up with three band members being replaced, which has also changed their sound, advancing what they started on previous release Liberation to something not to dissimilar to Amaranthe as the synths take precedence with orchestral swells coming in on ballads like The Cure. I wasn't that impressed by Liberation and Transition hasn't won me over, saccharine, Euro-fodder that sits in a very over-crowded genre. 6/10

Howling Giant: The Space Between Worlds (Blues Funeral Recordings) [Manus Hopkins]

Two hallmarks of good stoner metal this record nails are grooving riffs and standout vocals. Beyond that, there’s really not too much more that needs to be said. There’s a good mix of song lengths here too, and while some pass the seven-minute mark, they don’t drone on or feel unnecessarily long. Most of the songs are fairly regular lengths of four and five minutes, but still maintain the doomy, stoner feel. The riffs are usually memorable hooks, and the impressive vocal delivery really distinguishes Howling Giant from the swarms of amateur-sounding stoner bands out there. The vocals melodies carry the songs when the guitars step down to do rhythm duties, so a very well-used guitar/vocal duo is present throughout the album. 7/10

In Pain: The Sound Of Death (Southcoast Productions) [Manus Hopkins]

One would hope an album with such awesome cover art as In Pain’s The Sound Of Death contains great music as well. Luckily, the Swedish death metallers have managed to deliver, saving the record’s art from being wasted. It’s the impenetrable groove of the songs that sweeps the listener along and though the songs are heavy, there’s an undeniable catchiness to each one as well. It’s the vocals that are the most aggressive—the bludgeoning riffs and booming drums have a good amount of melody to them, setting In Pain apart from other contemporary cookie-cutter death metal bands. There’s not a whole lot of variation throughout the album, but in some instances, there doesn’t need to be. 7/10

Reviews: Jinjer, Bombus, Blood Oath, Past The Fall (Matt & Paul H)

Jinjer: Macro (Napalm Records) [Matt Bladen]

Ah another 'next big thing' the Ukrainian band Jinjer have had a fair few big time moments in the UK, including a spot at this year's Download festival. They are a hotly tipped band who just last year heralded the release of this full length with their Micro EP. It was a short intro to the band's stock in trade, big groove metal riffs, some djent chord progression, ambient passages and the brilliant vocals from front woman Tatiana Shmaylyuk who moves from whispers to roars in an instant, bringing aggression and emotion as the instrumental sections freak out behind her especially on On The Top which seems to have about four different songs in one. The vocals almost make it seem like there are two vocalists as certain tracks sound like duets between the good and evil styles.

From what I've seen of Jinjer I'd always assumed they were a little more metalcore than anything else but no, Macro has a distinctive progressive vein to it, the songs keeping you guessing yet always down tuned and heavy, though Judgement (& Punishment) opens with some reggae, we get blast-beats on Retrospection while Home Back has some dreamy ambient prog sections opposed to the heavy rest of the song. Macro is an album that fans will snap up and it’s clearly another step towards them climbing higher up the ladder, check them out on their almost sold out tour at the end of the year as they excel live. 7/10

Bombus: Vulture Culture (Century Media Records) [Matt Bladen]

Fourth album from Bombus sees the Swedish band expanding to a five piece adding an extra guitarist meaning that they are now Feffe (Guitar & Vocals), Matte (Guitar & Vocals), Simon (Guitar), Peter (Drums) and Ola (Bass), they’ve come a long way since their days as two –piece of Feffe and Matte, back then they were firebrand punks inspired by The Melvins, now they are clattering, hard rocking band that owe more to Motorhead, Backyard Babies and even Baroness (whom they have toured with). Vulture Culture has a rounded kaleidoscope of sounds reminding me of Baroness and Mastodon as they dip into their face punching punk roots for In The Shadows, but getting heavy and proggy for A Ladder-Not A Shovel and We Lost A Lot Of Blood Today both meld punk snarls with stoner grooves and some out there space rock.

It’s a record that grabs you by the balls (or any other fleshy parts) and doesn’t let go until it’s done with you, taking you on a rollercoaster of riotous heavy music until the very end. Produced by Daniel Johansson and mixed and mastered by the king of studio mixing Jens Bogren, every song drips with impressive song writing flair and rock n roll take-no-prisoners attitude as they careen towards the edge of the listener’s scope on the title track. They say themselves that nobody sounds like them and this would be a massive piece of self aggrandising but to be honest they might be right, on Vulture Culture they have broken boundaries that many bands don’t even get near. A party album if I’ve ever heard one perfect for blocking out the current world turmoil and just rocking out. 8/10

Blood Oath: Infernum Rex Diabolus (Self Released) [Paul Hutchings]

Death metal is alive and kicking hard in the UK at present; Leicester’s Blood Oath are amongst the standard bearers for the new tranche of bands who have emerged over the past couple of years. Having played Bloodstock and tucked their debut Kingdom Of Dead Souls into their belts, the quintet’s sophomore release is a pleasing collection of death metal and more mainstream metal which does not fail to pump the blood hard. Produced by Neil Hudson, the album is assured of quality and Hudson once again captures both the dynamic rawness of the band but also ensures that they are fully on message. Nine solid tracks capture the intensity of Blood Oath in their full might here; tracks such as Infernum Diabolus Lycanthropic Bloodlust and Obliteration Of Mankind are massive slabs of powerful intense metal, jagged riffage, punishing drumming and the roaring vocals of Mark ‘Thrax’ Johnson combine in a meaty combination that is both extreme and compelling. I’ve yet to see these guys live, but this music is written for the live stage. Powerful stuff indeed. 8/10

Past The Fall: From Insanity’s Ruin (Self Released) [Matt Bladen]

From Insanity’s Ruin is an odd album, it will divide opinion that’s for sure. I guess you can say it’s progressive metal as there are lot of different styles here, sometimes all in one song, we have blistering thrash riffs, death vocals, then there’s also grunge and more melodic styles that come through too. It’s a bit schizophrenic never really setting in to one particular thing. For some this might be great, for me it usually is but what made this album a struggle for me are the vocals, most notably the clean vocals which are droning and monotonous, they are used much more frequently than the death growls with the clean/harsh dynamic being utilized on tracks like Beholden and while the harsh vocals with the groove metal riffing, great soloing (the guitar playing is brilliant throughout) the clean vocals kill it. Now you may like them but it made this album a struggle. Past The Fall is the band created by bassist/vocalist Will Wright and guitarist/vocalist Thomas Cope while they have tried to make it a grandiose epic and at times they succeed and for some this will be played numerous times but I span it twice and each time the same problem crept up. 6/10

The Spotlight: Interview With Tainted Lady By Steve Haines

Tainted Lady Questions

Hi, lead singer Michael Catton here. I’m the lead singer of Danish rock band Tainted Lady, although I’m originally from the UK.. I joined the band in 2015, but the core of the band has been together for about 10 or 12 years. I’ll be glad to answer any questions and shed a bit of light on the band. Hope you all enjoy, and remember to go check out our music! After all, that’s what it’s all about.

SH: Where does the band name come from?

MC: When the guys chose the name (long before I knew them), they didn’t really know what it meant. At least not the word “tainted”. They were quite young, mid-teens, and had maybe just heard the word and thought it sounded cool. It wasn’t until later that they found out what it meant, Tainted Lady. It had a sleazy vibe that fit the music the band was into back than - Whitesnake and the like. The name probably makes us sound more sleazy than we actually are these days - but hey, every band has a history, and the band name is part of ours.

SH: Who were/are your influences?

MC: We all grew up listening to rock music from the 60s, 70s and 80s. The classic rock staples like Guns N’ Roses, AC/DC, The Who, Deep Purple, Led Zep. You know the list. Heavy metal influences from Metallica, Maiden, Priest. And of course there’s The Beatles. A lot of The Beatles! But we all have our individual quirks - some of the guys in the band listen to a lot of folk music, others to some soul, punk, heavy (very heavy) metal, 80s pop, classical music - you name it. It all seeps into our songs one way or another and adds something special to our sound. Also, we love a good vocal harmony or three, and groups like Queen and Eagles have definitely left their mark on us. On this album, we took a lot of inspiration from the folk and protest songs of the 60s; stuff like Bob Dylan and Crosby, Stills and Nash. Not only musically, but lyrically too.

SH: Who are your favourite bands?

MC: Michael: Iron Maiden. Jonatan: The Beatles. Fred: AC/DC. Anders: Rival Sons. Daniel: Def Leppard

SH: What has been your favourite gig so far and why?

MC:That’s tough, there are a few to choose from. Our first gig outside Denmark was in Macedonia. People down there love rock and roll, and they’re all crazy. That was fun. We played the Reeperbahn Festival in Hamburg, that was amazing too. But Copenhell is probably our favourite. Big crowd singing along, big stage so we don’t have to worry about getting whacked across the face with a guitar headstock, good weather (and seeing Ozzy Osbourne AND Lars Ulrich backstage!). Everything a rock band could wish for!

SH: What is your songwriting process?

MC: I’m not sure we have one. I mean, it’s not like there is a step-by-step guide to writing a decent song. Sometimes a cool lyric comes first, or a riff, or an interesting chord progression. Sometimes these songs fall from outer space.

SH: What are your goals for Tainted Lady on the back of your new album?

MC: Get out and play the songs for a live audience. We love the songs on this new album, and we can’t wait to play them for you all. We will be hitting a lot European stages in 2020!

SH: How do you feel your progress towards those goals is going?

MC: Hopefully this new album should help us move forward and open some doors for us. We certainly think it has the potential to do so, and the response we’ve had so far on released singles from the album has been great.

SH: Any plans to tour the UK?

MC: Definitely! As I mentioned, I’m from the UK and haven’t been back for a while, so I’m dying to get back home and shout a load of obscenities in my native language. And you can’t play in a rock band and never visit the country that invented rock music! So although it’s not planned out yet, we should be visiting you soon (if your government will let us in)!

SH: What should an audience expect from one of your shows?

MC: Sweat on your brow, a sore throat, ringing in your ears, and songs that you won’t get out of your head for days. We hope to see you soon!

Reviews: Babymetal, Bent Knee, Divided Multitude, Juggernaut (Matt & Alex)

Babymetal: Metal Galaxy (earMUSIC) [Alex Swift]

Ever get fed up with people being agreeable? I’m going to show you how to start an argument using one word (or two for the hair-splitting). Wander into any metal circles, a rock club or campus heavy metal society usually work and mention the name Babymetal. Responses will range from ‘they are the greatest thing to happen to metal in decades’ to ‘how dare you mention that name in my presence – they’re a blight on the metal genre’. Nuance and reasonable positions will be somewhere in between the two. Babymetal has an acquired sound that will certainly not be to everyone's tastes. However, they have a unique sound, have proven their longevity beyond Gimmie Chocolate, and have shone a light on Japanese metal acts in the vein of Silhouette From The Skyline, Man With a Mission and Band-Maid. Most importantly, they have succeeded in getting people who otherwise wouldn’t have an easy gateway into metal, interested in the genre. And I’m sorry, while it’s possible to have legitimate gripes with Babymetal or just be turned off by the frankly wacky combination of J-Pop and metal, they are not ‘ruining’ anything. Metallica, Slayer, and Megadeth will still be revered and looked up to no matter how successful J-rock gets. And if a genre that’s been popular and growing since the ’60s is threatened by three teenage girls, and some musicians dressed as skeletons, then maybe the elitists should be giving them a bit more credit than they’re getting, I mean, wow! Personally, I think they rule and Metal Galaxy only helps to solidify that.

DA DA DANCE! Immediately starts the album off on an energetic note! Now here’s an album opener – essentially a dance metal song, the blaring synths are replaced with splicing guitars and commanding drums, while the melodies are infectious – a feature lacking from a lot of mainstream metal, and another reason why I find Babymetal so revitalizing. This is far from the last example of that kind of changeability taking place. Shanti Shanti Shanti incorporates Indian Bollywood melodies and instrumentals into the mix while keeping the guitars present – at a stretch, you could trace this to a trend that’s existed in pop since the ’80s, yet few display the effort and execution in order to give them flair and authenticity.

Sabaton’s Joakim Broden lends vocals to Oh! MAJINAI! Which can only be described as a Sea-Shanty style piece with the electric violins and accordion lending a wonderfully authentic touch. Polyphia’s Tim Henson and Scott LePage feature on Brand New Day, their bright, funk-laden guitar textures, contributing to an insatiably joyous anthem. Night Night Burn has a touch of Cuban dancehall, albeit via way of power metal. In The Name Of… has elements of gothic and black metal, incorporating choirs, traditionalist instrumentation, searing guitars, and guttural screams, all of which send chills riveting down my spine. Even PA PA YA!, the lead single and the most Babymetal sounding song here, believe it or not, is given a determined, marching feel by the growls, courtesy of Japanese metal star, F.Hero.

Don’t think that the guests in any way minimize the contributions of Babymetal proper because they take centre stage at all times, and play the main role in making Metal Galaxy so ambitious! Elevator Girl is a jaunty pop-punk number, sung in English, no less. Distortion and Starlight prove why they fill stadiums, with the arena-sized harmonies and soaring instrumentation lending that sense of magnitude, which has been present since album no. 1. Indeed, I would even say that they have touches of prog metal in the way the complex instrumentation blends with the unconventional songwriting. The vocalists still prove their remarkable chemistry on the inspiring Shine and glorious closer Arkadia, where the transcendent melodies and symphonic qualities prove uplifting.

The off the walls, crazy and uncanny approach that Babymetal has cultivated here, proves the recipe to their success. They never would have seen such enthusiasm, if there were no risks involved. Any reservations, misgivings or hesitations have been firmly blown into outer space with this record. Sure, the production is squeaky clean, the vocals an acquired taste, and the musical themes insatiably off the wall. Though, I will give a request to those who heard Doki Doki Morning in 2015 and noped hard out of becoming a fan of the project: Give them one more chance. Listen to this album, without prejudice. Who knows? You might surprise yourself. 8/10

Bent Knee: You Know What They Mean (InsideOut) [Matt Bladen]

Bent Knee are a musical collective from New York City consisting of lead singer and keyboardist Courtney Swain, guitarist Ben Levin, bassist Jessica Kion, drummer Gavin Wallace-Ailsworth, violinist Chris Baum and sound designer Vince Welch (synth/guitar/production). They can be considered prog, I guess but they are a lot more than that, they fuse a myriad of styles on their records from pop, rock, jazz and unapologetic heaviness. This is categorized by the first proper song on this record Bone Rage which is fuzzy and heavy, the ideal opening after the live intro Lansing where the band deal with technical problems before an explosive feedback leads into it, it's one of two live/intro tracks on the record, splitting things pretty much down the middle. You Know What They Mean is the bands fourth record and according to vocalist Courtney (who has one of the most distinctive voices in rock) Bent Knee are "a big group with a lot of different personalities and a lot of voices, but our music brings us together. On the past albums, you could hear the music, but you couldn’t really hear who we are." This search for who they are has led Bent Knee to produce their most visceral album yet lurching between styles with serious musical acumen. Give Us The Gold kicks off with throbbing synth beats paired with the frantic violin it's music that defies borders with every note, it's edge of your seat stuff as you are taken along on this mind-expanding journey through the trance-like Hold Me In, the dramatic modern pop of Catch Light, the introspective, ambient, dramatic Garbage Shark before Golden Hour is an ethereal near-climax. Most definitely an art rock album, strange, intriguing and most of all satisfying to listen to. 8/10

Divided Multitude: Faceless Aggressor (Ram It Down Records) [Matt Bladen]

The orchestral piece Chapter 2 is the instrumental that opens this seventh album from Norwegian progressive/power metal band Divided Multitude, their first sine 2015. It is also the first album not feature co-founding member Sindre Antonsen as lead vocalist, he has been behind the mic and on guitar since 1999 but here the vocal position has been taken by Jan Thore Grefstad who the keen eared may recognise as the frontman of Saint Deamon for their two brilliant albums over ten years ago and also their most recent record released on the same label in September (which we will be reviewing soon now we know about it). He's got a great voice and is backed ably by Antonsen for a delicious dual lead sound on Prosperity Divine.

Now obviously you'll be drawing comparisons because of the shared vocalist but Divided Multitude are a more progressive sounding band with some heaviness from palm muted riffs on Divided Multitude, though the title track goes full power metal madness, it's mainly heavy prog metal sounds like Queensryche (Psalm Of A Soldier), Dream Theater, especially on the epic version of Alanis Morissette's Uninvited and also Symphony X who they are most similar too with those precision guitar lines impressing on Counterparts as False Prophecy ramps up the heaviness. I'd never heard of Divided Multitude (they've made seven albums! You idiot Matt) but I will be doing some discography digging on the back of this record, if you like heavy but melodic progressive metal then seek out Faceless Aggressor as it's a superior prog metal album. 8/10 

Juggernaut: Neuroteque (Subsound Records) [Alex Swift]

Decidedly massive in tone and employing of a lot of techniques aimed to foster a cinematic feel, Juggernaut certainly live up to their namesake – not all the progressions feel natural, and some just fell drawn out, working to Neuroteques determent, yet these musicians clearly have an excellent grasp on ambition, dynamics, and are keen to test those values to their hilt.

Limina opens, the distorted, drawn-out guitar passages and resonant drums lending a commanding feel, before slowing into a somber classical guitar ballad; Fires itself up again in the final minutes, the lead guitar melody echoes that of the acoustics, while rhythm section brings some of that blackened intensity to the forefront again, already giving the album a sense of thematic consistency, even if the sudden transitions can feel jarring or at times, forced. These musical themes are carried into the title track which opens on marching bass and drum before frenetic grooves take hold, the tuning still carrying a dark tone, yet the movements and musical arrangements, feel strangely infectious and charming. Indeed, I would actually say this is one of my favourites on the album in the way the song layers itself, creating an unpredictable atmosphere.

Ipnoauta emphasizes a more subdued side to Juggernaut’s personality, the clever usage of synthesizers and the subtle flourishes, creating an almost psychedelic, yet no less emotional experience – not that the song doesn't have peaks and valleys cause it absolutely does. At times, we lurch into moments of sheer euphoric madness or tension, as if the composition itself is a wave and the instruments are water particles, rising and falling in constant, though unpredictable motion. In fact, these players show from start to finish that they know how to utilize chaos just as well as bliss. Look at Charade for example which seems to thrive on keeping the audience in a state of awesome beguilement, this song's structure is incredibly difficult, if not outright impossible to discern. Still, the brilliant performances, their intelligent interactions, and the penchant the group as a whole have for randomness and changeability makes a seemingly structureless anthem thrive,

Titanismo is probably my least favourite song here, as while the experiments with oriental trappings and the reliance on keyboards make for a different experience, some of the tones and flavours which they attempt to capture a weird, hypnotic feeling, are not tasteful, and don’t blend well. Whatsmore, while the irregular and uneven changes work wonders at times, here’s where they feel messy, beginning to hinder the cohesion of the record as a whole. Aracnival has a hint of redemption, being based on a spidery riff that twists and contorts itself in a myriad of different directions, yet ultimately ends up displaying another flaw: in stages, Neuroteque is tiresome and laborious.

We close on Orbitalia, which makes good on the promise of ending on a dramatic note, progressing from small-scale, yet detailed and beautiful, into gigantic and crescendoing. The take away from the experience is that despite its flaws, you cannot deny the ambition on display here. Juggernaut carry more passion through their instrumentals than some artists carry through a million words. Not everything here is to my tastes, yet I feel this is one of those rare instances where I, as a critic, must step back and acknowledge the value of subjectivity. 7/10

Reviews: Nick Cave & The Bad Seeds, Saint Asonia, Jan Akkerman, Evil Invaders (Matt, Alex & Manus)

Nick Cave & The Bad Seeds: Ghosteen (Bad Seed Ltd) [Alex Swift]

Grief or deep aching sadness is often understood in stages: denial, anger, bargaining, depression, and acceptance. Perhaps these are the elements that make sad music seem the most uplifting Five years have passed since Arthur Cave was found dead at the bottom of that seaside cliff, aged 15. Despite his father insisting that most of Skeleton Tree was written prior, the tragedy inevitably cast a shadow over that albums themes of mortality and spirituality. Push The Sky Away, also contemplated those ideas. Beautiful in symbolism, yet haunting in honesty, Ghosteen sees our frontman contemplating the facets of sadness, while utilizing instrumentals in a delicate, elusive manner. I partly fear to review and analyse the piece, yet I hope to do well by the artist and the album. As Cave answers in one of his Red Hand Files, ‘writing fills me with a devotion to the mystery of the world with its deep oceans and dark forests. This notion of doubt contains an enormous amount of creative power and is always accompanied by a state of yearning for something beyond certitude, beyond comprehension’

Ghosteen opens on a parable about the ‘King of Rock n’ roll’. Held within that is the concept that we all leave behind a legacy, a presence that will not dissipate: ‘spin the feather and sing the wind’. The melancholic use of strings allows for the vocals and words to resonate as if they themselves are instruments, intent on charting the emotion and sensitivity. Bright Horses utilizes the same technique, when Cave's voice takes on a wept quality, which emphasizes the depth of his grief while setting up the dichotomy between imagined fantasies of the world, and cold harsh realities. ‘The bright horses have broken free from the fields, they are horses of love, their manes full of fire’ wonderfully contrasts with ‘the fields are just fields, there ain't no Lord, everyone is hidden, everyone is cruel there's no shortage of tyrants and no shortage of fools’. In the final moments, our frontman resolves to believe: ‘My baby's coming back now on the next train, can hear the whistle blowin', I can hear the mighty roar’. For those of us for whom a strong imagination comes naturally, these lyrics offer a kind of solace, making our fantasies seem justified, if not any more lifelike. Even on the mournful, yet beautiful piano ballad, Waiting for You, our narrator finds comfort in the strangest of places: ‘A Jesus freak on the streets says, he is returning, well sometimes a little bit of faith can go a long, long way’.

Night Raid is the song I’ve struggled with most, though I see the beauty in utilizing minimalism to describe the hollow hell of hotel rooms while recalling subtle memories of loved ones in a search for inspiration. Galleon Ship, accompanied by vivid instrumentation, speaks of a desire to escape the confines of a world obsessed with money, and fly to the sun. Still, the reality is once more brought into the picture, with our protagonists discovering that once they reach the sun, they can only circle aimlessly around, ‘The winds of longing in their sails, searching for the other side’. Ghosteen Speaks feels brought to life by the addition of choirs, whose ethereal wails rise and fall, appearing closer and further away. ‘I think they’re singing to be free’ Cave observes, lending to the idea of letting the ghosts of the past linger, without haunting or disturbing your dreams. Drawing this section of the album to a close is Leviathan, which feels like a pop song suffering an existential crisis. The tribal, Celtic undertones, and the repeated motif of ‘I love my baby and my baby loves me’ give the irony a subtle though affecting sting,

We soon move into Ghosteen, which begins on a positive note with blissful layers of colour and harmony, and a ‘chorus’ which feels like a waltz performed in a Fairytale setting. The setup tricks the listener into thinking they know the direction before a tale gets spun of a ‘moonlit man, moving down the road, things start to fall apart, starting with his heart’. From there we are cradled within the song, the gentle subtly, allowing us to move from moments of comfort to stints of sheer moroseness. Recalling The Fairytale idea, we are told a saddening retelling: ‘Mama Bear holds the remote, papa bear, he just floats, and baby bear, he has gone to the moon in a boat’. Finally, as the players fizzle out, leaving the project's centrepiece, standing alone, he concludes ‘There's nothing wrong with loving something, you can't hold in your hand’. Lyrics so open to interpretation pose a risk, yet here they are executed with a sympathetic nature that keeps you entangled in their emotional grip. The same could be said of Hollywood, which amounts to an aching contemplation on mortality. I’ve heard some say that ending the album on such a morose note, proves uncomfortable, yet there’s really no other way the entire experience could have finished. This puts the entire work in cruel, acute context. In the closing story, a woman named Kisa, in a desperate search to save her dying child resolves to collect a mustard seed from each house where no one died - she's not able to collect a single one. ‘Everyone’s always losing someone, it’s a long way to find peace of mind’

Ghosteen proves a fine tribute to Arthur, and a wonderful story of love, grief, and recovery. To end with another Red Hand Files quote: ‘Grief is the terrible reminder of the depths of our love and, like love, grief is non-negotiable. There is a vastness to grief that overwhelms our minuscule selves. We are tiny, trembling clusters of atoms subsumed within grief’s awesome presence’ 10/10
Saint Asonia: Flawed Design (Spinefarm Records)

Canadian rock band Saint Asonia were named Loudwire's Best New Artist of 2015, now if you're into your post millennial American (or in this case Canadian) radio rock then you will probably know that they are soemthing of a mini supergroup featuring former Three Days Grace frontman Adam Gontier and Staind guitarist Mike Mushok. Flawed Design is their first album since 2015 and their second in total and it doesn't wildly differ from their debut though it does new members in the form of Cale Gontier on bass replacing Corey Lowery and on drums Sal Giancarelli taking over from Rich Beddoe, they have also brought some friends along with Sharon Den Adel duetting on the emotive Sirens while Godsmack's Sully Erna lends his unique pipes to the chunky The Hunted. Gontier's voice is great, carrying these anthemic songs with ease, it's not groundbreaking stuff but Flawed Design is a first-rate radio-rock album, balancing the bouncy rockers with the big ballads bringing together the styles these men are known for but keeping it very up to date with the gurgling synths as an undercurrent. Not many flaws here just an album that will be picked up by every US/Canadian rock radio station for sure. 7/10 

Jan Akkermann: Close Beauty (Music Theories Recordings)

Jan Akkermann is 72 years old, bear that in mind when you listen to his latest solo album. The guitar playing here (it is an instrumental album) is mind boggling. Close Beauty is a jazz fusion record with the intensely technical playing backed by some smooth organs and funky rhythms. If you're not a fan of exploratory instrumental guitar albums then it may be worth skipping over this collection from the founding guitarist of Focus. It's called the 'Akkermann Sound' as it mixes electric, acoustic and classical guitar styles for an album that will thrill and delight guitarists and those that have been following Akkermann's career for all these years. It's decidedly different to so many of the virtuoso guitar players out there something which Jan revels in, it means that this album has got a myriad styles with African touches on Meanwhile In San Tropez, the funky organ-drenched French Pride and the impressive Spiritual Privacy opening with some brilliant acoustic playing. If you're not impressed by the playing then this is good enough chill out instrumental album best enjoyed with a glass of wine. 7/10 

Evil Invaders: Surge Of Insanity: Live In Antwerp 2018 (Napalm Records) [Manus Hopkins]

It seems Evil Invaders are a little early in their career to have a live album out. Though the band has been active since 2007, they only have two full-length albums out so far, and maybe a third or even fourth before a live album would be a better idea. That being said, this is a pretty good live record, despite sounding very polished and touched-up. The songs incredibly energetic, making it so some accompanying video would serve the performance recording as well. At 16 songs, it’s a pretty long show, but the momentum doesn’t die down, and it’s straight thrash from beginning to end. One song that surprisingly stand out is a faithful cover of Venom’s Witching Hour. That’s not to say Evil Invaders don’t have songs of their own to stack up, however. 7/10

Reviews: Bask, Runemagick, Alfahanne, Naut (Matt & Lee)

Bask: III (Season Of Mist) [Matt Bladen]

If there was a genre called Appalachian Mountain Rock then surely Bask would be the originators, this North Carolina four piece bring desert rock to the mountains as pinched melodic guitar lines are met with brooding heaviness just below the surface that occasionally boils over into monstrous riffs, that adds a freshness to their Southern rock trappings, they've been described as cinematic and they are that, music in widescreen if you will, there's so much going on you will have to spin this record a few times, preferably on headphones as the production has a very distinctive left-right split and if you don't have both sides it will sound thin. The drumming of Scott Middleton is breathtaking as this Allman Bros-meets-Mastodon amalgamation gets under your skin, with songs such as New Dominion which has those slick Allman/Betts guitar harmonies from Ray Worth and Zeb Camp, running right through it. III is the bands third record and it's their most accomplished, filled with melancholy and weighty rather than being the traditional heavy you'd think about.

Songs such as Noble Daughters I: The Stave get some grunting distortion from Jesse Van Note without going into the realms of Bask tour mates High On Fire or Weedeater, it segues into the rocking but an life affirming Noble Daughters II: The Bow which serves as a tasty progressive suite with that builds into a tremendous crescendo as the album closes out with Maiden Mother Crone a song that takes things down to the river as Jed Willis and Meg Mulhearn add some Pedal Steel and Fiddle to this folksy finale. I didn't know what to expect of Bask but this mix of stoner rock, post-rock, Americana and psychedelia really astounded me. A band that has an original sound is soemthing that should be praised and rightly so Bask get a lot of praise from this writer. 8/10

Runemagick: Into Desolate Realms (High Roller Records) [Matt Bladen]

Having formed in 1990 as Desiderius, the Gothenburg band then went by Runemagic from 1990-1993, coming back as Runemagick between 1997-2007, then after a 10 year hiatus they have returned seemingly for good in 2017. This long potted history means that Into Desolate Realms is the bands 13th studio album their first album for High Roller Records. Now High Roller Records usually does it's stock in trade with traditional metal bands so Runemagick is something a little different, I mean there are lots of twin guitar harmonies as Nicklas 'Terror' Rudolfsson and Jonas Blom trade off on the title track but the music here is death/doom metal, it creeps out of your stereo with a down tuned heaviness provided by the guitarists, who can switch from big chord hits to tremolo picking with ease. The death comes from 'Terror's growled vocal style, but the real grunt comes from bassist Emma Rudolfsson and the metronomic drumming of Daniel Moilanen. If you want some bouncy heavy metal then you won't find it here, the band themselves describe their music as slow to mid tempo and there will be no disagreements from me, as the album writhes with insistancy checkout Sorceress Reburned for some real heft.  A band who have never followed any rules musically Into Desolate Realms mixes death metal's nastiness, vocally/lyrically and the musically dexterous epic doom metal (the guitar playing is brilliant) it's a strong return from a band who I hope will flourish from here. 7/10

Alfahanne: Atomvinter (Indie Recordings) [Lee Burgess]

This was sent to be under the banner of Black metal rock thing. (I have a way with genre titles - Ed)  That may be because they are something of a supergroup made up of past members of BM groups like Vinterland and Maze of torment. Make no mistake, this is no BM rock mash up. It’s more of an 80s darkwave throw-back with a sprinkling of BM stylings, and it’s fucking massive! It has a clear-cut sense of identity within the music. Think Finntroll vocals and electro/industrial musicianship. There are heavier tracks like title track Atomvinter, balanced nicely with quieter tunes such as A Place To Call Home. This is political stuff, very aware of itself, but never self-indulgent. Black metal can sometimes be suffocating with its savage riffing and battering drum sections, but this proves that BM artists are more than capable of departing from their roots and reinventing themselves.

This is next level stuff, giving us something new, whilst infusing well-trodden ideas. It rarely loses its way and sometimes surprises us with well-timed passages of Editors era indie-rock. Where it really succeeds is in the tracks recorded in Swedish. Like Rammstein, it doesn’t matter about understanding the lyrics, because the music carries such weight. It has groove, beat, rough-edged production, darkness and a real sense of epic style. This is the kind of outfit that would be at home headlining the Sophie Tent at BOA. It’s designed to get people rocking out in their masses with its huge sound and dance-like sensibility. This is one for the goths and those who like a bit of fusion in their music. 9/10

NAUT: Semele (Self Released) [Lee Burgess]

I’m feeling rather lucky with my review picks lately. NAUT give us a real big dose of post-punk with their new-romantic tunes that sound as if we’ve fallen away from the stupidity of Brexit Britain and landed somewhere in Europe in 1985 to get shit-faced in a club with awesome live music thumping out all around us. This kind of reminds me of Fields Of The Nephilim doing the bad thing with Tangerine Dream. In short, it’s bloody glorious. I only have a 3 track EP, but if perchance somebody could send me over a never-ending supply of this stuff, I would be very pleased indeed. If you are a fan of The Cure or The Cult, please wrap your ears around this. It really is so good to hear dark rock of this calibre.

If you fancy getting trapped in an 80’s post-punk horror movie or a remake of Donnie Darko, then this is what you need. This isn’t heavy in the metal sense, but it is full of atmosphere with an almost witch-like quality. It’s clear that this band have designs on crafting music that has been and gone, but if this is the kind of resurrection we can expect, bring it the hell on. What is so great here is that NAUT borrow from so many great bands, but instead of ripping them off, or getting confused over styles and genres, NAUT get on with the business of making glistening dark rock that sounds theatrical and expensive in production. 9/10

Reviews: Wolf Jaw, Michael Monroe, Esoteric, The Whirlings (Matt, Paul H & Lee)

Wolf Jaw: The Heart Won't Listen (Listenable Records) [Matt Bladen]

Emerging out of the ashes of The Bad Flowers, the trio of Tom Leighton (guitar/vocals), Dale Tonks (bass/vocals) and Karl Selickis (drums) have had a name change since their debut record Starting Gun was released. Now back in 2018 Paul H called them "well worth checking out" comparing them to Led Zeppelin, Rival Sons and The Cult. So has the name change affected their sound in anyway? Well if anything it's given them a new fire, The Heart Won't Listen opens with a dirty rocker in the shape of Hear Me which sounds a little like Royal Blood as the fuzzy bass and guitar riffs are slung with reckless abandon as Selickis keeps it all in check with his powerful drumming. It's a statement of intent for sure bound to be blasted out on rock radio, however unlike a lot of the 'Planet Rock Fodder' bands we review here Wolf Jaw are not one dimensional as they have very bluesed based sound shown on I Ain't Ready with Ticking Time Bomb having that early brashness of Aerosmith, (that guitar sound is wicked by the way) boosted by the rawness of Tom's voice.

Like all great power trios, the songs here sound natural, full of soul and organically created by three men in a studio after a number of years touring with some of the biggest acts on the circuit to hone their craft. They also break the mold with some stoner/occult rock influences especially in the jangly guitars as Leighton starts to shout a bit on groovers such as The Fighter. He has said that as well as the normal rock influences he has been inspired by bands such as "All Them Witches, Red Fang, Kadavar and QOTSA" and those sounds infect this album with stoner/desert rock influences too comin in on Piece Of Me and the aggressive Beast. The Heart Won't Listen is a very modern hard rock album from a band who have taken to a new identity with a renewed fire, I'd do more than check them out, I'd say pick this album up and get it blasting! 8/10

Michael Monroe: One Man Gang (Silver Linings Record)

Now aged 57, Michael Monroe continues to plough his own furrow. Frontman of Hanoi Rocks, the Finnish glam punk rockers who took the rock world by storm in the early 1980s, he’s also been a successful solo musician for three decades and whilst glam is in the bottom one of my most disliked metal genre, there’s no denying that Monroe has proved himself to be a survivor. Astonishingly fact fans, in 1984 Hanoi Rocks were voted the second-best band in the world behind Marillion. I must admit I was never a Hanoi Rocks fan, their cover of Up Around The Bend about as much as I could take. One Man Gang is his tenth solo studio album and his first since 2015’s Blackout States and focuses on his approach to life with positive mental attitude. Guest guitarist Captain Sensible adds crunch to the opening title track, a punchy 2:25 song which has you pogoing within seconds. Last Train To Tokyo revives Monroe’s love of Japan. With his band full of veteran musicians there is no question of the quality. Sami Yaffa (New York Dolls and Hanoi Rocks) Ginger Wildheart's guitarist Rich Jones, Steve Conte and drummer Karl Rockfist (Danzig) join Monroe.

One Man Gang is feisty, at times fiery and fist pumping, full of devil may care rock n’ roll. Monroe contributes not just with his vocals, but a blistering harmonica on Wasted Years and Junk Planet. Midsummer Nights is awful, a wistful look back at a time long gone, whilst In The Tall Grass is weak. Monroe is at his best when the pace is fast, the beat heated and the chorus anthemic. He may not have Ginger in tow anymore, (in fact it was eight years ago on Sensory Overdrive when Mr Wildheart added his strings to the band) but there remain many opportunities for rawk and roll here, such as The Pitfall of Being An Outsider. I’ll freely admit that this isn’t my favourite style of music, but I can certainly appreciate the work that has gone into an album that retains sleaze, punk and generally good time rock n’ roll from one of the rock world’s survivors. 7/10
Esoteric: A Pyrrhic Existence (Season Of Mist) [Matt Bladen]

Esoteric are not a happy bunch, that could be because they are from Birmingham (joke) but you can almost feel the industrial decline in this music, dense and slow moving A Pyrrhic Existence opens with a 27 minute song that is no progressive masterpiece, it's the sound of a tortured soul as they push the sonic boundaries with some of the most boring doom metal I've heard. Nothing really happens on this record it's just snail pace riffs, that I suppose can be considered funeral doom capped off with low roars, the long run times mean that the songs blur into one long song which might be the point. At times they do try some cinematic moments but with the length of the songs it's difficult to sit through all 98 minutes of this record in one sitting. It's bleak and oppressive but too much for me. 6/10

The Whirlings: Earthshine (Subsound Records) [Lee Burgess]

Um, right, this is an odd one. The Whirlings is a real mind bender. I’m not even sure what it is right now. Do I like it? Yes, kind of. Is it heavy? No, not really. Is it metal? Not one bit. It’s kind of like listening to Alcest in one ear and then deciding that you need a bit more Sabbath. This is post rock, of sorts, Space Rock if you will. It’s a nice enough listen but (and I realise I may be fence sitting here) it’s something of a puzzle. The largely instrumental compositions are dreamy and swirling. This is a musically talented outfit with an obvious multitude of influences. My problem here is that the influences on show are sometimes at odds with each other. It’s almost as if the band members often argue and decide to agree to disagree on which direction to go in. The result is a confusing (if interesting) mixed bag of styles and genres.

Along with the bands I have mentioned, there are times when we could be listening to classic Fields Of The Nephilim or Monolord. You could be mistaken for thinking this is a good thing, and maybe you would be onto something if the various styles came together a little easier. The problem here is that actually I rather enjoyed a lot of this, but I was never quite sure what the band wanted me to hear. It all seemed a little at sixes and sevens. All this would really need to knock it into shape is a little pow-wow between the band members to solidify the ideas within the music. It’s cool to be complex, to give listeners something to mull over, but it should be driven by a clear vision that is obvious to consumers of music. 7/10

Reviews: Hawkwind, Bruce Soord, Mayhem, The Elephant (Paul H, Val & Matt)

Hawkwind: All Aboard The Skylark (Cherry Red Records) [Paul Hutchings]

The remarkable thing about this album is that Hawkwind have never used this title before. Having benefited from a stable line-up for the past few years, Mission Control looks steady and focused on their forthcoming 50th anniversary tour including a night at the Royal Albert Hall which I am looking forward to. After last year’s diversion with the orchestral interruption of Mike Batt with Road To Utopia, album 32 sees the space rockers return to the direction that their previous two releases, The Machine Stops and Into The Woods had taken. A spine of tight psychedelic groove ensures that the album rarely drifts, with a relaxed feel allowing the band to showcase their own talents. Opening with Flesh Fondue, one of two classic space rock tracks with alien creatures sweeping through the galaxy feeding on life forms.

Flesh Fondue features a storming opening which allows the quartet of Dave Brock (guitar, vocals, keyboards), Richard Chadwick (drums), Niall Hone (bass, keyboards) and Magnus Martin (guitar, vocals) to grab the attention and envelope you in a swirling haze. Somethings never change with Hawkwind and there remains an element of madness which is integral to the Hawkwind sound throughout. Last Man On Earth and We Are Not Dead … Only Sleeping follows the destruction and resurrection of the planet with the former featuring some sweet saxophone courtesy of Michael Sonsa who also lends his instrument to the title track. We Are Not Dead … Only Sleeping is a typical soaring synth space foray, gentle harmonies and swirling elements which capture both the old and modern feel of this great band; the smooth jazz style breakdown mid-section is a welcome addition and surprise.

At around 40 minutes All Aboard The Skylark represents standard Hawkwind fare but there is nothing routine about the music. The title track winds and meanders, percussion and synths combining to good effect as the underlying rumble of imminent take off ebbs and flows, haunting saxophones and guitars adding to the maelstrom. The contemplative 65 Million Years Ago when the asteroid crashes into and wipes out nearly all life on earth, another timeless space rocker. In The Beginning and the continuation of the journey onwards in the gentle The Road To …. lead to the intricate closing The Fantasy Of Faldum, at nine minutes the longest track and based on a Herman Hesse fairy tale. The special edition includes Acoustic Daze providing acoustic reworkings of classic tracks such as PSI Power, The Watcher and Flying Doctor. Some of these were pre-Mike Batt Road To Utopia recordings whilst the final three, Get Yourself Together, Ascent Of Man and We Took The Wrong Step Years Ago are live versions which capture the band in their natural environment. There is no evidence of the mothership slowing down. Those dates in November should be stunning. 8/10

Bruce Soord: All This Will Be Yours (Kscope Records) [Matt Bladen]

Inspired by the exploration he has been spearheading with The Pineapple Thief, the second solo record from multi-instrumentalist Bruce Soord is a beautiful record that pairs stripped back acoustic guitar slinging singer-songwriter style songs with samples and synths. The songs on this album are the sound of a soul being laid bare, he doesn't have to deal with being in a 'rock' band on this album so it's a lot more introspective than The Pineapple Thief songs without losing any of that bands emotional depth, reminding everyone that Soord can be considered to be the heart of The Pineapple Thief. I said this album was introspective and that's because it was written after a change in Soord's life as he and his wife welcomed their third child, he has reflected upon this juxtaposed with the local deprivation in his hometown of Yeovil.

In fact Soord has talked extensively about being constantly surrounded by sirens and he has used these sounds throughout the record. Those looking for big rock anthems won't get that here, what you do get are songs that can be compared to those of Blackfield (Steven Wilson and Aviv Geffen) but also Lunatic Soul, Tim Bowness and even Portishead, especially on the insistent, trancy title track, but his always warm, I'd even say comforting vocals work their best on the fireside number Time Does Not Exist which closes out the first half of this record. I say first half as this has been mixed to let both distinctive halves flow into each other, for the best listening experience. All This Will Be Yours is another feather in the cap of Bruce Soord, a distinctive, creative record that is simple but effective, layered but stark it's a record for tumultuous times but underlined with hope, because sometimes that's all there is. 9/10

Mayhem: Daemon (Century Media) [Val D'Arcy]

Five years since the release of Esoteric Warfare, comes Daemon; the sixth studio album from infamous True Norwegian Black Metal masters, Mayhem. Co-written for the most part by Teloch and Ghul Daemon takes yet another creative turn for the band. It's immediately clear this album is it's own entity with a distinct persona that is none of its predecessors. That said, there is an indisputable return to the old school at the very heart, in it's foundations this bears closer resemblance to the older guise of Mayhem. The band have shed some of the avantgarde, experimentation that were characteristic of recent albums for a more direct, traditional approach to Black Metal. Having recently completed a two hundred set tour of De Mysteriis Dom Sathanas, its probably not unreasonable to hear some influence from that record on Daemon, which of course is no bad thing. That's not to suggest the two sound in any way alike, they don't. Rather think of it as having left an imprint on the essence of whatever this band could have put out next. That dark, primitive presence of evil that imbued De Mysteriis is present here; like the ghosts of childhood returning after nearly three decades to haunt once more.

The production, as you'd expect is discernibly crisp with a real focus on the instrumentals. There is less of a divide between this and Attila's vocals than in previous albums. Particularly in Esoteric Warfare where quite often the vocal passages almost stood out as a solo act over a backing track; here everything combines to form a singular force of musical harmony. There's an equilibrium between the two that allows this album to flow with a beautifully natural cohesion. Vocally, this may be my favourite of Attila's recordings. Nekro's bass has not been ignored in the mix; audibly complimenting Hellhammer's superbly simple, succinct drumming. There's nothing outlandish or particularly complex in either of the latter, but the perfection of their execution provides a solid structure and drive to the songs throughout.

At just under sixty minutes it's not a short album, twelve tracks of varying pace but each an important movement in the overall composition. Having listened to the band talk on the subject of writing Daemon and having heard the record itself it's clear this is a very intentional album and more than just a collection of songs. There is a deliberate consistency and flow to its monolithic form. Equally, there are twists and turns along the way as we trace over the surface of this beast that keep you fascinated and guessing. There's almost a melodeath like quality to the riff in Falsified and Hated reminiscent of Emperor's Loss and Curse Of Reverence. The solo in Bad Blood is beautifully eerie; combined with the blast beat and melodic tremolo picked riff either side of it reminds me of the feeling I get listening to the (brief but perfect) solo in Dissection's Retribution. Synths have been used more liberally here than in previous albums which adds a somewhat different quality to the atmosphere than we may be accustomed to with Mayhem. Indeed the nods to the mid-nineties are plentiful, but Daemon succeeds in maintaining an overall feeling of progression without succumbing to indulgence in nostalgia. This is a modern classic in Black Metal. 8/10

The Elephant: The Elephant (Karma Conspiracy Records) [Paul Hutchings]

A smouldering blues-soaked journey awaits the listener who takes a punt on this Italian trio’s debut album. A mere 36 minutes in length, what the band lack in quantity they make up for in quality. The trio employ two basses as part of their set up and lyrically are inspired by the poetry of William Blake, Dylan Thomas and Henry Michaux. What is most impressive about The Elephant is the unique gravelly vocal delivery of Giovanni Murolo, who adds a truly interesting dimension to this album. With the blues and stoner fuzz combined to great effect, this is a genuinely exciting yet laid back release which deserved repeated plays and wide exposure. The band may be hamstrung by their name though, as there are numerous outfits with the same or similar moniker which distracts from the social media hunt. Regardless of that, The Elephant is an impressive release which is best served with a cold beer and a warm summer night! 7/10