Reviews: Primordial, Napalm Death, Convocation, Quantum Hierarchy (Reviews By Rich)

Primordial: Exile Amongst The Ruins (Metal Blade Records)

Primordial are one of Ireland's most well known metal exports with the band having been releasing albums of their uniquely styled and immediately recognisable brand of celtic metal for nearly 25 years. Primordial are known for their somber yet stirring anthems and with album number nine Exile Amongst The Ruins they continue down this path but with one or two little deviations. The tracks released ahead of the albums release are both the more untraditional with Stolen Years being a very brooding number and positively drowning in melancholy proving to be one of the most beautiful songs Primordial have ever written whilst To Hell Or The Hangman is one of the catchiest songs the band have done with a definite post-punk Killing Joke feel about it.

The rest of the album stands out as well with opener Nail Their Tongues destined to be a live favourite, Upon Our Spiritual Deathbed is a epic masterpiece and Sunken Lungs being a true rousing anthem. Exile Amongst The Ruins is a bit more a slow burner than previous Primordial albums but the time invested in listening to this album is more than rewarded. Primordial have released some fantastic albums in previous years but they have raised the bar even higher for themselves as it is easily one of the best albums the band have done. A magical and emotional listening experience and possible contender for album of the year.10/10

Napalm Death: Coded Smears And More Uncommon Slurs (Century Media)

Napalm Death are a household name in extreme music being one of the most influential bands of all time with numerous albums of theirs quite rightly regarded as genre defining classics. Since 2005 and the release of The Code Is Red...Long Live The Code album it's safe to say that Napalm Death have been on an absolute roll with not a duff album since then with the band almost reinventing their sound for the 21st century by mixing death metal, grindcore, hardcore and crust punk. This collection of rarities covers that time from 2005 to present day being comprised of either bonus songs from the albums, unreleased material from the studio sessions or songs recorded for splits and compilations and it's safe to say that these scraps and leftovers are generally just as strong as the material released on the main albums. There's no fucking around when it comes to Napalm Death and the material on this compilation is an absolute maelstrom of chaos, brutality and attitude never straying too far from tried and tested Napalm Death formula.

There are a few songs which try something a little different such as the gloomy atmospherics of Oxygen Of Duplicity, the discordant riffage of Phonetics For The Stupefied, the misleading piano intro on Clouds Of Cancer/Victims Of Ignorance or the apocalyptic post-punk feel of Atheist Runt.  Napalm Death are no stranger to cover versions (check out their Leaders Not Followers releases) and there are a handful of fun cover versions from bands such as Cardiacs, Sacrilege and Despair amongst others. There's plenty of material on this release with 31 songs spread over two discs which does make it an exhausting listen if you listen all in one go but there's such energy and conviction to what Napalm Death do that it's impossible not to get caught up in the chaos and want to start a circle pit in your front room. With this release Napalm Death have shown what an essential band they continue to be.  Rarities compilations can be a bit hit or miss but Coded Smears And More Uncommon Slurs is a definitive hit in my eyes. 8/10

Convocation: Scars Across (Everlasting Spew)

Scars Across is the debut album by Convocation who are a Finnish death doom metal band featuring members of Desolate Shrine and Dark Buddha Rising. The album is comprised of four songs with the shortest being 10 minutes in length and is a showcase in absolutely crushing and monolithic doom death metal and funeral doom metal. As well as crushing this album is also incredibly atmospheric, melancholic and sorrowful.

Vocalist Marko Neuman employs guttural death metal growls throughout the album mixing well with the crushing doomy riffs though the use of almost ethereal clean backing vocals and keyboards adds a definite atmosphere throughout. For the uninitiated the albums dark atmosphere and long songs can be a bit of a struggle but if you are a seasoned doom fiend and are looking for 50 minutes of unrelentingly bleak music then this is the album you need to be hearing. 7/10

Quantum Hierarchy: Neutron Breed (Everlasting Spew)

Neutron Breed is the debut EP by Italian death metallers Quantum Hierarchy released on Everlasting Spew Records. This is a very short, sharp and precise EP with three songs and an intro.  It manages to combine an old school death metal feel with atmosphere, sheer brutality and impressive technicality and manages to achieve more than most albums do and all in the space of a running time of 12 minutes.

The songs know when to pulverise the listener with savage riffings and unrelenting blastbeats but also when to slow it down to an almost doomy slowness and bring with it a truly dark atmosphere.  Unfortunately with such a short duration the EP is over before you know it but it's definitely left me with an appetite for more. Only frontman and guitarist S.M. remains in the band out of the line up that recorded this EP but a new line up has been found and with any luck more music from this band will be on its way soon. 8/10

Reviews: Stone Temple Pilots, FM, Grave Lines, Dorothy (Reviews By Paul)

Stone Temple Pilots: Stone Temple Pilots (Atlantic)

I’ve always skirted around STP. Core was an undisputed classic, but Scott Weiland always got on my nerves, with his tragic demise sad yet inevitable. The band soldiered on with Chester Bennington but released no new material and with Bennington leaving to focus on Linkin Park in 2015, STP kind of disappeared. Having recruited vocalist Jeff Gutt, formerly of Nu-Metal outfit Dry Cell and more widely known as a two-time contestant on X-Factor USA, STP have delivered a rather impressive chunk of hard rock.

With the three original members, Dean Deleo, Robert Deleo and Eric Kretz all in fine form, Gutt adds his own mark on the release, rather than attempting to copy Weiland’s unique style. There are a couple of weak points, such as the ballad The Art Of Letting Go and the melancholic closing track Red & Blues, but overall, it’s just shy of 50 minutes of quality rock in the style that made STP such a legendary outfit in the 1990s with Dean Deleo’s guitar work particularly inspiring. 7/10

FM: Atomic Generation (Frontiers Records)

Few bands can match the smooth polished finish of FM when it comes to melodic rock. The UK rockers return with their 10th album, Atomic Generation, 52 minutes of perfect pomp and harmonies. Opener Black Magic and Too Much Of A Good Thing immediately remind you that when it comes to this genre, the band have few challengers. Loaded with light touch keyboards and synths, the high-pitched vocals of Steve Overland superbly backed by the rest of the band’s sweet harmonies and the subtle guitar work of Jim Kirkpatrick.

It’s little wonder that the band, who reformed in 2007 after a 12-year hiatus, are now regarded as legends in the world of AOR. The band mix it up a little without straying too far from their tried and trusted formula. Playing Tricks On Me has more than a passing resemblance to Steve Miller’s Abracadabra whilst the anthemic In It For The Money and Make The Best Of What You’ve Got are just classic tracks. FM hit the road in April, playing the Muni Centre in Pontypridd along the way supported by Wigan’s Bigfoot. If you like your lightweight rock, it should be well worth checking out. 8/10

Grave Lines: Fed Into The Nihilist Engine (New Heavy Sounds)

Opening with a 15-minute song isn’t something that every band can pull off. Grave Lines aren’t ‘every’ band though. From the opening chords of Failed Skin, dripping with atmosphere, gothic reverberation and haunting lyrics and thick, sludgy riffs which consume the listener, this isn’t a cheery album about fairies and ice cream. Oh no. Darkness, misanthropy and despair echo throughout, as the sophomore release from Brighton’s sludge ridden doom lords Grave Lines provides a mighty serving of heft.

Huge, lengthy songs echo Nick Cave, Nine Inch Nails and Neurosis in equal measure, the animosity towards humanity all too visible in Jake Harding’s loath-filled vitriol. Self-Mutilation By Fire And Stone, the massive Silent Salt and The Greae all vomit bile and anger. The harrowing Guilt Regret is chilling and segues into the monstrous closing track Into The Nihilist Engine which closes an album of quite mammoth proportions. 8/10

Dorothy: 28 Days In The Valley (Caroline Records)

Hailing from Los Angeles, California, Dorothy formed in 2014 and this is their second album following on from 2016’s debut Rockisdead. An interesting combination of hard rock, soul, blues and even pop, the focus of the band is the belting voice of Dorothy Martin, which draws comparisons to Grace Slick, Florence Welch and even Patti Smith.

Several tracks are of the highest quality, with touches of the White Stripes, Pearl Jam amongst others and sufficient variety to keep the interest fired. It’s not all fabulous with a couple of tracks weaker than a new born kitten. Overall though, plenty to interest even the most hardened rock fan and massive potential. 7/10

A View From The Back Of The Room: Buffalo Summer

Buffalo Summer, Pearler & The Ginger Lizards, Fuel Rock Club, Cardiff

Finally a gig after recent cancellations due to extreme weather it was great to get out of the house to see some fine Welsh rock and roll. As we went into Fuel Rock Club the guys at Big Day Productions were making all the last minute adjustments for the nights show and the after a quick (hilarious) chat with the opening band the first few punters came in and it was time to go. The Ginger Lizards (7) are a three piece blues rock band that play dirty, crunchy blues with a dirty biker ethos country twang playing a bit like Pig Iron. They were a very polished act despite only being a band for a year, their music got the crowd rocking with their rollicking blues rocking, splitting the vocals between the bassist Martin Daniels and guitarist Martin Thomas, it was all gutsy roots music with a rock n roll snarl. They had some some supreme Cigar box guitar playing for On The Highway, while the rest of the set was bolstered by Snakes And Ladders, Burning Desire a Hank III cover and a turbocharged version of Folsom Prison Blues. On first viewing they are a tight unit with a plethora of tracks that brought in an audience. The name by the way is derived from the guitarist being ginger, having their studio in a lounge and there already being a band called The Lounge Lizards. So now you know.

Next up were Swansea based Pearler (7) who brought sleazy stoneresque riffs and some anthemic choruses. The band themselves were a real mismatch of visuals with a guitarist and bassist looking like they've come off the Sunset Strip and the singer is a big broad bearded brethren, likely to be seen in the swamps of NOLA. The riffs were a major part of their sound the grooves were thick and syrupy but they also had melodic hooks as mentioned before, they weren't really my thing but the crowd lapped them up like they were playing an arena, if you like your sleazy riffs with a stoner groove you might want to check out Pearler the next time they're around

Finally then as the room filled out properly it was time for the headliners. Now I'm into the multiples of 10 for seeing Buffalo Summer (8) and everytime they bring something a little different to the table, having added more soul and swagger to their classic hard rock stylings on their second album it means their live show is now a slick well oiled machine. On this time round they displayed a lot of bravery by opening the the set with an as yet unreleased song, but it's atmospheric sound made it a slow burning, excitement building beginning. In fact the entire set was punctuated with new tracks meaning that the assembled throng got a bit of treat to hear where Buffalo Summer are going next. I'll say overall that they seem to be adding a little bit of Soundgarden, Pearl Jam and Alice In Chains to their already established blues driven hard rock stylings.

From the new opener it was straight into the strutting Little Charles. Which was followed by a more traditionally hard rocking new song called Everybody's Out For Number One. The funky rock grooves were permeating with the usual touches of Zep and Free the obvious reference points, they even dabble with proper bluesing as things slowed down but the thump of the band remained even in their more sedate offerings. The thick bass riffs of Darren King driving Blame It On The Money, with Gareth Hunt locking it down behind the kit. His brother Andrew has a cracking proper rock voice and works in tandem with the explosive guitar playing of Jonny Williams.

Buffalo Summer got the crowd rocking good and proper, with a partisan audience shaking their tail feathers from the first note. They used the evening to showcase some songs that are on their new album due for release later this year, but it was numbers such as Heartbreakin Floorshakin that got the best reception. The tracks that featured lots of crowd participation were gamely received invoking many Saturday night shout alongs to High As The Pine, Rolls On Through and A Horse Called Freedom. A band that keep getting better and under their own steam, they garner a stream of support with every gig, with a third album in the offing surely it's about time Buffalo Summer rise to that next level?

Reviews: Rick Parfitt, Silent Chambers, Falling Red, Godthrymm

Rick Parfitt: Over And Out (earMusic)

Rick Parfitt was always the wilder half of the Status Quo guitar/vocal pairing, he was the cheeky chappy who lived life to the full and after three heart attacks a bout of throat cancer and years of destroying his body with drugs and alcohol, he sadly succumbed to his ill health on Christmas Eve 2016. Obviously being in Quo for so long he will be forever known as being part of that iconic band but as with Francis Rossi (and to and extent bassist Rhino) there is a lot music in him that was never explored while they spent all those years searching for a fourth chord.

So a year and bit after his untimely death, we have the first and only solo album from Parfitt with friends and colleagues making sure that it was completed based on the guitar and vocal tracks already recorded byt Parfitt. Helping out are former and current members of Quo Rhino Edwards (bass) and Alan Lancaster (drums) as well as some outside help from Queen’s Brian May and Muse’s Chris Wolstenholme. The record has couple of genres present although it opens with Twinkletoes which sounds like a 80's Quo b-side, there's the obvious blues rocking on Lonesome Road and everybody Knows How, a touch of country on When I Was Fallin In Love and a bit of rockabilly on Lock Myself Away.

However it's not all what you'd expect as the ballad Without You isn't great and Halloween is just weird, drenched in electro it's a little like Quo meets Michael Jackson. Rick will always be associated with Quo but this record shows their are more strings to his bow than being the resident rocker of Britain's most well loved rock bands, thanks for the music Rick, Over And Out? Roger that. 7/10

Silent Chambers: Thousand Victories (Self Released)

Well this one's a bit odd Dutch progressive rock band Silent Chambers are a collaboration between Sander Heerings, Jeroen Voogd, Martijn Balsters, Robert Spaninks who form the band The Dust Connection, that band is something a little different. Recorded acoustically they arrange every song with multi-layered acoustic guitars, percussion and crackling electronic keys, these songs wash over you with the earthy whimsy of Fish's solo work. The deep vocals of Voogd sit atop a very lush backing which float through 14 tracks of lush music, it's slightly political in places and even though it's played mostly on analogue instruments, it's not stripped down at all but it may come as a bit of shock to a lot of the prog fiends but it's an interesting album to play by the fireside with glass of Jennever. 6/10   

Falling Red: Lost Souls (Cargo Records)

Falling Red have always been stuck with the tag of being a sleaze band and while there is the loucheness to the band that harks back to the Sunset Strip, they manage to retain a sense of Britishness with the nods to the UK AOR sound that was always a bit grittier than the USA’s version. As you play this record you get a sense of why the band have supported Ugly Kid Joe, Sebastian Bach and Steel Panther, they have big arena ready riffs (Alive), a swagger and some rallying cry lyrics that deal with internet troll Digital Disguise. Vocalist and guitarist Andrew Roze, plays the Slash-like soloing but his voice could be a bit better if I’m honest, but then I feel that way about most sleaze styled bands as attitude is much more important than melody in many cases.

It’s really obvious on My Town, My City though which is probably why I think it’s the weakest track on the album. When Falling Red stick to distorted rock riffs like on the pounding Hell In My Eyes they are at their best. I’ve probably said in the past that the whole sleaze scene is not my bag (I’d personally lead a crusade to have Poison expunged from history) but if big hair, big hooks and wearing bandanas anywhere but your head is your thing then the third album from Falling Red will have you reaching for that hairspray. 6/10

Godthrymm: A Grand Reclamation (Transcending Records)

When you bring four members of some of the biggest doom bands around it isn't going to be an easy ride. A Grand Reclamation is six tracks of lumbering, monstrous doom metal, each track is a sprawling, hulking slab of ear splitting metal. The members of the band are Hamish Glenncross who many may know from My Dying Bride, Solstice, as well as Vallenfyre, Hamish takes the guitar and vocals and he's got Chaz Netherwood (Solstice) and Shaun Taylor-Steels (My Dying Bride) on guitar and drums with Rich Mumford of Malediction on bass. 

The record is seen by the band as them drawing from their history (particularly Solstice) and using the sonic palette of Vallenfyre to play music influenced by Sabbath, Celtic Frost, Candlemass. Take a track like The Pantheon it's got a stoner metal vocal from Glenncross but a slow, deliberate, epic doom riff, although that can also be said of every song other than outro Forevermore, the 7 minute title track is a percussive dark and has lyrics that are spoken adding a little weirdness to the album at it's starts but we get on more familiar ground for Sacred Soil. With this EP and a set at Bloodstock the future seems bright for Godthrymm but the music is still as bleak as it can be. 7/10     

A View From The Back Of The Room: Cannibal Corpse (Live Review By Rich)

Cannibal Corpse & Black Dahlia Murder, Motion Bristol

For the second in a trilogy of gigs in Bristol during the month of March, it was off to The Marble Factory for the death metal legends Cannibal Corpse. This show was originally meant to take place at The Bierkeller but the venue's sudden and sad closure forced a multitude of shows to be moved to different venues across the city of Bristol. This worked to many peoples advantage as Cannibal Corpse was upgraded to a larger venue and more tickets went on sale (the show at The Bierkeller having been a sell out).

This is going to be an interesting show to review as whilst on the train to Bristol I started feeling incredibly unwell and I continued to deteriorate throughout the evening. I should have gone straight back to Cardiff but stubborn metalhead here was not missing the show and wasting his money. If I had felt well this show would have been wonderful from my perspective but unfortunately I was completely miserable and feeling like utter shite for the entire duration of the show. This review will be based on what I can remember of the show and the positive aspects I did pick up.

I had checked out opening band In Arkadia prior to the gig and found them not to my liking so I didn't make my way to the venue until shortly before the start of main support act The Black Dahlia Murder (8). It had been a good while since I had seen The Black Dahlia Murder live and it was nice to see how far they have come as a live band commanding a huge stage presence and a fervent response from the audience. A good chunk of the set (almost half in fact) was taken up by songs from their latest album Nightbringers whilst most other records were represented with a variation of songs from the back catalogue such as What A Horrible Night To Have A Curse, On Stirring Seas Of Salted Blood, Everything Went Black and Warborn sending the audience into dizzying heights of craziness. Trevor Strnad proved himself to be a impeccable frontman but special mention has to go to guitarist Brandon Ellis (formerly of Arsis) who absolutely shredded his guitar to pieces. He is proving to be a fantastic addition to the band.

Feeling no better but determined to soldier on it was time for headliners and death metal heavyweights Cannibal Corpse (8). This was the first time I had seen Cannibal Corpse outside of a festival so I was absolutely devastated to not fully enjoy the show. Cannibal Corpse came and did what they do best walking on stage to little fanfare and just playing a devastatingly heavy and brutal set of straight up fucking death metal. I was suffering with a bit of a fever during the set which meant I had to go outside and cool off several times missing several songs in the set but from memory a good chunk of songs were played off new album Red Before Black including the title track, Code Of The Slashers and Only One Will Die. Some tasty selection from Corpsegrinder's tenure with the band were also played including Evisceration Plague, The Wretched Spawn, Kill Or Become and Devoured By Vermin before the band launched into a pile of old school classics at the end of the set including A Skull Full Of Maggots, I Cum Blood, Stripped, Raped And Strangled and the now classic Hammer Smashed Face. This was a show lacking in surprises but it was a band performing like a very well oiled machine and proceeding to smash the senses of everyone in the audience.

As said earlier in the review had I been a well man this evening I would have thoroughly enjoyed the gig but even despite suffering I could tell that this was a fantastic performance by both bands.

Reviews: Drudkh, Møl, Chrch, Dark Buddha (Reviews By Paul)

Drudkh: They Often See Dreams About The Spring  (SOM - Underground Activists)

Whilst anyone who gardens with any type of passion always dreams about the Spring, Ukrainian black metal legends’ latest release has a slightly different slant, basing their sound on a solid foundation consisting of the by now traditional Nordic variant of the genre and the band's highly distinct individual "Slavonic" interpretations. This is their 11th full-length, and They Often See Dreams About The Spring (which is a translation of the original Ukrainian title) sees the band changing direction ever so slightly once more.

Previous album A Furrow Cut Short (2015) basically followed on the harsh and old school lead of its predecessor, 2012’s Eternal Turn Of The Wheel. This new masterpiece offers a more atmospheric and melodic feel that rather points towards the cinematic soundscapes of 2004’s Autumn Aurora. Comprising five lengthy, complex and intricate pieces, the band has continued to draw heavily from 20th century Ukrainian poetry for lyrical inspiration. At times intensely concentrated, at other times almost shoegaze, such as album opener and ten-minute epic Nakryta Neba Burym Dakhom, this is multifaceted black metal at its best. A stunning release which deserves to be heard. 9/10

Møl: Jord (Holy Roar Records)

Jord is the debut album from Danish Blackened shoegaze outfit Møl and the result is a triumphant and crushing sonic outcome which sits comfortably with such luminaries as early Alcest and Deafheaven. In keeping with their peers, Møl combine the intensity and sharp strains of black metal with the shimmering tropes of Slowdive, blending them perfectly.

The chaos and drive of Vakuum contrasting with the beauty of Lambda, a gentle and haunting instrumental which allows the listener to draw breath from the maelstrom of passion which envelopes them in the early part of this impressive release. Organic in parts, emotional and gripping throughout, Jord is an album that will appeal to far wider than fans of Alcest, Oathbreaker and contemporaries. 8/10

Chrch: Light Will Consume Us All (Neurot Recordings)

There is doom and there is DOOM. Sacramento based Chrch’s latest album Light Will Consume Us All, is about as heavy as you’ll get. Three tracks, 46 minutes in length, with opening track Infinite clocking in at over 21 minutes. It’s dark, it’s sinister, slow to the point that at times it just about stops time, whilst all the time casting great shadows which swirl and envelope the light. The construction of the songs is massive, with Eva Rose’s vocals at times demonic and at other times delicate and fragile.

Having spent the past five years crafting their sound, Chrch will either consume you with their sprawling roller coaster epics spliced with herculean riffs and distorted fuzz or make you scream with pain at the drone elements which appear to last for hours. There is plenty to appreciate here, even if the combination of doom, psych rock, drone and ambience isn’t really your bag. 7/10

Dark Buddha – II (Neurot Recordings)

A decade ago Finnish band Dark Buddha delivered their debut release I. Since then they’ve released several other albums, with their psych doom and drone sound being honed on each release. This EP provides further sonic outpourings. Two tracks, 25 minutes in total, and to be honest, scary as shit at times with the howling on Mahathgata I freaky as hell.

II sees Dark Buddha return to its purest incarnation: a three-piece rhythm section; J.Ramanen on drums, P. Ramanen on bass and V. Ajomo on guitar; and with J. Saarivuori on synths and M. Neuman on main vocals. "We have done a full cycle of the orbit and now is the time for gravitational slingshot towards the new dimensions in sound, deliverance and vision" said Ajomo. Indeed. No more words needed. 6/10

Reviews: Light The Torch, W.E.T, Dead City Ruins, Sense Of Fear

Light The Torch: Revival (Nuclear Blast)

Light The Torch are the band formerly known as Devil You Know, the name change was due to “member issues and legalities continuing for a year with no end in sight. We collectively felt it was time to put DYK to rest. Every effort was made to avoid this decision, but it needed/had to be done for the sake of moving forward” so then it’s a case of the king is dead long live the king. The band still features all of the original members of Devil You Know except for drummer John Sankey who has been replaced by Mike Sciulara, so not a rebirth just a rename as the song as they say remains the same. This is the more melodic style of metalcore that frontman Howard Jones has always been attached to. I’ve never been the biggest fan of metalcore as a genre, especially Killswitch Engage, but with I tolerated them more when Howard was frontman as he has got a very impressive voice, well when I say voice I mean his clean soulful singing, as I can take or leave the harsh screams. There's not much else I can say about this record if you liked Devil You Know you'll like Light The Torch it;s as simple as that. 7/10

W.E.T: Earthrage (Frontiers)

W.E.T is an acronym for Work Of Art, Eclipse and Talisman. These are the three bands the members of this “supergroup” are best known for. The members are vocalist Jeff Scott Soto (Sons Of Apollo, TSO, Talisman, Solo), guitarist/vocalist Erik Martensson (Eclipse, Nordic Union, Ammunition) and guitarist Robert Säll (Work Of Art), these three come together sporadically to release a new W.E.T album due to their commitments to other projects but much like everything else they are involved in the quality never dips below excellent. Earthrage itself has been hailed by label boss Serafino Perugino as "by far one of the best records in Frontiers' history."

That’s a bold claim but as I’ve always enjoyed any project they have been involved in my hopes were high that Serafino was being truthful rather than just spewing marketing. It starts well with drummer Robban Bäck (Mustasch) backing the chugging guitars of Martensson, Säll and Magnus Henriksson (Eclipse), Watch The Fire the song that opens this album is very Journey sounding, reminding this writer of Separate Ways. It’s just the start of bouncy melodic metal with the AOR trappings of huge hooks, crunchy guitars, searing leads and the catchy writing, all of which are present on Kings Of Thunder Road which does seem to be a tribute to The Boss himself referencing numerous Springsteen songs throughout. With brawny rockers like Dangerous and the ballads few and far between Earthrage is a very good melodic record, performed by some qualified and experienced musicians, if you’re sick of waiting for a new Journey album W.E.T will see you just fine. 8/10

Dead City Ruins: Never Say Die (AFM Records)

Australia is a probably one of the best places to find great hard rock outside of the UK, USA and Sweden, they love anything with an ass kicking riff and a chance to rock out. It’s no suprise then that Dead City Ruins draw from all kinds of influences on their debut record, this is a lifestyle for the band, they apparently spent all the money they had to tour Europe hone their craft and come back to Oz to record this album. Thankfully it’s paid off as Never Say Die is not only a great album but a great ethos, it’s a record stuff to bursting with huge swaggering rock songs that build on the foundations laid down by the big hitters of the 70’s, 80’s and 90’s.

Dirty Water has the psychedelic Soundgarden thump, the woozy Rust Ruin and the riff heavy We Are One takes us down the Sabbath trail, while Devil Man and the country plucking of The River Song have a touch of Zep and Destroyer bring things again into the 90’s with some shaking Black Crowes-like percussion. The nine tracks on this album have been created to give you maximum rocking, there is not a dull moment here everything is ramped up to excess and the band firing like a V8 at full speed, they are full of groovy rhythms, incendiary guitar playing and hell of a vocal howl, it’s rock n roll how it was meant to be, Dead City Ruins have put everything into this record and it has paid dividends, distinctly modern but without sacrificing the sounds of the past, there’s no sign of surrender, or of failure here, Never Say Die indeed! 8/10

Sense Of Fear: As The Ages Passing By... (Rockshots Records)

Hailing from the Northern part of Greece (Kozani to be exact) Sense Of Fear are a thrash/heavy metal band that play a technical style of aggressive music that brings to mind Sanctuary and Annihilator. The riffs are visceral, progressive and bludgeon you from the first chord Giannis Kikis and Themis Iakovidis play as if they are trying to injure themselves, while the solos peel off precision and fluidity. The rhythm section of Marcos Kikis and Dimitris Gkatziaris batter you with double kick drums and a rapid fire bass playing, but all four instrumental members can shift the tempo or the pace on the face of a Euro.

The music here is dark heavy metal that has lots of thrash licks and as I’ve mentioned a progressive edge, it moves between out and out thrash to classic metal licks at the drop of a hat, Angel Of Steel is very track clad in the denim and leather of the NWOBHM, but Molten Core the song that erupts from your speakers first (sorry for the pun) has Alice In Hell Annihilator sounds about especially in the schizoid vocals of Ilias Kytidis. He snarls and shrieks his way through the track but on the chunky Black Hole he adds booming cleans and growls like the much missed Warrell Dane although lacking a little of Dane’s power.

The only track on this record that I wasn’t a fan of was The Song Of The Nightingale which is pretty boring ballad that exposes Ilias’ vocal weaknesses but mercifully Torture Of The Mind dispels it quickly with some Mercyful Fate horror metal and squealing vocals and Lord Of The World gets things jumping again with some crossover thrash. As The Ages Passing By... doesn’t try to do anything that hasn’t been done before but it’s an enjoyable enough romp through the evolution of what we’d refer to as speed metal from its trad metal roots, through thrash to the deathier side we have now. 7/10

A View From The Back Of The Room: Steven Wilson (Live Review By Paul)

Steven Wilson, St David’s Hall, Cardiff

Heard the one about the capacity venue, the seated audience and the frustrated rock star? Well, that’s how this played out on another evening of superb musicianship in Cardiff. Wilson has carved a niche in recent years as the most successful artist you’ve never heard of, but in these circles, he’s more widely known as a multi-instrumentalist workaholic who produces some fantastic music. His 2017 release To The Bone, which soared close to the No.1 spot in the album charts and which saw a rather cringeworthy interview on the BBC Breakfast sofa, featured heavily in the set with eight tracks aired.

If you’ve seen Steven Wilson (8) live before you’ll know that this is always a polished show. Long-time supporting musicians Nick Beggs (bass), Craig Blundell (drums) and keyboard player Adam Holzman were joined on this tour by Bristol based guitarist Alex Hutchings (no relation or resemblance to my youngest son of same name) whose fretwork was of the high standard that we've come to expect from Wilson on such tours. An impressive light show, stunning visuals, a hologram of Ninet Tayeb during Pariah, and sound of crystal clarity all provided an experience and an event rather than just a routine gig.

Wilson loves to challenge his audience. A huge chunk of the set featured works from his previous Porcupine Tree career, including a solo encore of Even Less, (from Stupid Dream - Nerd Ed) which featured Wilson, his new Fender Telecaster (not yet named and not so new, given it was a 1963 model) and a practice amp. This meant that much of his catalogue of solo work was shelved for this tour, which was disappointing but you can’t win them all. The new material was impressive, and settled nicely alongside the more established songs. A pleasingly aggressive Home Invasion and Regret #9 from Hand. Cannot. Erase were highlights and hit hard and early in the set. This was preceded by the inevitable Wilson rant about seated venues, which has been a constant theme on his last few tours. There is a problem here. Wilson clearly wants to play the rock star, riffing it up in a sweaty club with audience participation unrestrained and off the chart. Yet he delivers the type of music which demands acoustics of the highest clarity, regularly lasts more than twice the length of a typical song and attracts an audience who can’t always stand for long periods of time. 

Whilst he does, to a point, rage against the seated venue, he is in danger of becoming a little tiresome in this regard whilst it raises the question of which venues would be suitable. I wouldn’t want to see Wilson in the echo chamber of the Motorpoint, the Tramshed whilst intimate would struggle and the O2 Academy and Motion in Bristol probably don’t have the acoustics required. Encouraging inappropriate shouting out threatened to derail a few of the more intimate parts of the show. His demand for disco dancing during Permanating did at least demonstrate that white men can’t dance but injected humour amidst the usual darker material but he’s at a point in his career where he can surely dictate how he wants to deliver his shows?

As for the evening, well, divided into two sets with a smashing encore of The Raven That Refused To Sing, which always gets the tears welling up, we got two and a half hours of pure quality music, hard, heavy, soft, light, delicate and often perfect. But something was missing from Wilson’s enthusiasm and whilst you couldn’t identify exactly what it was, this was a slightly subdued and angry Wilson. It didn’t detract from the overall performance, but as I exited into the crisp night air, I reflected that this might be a watershed moment for one of the UK’s most fabulous musicians.

Editor's Note: Apologies to Paul for jumping in here but as he alluded to in his review but as huge Porcupine Tree fan I liked the inclusion of Creator Has A Mastertape, Lazarus, Sound Of Muzak and Arriving Somewhere But Not Here in the set but like Paul I thought that the exclusion of Steven Wilson solo songs deterred a little. I suggest a compromise tour seated venues as the SW solo band for the more artistic intricate performances and reform Porcupine Tree to play a couple of big standing heavy rocki shows a year where he can indulge in the rockstar ideal. Just an idea yes but it may stop some of the difficulties of set list choices next time.  

Reviews: Mad Hatter, Reprisal, Eldritch, Midnight Force (Reviews By Paul)

Mad Hatter: S/T (Art Gates Records)

Power metal from Sweden? Well, there’s a surprise! A debut album from the Swedes opens with Mad Hatter Shine, which initially hits all the right spots for a power metal track. Sounds like Helloween? Yes. End of story. Not quite, for this is nearly nine minutes for an opening track, which after a racehorse like start slows laboriously in the middle. Underpinned by thick keyboards, the traditional blast beat drumming and soaring harmonies, this unfortunately isn’t the most impressive of start's. I was yawning half way through. The Gunslinger improves matters, a pacey rip-roaring track and its where the band open the throttle that things are best on this album.

Fly Away is case in point musically, although Petter Hjerpe’s vocals struggle with the high parts. With the obvious influences that you identify in most power metal evident, it’s fair to say that if you love Helloween and Primal Fear then you should enjoy this. I particularly enjoyed the Chas And Dave piano interlude in the middle of Phantom Riders, which also nods to Ghost Riders In The Sky. The Maiden Style Face The Sky pins further unsurprising influences to the mast. I must admit that as the album progressed, it grew on me. Worth a listen if you like your power metal. 7/10

Reprisal: None Survive The Sun (Hostile Media)

Due out at the end of March, the debut full length from Surrey techno death metal outfit Reprisal follows their Ichneumanity EP which was released in 2013. Ten tracks of a completely face melting combination of the thrash and technically charged death metal. Having seen the band support Bloodshot Dawn in January I can vouch for the ferocity of their live show and on record they hit just as hard.

With themes which examine the futility of human endeavour, the brutality of nature and the inevitability of death, this isn’t one for the faint hearted. Tommy Johnstone’s brutal death roars are underpinned by the powerhouse drumming of Sion Mason, Theo Brookes driving bass lines and the slicing assault of Oliver Du Toit’s fierce guitar work. It’s aggressive, turbo charged and laceratingly good. 8/10

Eldritch: Cracksleep (Scarlet Records)

It’s not every day that a metal band writes a concept album about the causes of insomnia. The 11th release from Italian progressive metal outfit Eldritch does exactly that. Having reviewed their 2015 release Underlying Issues which I found rather repetitive, it was with some reluctance that I approached this review. Eldritch remain a band whose fanbase is likely to centre on the likes of Dream Theater, Everygrey and classic Queensryche, with multiple time changes and signatures, heavy riffs and pounding drumming countered by rich keyboards and clean harmonies.

Reset, the main opening track is case in point; a rampant thundering track which segues neatly into the symphonic pomp of Deep Frost. Aberration Of Nature demonstrates that the band can thrash with the best of them whilst Silent Corner is a measured melodic rocker. As The Night Crawls In accurately captures the feelings of anyone who has suffered with insomnia, the wait through the dark hours as sleep evades you. The final few songs tended to drift by, with little to really grab the attention. This is however, an improved release in comparison to their previous effort. 7/10

Midnight Force: Dunsinane (Self Released)

There are occasions when your ears hurt when reviewing albums. The shrieking awful vocals of lead singer John on this debut release from Glasgow’s Midnight Force is one of those time. Opening track Killer didn’t start well, and by the time track 3, Down With The King had arrived, it was becoming inevitable that I’d hit the off switch relatively soon. For those that are interested, the band takes all its influences from the NWOBHM style of Tank, Angel Witch, Demon and Grim Reaper.

Unfortunately, they sound like they should still be in 1979, with a production quality that matches some of the real crap from that era. If you want your metal full of sword and chains imagery and recorded underwater, you may fancy a bit of this. If you value your hearing, I’d give it the swerve. 2/10

Reviews: Stormzone, Flickertail, Black Rainbows, Death Alley (Reviews By Paul)

Stormzone: Lucifer’s Factory (Metal Nation Records)

The title of the latest release from Northern Ireland’s power metal heroes conjured up images of the poor sods who work for Mike Ashley. However, I don’t think that is what the band had in mind. It’s been a few years since the band wowed us at BOA but this excellent follow up to 2015’s Seven Kings album once again hits all the right buttons. Opener Dark Hedges pays tribute to the iconic landmark and legend made famous by Game Of Thrones with vocalist John ‘Harv’ Harbinson On top form. The title track leads to Cushy Glen, a full-on metal track but with a magical Thin Lizzy vibe.

With superb harmonies ably supporting the melody which always surges through the band’s work, this is an album of sheer delight. Last Night In Hell catches the ear with its solid foundations, big riffs and simple yet impressive construction; Steve Moore and Jr Afrifa displaying exemplary guitar work. The rhythm section takes the plaudits on Albhartach, Gordy Gray’s thunderous drumming linked tightly to the pummeling bass lines of Graham McNulty.

After such a blistering start, the album plateaus somewhat with We Are Strong and Broken Window a little bit filler rather than killer, but things quickly pick up with The Heaven You Despise throwing down some thrashing riffs as the tempo is rapidly accelerated. Your Hell Falls Down is a track that James Toseland wishes he could write; a classic hard rock track with all the right pieces in all the right places. Harbinson’s vocals are quite something, this is by far his strongest performance for the band and even his rock cliched “woo-ahs” on In For The Kill work. Although Lucifer’s Factory is possibly two songs too long, it is a fine heavy metal album and Stormzone deserve every success with this release. Get yourself a copy. It’s a fine album. 8/10

Flickertail: Hurry Up and Wait EP (Golden Robot Records)

This is the debut EP from rock outfit Flickertail, a four-piece from Sydney, Australia. Honest, Americana style rock which will appeal to fans of Tom Petty right through to Oasis. The EP is short, under 15 minutes in length for five songs but they’ve deviated in style throughout, with tracks such as Fade Away containing more than a nod to the Arctic Monkeys whilst also having some delicious melodies which veer far more towards the indie scene than that of the hard rock punter. That’s not to say there isn’t still enough here to get the interest pumped, with The Darkness influenced rock of Green Eyed Girl particularly standing out. Definitively one for those who like their rock with a lighter, indie honed edge. 7/10

Black Rainbows: Pandemonium (Heavy Psych Sounds

Heavy stoner fuzzed psychedelic rock features regularly here on the Musipedia and in Black Rainbows we have more of the same from the Roma based Italian outfit, whose album Pandemonium is their sixth. A distorted sound with echoing space rock greets you like an old friend on opener Sunrise, soaring synths and searing guitar riffs are the order of the day with founders Gabriele Fiori and Giuseppe Guglielmino now joined by drummer Fillippo Ragazzoni.

High To Hell maintains the pace with chunky riffs and muffled bass tones hitting the spot. It’s fast, driving stoner rock which really belies the fact this is a three-piece outfit creating such noise. Some of the tracks really race here, such as the magical Riding Fast ‘Til The End Of Time whilst the space rock feel of I Just wanna Fire transports you to a distant place. This is a cracking release and well worth a listen. 8/10

Death Alley: Superbia (Century Media Records)

Sophomore release from Dutch psychedelic outfit Death Alley, catchier than crabs in Cardiff Bay, with the protopunk sound fusing neatly with their stoner style. Superbia washes over you as you listen, a melting chilled out experience at times whilst the chunkier riffage of Feeding The Lions and Headlights In The Dark is countered by the 12 minute freak out of The Sewage which closes out the album in dramatic and fantastic style. Take a ride. It’s a real whizz. 7/10

Reviews: Crippled Black Phoenix, Auri, Collibus, Greybeards

Crippled Black Phoenix: Horrific Honorific (Season Of Mist)

Covers albums are never really welcomed, they are either cheesy rehashes of famous bands songs, slavish copies or completely terrible. So then it was with a little trepidation that I approached the newest EP of covers from multinational miserableists Crippled Black Phoenix, having been compared to Pink Floyd in the past it may seem strange that the seminal prog band aren't featured here, however long term CBP fans will note that they have covered Floyd numerous times on previous EP's. The songs chosen for this record are taken from CBP founder Justin Greaves' personal influences.

First we have their interpretation of alternative rock band Arbouretum's False Spring which they turn into a spiraling psych piece, then they riskily tackle SwaNS by adding an ominous feel to their The Golden Boy Swallowed By The Sea, but yet making it more accessible than the original. The songs on this record keep the compositional integrity of the originals but they are all given that sprinkling of CBP inspiration.

Will-O-The-Wisp (Magnolia Electric Co) is turned into sparse country plucked track with some haunting vocals from Belinda Kordic and only CBP can turn a punk tune like Victory (No Means No) into an sprawling, atmospheric doom number.

As with many CBP releases Greaves handles guitar, backing vocals, saw, samples, drums, with Mark Furnevall briniging synthesizer, keyboard, bass guitar and Daniel Änghede is still firmly in place as the singer, CBP have always been a collaboration over a band so Jonas Stålhammar (guitar), Helen Stanley (piano) are additional players with Belinda Kordic and Daisy Chapman adding vocals and backing vocals respectively to Will-O-The-Wisp and the gothic In Bad Dreams (The God Machine).

In what could be seen as a curveball for the band they choose to end the record with an organ drenched version of The Faith Healer by The Sensational Alex Harvey Band which is now a very dark, creepy and disconcerting song. As a band that have never really followed any rules CBP probably won't give a crap about what I think but that's why I love them, fortunately I also like this record so give yourself a chance to hear songs you might know through a new musical filter. 8/10

Auri: S/T (Nuclear Blast)

Outside of his main project Nightwish, Tuomas Holopainen has never really followed the path of a traditional rockstar, his first solo record was written for an orchestra and told the tale of Scrooge MacDuck and this new project sees him teaming up multi-instrumentalist (and recent Nightwish member) Troy Donockley and vocalist Johanna Kurkela (who happens to be Tuomas’ wife). Nearly all of the music on Auri is played by just these three members with Donockley contributing the most variety as he plays acoustic and electric guitars, bouzouki, uilleann pipes, low whistles, aerophone, bodhran, keys and even vocals as duets with Kurkela on Desert Flower.

She takes most of the leads on this record and her haunting, folky voice, makes the stripped back but in no way simplistic recordings on this album float beautifully over the listener with a waft of Clannad, Steeleye Span, Fairport Convention and Mostly Autumn (of which Donockley is also a part).

It’s pastoral folk music with a classical soul meaning that the use of strings, especially the viola of Johanna, Holopainen’s keys and the trademark low whistles, uilleann pipes of Troy make this record a very appealing one for anyone that wonders what Nightwish could be if they dropped the symphonic metal sound, to focus on something a little more ethereal and spiritual.

The record was put together by engineer Tim Oliver in the surroundings of Peter Gabriel’s Real World studios in rural Wiltshire, it’s clear that the British countryside has had a major effect of the sound on this record as it calls to the idealistic days of British folk but also the artistic experimentation of Kate Bush (Night 13) and Gabriel himself.

The sheer amount of instrumentation on this album is what makes it so magical from the bouzouki and twisting synths on See, through the stirring symphony of The Name Of The Wind up to the sheer magnificence that is Aphrodite Rising and the Gothic deliverance of Underthing Solstice the songs display so many elements and instrumentation that it’s hard to comprehend that the main cast is just three people.

As a lover of the British prog/folk/pop bands such as MA, Panic Room, Magenta etc I loved this record it’s mystical and gorgeously performed, it has a power that doesn’t need distorted guitars, with spring on the way (hopefully) this is the record you need to lull you out of hibernation. 9/10

Collibus: Trusting The Illusion (No Dust Records)

Progressive metal band Collibus are probably a name known to anyone that follows the British metal scene, they have appeared at Download Festival, Bloodstock Open Air, Graspop and Sonisphere Festival, they were also won the Mike Weatherley MP discretionary award of the Parliamentary competition Rock the House, becoming the first band to play a live set in the House Of Commons.

Trusting The Illusion is their third full length and they continue to be a progressive metal sensation, thick muscular riffs come from Daniel Mucs (rhythm guitar) and a session bassist, with Stephen Platt alternating between riffing and Jeff Loomis styled lead guitar playing.

Behind this there is battering percussion and some symphonic overtures which set the foundations for the simply excellent vocals of Gemma Fox, her voice is throaty and melodic and the ideal style for Collibus who successfully merge hard hitting prog metal toughness with melodic emotive choruses, a song like Fear Of The Fall backs up my point as it's a groovy track with a riffy crunch and glorious hook, it sounds like Nevermore at their best a band I would compare Collibus favourable too.

Gemma's vocals are so adaptive that at times she sounds like a different singer she can snarl with the best of them on Hold Fire but also soar majestically on the more dramatic tracks like End Of The Line or the graceful ballad Give Into Me. Trusting The Illusion is yet another excellent record full of contrite brawny progressive metal from this Manchester mob. 8/10

Greybeards: For The Wilder Minds (Attitude Recordings)

Swedish rock music is a very broad church, pretty much anything goes and every band can come from a different musical background. So with that in mind Swedish act Greybeards have a sound that takes it's influence from a couple of places, their top three influences on their social media seem to be Foo Fighters, The Beatles and Rise Against and you can hear all three bands in their first track Falling Asleep which has a power rock base, an alternative grit but some big pop melodies.

It's the chorus hooks that bring you in to this record they have a touch of AOR but the riotous social conscience of Rise Against or The Gaslight Anthem, with the shout along sounds of Free and You Struck Me pull you into this second record and make you take notice of Greybeards as band. Musically they play really well with jangly guitars and stirring vocals, they'll certainly be ripping up the stages in Europe with their white hot performances such as the furious closing track The Nerve. More great rock music from the Sweden, catch them on tour with Bonafide and get wild. 7/10

A View From The Back Of The Room: Sepultura (Live Review By Rich)

Sepultura, Obscura, Goatwhore & Fit For An Autopsy, The Fleece Bristol

It was to The Fleece for the first of a trilogy of visits to Bristol for live music this month to see the legendary Sepultura. The gig was originally meant to be held at SWX but for reasons unknown it was moved to The Fleece. No complaints here as I’m very fond of The Fleece as a venue.

It was an early start with doors at 18:30 and first band Fit For An Autopsy (5) hitting the stage at 18:45 to a fair but quite sparse audience. Deathcore really isn’t my thing at all. It’s a subgenre of metal that I find utterly generic and Fit For An Autopsy did not change my mind. I cannot fault the bands performance or enthusiasm as they played like a well oiled machine but the music they played simply isn’t for me.

Next up were New Orleans blackened thrashers Goatwhore (7). Goatwhore are just one of those bands that scream metal from their look to their sound and their performance. They are an utterly fantastic band to watch live with tons of energy and bags of attitude. It’s just a shame that the sound was working against them with the bass virtually inaudible, the guitars muddy and the drums drowning out everything else. The band forged on regardless with a set comprising of material from last years Vengeful Ascension album such as Forsaken and Chaos Arcane sitting alongside staples such as Apocalyptic Havoc, Baring Teeth For Revolt and Fucked By Satan.

The main support slot went to German technical death metallers Obscura (9) who simply floored the crowd with an absolutely jawdropping performance. It was a perfect fusion of aggression and technicality with staggering levels of musicianship especially from bassist Linus Klausenitzer and lead guitarist Rafael Trujillo. The interplay between the band the audience was warm and humble and the band came across as a genuinely friendly bunch of guys with no ego or arrogance about their blinding musical skills. A good chunk of the set was made up of material from 2016’s Akróasis album but there were a couple of older tunes such as Ocean Gateways and The Anticosmic Overload which went down a storm.

And then it was onto headliners Sepultura (8). Sepultura need no introduction as a band that have had a massive influence on metal both in the underground and in the mainstream. Tonight’s set was promoting newest album Machine Messiah but also celebrating Derrick Green’s 20 year tenure as frontman of the band. As soon as the band hit the stage with brutal opener I Am The Enemy all hell broke loose with a massive surge and bodies flying everywhere.

This intensity barely let up for the first five or six songs reaching fever pitch when classics such as Territory and Desperate Cry were played. As this tour was promoting the Machine Messiah album a good chunk of the set was given to new songs off this album. Maybe a bit too much was played from the album and some songs started to wear a bit thin with the audience such as the brooding title track and the instrumental Iceberg Dances. As 2018 is the twenty year anniversary of Derrick Green joining the band a nice chunk of songs were played from the Against album with the title track and Choke sounding particularly ferocious and getting a suitably ferocious response from the audience.

The rest of the set was made up of classics which are Sepultura live staples such as Refuse/Resist, Inner Self, Arise, Slave New World, Ratamahatta and the legendary Roots Bloody Roots. The sound was great throughout and the band played with absolute joy and enthusiasm. I managed to get a great spot very close to the front right in front of guitarist Andreas Kisser. Special mention has to go to drummer Eloy Casagrande who has to be one of the finest drummers out there and watching him play is an absolute joy. It was great to see Sepultura in a small intimate environment and by the time they left the stage an audience of deaf, beaten and battered metallers all with massive grins on their faces seemingly agreed with me.

Reviews: Shiraz Lane, El Camino, Signal Red (Reviews By Rich)

Shiraz Lane: Carnival Days (Frontiers Records)

I have seen Shiraz Lane live before supporting Brother Firetribe and they were utterly fantastic but their new album Carnival Days is my first experience of their recorded material.  Finland is a hot spot for producing great hard rock bands with Shiraz Lane being no exception and Carnival Days is a fine album showcasing the talents of this young band. The band clearly take influence and inspiration from the hard rock and hair metal bands of the 1980’s though Carnival Days is far from a nostalgia trip adding in other influences which make this a fantastic contemporary sounding hard rock album.

From the jazziness of the opening title track to the saxophone throughout Gotta Be Real and the reggae break in Reincarnation the band have definitely decided not to play it safe and release a bog standard 1980’s tribute album. It also helps that the songs throughout the album are damn catchy with tunes such as Tidal Wave and War Of Mine proving to be irresistible earworms. The only letdown are the ballads which seem very by the numbers for a rock ballad.  Shiraz Lane have released a fine album in Carnival Days which should be on the playlist of any self respecting hard rock fan. 8/10

El Camino: Cursed Congregation (Night Tripper Records)

Another leftover from 2017, Cursed Congregation is the third album from Swedish band El Camino.  This was my first exposure to the band and on Cursed Congregation the band perform a very blackened style of doom metal. You have hints of Black Sabbath and other classic doom metal bands mixed with the darkness of black metal creating a sound that is evil and foreboding. Unfortunately though it is a sound that is far from interesting with the vast majority of the album sounding identical throughout with virtually no variation between the songs.

Everything is the same pace throughout leading to a rather tedious listening experience. There were one or two songs which stood out above the rest such as the title track which has a certain degree of catchiness absent from the rest of the album. Although very well performed throughout Cursed Congregation just simply failed to hold my interest which is very disappointing as I am a big fan of both black metal and doom metal. It’s not an awful album just a very unengaging and uninspired one.5/10

Signal Red: Under The Radar (Escape Music)

Under The Radar is the debut album from Signal Red which is the musical pairing of Lee Small (of Shy and Lionheart) and Steve Grocott (of Ten). With their skills combined they have produced a fantastic album of melodic hard rock. The sound is very much rooted in 80’s hard rock and AOR but also takes a few cues from 80’s heavy metal especially in some of Steve Grocott’s riffs. Lee Small is an absolute monster of a vocalist with his voice truly escalating many of the songs on the album turning them into pure earworms.

Songs such as Defiant, Stronger, Monster Truck and Pyramids Of Mars are an absolute masterclass in melodic hard rock and are guaranteed to have your foot tapping and a smile on your face. Even a song such as Emotions In Motion which would normally be seen as the token ballad is given a whole leash of life thanks to Lee’s vocals. This album doesn’t stray from tried and tested and doesn’t break the mould when it comes to melodic hard rock but it’s such a good album that this can’t be seen as a bad thing.  If it ain’t broke don’t fix it. Even with a running length of 55 minutes the album doesn’t run out of steam and is thoroughly engaging and enjoyable throughout. Let’s hope for further collaborations between Lee Small and Steve Grocott in the future. 8/10

A View From The Back Of The Room: Turbowolf

Turbowolf, Puppy, Big Spring, Trinity Bristol

Into the converted church again this time for something a bit more crazy first out was the bristling alt rocking of Big Spring (7) with a myriad of sounds coming through. There's some Alice In Chains, some Smashing Pumpkins a touch of Royal Blood along with a lot of intricate melodies wrapped in big grooves. Vocalist had a great grunge drawl, guitarist made some odd sounds by mangling his six string and the rhythm section was big and heavy. An appealing set of confidently performed alt rock music getting everyone warmed up nicely.

Next up it three pretty unassuming guys took to the stage making a big noise. Puppy (6) have massive proggy riffs with an edge of Deftones and smattering of Muse, grooves galore as they set about to destroy the Trinity centre with sound not too dissimilar to American band 3, mainly due to the vocals which I accept can be a little Marmite, instrumentally though they are as heavy as a box of lead spanners. The drummer bashing his kit like it owed him money, the bassist locking in to some hefty bottom end rhythms and the guitarist, despite his singing, can let fly with some neat six string action. An odd mix of sounds if they were totally instrumental they'd be really good but the vocals are a little too whiny for my taste.

What came next was sheer madness from the first second, delivering one of the most incendiary live performances I've ever seen to a crowd that were well up to it, hometown heroes arrived on stage to a rapturous reception and proceeded to lay waste to the Trinity Centre prompting massive amounts of bouncing, clapping, shouting, pitting and waves after wave of crowd surfing (who were all safely handled by the road crew so cheers to them). Kicking off the night with the swirling psych of Capital X opening the show with a newbie is a risk but the partisan crowd knew every word, with Blake Davies locking in behind his kit the riffs came fast and loose from Andy Ghosh while Lianna Lee Davies buzzed and rumbled her basslines.

All eyes though were on Chris Georgiadis who while decked out in a very swish 70's inspired suit and shirt combo writhed, thrusted, headbanged and while doing all that also managed to manipulate his keyboard and never missed a single note with his great voice. The punk rock rumble of American Mirrors caused chaos before the funk rocking of Cheap Magic and Solid Gold hit the crowd with a head spinning array of colossal riffs, danceability and a mesmerising light show. The pace only dropped when the songs stopped, if they stopped, as live the band do like to extend their short stabs of madness with some jamming but this made the crowd want even more.

Halfway through the set and only half an hour had gone by, this was going to be a flier but with a band that have as much primal energy that any more than an hour and people may start to die from exhaustion. More snotty punk with Blackhole before the centerpiece of Ancient Snake/The Big Cut saw Chris enter the fray and command them like a cursed shaman to unleash hell on his signal. It was up to the groovy Domino to bring a sense of normality but after that it was straight back to it for the closing duo of the aggressive Good Hand and the riotous space thrash of Very Bad. After this we got a brief intermission played by the keyboard, it was the longest segment of stillness at the whole gig and it allowed a breather and water to be taken on board by everyone.

As it finished the rampage continued with A Rose For Crowns, Rabbits Foot and after a few thank you's from this well spoken, very appreciative band playing in front of their hometown crowd the finale of The Free Life gave everyone one last shot of adrenaline to really get things moving with 8 crowd surfers counted including Chris at the end of the song. I'd heard that Turbowolf's (10) domain is the stage and in a converted church in Bristol on a damp Thursday night there was probably nowhere else I'd rather be, even the sceptical Mr Hewitt agreed that Turbowolf were awe inspiring.

Reviews: Ministry, Memoriam, Winterfylleth, Barren Earth (Reviews By Paul)

Ministry: AmeriKKKant (Nuclear Blast)

AmeriKKKant is the 14th Ministry album and the first not only on Nuclear Blast but without long time guitarist Mike Scaccia who died in 2012 but featured posthumously on 2013’s From Beer To Eternity. Now I will admit that I’ve never had more than a passing interest in the work of Al Jourgensen and the industrial metal that he and Ministry churn out. It’s never really grabbed my attention that much although Ministry certainly deserve respect and legendary status. This album is Jourgensen’s rail against the USA post Trump, reacting against the right wing fake news, racism and internet trolling that has gripped the country since November 2016. The album features additional vocals from Fear Factory’s Burton C Bell and NWA’s Arabian Prince, and has the thumping bass lines of Tony Campos to keep the ship steady.

Tracks such as The Twilight Zone and Victims Of A Clown leave little to the imagination. We’re Tired Of It changes the pace, a punchy sub-three minute rage which thrashes and would ignite any pit, with Bell’s guttural roar adding gravity. The programming is on point as usual, with intricate splicing and effects enhancing the industrial stomp, especially on tracks such as the grim Wargasm. This was never going to be a jolly album, and the apocalyptic cover with Liberty covering her eyes as America burns aptly captures the feelings of many. The rage in Antifa and the eight-minute plus title track say it all. AmeriKKKant demands additional plays to allow time to absorb it. I found it strangely compelling. 7/10

Memoriam: The Silent Vigil (Nuclear Blast)

A mere year after one of the most impressive debut albums landed, the mighty death metal machine that is Memoriam return with another slab of crushing tunes. For The Fallen rightly deserved all the plaudits it received, full of memorable songs which allowed the ghost of Bolt Thrower to be laid to rest whilst carrying the memory proud and high. The Silent Vigil picks up where For The Fallen closed, and it’s another absolute monster. From the opening salvo of Soulless Parasite through to the closing bars of Weaponised Fear, Willetts, Whale, Healey and Fairfax are in blistering form. Soulless Parasite rips the starting block in half, a huge drum sound complimented by massive riffs and the distinctive growl of Karl Willetts immediately raising the smile.

The rampant From The Flames explodes and burns, whilst the sheer pace and intensity of As Bridges Burn, with Healey’s bass bursting out of the speakers, is incredible. In memory of those no longer with us, a nod to ‘Kiddie’, is neatly wrapped up in the two-minute title track whilst Bleed The Same tackles equality and the challenges in today’s society. The New Dark Ages surges with groove and power, Whale’s brutal drumming in fine form and the two behemoth closing tracks, No Known Grave and Weaponised Fear both take no prisoners. It’s a stunning release, especially so quickly after For The Fallen and once again places Memoriam high in the running for one of the albums of the year. Roll on BOA and their mainstage set. 9/10

Winterfylleth: The Hallowing Of Heirdom (Spinefarm Records)

Possibly the most beautiful album of 2018; the 12-track album by Manchester Black metal outfit Winterfylleth is their sixth studio release, and really does push the boundaries of their sound into new territories. No strangers to incorporating elements of traditional English folk music into their sound, and with guitarist Dan Capp having released the stunning Wolcensmen album last year which was in a similar vein, The Hallowing Of Heirdom witnesses the band dive deep with an entirely acoustic album that for the uninitiated will be at total odds to their usual ferociously heavy sound.
The album retains the signature spirit of the band. The Hallowing Of Heirdom sees Winterfylleth draw lyrically and conceptually from influences of ancient folklore, pastoral poetry, riddles, rhymes and odes, as well as early British customs and practices to present a unique and reverent homage to Ancient Britain.

Soaked in atmosphere, and with the emotions and sensitivity that crackled through their previous albums present in spades, the acoustic combination of guitars, percussion, synths and strings presents a stunningly different and highly interesting musical formula which captivates from the opening beats of The Shepherd. Alongside Chris Naughton, Simon Lucas, Dan Capp, Nick Wallwork and Mark Deeks were guest musicians Victoria Bernath (viola & violin), Jo Quail (cello), Matthew Dabbs (glockenspiel), Jake Rogers (flute), Angela Deeks (spoken word on The Nymph) and Sarah Wallwork (backing vocals on The Shepherd). The stunning cover artwork titled Sycamore Gap At Dusk by David Taylor is stunning.

The shorter instrumental tracks with the combination of cello and acoustic guitar, such as penultimate track Resting Tarn, A Gleeman’s Volt and Embers nestle comfortably alongside the longer story telling of the likes of Edler Mother, The Shepherd and the magnificent title track which closes the album. Unique, original and utterly spellbinding, this is a truly magical piece of work. 10/10

Barren Earth: A Complex Of Cages (Century Media)

I’d always wanted to know what the collective for multiple Nicolas Cages’ was and now we have the answer. A Complex Of Cages is very apt! But seriously, enough of the man responsible for Drive Angry and Vampire’s Kiss. Barren Earth were an unknown quantity for me. The six-piece from Helsinki have been around since 2007, and A Complex Of Cages is their fourth full length release. And what a release it is. From the opening bars of The Living Fortress and the impressive first release Ruby, you instantly realise that this is a journey which requires commitment. Over an hour in length, with many of the tracks well over six minutes in length, A Complex Of Cages swirls and changes like a flock of starlings, sweeping and wrapping around the listener’s head in a whirlwind of time changes, variations in style and sounds.

It is captivating from the opening bars, and by the time you get to the Opeth sounding Further Down you’ll either be desperate to explore more or want to turn it off. A fusion of progressive, doom, melodic death and heavy metal, there is nothing simple here. The mixture of death growls and pure clean vocals inevitably draws comparisons with the mighty Swedes but there’s loads of other influences in this miasma of resonance. Vocalist Jon Aldara may have only been with the band since 2014, this his sophomore release with the band, but he fits perfectly. The intricate guitar interplay between long-term members Janne Pertilla and Sami Yli-Sirnio flawlessly complimented by new keyboardist Antti Myllynen whose keyboard work on tracks such as the haunting Zeal and the epic Solitude Pith is spectacular.

Underpinning the whole release, the battering drumming of Marko Tarvonen and founder member Olli-Pekka Laine whose thunderous bass lines cement it all together. It is an album that demands repeated listens to really appreciate the complexity and creativity, but it is so worth the investment. Having now discovered the back catalogue as well, the only thing that would make this release better would be some UK dates. One of the most impressive releases of 2018. 9/10

Reviews: Myles Kennedy, Tax The Heat, Valis Ablaze, Sleep In Heads

Myles Kennedy: Year Of The Tiger (Napalm Records)

Listen to the entire Alter Bridge discography, when you do pick out tracks such as Watch Over You these are the 'Myles' songs mainly solem, blues influenced, acoustic ballads that show off his unique amazing vocals. So now imagine an entire record of these kind of songs, none of the metallic bluster of Alter Bridge in full flight, the louche sleazy hard rock of his work with Slash, or the soul/rock of his first band The Mayfield Four. Year Of The Tiger is Myles' first solo album and is built upon an intensely personal concept of his father's passing in 1974 (the Year Of The Tiger in the Chinese Zodiac).

Kennedy of course liberally applies his excellent vocals but he also brings guitar, banjo, lap steel, bass guitar, mandolin to the record as Zia Uddin takes drums, Tim Tournier bass and long time Alter Bridge/Tremonti producer Michael "Elvis" Baskette handles keyboards with both the producing and mixing of the record. Year Of The Tiger opens with the mandolin led title track which has a sonic similarity to Joe Bonamassa's Black Rock record, however we're back on familiar ground for The Great Beyond as it sounds like one of those moments on Alter Bridge records I mentioned earlier.

With this record you do get a sense of what a good musician Kennedy is, both Mark Tremonti and Slash have said what a good guitarist he is and here it's evident as he manages to impress without the presence of a virtuoso on the record. At its core Year Of The Tiger is an acoustic blues record, smoky and slick it was never going to be terrible, Year Of The Tiger is nothing like Kennedy's day jobs and that's good as a solo record should show another side to a performer and here he is a blues troubadour for the modern day. 8/10

Tax The Heat: Change Your Position (Nuclear Blast)

Suited and booted Bristol four piece Tax The Heat return with their sophomore album and it addresses the turbulent state of the world right now and impact it is having on people, it builds upon their debut Fed To The Lions by adding some razor sharp modern rock influences to make sure the swaggering riffs cut with all the precision of a Katana. The move towards the modern day was a natural progression from their rock n roll roots as Tax The Heat seem to be making it their mission to keep the guitar band relevant.

Money In The Bank has the fuzz and echoed vocals of Wolfmother. All That Medicine is a grooving funky tune with some great percussion and a stuttering rhythm not heard since the early Franz Ferdinand tracks. There's a celebration of all things guitar based on Change Your Position, pitched between classic blues based British hard rock and the axe slinging indie guitar bands favoured by the now deceased (in print form) NME. It's cutting edge rock and roll that's as sharp as the bands suits, shake, shuffle and rock out with some modern sounds. If this the new then count me in. 8/10

Valis Ablaze: Boundless (Long Branch Records)

Valis Ablaze's debut EP Insularity in 2017 was one of the major surprises of the year, the modern sound of djent but with atmospheric synths and most importantly soaring clean vocals. On their full length album they have tweaked their sound again thankfully maintaining the scintillating clean vocals of Phil Owen, the pulsing synths (Lumen) and the expressive guitar melodic guitar lines of Tom Moore and Ash Cook but this time they have supercharged the riffs with Moore, Cook, George Demner (bass) and Rich New (drums) adding a snarl to the rhythm section which has a heaviness that offsets and compliments the cleaner top end.

Just take a double whammy like Signals and Faster Than Light which highlight the mix of heavy and light well although the heaviest track on the record is the punishing Paradox which has bassline and down tuned riff like a bulldozer. Accessible technicality is one of the excellent tricks Valis Ablaze pull, their songs have hooks that will pull you in but the musical backing is a progressive as they come. With bands such as Tesseract, Skyharbour, The Contortionist all having successfully developed into the cleaner sound of djent, Valis Ablaze choosing to take this path is a positive step towards their longevity as a band. That's not to say they don't know when to add some harsher vocals on a track such as Evade where it is an integral part of the songs chemistry, or The Static Between Us where you get a short blast to build emotional weight.

However with a track such as the nu-metal groove of Hex the lofty vocals are met with chunky palm muted riffs and scratched electronics. Boundless has an monstrous sound, the production is ace letting every instrument breathe, letting you really feel the power in these complex compositions. A record with rousing choruses set to a backing of lush soundscapes and progressive riffs that will have you gurning like Les Dawson. With themes, riffs and melodies recurring throughout to give the record a feel of circularity, Boundless is a fitting title for the bands debut full length as on the strength of this record you they could go anywhere they want, their music could get heavier, more progressive or even take on new forms entirely, as the record wraps up with Reflections it becomes cyclic in nature harking back to the beginning of Afterlight and baiting you to start the listening process again. This is an ambitious record that achieves everything it sets out to be, listen and observe but don't get too close Valis Ablaze are currently en fuego. 9/10

Sleep In Heads: In The Air (Noizr Productions)

Ukraine band Sleep In Heads debut album is one that took a few listens to really latch on to, their sound is one of atmospheric heaviness and dream-like vocals, the contradiction between the two means that at first it’s jarring but on repeated plays the record opens up into something a little special. If I was to make a comparison I’d say that they sound as if Katatonia were fronted by Dolores O’Riordan (R.I.P) of The Cranberries, the spectral voice of Sonya soaring high above the progressive metal. However opening track Pacifying only hints at the prog metal trappings as Serj (guitars), Fann (bass) and Erland Sivolapov (drums) (replaced by Roman) only really kick in towards the climax, the majority of the track is build on the folky violin of Natali and Sonya’s beautiful vocals that here have the ghostly quality of Enya.

Since the arrival of this album they have added a keyboard player Katerina (Session keyboards on In The Air were by Nikolay Kirsanov) to make sure their sound is properly built up live as on record Sleep In Heads have more layers that a large onion. The sound is majestic underpinning the distorted riffs are the plucked violin strings, but they dissipate into solemn bow playing behind a wall of noise when the volume is turned up and the keys bring an electronic twist at odds with the organic sound of the violin, especially on Vagrant. Elsewhere Times Like The Sand brings a Tool-like bass thump and Secret Shelter has a touch of British proggers Panic Room about it, there is a lot of boundary blurring going on and that’s a very intriguing thing it means that In The Air is and ideal album for anyone that loves the sombre, emotive metal of Katatonia and Anathema. 8/10

A View From The Back Of The Room: Satyricon (Review By Paul)

Satyricon, O2 Institute 2, Birmingham

Another town, another place. Yep, two days after the late finish at Bristol for Venom Inc and Suffocation I found myself in the Second City on a Sunday night for some Norwegian Black Metal. With the venue changed from the O2 Academy, finding the Institute was slightly more of a challenge as many of the roads were closed off due to the St Patrick’s Day Parade (yeah, I thought it was 17th March as well!). With people everywhere and a large police presence, we parked up and headed for the venue slightly confused.

This became greater when we saw a huge queue of clearly non-metal fans in the main snaking down the street from the entrance. A check with the bouncer confirmed we had to join the end of the queue, so thankful that it wasn’t raining, we took in the glorious sight of heavily corpse painted metal heads standing next to young guys and girls who were off to see the Misch. Who he? Well, having confirmed with the young lads next to us in the queue that they weren’t off to see Satyricon, we found out that Tom Misch is a 21-year-old singer, songwriter and DJ. Useless factoid of the day but he could certainly fill out the main venue. Another reason to be grateful for not going with the mainstream.

Having got into the venue with plenty of time, opening act Suicidal Angels (6) kicked off the proceedings in the smaller venue with a healthy crowd already filling the room. After a promising start, the Greek thrashers repetitive metal by number routine began to wear a little thin. Lots of air punching and cajoling the crowd was all well and good, but at times you just want the band to shut the fuck up and destroy me with the quality of their music.

Despite having listened to them a good bit before the gig, their generic Kreator-lite thrash did little, not helped by a bass which was way too high in the mix, resulting in a distorted sound with little guitar cutting through the muddy sound. By the time that lead singer Nick Melissourgos had completed the obligatory demands for the most “violent circle pit Birmingham has ever seen”, a wall of death and to bang ‘til death, it had worn just a little thin. Concentrate on the music guys, you might earn a few more fans that way.

21:05 and the atmosphere turned black. The room was now rammed as Satyricon (9) hit the stage. With Satyr’s legendary microphone stand centre stage and Frost’s enormous kit sinister and imposing in the corner, the band kicked off hard with Midnight Serpent, Our World, It Rumbles Tonight and an absolute blistering Black Crow On A Tombstone. With the temperature immediately elevated by about five degrees, and long-time live members Steinar ‘Azark’ Gundersen (guitar), the imposing Anders ‘Neddo’ Odden on bass and Anders Hunstad adding the operatic undertones, Satyricon hit the accelerator and didn’t stop until the final strains of K.I.N.G. over 90 minutes later. Satyricon live take no prisoners, and with a responsive and engaged crowd urging them on, it was a set of sheer intensity.

Little movement on the stage, save for the wind milling of the guitarists, but Satyr still manages to command the attention, his tight leather jacket adding to the rock star cool which he exudes without arrogance. His striking presence as he commanded the centre stage was impressive whilst Frost, hidden behind his kit hammered away in his usual incredible style. An impressive set list contained four tracks from last year’s Deep Calleth Upon Deep album, whilst The Wolfpack, a roaring Now, Diabolical preceded Walk The Path Of Sorrow from Dark Medieval Times and two from Nemesis Divina, including set closer Mother North. The inevitable battering encore concluded with K.I.N.G. and the end of a stunning evening. Satyricon may not play the UK that often, but god, when they do, they are immense.

Reviews: Passcode, The Choppy Bumpy Peaches, Eagle Twin (Reviews By Stief)

Passcode: Locus (Universal Music LLC [Japan])

I'll get it out of the way; this is Kpop dressing up as metal. There are some obvious parallels to be made between Passcode and certain other Japanese Idol metal bands *cough*Babymetal*cough* there are also some rather jarring differences. I'll get the good out of the way; one member, Yuna Imada, provides some excellent and brutal screaming throughout each song, and it's a welcome breather from the overproduced and often (sometimes too often) autotuned vocals, and on first listen, you would be forgiven if you forget this is a four piece.

Musically, this is more than a rollercoaster ride. It's as if the rollercoaster was left unattended and you're launched full force through the entire fairground, taking a detour through the synth circus, a small loop through breakdown alley before crashing squarely into the arcade. I feel if they focused on one style, it'd work so much better. If you like Babymetal, it might be worth a shot, but this is messy, even for me. 6/10

The Choppy Bumpy Peaches: Sgt. Konfuzius & the Flowers of Venus (Self Released)

This is squarely a personal lesson in not judging a book by its cover. As soon as I saw the band name paired with that title, I thought "it's gonna be one of -those- bands" but what followed was a wonderfully surprising and very well put together slice of Neo-psychadelic space rock. Straight from the outset, Julia Lam's airy vocals and space-age synth work paired with the guitars of Julien Strasser, Julien Hübsch and Nick Dalscheid, wonderful bass work by Nina Bodry and varied drumming from Luca Bartringer all culminate in a beautifully, and often chilled first full release from this Luxembourg Sextet.

Two highlights of the album are Spacetravel, an aurally-kaleidoscopic song reminiscent of The Eagles' Journey Of The Sorcerer in places. Into Light is a slow, short, quiet song, perfectly placed to chill you out for Juaska which slowly builds on itself as the song progresses. While I don't often enjoy 'softer' rock, this is a wonderful album that sends you on a journey out of the stratosphere and sailing through the cosmos. Even if hard rock or psychedelic stuff isn't your jam, I'd certainly suggest you give this a listen. 9/10

Eagle Twin: The Thundering Heard (Southern Lord Recordings)

Straight from the outset, the only way to describe this band is sludgy as fuck; a voicebox made of sand after gargling gravel; as if molasses became sentient. Chunky percussion and even chunkier riffs, the blues inspiration is mixed thoroughly with the doom metal vocals of Gentry Densley, ending with a delicious stew of some of the heaviest southern rock I've heard in a while. Whereas opening track Quanah Un Rama has the definite blues feel, the second track Elk Wolfv Hymn showcases the doom side of Eagle Twin, the droning bass and gloomy riffs bringing to mind bands such as Saint Vitus and Pentagram. At 4 songs, the EP feels like it's over too soon, but with no song falling under 7 minutes long, it's a great journey through some South American folklore. If you like your doom with a good dose of blues, or you like your blues a bit more chunky, then Eagle Twin is definitely a band to have in your collection. 8/10

A View From The Back Of The Room: Jamie Lawson (Review By Nick)

Jamie Lawson - Trinity Centre, Bristol

Following a very quick 24 hour hop up and down the country to see Norwegian black metal genius's Satyricon in Glasgow, I hastily returned and skipped across to Bristol with Matt to make an equally large trip through the musical spectrum; this time for the acoustic and lyrical calmness of Jamie Lawson.

Having admired Jamie Lawson since his rise to fame following “that song” that we all know and love, I've delved into his back catalogue and his past and loved every bit that I've discovered. I had the opportunity to see him two years ago, alas, a friends wedding stood in the way... I wasn't expecting that! (Sorry... had to!) So this time I was determined to catch him, the fact that it was to be in the surroundings of the Bristol Trinity centre; a converted church, made it all the more enticing.

Arriving a little late due to the dreaded M4 traffic we had missed the first support act, but were in time to see the second support in the shape of Tommy Ashby, who also turned out to be Jamie's lead guitarist on the day too! Ashby slowly walked onto stage and picked up his guitar, clearly very nervous he broke into his first song, his voice soft and tuneful with gentle strumming of his guitar initially impressed me and seemed to keep the crowed hooked too. However, despite the quality of Ashbys voice and the deep lyrical meaning too his songs, I found my attention wandering somewhat a few songs in. All of the songs in his set seemed very similar, this combined with the minimal crowd interaction in between due to his obvious nerves made it hard to really invest in this set. Tommy Ashby has a tender and unique voice that you don't come across everyday but currently this wasn't enough to hold my attention. I hope too see a bit from Ashby in the future, as his voice a true gem. Perhaps though after he has gained a bit more on stage experience and a stronger back catalogue 6/10.

A short break between acts and fifteen minutes later quickly onto stage with no messing around came the reason everyone was there, Jamie Lawson. Playing to what appeared to be a now near sold out venue Jamie and his band wasted no time and kicked of the set with current single from his new album Happy Accidents, Miracle Of Love. With a slow acoustic start and a more uplifting chorus and finale to this track, it immediately displayed all that Lawson has to offer, if he were to continue in this fashion we were in for a great night full of emotion and possibly some bopping too! Moving straight on we were treated to the more bouncy track Don't Say You Do If  You Don't and fan favourite Cold In Ohio which was delivered perfectly by the Lawson and backed up strongly by the on looking crowd.

Lawson's voice has always been a little different to most, where at time it appears to come so easily you could be forgiven if you thought he was simply talking. Smooth, graceful and rammed full of emotion, Lawson's voice is one of the most relaxing you will find in modern music. After a quick introduction it was good to see that Lawson had not let his rise to fame go to his head, still humble and shy to a degree he joked his way through retuning his guitar to the warm laughter of the crowd, this was to be an ongoing theme throughout the night. Next were songs old, not quite so old and new. New track Falling In Love was swiftly followed by A Touch Of Your Hand from Lawson's first album Pull Of The Moon from way back in 2003, then another anthem The Only Conclusion.

This pattern continued throughout the set, dipping in and out of all of his albums, some not all the fans recognised and some were met and sung in perfect harmony. A particular stand out for me was He's Reading Helena; very much an album track from the new album, but for me epitomises everything that is great about Jamie Lawson. Slow acoustic track, with deep reflective lyrics, presented with the graceful voice of Lawson, this one really impressed me. As the set drew to a close we were treated to a trio of the upbeat tracks from the album including Time On My Hands, to which Lawson joked was about masturbation... it's not folks, the guy is funny too! Before leaving the stage it was time for the song that made all of tonight possible I guess, a quick word by Lawson recognising what this song has done to for his life and then he proceeded to flawlessly deliver I Wasn't Expecting That.

The love for this song not just from the crowd but the man himself was evident as the whole room serenaded each other throughout. After a short gap the inevitable encore was delivered consisting of Love Finds A Way, the soon to be single Ahead Of Myself  and A Little Mercy. This is probably my only grumble about the entire night, A Little Mercy was a very odd choice of song to finish on in my opinion. Although a classic Lawson type song it is very new, slow and short; not a track the crowd could really get into to finish the night, it was almost a little anti-climactic... a shame really.

Nonetheless this was nowhere near enough to spoil the night as the sheer joy displayed of Lawson's face throughout was enough to make you realize how happy he is to be up on stage. As the man himself said before leaving “It still blows his mind”. The constant beaming smile throughout the set really makes you feel part of something, add this together with a truly brilliant voice and songs written with emotion and substance, performed in the tranquil venue of the Trinity … it made for a brilliant night of music 9/10.

Reviews: Judas Priest, Solstice, Imperial Age, Straight Terror (Review By Paul)

Judas Priest: Firepower (Columbia Records)

Album no 18 from the metal gods and it continues with the same level of quality which the Priest delivered in spades on 2014’s Redeemer Of Souls. Whilst Glen Tipton’s recent retirement from touring has inevitably cast a shadow over the longevity of the band, Firepower certainly provides a shot across the bow of the doubters who may feel that it is time to call an end to one of the most important metal bands of all time. Clocking in at 58 minutes in length, it’s not a quick listen, and as you’d expect, there are a few tracks which don’t immediately grab you by the balls. However, Firepower has enough in the locker to get even the most elitist metal fan interested. With all songs written by Rob Halford, Richie Faulkner and Tipton, the quality is solid throughout and with the return of Tom Allom in the producer’s chair for the first time since 1988’s Ram It Down, and co-producer Andy Sneap also on board, the sound is slick and huge. 

The opening trio, Firepower, Lightning Strike and Evil Never Dies set the tempo and the bar high. Tracks such as Necromancer and Flame Thrower follow the traditional Judas Priest style heavy metal template, with Halford in immense form, his vocals as fresh today as they were when British Steel blew our minds way back in 1980. Tipton and Faulkner provide slicing lacerating guitar work whilst I defy anyone to find a more rock-hard rhythm section than Ian Hill and Scott Travis. With a few changes in tempo, such as the melodic Rising From The Ruins, which conjures images of a heavier Magnum, there is sufficient variation to maintain the interest throughout. Firepower impresses in a way that only Judas Priest can do. It’s British Heavy Metal at its finest. Sit back, crack open a glass of something cold and enjoy the Metal Gods doing what they do best. Pure heavy metal. 8/10

Solstice: White Horse Hill (Self Released)

I like this. I like it a lot. It’s been some time since I last heard anything from the Yorkshire doom outfit but bloody hell, this is strong. Under the continued leadership of Richard Walker, whose guitar work alongside Andrew Whittaker on White Horse Hill is sublime, Solstice has delivered an absolute cracker. It’s been 20 years since the band’s last full-length release, New Dark Age in 1998. The title track, at 8:51 not even the longest song on the release, is a galloping journey, with the soaring vocals of Paul Kearns and the ferocious drumming of Rich Budby supplementing dual guitar work at a speed rarely associated with doom bands, at times it’s almost Thin Lizzy or Iron Maiden in the delivery. It’s impossible to listen to this without becoming extremely interested very quickly. Earlier tracks such as Beheld, A Man Of Straw prompt comparisons with German Funeral masters Ahab. The astonishingly intricate and evocative Under Waves Lie Our Dead at just shy of 13 minutes is an absolute masterpiece. Nothing about this album disappointed. Hear it soon. 9/10 

Imperial Age: The Legacy Of Atlantis (Adulruna)

If you caught Swedish symphonic legends Therion on their recent visit to the UK, you may well have also seen Imperial Age, who were the main support. The band are sufficiently well regarded to be signed to Adulruna records, owned by Therion main man Christofer Johnsson. The Legacy Of Atlantis is the band’s third full length release, and the Russian outfit, formed in 2010 in Moscow certainly follow the blueprint for the genre with a huge sounding album. Now here’s the problem. I think much of symphonic metal is utter guff, a horrible cut n’ shut mixture of genres. Blast beat drumming, huge swathes of keys, batteries of riffs and shrieking operatic vocals which focus more on hitting the right notes than putting together fluid songs.

The Legacy Of Atlantis is an impressively constructed album, featuring the vocal talent of Jane Odintsova, Anna Kiara and Aleksandr Osipor. Lots of high pitched soprano and a beefy baritone merge time and time again as he album progresses. It soars and swoops, massively operatic and dramatic but god is it boring by the time you’ve listened to it twice. Life Eternal sounds like a school play climax whilst Love Eternal is just astonishingly overblown. I’ve listened to the album several times and whilst I can see why fans of symphonic metal would love this, it does little for me. 5/10

Straight Terror- Between The Lies (Self Released)

Straight Terror is a thrash metal band from Stantiago, Chile and was formed in 2012. The band members were previously in several South American metal bands, like Agresia, Extrema, Blast, Remains and Sadism. Straight Terror have supported Kreator and more in the past. And it shows. This is routine thrash with completely disjointed compositions and a singer who wants to be Mille Petrozza but is way off beam. I love thrash, but this is awful stuff I’m afraid; if I wanted to listen to Kreator then I’d listen to the real thing. A pale imitation. 2/10