Formed in 1999 by two of the biggest names in metal music Jon Schaffer (Iced Earth) and Hansi Kürsch (Blind Guardian), Demons & Wizards released their debut Demons & Wizards (9) in 1999 and the follow up Touched By The Crimson King (8) in 2005. Now in 2019 with their first tour since those original albums and a UK show looming they have re-released these albums remastered off the orginal tapes with a whole host of extras for fanboys to lap up. Remastered by Zeuss (Iced Earth, Overkill, Queensryche) these albums have got an increased audio quality to them everything just a bit more bite so tracks such as Poor Man's Crusade, Fiddler On The Green, The Whistler and Gallows Pole on Demons & Wizards shine like never before as Jon Schaffer's unmistakable riffs are cranked out and Hansi Kürsch unique vocal is in full force.
As per Iced Earth the majority of the compositions including the synths and orchestrations are all from Schaffer who is backed in the studio by then Iced Earth members, Jim Morris (lead guitars) and Mark Prator (drums). It's a lot folkier than Touched By... and this is enhanced by the new audio quality. The special edition features an alternate version of The Whistler and a demo version of Heaven Denies both of which are ideal for the collectors amongst you. However it's Touched By The Crimson King that offers the best value for money, the more straightforward of the two records it features 3 bonus tracks not featured on the original album (though they were on the special edition), the epic Lunar Lament is the first with Spatial Architects a doomier number while the third track is a slow version of Wicked Witch. Where this gets more interesting is that the special edition of this re-release comes with an entire disc of demo versions of the album which is a music lovers dream as you can hear how the tracks came together.
Both of these records are excellent though for me Demons & Wizards just pips it's successor despite that insane Zeppelin cover, they are very much worth seeking out if you've not got the originals, though if you do have those then may I suggest investing in theses remasters for the better sound quality and host of extras.
Gaahl's Wyrd: GastiR - Ghosts Invited (Season Of Mist) [Sean]
Hey guys and Gaahl’s (sorry), have yah heard the WYRD (sorry again)? Guess who’s back! Unless your living in the deepest recess of the earth or Ogmore Vale (I’m from there, so I can make that joke), chances are you may have caught wind of heard of the former Gorgorth/Godseed/Trelldom latest venture, Gaahls Wyrd. Given the frontman’s colourful past, it’s not surprising the metallic world would be disturbed upon word of his imminent return. After many collaborations in the world of pagan neo-folk with Wardruna, Gaahl returns to what he does best. Along with the rest of his cold born compatriots, who’s own resumes are equally illustrious (Aeuternus, Grimfist, Horizon Ablaze), Gaahls Wyrd are set to turn black metal on it’s corpse painted head once again. Manifesting in the form of debut album, GastiR - Ghosts Invited, do Gaahls Wyrd deliver the blackened goods? Yes, yes it bloody well does. Ek Erilar oozes in from the murky darkness before taking it's first breath, Gaahl’s throaty rasp sat about the furious tremolo of guitars and pounding blastbeats. Touches DISSONANCE melded with his wailing make for a dense and uneasy listening experience, as of we've stumbled on some profane ritual.
Would should be noted is the lack of Gaahl’s trademark screeching, settling for a more varied and dynamic approach of whispers, bellows and baritones. It works, culminating in a strong start that is both atmospheric and aggression. From The Spear focuses more on the aggressive this time, a more physical assault as opposed to a spiritual one. The riffs take on a chunkier air, traces of groove here and there, heightened with some pretty tasty lead work. Is shifts into another form, dense chords acting providing a solid foundation for Gaahl’s trance like cleans. It all flows very well, creating a faulty smooth journey in spite of the old powers being invoked. Ghost Invited introduces a subtle shift into major keys, Gaahl’s natural baritone fitting in neatly with the ever shifting guitars. I can see why this was chosen as the title track, it's quite simply fantastic and nicely displays the band's proggier side. Single, Carving The Voices, has been making the rounds online for a short while now. It’s shiver inducing, 7 minute sprawling blackened doom sits neatly in the album's flow, providing yet another highlight. Eerie synths fill out the dynamic space, the drumming mostly slow and deliberate adding to the mounting dread already present.
Veiztu Hve , in contrast, favours cold tremolo riffs above relentless beats and the ever present spectral utterances. The chorus takes on a folky, almost hypnotic quality, before being thrust into the abyssal density that is of The Speech And The Self. It’s last part, in particular, is pure melodious majesty. Through And Past And Past (uh?) is the most rage filled of all the songs, the riffs collapsing on each other in tumultuous chaos with Gaahls finally resuming his trademark howl. Parting track, Within The Voice Of Existence, an atmospheric number, coloured by the ebb and flow of chanting voices and pulsating drums. It suddenly explodes towards the end, the voices rising in a crescendo of ritualistic cacophony. Power are summoned and all fades to black…..Whatever reservations or allegiances you may have against the man, cast them all to the gutter right now. DO IT! As soon as you have done that, purchase GastiR - Ghosts Invited immediately, as it is nothing short of a triumph. Down to it’s conception and execution, Gaahls Wyrd have fashioned a rich, deeply engrossing work of nuanced blackened brilliance. Are you still reading this? GO! PURCHASE IT NOW! 10/10
Black Oak Arkansas: Underdog Heroes (Purple Pyramid) [Paul H]
Back in the early 1970s, a band from the town of Black Oak Arkansas, were one of the biggest bands in Southern Rock. Today, I’d be surprised if many people outside of the Southern Rock scene in the States even knew who they were. Led by the magnificent Jim ‘Dandy’ Mangrum, whose unique raspy voice and on-stage washboard antics were both amusing and bizarre, they were at times the ultimate boogie band. Multiple guitar players and a solid engine room gave the band an infectious trademark sound and even though the band were well in decline by the time I got into them in the 1980s, albums such as Black Oak Arkansas, High On The Hog and Keep The Faith, all early 1970s releases became part of my regular listening and prized [and much missed] vinyl collection. To be fair, I assumed the band had long hung up their geetars and washboards, but no, they have in fact been a regular part of the touring circuit in the States for years. BOA’s last studio album surfaced in 2013, Back Thar N’ Over Yonder, which featured five new songs, although their catalogue is littered with compilations and live albums.
It was with much excitement that we finally get Underdog Heroes, the first full BOA album in over 30 years and featuring original members Dandy on vocals and Ricky Lee Reynolds on guitar. Although the classic BOA line-up is long gone, Tommy Aldridge is still delivering the goods for Whitesnake. This version of BOA is completed by Sammy B Seauphine ‘Lil Bit’ on duet and backing vocals, guitarist David Flexer, drummer Victor Lukenbaugh and bassist Billy Little. 38 years after their debut, what do we get from Dandy and co? Well, his voice remains magnificently curious and unique, and the boogie woogie duelling guitar is as fabulous as it ever was. Some of the tracks are weak, such as Channeling Spirits, which is basically a list of dead rock stars linked to some mumbo jumbo about faith on the other side and the rather uncomfortable homage to Dandy’s original duetting companion Ruby Starr, Ruby’s Heartbreaker, whose voice was on the band’s 1973 charting remake of LaVern Baker’s 1957 recording Jim Dandy, recorded following a suggestion by Elvis Presley when the band visited Graceland.
The Wrong Side Of Midnight improves things amply, a smouldering number with ‘Lil Bit’ adding some smoky vocals, and she takes centre stage with her duet on The Devil’s Daughter. Do Unto Others really is a blast of classic BOA boogie, the rhythm of Lukenbaugh and Little’s groove laden bass holding everything tightly together; but the real emotional bit here is the inclusion of guitar parts from former BOA guitarist Shawn Lane, who died in 2003, his fine lead work countering Dandy’s superb vocal showing. Love 4 Rent is bilge and typical sleazy BOA, but The 12 Bar Blues is a blistering stomp which allows the band to show their quality. Black Oak Arkansas really are an acquired taste and if it was another band who had such weird vocals, I’d be marking it down. However, such is my fondness for the band’s early work that just to hear new material is fabulous. 8/10
Employed To Serve: Eternal Forward Motion (Spinefarm Records) [Alex]
Employed To Serve: Eternal Forward Motion (Spinefarm Records) [Alex]
Carrying with them the anger of the disaffected in a way only a nasty hardcore act with passion and creativity could Employed to Serve aren’t sparing any fury on their second album. Their debut Warmth Of A Dying Sun proved one of the standout albums of 2017. Two years later, they return more frustrated, crushing and socially conscious than ever! Using chaos to capture the worries of a young generation screwed over by political leaders, and facing an increasingly uncertain future, there is a definitely a nihilistic side to Eternal Forward Motion, yet the core message is one of defiance. With incredibly passionate performances and risky compositional moves, this UK originating, three-piece takes this message in their stride!
‘All these people craving years gone by makes me fear what lies ahead’ Justine Jones screams on the opener, deriding the culture of demanding a return to ‘the good ol’ days’ without concern for the anxieties and troubles of future generations. A macerating riff mixed with an exultant lead part, speaks to this contradiction excellently. Beneath It All condemns toxic relationships while constantly escalating in intensity, only letting up temporarily to create suspense, an effect which is executed to thrilling effect. Dull Ache Behind The Eyes is debauched and wanton, before slowing to a grim, dirge-like stamp, again robustly proving how well these musicians utilize doubt and unpredictability to put the listener on-edge, mercilessly making them tap into their frustrations and anxieties. ‘I want to crush those rose tinted glasses beneath my feet and let the glass bleed new life into me’ reads one striking line, spitting at the idea that the response to all our problems should be to keep our chin up and our mouth zipped.
Although ‘slow’ and ‘metalcore’ don’t seem like the most compatible terms, Harsh Truth is one of the most commanding anthems here, bringing Jones’ eviscerating screams to the forefront and allowing the presence rhythm section to leave a mark. Although the message behind this one is ambiguous, the refrain ‘there's a harsh truth in plain view but we just stand and stare’ seems to denounce apathy of all forms. Sore Tooth Twin follows an instrumental which effortlessly brings together dramatics and tension, to create a spine-tingling bridging moment. Unequivocally pouring scorn on the tidal wave of racism and discrimination emanating from countless pundits, Force Fed is another throttling moment.
The contrast between the screamed verses and Deftones-esque vocals of the chorus works stupendously on this track while verses in the vein of ‘No one asked for your opinion, I’m so fucking bored of banging my head against a wall’ bring the hostility home to roost. We Forgot You and Suspended In Emptiness both experiment with tempo and pacing, even daring to turn up the distortion entirely in some points. Meanwhile, Reality Filter and Owed Zero use their intense clout to craft a message around challenging the dishonesty and deceitfulness bombards society. ‘Something keeps me from slipping, three words in my head…open my eyes’. Not only is Eternal Forward Motion one of the best metal albums I’ve heard so far this year, but it’s also one of the most poignant. By taking an acerbically honest approach to the wordplay and defying genre conventions, Employed to Serve make a furious and vital mark on the metal scene. 9/10
The contrast between the screamed verses and Deftones-esque vocals of the chorus works stupendously on this track while verses in the vein of ‘No one asked for your opinion, I’m so fucking bored of banging my head against a wall’ bring the hostility home to roost. We Forgot You and Suspended In Emptiness both experiment with tempo and pacing, even daring to turn up the distortion entirely in some points. Meanwhile, Reality Filter and Owed Zero use their intense clout to craft a message around challenging the dishonesty and deceitfulness bombards society. ‘Something keeps me from slipping, three words in my head…open my eyes’. Not only is Eternal Forward Motion one of the best metal albums I’ve heard so far this year, but it’s also one of the most poignant. By taking an acerbically honest approach to the wordplay and defying genre conventions, Employed to Serve make a furious and vital mark on the metal scene. 9/10
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