Hammerfall: Dominion (Napalm Records) [Matt Bladen]
Dominion is Swedish metal kings Hammerfall's eleventh studio album, that's not a bad innings when you consider this band have been playing their 'Templar Metal' since 1993, in that time they have very rarely deviated from the power metal pole position they have occupied since their debut record Glory To The Brave, they did have a little bit of a misstep on Infected but their last two albums have been glorious celebrations of their power metal roots, with the band drawing on nostalgia but also keeping their focus squarely on the present. So what about Dominion? Well it's and album that closes with a huge emotional ballad And Yet I Smile which is probably the most emotional song they have done since Dragon Lies Bleeding letting Joacim Cans give his pipes a good work out.
However it's only one of two slower numbers on this album, the rest of the album being the normal galloping power metal assault that you'd want from Hammerfall. It's the second album to feature David Wallin behind the drumkit who double kicks like a mule on speed allowing Oscar Dronjak and Pontus Norgren to bring the twin axe attack, highlighted on the Maiden-like One Against The World, as Fredrik Larsson keeps everything in line with his bass rhythms. Never Forgive, Never Forget explodes with frantic pace but it's the title track that follows that gets the head nodding and the foot tapping, it's a mid paced stomper that will quickly be added to their live show, as to will the first single (We Make) Sweden Rock a gloriously silly song that could be their new Hearts On Fire. At this point in their career Hammerfall don't have to prove anything they have been doing this for too long to radically change anything, if you want pure power metal glory then get ready for their Dominion. 8/10
Lacrimas Profundere: Bleeding The Stars (Oblivion) [Paul Hutchings]
I’m a few weeks late with this review but it has been worth the wait. I was captivated by 2016’s Hope Is Here and this latest album, the German’s 12th release, on their 25th year, is another special piece of work. With the departure of vocalist Roberto Vitacca in 2018, a mainstay in the band since 2007, the band moved quickly to secure the vocal talents of Julian Larre from Finnish band Lessdmv. Whilst always badged as a gothic metal outfit, Bleeding The Stars really returns to the band’s roots with Larre’s deep, mournful vocals fitting perfectly. Guitarist Tony Berger has also departed since the last release leaving Lacrimas Profundere as a trio in the studio. Founder Oliver Nikolas Schmid handles bass, guitars and keyboards whilst drummer Dominik Scholz returns to the position he vacated in 2013.
Bleeding The Stars is, like its predecessor, an album that grows on the listener with every play. Celestial Woman and Mother Of Doom are deep, richly gothic tracks that blend harsh riffs with melancholic keyboards and sombre vocals. Father Of Fate moves at a faster, semi-industrial speed, swirling keys and a repeating guitar riff combine with clean and growling vocals to create a maelstrom of darkness. There is an epic feel to A Sip Of Multiverse, strings and clean guitar lines adding to an already emotionally complex piece of work whilst A Sleeping Throne concludes this relatively short but enchanting album to a perfect close.
Disappointingly, the band are visiting the UK a mere once this year, on 21st November in London. I’d love to get there but regardless, this stunning release will bring me many hours of listening pleasure. If you like the darkness of Moonspell and the like, then ensure that you get your listening bits around one of the best albums of 2019. 9/10
Solitary: XXV (Doc-Records) [Paul Hutchings]
Preston thrash legends Solitary celebrated quarter of a century together with a blistering set in the Sophie Lancaster Tent at Bloodstock 2019. In conjunction with that, the band has released XXV, three classic songs re-recorded from their rich past which includes the Requiem, a gruesomely vicious beast which features Rich Sherrington’s snarling vocals. We also get the thundering Within Temptation which doffs the cap to Megadeth whilst the other track, Keep Your Enemies Closer is a well-developed rager. In addition, you get two tracks from their last London show, at the Camden Underworld with Darkane. Architects Of Shame and The Diseased Heart Of Society which despite the rather tinny sound provide ample evidence of the punishment these guys dish out in spades in the live arena, Bassist Gaz Harrop is back for the first time since 2001, and whilst the solitary (sorry!) original member is Sherrington, there is still much sparking in the belly of this beast. Their Bloodstock Open Air appearance was fresh and powerful, and we can now prepare for a full-length release in 2020, Year 26 promises to be a thrashing good one for this underrated UK band. 7/10
Gurt: Bongs Of Praise (When Planets Collide) [Matt Bladen]
Cracking album title firstly but then it's exactly what you'd expect from party sludgers Gurt, this is an album that takes filthy sludge/doom riffs and tongue-in-cheek lyrics (it's the song titles that give it away) for an album of songs that worship the leaf. In fact there are so many mentions of weed on this album that I'd love to know who is Gurt's dealer as they are getting some very good shit. Musically this is dense, aggressive sludge/doom that remind me of Eyehategod or Phil Anselmo. The album is a muddy mix of sounds full of distortion and growled vocals but occasionally things get a humorous on One Hit Wonder which nicks the riff from Main Offender by The Hives before descending into a thick doom breakdown, but mostly the band attack the listener with a sound that has become bigger with every release. Even here on cuts such as The Joint Of No Return they add some space rock, Jazz Cabbage is a short stab of violence and the title track creeps with some synths before the thick stoner riffs come in. If the more aggressive sludge stoner style with a wicked sense of humour is your thing then take a knee for Gurt's Bongs Of Praise. 7/10
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