Reviews: Scott Stapp, Tomb Mold, Elvenking, Nocturne Wulf (Matt. Paul H & Lee)

Scott Stapp: The Space Between The Shadows (Napalm Records) [Matt Bladen]

Yeah, that Scott Stapp, the former vocalist of the platinum selling late 90's-early 2000's mega hitters Creed, before the rest of the band formed Alter Bridge. At this time Stapp struggled with addiction, personal and mental health issues but has not only managed to release three solo albums but also reform with Creed and become the frontman of Art Of Anarchy after Scott Weiland's death. He has always had a very distinctive, one that has been aped by many bands that have come after him, however on this third solo album he has shown why the baritone delivery is undeniably his, though it has matured over the years. If you listen to Name you immediately get drawn back to the halcyon days of With Arms Wide Open a powerful ballad with Stapp drawing on his personal life for emotional resonance, however it's the middle part of two heavy hitters, World I Used To Know and Purpose For Pain which both see Yiannis Papadopoulos taking the place of Mark Tremonti in the virtuoso lead guitar role as the rest of his band bring the heavy riffs. 

It's hard not to make Creed comparisons but I'd say actually there's more an Alter Bridge sound to this album mixing the thumping metal tracks with the more melodic rockers and some big ballads such as Heaven In Me which is a country-styled track dealing with Stapp's beliefs without being preachy, except for the two bonus tracks. Stapp's history of issues is a recurring theme for this album with songs like Survivor, the dark Red Clouds and the U2-esque Gone To Soon all drawing on his past, though Wake Up Call is a little too saccharine with the Enya like strings and children's choir. Still despite this The Space Between The Shadows is actually a good post-grunge album from the voice that was a big proponent for this style, if you like Shinedown, Pop Evil or any of those style of acts then you owe it to yourself to pick up this record from the originator. 8/10

Tomb Mold: Planetary Clairvoyance (20 Buck Spin) [Paul Hutchings]

It was only a year ago that the vile explosive death metal of Canadians ripped onto the stereo with Manor of infinite Forms. That earnt a 9/10 from me in June 2018. Having patched up the various wounds from their aural offensive, it’s a bit of a shock to find that the bone crushing outfit are back with album number 3 quite so quickly but hell, I’m not complaining. The brutality starts in typically thunderous fashion, those down tuned guitars piledriving on Beg For Life, Max Kiebanoff’s throaty rasp just discernible above the rampaging torrent of riffs and battery of drumming. At just shy of seven minutes, this is a bold statement of intent on a death metal album. The momentary respite with an acoustic interlude is quickly shattered as the band begins to build again but with a change of pace, more sinister and lurking than full out explosive acceleration. This segues seamlessly into the title track, a furious, volatile number that spews forth repetitive jagged riffage but with a massive Sabbath style hook amidst the pummelling percussion.

Interspersing 100mph raging death metal with measured slower sections allows the band to emphasis the speed they can achieve. This title track changes pace and tempo several times, leaving the listener just uneasy enough to maintain the attention.  With little respite from the aural assault, there are times when this release leaves you gasping for breath. The sinister sci-fi themed Phosphorene Ultimate provides an uneasy calm, the long-awaited explosive impact failing to arrive but the atmosphere tense. Peace is shattered by the pulverising Infinite Resurrection and from here on it is wall to wall maceration as Tomb Mold simply increase the tempo, the intensity and hit the switch marked ‘level everything’. Such is the power and pace of this release, it should come with warning. A blisteringly good album, and their autumn UK tour is one that whets the lips with anticipation. 9/10

Elvenking: Reader Of the Runes – Divination (AFM Records) [Paul Hutchings]

Over four years ago, Italian folk/power metal outfit Elvenking managed to deliver an uninspiring set at Hammerfest in North Wales which failed to ignite any emotion in me. That’s always been the problem with this genre. Once you’ve heard one album, then there is little to inspire you. Blast beats, raging solos, soaring vocals and fiddles, violins, the bloody hurdy gurdy and all manner of instruments tend to create a sound which reaches a crescendo in some horrible musical vomit. And then they do it again. Repeatedly. Which leads us neatly to the tenth album by Elvenking. Formed in 1997, the band has walked the forest paths of Europe for two decades. With as many line-up changes as a pre-season friendly, the only consistent member of the band since those early days in guitarist Fredrico ‘Aydan’ Baston.

Alongside him, vocalist Davide ‘Damnagoras’ Moras is an ever present on the band’s releases and has been with the band from very early in their journey. Reader Of The Runes – Divination is about as generic a folk/power metal album as you can get. Heathen Divine opens the album properly and ticks all the boxes. And then the band do the same song albeit with a soupçon of Helloween again on Divination. I’ve listened to this album about six times and just like the new Sabaton album, sounds like one song rehashed many times. The closing track, a ten minute plus rambling title track cements the frustration at one genre that really doesn’t move me in anyway. The weak metal soundtrack to Lord of the Rings, I’m afraid whilst I love much about Italy, this really isn’t something that even partially interests me. 5/10

Nocturne Wulf: Necrodancer (Self Released) [Lee Burgess]

Nocturn Wulf make the kind of radio friendly NWOBHM that brings me out in a very bothersome rash. It’s not that they are bad, but it’s just all so corny and camp. Musically, everything that NW have on offer works. It has groove and a fun sense of 80’s style metal, bringing up images of castles on mountains, trolls and demons. It’s all harmless fun. It’s the kind of music you’d expect to find in an awful cult 80’s horror film full of good-looking teens getting picked off by a heavy breather with a meat cleaver. 

I’ve never quite understood the attraction to straight up heavy metal and this does nothing to change my mind. It’s all a bit Eurovision. I know there are those of you out there who love anthems and operatic melody, so this has a ready-made market with mass appeal. Twiddly guitar solos, theatrical lyrics, throbbing grooves, it’s all where it should be, it’s got all the ingredients of greatness, if your idea of greatness is silly songs of men with big swords doing battle with scary goblins. 4/10