Nightwish: Decades: Live In Buenos Aires (Nuclear Blast) [Manus Hopkins]
Live records are hit and miss. They’re also commonly used to fill contractual obligations to record companies, or to fill space between studio releases, and aren’t often released because they’re what the artists really want to put out. Still, some live albums have been excellent, and some have been incredibly successful. Decades probably won’t become the record Nightwish is known for, but that doesn’t mean anything about the actual quality of the record.
Nightwish’s last studio release was back in 2015, so it’s not hard to see this as a gap-filler, but it’s an enjoyable one at that. The essence and energy is quite well-captured, the songs sound excellent, and a listen to the record should make pretty much anyone wish they had been at this show, or can catch one in the future. It’s also definitely something with the potential to make fans excited for Nightwish’s upcoming spring 2020 studio album. 8/10
Palm Reader X Conjurer: Palm Reader X Conjurer (Holy Roar Records) [Matt Bladen]
Another covers EP this time from two of the most exciting bands on the UK scene, the self proclaimed 'arch-enemies' Conjurer and Palm Reader. Conjurer are the heavier of the two with a more death metal style while Palm Rader sit in the hardcore base. So let's start with the two Palm Reader songs, firstly we have Tire Me Rage Against The Machine's ode to the death of Richard Nixon, from their second album Evil Empire. As with all of the covers on this record it's close enough to the original to be recognisable but with the Palm Reader aggression mainly in the vocals, the second cover is Circles originally by Post-hardcore/emo act Thrice, now having never heard this song I can't comment on how near it is to the original but it adds a new more emotional side to Palm Reader's delivery.
The Conjurer songs will be a little more familiar to the metal audience, firstly it's their version of Mastodon's Blood And Thunder a track they have been playing live for a while. Now this is basically the original version but with all guttural vocals not the three pronged sound of the Atlanta natives. if you've heard it live you'll know what to expect, the real attraction of this EP is their cover of Vermillion Slipknot's 'ballad' from Vol 3: The Subliminal Verses which adds the death vocals to the cleaner sounds that appear on the Slipknot version (a song that signalled Slipknot's change into a more multifaceted band). As good as both bands are this is just a covers record, obviously done as a bit of fun but it doesn't really show the best attributes of either band, still worth a listen. 6/10
Edge Of Forever: Native Soul (Frontiers Records) [Manus Hopkins]
It’s almost surprising that Edge Of Forever isn’t named after a geographical location, as their music fits in perfectly with that at the 1970s AOR giants. The essence captured by Native Soul is impressive for a record that’s come out so long after the advent of this style, but it’s a welcome change of pace in today’s rock climate. It’s the vocal melodies that really drive these songs, particularly on the catchy choruses, but the instrumental work is notable as well. Overall, this is a strong rock album, the type of which there should be more coming out these days. 8/10
Deaf Radio: Modern Panic (Ihaveadrum Records) [Matt Bladen]
The second album from Athens/London based rock band Deaf Radio ramps up the QOTSA influence in their music to another level. From album cover that definitely reminds me of Like Clockwork and Villains to the songwriting which brings an amalgamation of fuzzy garage rock, creepy alt psych, desert stoner grooves and even some pop inflections. Take the first two songs, they couldn't be more different Death Club is propulsive rocker with the fuzz overdrive on full, while Animals is much more expansive with haunting vocals and a dark atmosphere. Panos Gklinos pumps out guitar riffs along with Dimitris Sakellariou while giving his best Josh Homme impression vocally (Dance Like A Reptile).
It's the engine room of George Diathesopoulos (drums) and Dimitris Georgopoulos (bass) that deserve the spotlight though as they get the grooves going on the faster paced tracks while also stimulating the more atmospheric 'romantic' numbers like the title track and dramatic psych rockers like Astypalea. When they were ready to write Modern Panic Deaf Radio apparently wanted to start from the ground up, redefining their identity as a band. The songs reflect on "modern society’s issues such as lonerism, homophobia, racism, drug use and social media addiction." all very recognisable problems in today's society.
Whereas their debut was off kilter, full of jangly guitars and lashings of groove Modern Panic is for a more refined talent, much like the QOTSA of today, this is music with slicked back hair and a sharp suit that conceals a razorblade and fangs, it's the audio equivalent of the Peaky Blinders, refined but vicious. Don't panic just listen. 8/10
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