Gama Bomb: Sea Savage (Prosthetic Records) [Paul Scoble]
Gama Bomb don’t really need much introduction. The Irish thrashers have been making high speed music since 2002, and are probably the best known, and one of the few survivors of the naughties thrash revival. One of the reasons the band are so well known is the quality of the bands output, in my opinion they have never made a bad album, and have been the highlight of any gig I have seen them at. The bands first album, Survival Of The Fastest, came out in 2005 and since then they have released 5 more very good albums, the last, Speed Between The Lines was released 2 years ago and got an 8 out of 10 review in Musipedia Of Metal. So, have Joe (Bass), Philly (Vocals), Domo (Guitar) and John (Guitar) managed to keep their near perfect record with album number seven? One of the ways that Gama Bomb have kept their sound interesting, is by modifying it ever so slightly with each album. So the style is still High Energy Thrash, but with little tweaks to keep it sounding fresh, and so that although you always know it’s Gama Bomb, it never gets stale or feels like the band are repeating themselves.
On the last Gama Bomb album Speed Between The Lines the band seemed to be channeling the albums title and upped the speed so that album was a high speed blast pretty much the whole way through. On Sea Savage, however, the band seem to be going in the other direction. On this album they seem to be mixing the thrash with a healthy dose of Power Metal, slower tempos and lots and lots of melody. There are still raging fast thrashers like Iron Blood, Monsterizer and Electric Pentangle, which have all the things we love about Gama Bomb; fast, ridiculously tight riffs, devastatingly fast, accurate drumming and soaring vocals. Which is all great, but it is when Gama Bomb stray from this template that this album gets really interesting. Apart from the influences from Power Metal (which I will get to in a minute) the band seem to have been listening to some punk, as the track She’s Not My Mother, Todd feels a little like The Ramones playing thrash, the song is a simple blast of Oi Oi energy, and a highlight of the album.The Power Metal influences run through a lot of the tracks, the overall pace of the album is probably the slowest the band have produced, but they have replaced the speed with huge amounts of melody and tunefulness.
Opening track Judo Killer starts with a fast and frenetic blast of thrash, but then settles down for a mid-paced stomp that feels much more Power Metal than thrash. Miami Super Cops is mainly mid-paced and is filled with NWOBHM style guitar harmonies. The NWOBHM influences can be felt on the track Rusty Jaw and the final track Gone Haywire. The Power Metal influences can be heard on most of the tracks, It reminds me of Painkiller era Judas Priest, and not just in the music, Philly Byrne seems to be screaming a little bit more on this album, could this be a Halford influence? Sea Savage is a great album, it’s still the high energy Gama Bomb style thrash we know and love, but on this album it is tempered with Power Metal influences and some simple punk. The album is packed with tunes and melody, amazing harmony guitar parts and great riffs. So, it looks like Gama Bomb have done it again, another strong, incredibly fun album. 8/10
Taking influence from an array of contemporary styles, Sealand Airlines have an obsessively melodic and deeply emotive sound that combines subtle ambience with striking melodies. Their music doesn’t so much lay a path that the listener can stick to, but tells stories that journey adventurously in different directions, and prove stunningly unique. Musically, the sound is distinctly retro in flair, making prominent use of synthesisers, while the orchestration exudes a cinematic flair. Still, these musicians definitely know how to play their instruments, as the rhythms are detailed and intricate. On their debut they certainly make an impression, even if they proudly flaunt their influences. Railway Man opens and is brooding and dark, especially when compared with much of the first half.
Rather than flowing effortlessly into one another, the notes omitted by the guitars and vocals seem to tread nervously, the staccato obsession, and steady progression, creating an odd feeling of mystery, and melancholic elusiveness. On the subject of tracks which just ensnare you in their vibe and don’t loosen their grip, Revenge proves fast moving, and impassioned with the scale of guitars and presence of the rhythm section. Ramping up the standout ‘70s worship is Sailing Girl which exudes optimism, even if the danceable nature of the track makes this one something of a guilty pleasure. Equally, Salia Ana beguiles with its strong development across seven minutes, and the peaceful yet enticing atmosphere which surrounds every second.
Not every track is piercingly catchy. Despite this, such a piece shows the diverse nature of the musicianship on display. Proving one of the strongest moments here is The Garrison where the harmonies merge with the reminiscent keyboards in piercing style, providing the perfect backdrop for the outstanding guitar melodies to waltz in time with the multifaceted bass and drum textures. This one plays out like the soundtrack to a haunting thriller movie, bearing that emotional weight yet having enough of a sense of humour about itself to still make for an impressive listening experience.
The Danger charms with fiery grooves, the fuzz infused guitars and beautiful rising and falling vocal cadences being a grand addition to the cascading instrumentals and sharp changes in tempo which keep the listener excited and intrigued. We Have What We Have once again contrasts eloquently, with its leanings into classic pop. Finally, The Mountain lives up to that expectation of being truly conclusive, almost synthesising all the different elements of the band’s sound from ferocious, to benevolent, to contemplative. Sealand Airlines prove unique yet mesmerising in their depth of variety, and abundance of skill. The music here is imaginative even while pulling influence from traditional prog as well as classic acts from a variety of different genres 7/10
Iron Mask: Master Of Masters (AFM Records) [Rich Oliver]
Master Of Masters is the seventh album from Belgian power metal band Iron Mask. It is also the first album to feature new singer Mike Slembrouck. Iron Mask aren’t a band I am overly familiar with but they have a traditional power metal sound with elements of symphonic metal and neo-classical metal mixed in for good measure. They bring to mind bands such as Rhapsody and At Vance but have enough of their own identity as well. Founding member, guitarist and main songwriter Dushan Petrossi is an excellent guitarist and his playing skill really shines throughout this record whilst new singer Mike Slembrouck impresses with his dramatic, powerful and understated vocal performance. The songwriting itself is solid but a lot of these songs are mid-paced and seem to lack the energy that I do so love in power metal but here are some clear highlights.
Tree Of The World has a very Celtic folk feel to it especially in the guitar melodies whilst One Against All is a very melodically driven song with a great chorus. Revolution Rise is another catchy number and features Oliver Hartmann on guest vocals but the highlight for me was the fantastic Nothing Last Forever which is a fast-paced melodic power metal tune with some jaw-dropping neoclassical guitar parts. Even though this is a nine minute plus song it seemingly flies by as it is bursting with energy and enthusiasm. The rest of the album whilst solid just seems to lack something. Master Of Masters is a solid power metal album though it feels rather flat in places. When it hits its high points such as during Nothing Lasts Forever it is fantastic but there are way too many songs on here that feel overly forgettable. A solid but unessential listen. 6/10
The Cult Of Destiny: The Cult Of Destiny (Self Released) [Simon Black]
Norway’s The Cult Of Destiny are a spin-off project featuring key members of Chrome Division and The Carburetors, who have been looking for the opportunity to do a more old school traditional Metal project for a while. It’s very much a NWOBHM affair in style and lyrics, but has avoided the trap of trying to recreate that sound in the production values. This is solid enough stuff, but it’s not going to be kicking down any doors for originality, but then the band have been completely open about the fact that all they have wanted to achieve was to play some music they liked.
I can’t fault the ethos, but sadly the end result falls some way short of expectations. Musically there’s nothing too complex going on here, although the performances are certainly more than competent, and I guess there lies my frustration. There’s some good musicians here, but the album feels like they are playing well below their abilities. It’s mainly all high tempo and octane material, but the song-writing is not as robust as I would have expected, given the pedigree of the contributors. The whole thing feels like they are going through the motions on a side project, not hungry to achieve something like their careers depended on it.
Hence the fact that the most successful track on here is the single and a cover of Kiss’s I Was Made For Loving You, a song that has quite frankly been very much need of the Metal rework since it’s ill-conceived original release in 1979. Any pretence at a disco beat is thankfully abandoned in a frenzied double-bass speed metal reworking with every instrument firing on all cylinders, which coming after a fairly lacklustre set of tracks is a refreshing close. So what could have been done differently? I guess mainly, to ask why hold back until the end? If that energy and virtuosity on display in the cover had been more liberally on display, then even the cheesiest Metal lyrics and blandest of song structures would have sparkled like a diamond in the rough. 5/10
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