Molybaron - The Mutiny (Independent/Season Of Mist Physical Distribution)
Irish/French act Molybaron have played numerous shows throughout France recently embarking on a tour with A Pale Horse Named Death. Their sound is amalgamation of burly heavy alt-metal and progressive rock technicality meaning for a record that sounds a little like it could be Therapy? and Tool playing in the same studio as Metallica and Mastodon. The Mutiny is their second record following on from their 2017 debut. That one was more Metallica -inspired whereas here the band have broadened their sound a lot. What hits you is their mastery of writing a catchy track, which also rocks hard. Lucifer one of the album's key singles displays why the devil has all the best songs as Gary Kelly leads the way with groove metal riffs, but a hook-laden chorus.
Irish/French act Molybaron have played numerous shows throughout France recently embarking on a tour with A Pale Horse Named Death. Their sound is amalgamation of burly heavy alt-metal and progressive rock technicality meaning for a record that sounds a little like it could be Therapy? and Tool playing in the same studio as Metallica and Mastodon. The Mutiny is their second record following on from their 2017 debut. That one was more Metallica -inspired whereas here the band have broadened their sound a lot. What hits you is their mastery of writing a catchy track, which also rocks hard. Lucifer one of the album's key singles displays why the devil has all the best songs as Gary Kelly leads the way with groove metal riffs, but a hook-laden chorus.
It's followed by Amongst The Boys And The Dead Flowers which builds on a Celtic gallop having a touch of heavy Black Star Riders or indeed The Almighty, it's a certainly gets the hairs on the back of your neck standing up, if you've got any Celtic blood in you. Kelly's vocals are quite a unique prospect in the rock world and means that The Mutiny's multi-faceted sound works very well. The rest of the band are Steven Andre on guitar, Sebastien De Saint-Angel on bass and Camille Greneron behind the kit, the four men locked in together across this album, leaving you with a feeling of cohesion, making for an intense music experience. That has metal, rock, symphonic and electronic sounds running throughout the record.
I didn't know much of Molybaron before this but I'll be keeping an ear out for them as The Mutiny is a clever record that never lets the more accessible elements of The Hand That Feeds You to interrupt their obvious heaviness (Twenty Four Hours), with Slave To The Algorithm and Something For The Pain both appropriate displays of this. Destined for much radio play in the future, Molybaron are a great, new(ish) heavy rock band. 8/10
Esa Holopainen – Silver Lake (Nuclear Blast) [Paul Hutchings]
Esa Holopainen: The name is probably familiar to you if you enjoy your melodic death metal, for he is lead guitarist and one of the founders of Finnish progressive-metallers Amorphis. As one of the main writers for the band, you’ll likely be familiar with his creatively crafted soundscapes, forged over three decades. Now Holopainen has taken some of the music that might not have fitted with the Amorphis sound, and drafted in some high-quality vocalists, who joined him from their home studios to help create an album of huge contrasts, surprising direction changes and most of all, uplifting melodies.
Having been undecided as to whether the album should be an instrumental affair or with singing, Holopainen was certain that he would not be the voice of Silver Lake.
Io- Fire (Argonauta Records) [Matt Bladen]
Ah sludge metal, probably the most aggressive, miserable form of metal, tied with funeral doom and depressive black metal. However sludge metal does have riffs, big ones, really big ones, riffs that could cause caverns in the moon of Jupiter this Roman unit take their name from. At just four tracks you may think Fire is an EP but the songs here are gargantuan in running length dragging riffs that are tuned down to the pits of hell, they accompany screams from somewhere near the planets core!
Just under three years ago our Rich was impressed by the Nottingham sleaze of Midnite City when they supported Vega at Fuel. Their energy impressed more than their music and on this, their third album, I can see why that might still be the case. Now, as many readers may know, I am not a big fan of sleazy, melodic rock. The likes of Motley Crüe, Poison, Def Leppard etc. are not my go to music and although I can just about tolerate them in the live arena (yes, I’ve seen Crüe several times), on record it’s a big no-no. Here it takes a mere two songs, the average Crawlin’ In The Dirt and weak Atomic before the first, ghastly power ballad, Fire Inside is ringing in your ears. Thick synths give it a distinctly 80s feel, the lyrics are so sickly sweet I needed a diabetes test after I’d listened to it and the harmonies were like nails down a blackboard.
Esa Holopainen: The name is probably familiar to you if you enjoy your melodic death metal, for he is lead guitarist and one of the founders of Finnish progressive-metallers Amorphis. As one of the main writers for the band, you’ll likely be familiar with his creatively crafted soundscapes, forged over three decades. Now Holopainen has taken some of the music that might not have fitted with the Amorphis sound, and drafted in some high-quality vocalists, who joined him from their home studios to help create an album of huge contrasts, surprising direction changes and most of all, uplifting melodies.
Having been undecided as to whether the album should be an instrumental affair or with singing, Holopainen was certain that he would not be the voice of Silver Lake.
Whilst I’m not knocking his own vocal prowess, the quality that he has assembled has proved he made the correct choice. Opening with the gentle acoustic instrumental and title track, we then get treated to Sentiment, featuring the instantly recognisable and superb vocals of Katatonia’s Jonas Renske, who sings the first of his two contributions on the album. Ray Of Light, one of the tracks that Holopainen had already created features Einar Solberg of Leprous, and it’s another stunning and perfectly crafted song. The arrival of bandmate Tomi Joutsen from Amorphis increases the substance, and In Her Solitude is undoubtedly the heaviest track on this record, with Holopainen able to let free with his guitar in a feisty duel with the Hammond organ.
Another great favourite is likely to be Promising Sun, a bouncing pop/rock combination which features the voice of Soilwork/The Night Flight Orchestra singer Björn 'Speed' Strid. For those who like female vocals, few come more enchanting that Anneke Van Giersbergen, and the Dutch singer/songwriter adds her own classic style to Fading Moon, an anthemic and uplifting song that is one of the standout tracks. Renske returns on the melancholic Apprentice, a perfect song to close out an album that is intriguing, captivating and hopefully successful for one of the most talented musicians of the current times. 9/10
Io- Fire (Argonauta Records) [Matt Bladen]
Ah sludge metal, probably the most aggressive, miserable form of metal, tied with funeral doom and depressive black metal. However sludge metal does have riffs, big ones, really big ones, riffs that could cause caverns in the moon of Jupiter this Roman unit take their name from. At just four tracks you may think Fire is an EP but the songs here are gargantuan in running length dragging riffs that are tuned down to the pits of hell, they accompany screams from somewhere near the planets core!
Extremity is the name of the game here, there's not really any chance to calm down, no real lighter touches that give you the listener a break. Having said that it's not a one dimensional piece through, yes there are periods of long, repetitive, open chords, which very often move into the heaviest of doom, such as on the mammoth closer Poseidon (In Lava Sea) but then we also get a flurries of raging intensity, where this trio let loose. Fire is Italian three piece, Io roaring with rage and bluster. 6/10
Midnite City -Itch You Can't Scratch (Roulette Media Records) [Paul Hutchings]
Midnite City -Itch You Can't Scratch (Roulette Media Records) [Paul Hutchings]
Just under three years ago our Rich was impressed by the Nottingham sleaze of Midnite City when they supported Vega at Fuel. Their energy impressed more than their music and on this, their third album, I can see why that might still be the case. Now, as many readers may know, I am not a big fan of sleazy, melodic rock. The likes of Motley Crüe, Poison, Def Leppard etc. are not my go to music and although I can just about tolerate them in the live arena (yes, I’ve seen Crüe several times), on record it’s a big no-no. Here it takes a mere two songs, the average Crawlin’ In The Dirt and weak Atomic before the first, ghastly power ballad, Fire Inside is ringing in your ears. Thick synths give it a distinctly 80s feel, the lyrics are so sickly sweet I needed a diabetes test after I’d listened to it and the harmonies were like nails down a blackboard.
A bit more grit was needed after that but Darkest Before The Dawn failed on every count and then another gut churning, weaker than a kitten song with more horrendous synths in I Don’t Need Another Heartache rolled up, with one of the most hideous choruses I’ve heard for years. If I’d known this was such cringe inducing melodic rock, I think I’d have left it well alone. As it was, I soldiered on, hoping amongst hope to find a nugget of quality. The introduction of a stray cowbell on Blame It On Your Lovin’ featured more ridiculous lyrics but at least the odd flash of guitar work to give me a little hope, but then, oh fuck, children singing “na na na” on the intro to They Only Come Out At Night. Jesus, Mary, Joseph, and the wee donkey, this was horrible. Just horrible. It didn’t get any better and the throw away Fall To Pieces which ended this album came at just the right time.
The music that Midnite City play just leaves me cold. There is a market for this type of hard rock, and apparently some people really enjoy this. I can see that, and the band are certainly decent in terms of what they do. It’s just not for me. And so, I apologise to the mascara clad quintet for this review will appear quite scathing. But, if I never have to listen to you again, it’ll be fine with me. I wish you well. 4/10
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