U.D.O. – Touchdown (Atomic Fire Records) [Simon Black]
You have to give it to Udo Dirkschneider, he’s not a man to give up easily. That brutally distinctive voice he is known for is not a style that’s easy on the vocal chords as you get older. To be fair, AC/DC’s Brian Johnson and G'N'R’s Axl Rose are the only other singers who have made that intense technique both commercially successful and equally distinctive. The question is can you really cut that intense vocal pressure after all these years?The jury’s out on Johnson, as it’s been a few years since Power Up (an album that for obvious reasons did not get toured) and although glacier’s move faster than G’N’R studio albums, it’s clear from recent live performances that Rose really struggles to keep the screaming intensity up throughout a full show these days. Udo, at least in the studio, has lost none of his power and intensity. I’ve not really followed much of his studio output in recent years, but I would argue that Dirkschneider is not alone when it come to these struggles live, but unlike Johnson at least he’s still out there and recent slew of live releases have demonstrated that even if the live delivery is not quite as fireproof as it was in the 80’s, that he’s still able to give it a damned good try.
Ah yes, a try. Now, given that I and this blog are based in rugby-obsessed South Wales, we need to raise a finger and an eyebrow at the title of the album. I could start ranting about how American Football doesn’t involve feet and is basically rugby with plastic armour and better sponsorship, but outside of Wales no-one really gives a toss, and since the USA is clearly a more lucrative market than round here, Touchdown it is.
Despite the combination of the pandemic and line-up challenges he hasn’t really slowed things down at all. With no less than two studio efforts and a live release since the world went to hell in a hand cart, and now this. OK, one of those was the slightly off target covers pack My Way as an indulgent treat for his 70th birthday, but it’s still an impressive rate of production for any artist a fraction of his age.
And then we come to this, which to be fair, is something of a goal to the back of the net (sorry). For fifty-four minutes, Udo belts out a series of frankly blistering traditional heavy metal belters with an intensity and consistency that the other two stadium acts should really try and emulate one of these days rather than wrapping a couple of hits with far too many fillers to pad out the run time. Touchdown, is the reverse of this, with nearly every track having a raucous and catchy anthemic quality to it that could work well live.
The material is all original (well apart from the Mozart Neo-Classical interlude in Fight For The Right) and is consistently stronger than a fair chunk of material from Accept’s heyday and I found myself more than happy to go back and spinning beyond the bounds I normally set myself when scribing, which is a good sign that this may well make it into regular circulation. Unexpectedly, a palpable hit (not a try, a goal or a home run), Touchdown is very aptly named. 9/10
Velvet Insane - High Heeled Monster (Wild Kingdom) [Rich Piva]
There are so many bands that “worship” some of the classics. I listen to so much Sabbath worship (I am not complaining, bring it all on). There is a ton of Zeppelin worship (see Van Fleet, Greta). All sorts of thrash and NWOBHM love too. But when it comes to Bowie worship, there are just not enough bands playing the glam style today, and even less who do it well.
There are so many bands that “worship” some of the classics. I listen to so much Sabbath worship (I am not complaining, bring it all on). There is a ton of Zeppelin worship (see Van Fleet, Greta). All sorts of thrash and NWOBHM love too. But when it comes to Bowie worship, there are just not enough bands playing the glam style today, and even less who do it well.
That is why I was super excited upon my first listen of the new album, High Heeled Monster, from glam flag wavers Velvet Insane, who are not afraid to bring the glitter, the spandex, and the cheese in all the perfect amounts. If you need a point of reference, let’s go with Bowie/T. Rex/Slade/Mott The Hoople to start with. There are worse bands to be influenced by for sure. Velvet Insane is not subtle about their worship as the track Boogie Star is an ode to Bowie, shamelessly mentioning Diamond Dogs and Honky Dory while borrowing some Ziggy/T. Rex bop musically.
The opening track is just pure fun, I mean it is called Bamalama Breakout for crying out loud. It is just the right amount of cheese without it being cringey. Musically and sound wise the word I can think of to describe High Heeled Monster is clean. It is not overproduced but it is very clear sounding, in that you hear subtle little notes and background vocals that would get lost in a more muddled production. Damage Control is so catchy it is painful. I hear both T. Rex and Electric Light Orchestra in this track. Try to keep the chorus out of your head.
Sweat As Can Be adds some piano to the party, reminding me of watching the Bang A Gong video from Top Of The Pops on Headbangers Ball (yes, they played it on there) with the then up and coming Elton John playing keys with Bolan. This could even pass for one of the good Ringo solo songs. High Heeled Monster excels most with its upbeat glam party anthems, like Looking For A Rock (About To Roll) with its fun harmonies and falsetto background vocals and Jemmy which undeniable pop rock candy that I can’t get enough of…and dig that piano solo.
The good solo Ringo stuff is underrated, and Runaway Bride reminds me a bit of that, especially in the verses. It is just sugary pop goodness. How can you not feel better listening to the song Act Together? Try it and tell me it doesn’t have a positive impact on your mood. I know I have mentioned lots of 70s Glam in this review, but I also hear a lot of the Canadian pop masters Sloan interestingly enough. Saturday Night Till Sunday Morning is a great rocker to close out this over-the-top pop rock glitter party.
If you read any of my reviews, I almost always lean towards the stoner/doom riff fests, but I cannot stop listening to High Heeled Monster in all its glam rock glory. I am addicted to this album. It has crawled into my head and refuses to leave. There is nothing new or groundbreaking here, but at the same time it is refreshing to have a band who wear their 70s glam rock love on their sleeve. Velvet Insane has delivered a great surprise to my 2023 listening habits. 8/10
If you read any of my reviews, I almost always lean towards the stoner/doom riff fests, but I cannot stop listening to High Heeled Monster in all its glam rock glory. I am addicted to this album. It has crawled into my head and refuses to leave. There is nothing new or groundbreaking here, but at the same time it is refreshing to have a band who wear their 70s glam rock love on their sleeve. Velvet Insane has delivered a great surprise to my 2023 listening habits. 8/10
Creak – Depth Perception (Prosthetic Records) [Zak Skane]
The opening track comes in with a harsh slap in the face of roaring low tuned riffs that will grab you from the insides, whilst the ever evolving drum beats leave the listener intrigued but energised. The lyrical themes based on mental wellbeing are writing and preformed with poetic nuance but preformed with snarling aggression. The jarring frantic energy continues with the following track Hare In the Woods, with it’s rhythm shifting riffs, jarring discord and gospel chopped drumbeats. Once the retro horror video game soundscape descends to the mathematical assault still continues with Doomed with intercut rhythms that would any member of Messhuggah.
The punchy but yet melodic Loathe inspired Restless Dreams packs melodic choruses up tempo grooves and eerie lead effects. The eerie Left To Heaven packs nostalgic sonic goodness from the 2000’s sounding electronic drums and the detune effected guitars, it reminds me of Akira Yamaokas’ compositions for Silent Hill. The chosen vocal effects for this song really add more emphasis on the emotional delivery that the singer is aiming to deliver. Other highlights on this album is The Early Hours with it’s Korn sounding textures and vocal passages combined with 12 riffs and rhythms per hour. The Dillinger Espae plan inspired fever dream sounding I’m Not Alone In The Dark and the sludgy closer of A Head Of Rain.
Through this 12 track album the band has shown us how they can be chaotic and unique whilst still keeping a sleek and accessible to the casual listener. One of the main things that I have to compliment on the album is the writing style of the lyrics. Even though the subject matter is not original, the way the lyrics were written provides genuine emotion whilst containing poetic nuance. From the ever evolving riffs and gospel chopped opener Crossroads to the Komami inspired chilled track Left To Heaven to the sludgy closer A Head Full Of Rain, this band will twist your mind, whilst also snapping your neck. For fans of Loathe, Lotus Eater, Ten56 and Meshuggah. 7/10
Misanthropik Torment - Declaration Of War (Earache Digital Artists) [Mark Young]
Hailing from Lexington, Kentucky Misanthropik Torment’s bio makes it extremely clear where they sit in terms of their view of the world. Declaration Of War is their latest full-length release and further supports their view in calling for the execution of terrorists, rapists and paedophiles as well as a reset of the political system in the States (at least) because neither side can provide an effective way of governing for all.
Going further online, they have been tagged as black metal, extreme dark metal amongst others and you can be in no doubt that it is a brutal experience to sit through. The question is though, is it worth your time?
I think it’s a case of how you approach it, and what you get from music in general. On the one hand it has all of the growls, blast beats, super-fast guitars you could possibly want and comparing against black metal / extreme metal releases as a whole it sits within that genre well. It will appeal to those who think along the same lines as them, as well as those curious types who love to have that superiority of listening to the most extreme material as a metric for how cool they are. You know the ones, musical snobs. To those who just listen and judge music on if they like it, on how it affects them they may just pass this on by.
The music itself is competently played, often reaching those speeds where the songs blur by. And hereby lies the problem, you can’t actually make out what the instruments are playing. It sounds as though it was recorded in an underground bunker with the microphones located outside. To these ears it is easily the worse sounding in terms of production I have heard this year. Its muted, and very low. Its possible that was the desired effect because as we know muted / muffled = brutal sound. This turns me off it almost instantly (maybe I’m the snob?) because there have been other brutal releases this year that sound like a million dollars compared to this.
So, having chance to read this back, I am conscious that I want to make it clear that this review is based purely on the music on offer, nothing else. For me, it doesn’t do an awful lot other than wear its brutal heart on its sleeve. Just being brutal is not enough (for me at least) to warrant any further interest in it. 5/10
Misanthropik Torment - Declaration Of War (Earache Digital Artists) [Mark Young]
Hailing from Lexington, Kentucky Misanthropik Torment’s bio makes it extremely clear where they sit in terms of their view of the world. Declaration Of War is their latest full-length release and further supports their view in calling for the execution of terrorists, rapists and paedophiles as well as a reset of the political system in the States (at least) because neither side can provide an effective way of governing for all.
Going further online, they have been tagged as black metal, extreme dark metal amongst others and you can be in no doubt that it is a brutal experience to sit through. The question is though, is it worth your time?
I think it’s a case of how you approach it, and what you get from music in general. On the one hand it has all of the growls, blast beats, super-fast guitars you could possibly want and comparing against black metal / extreme metal releases as a whole it sits within that genre well. It will appeal to those who think along the same lines as them, as well as those curious types who love to have that superiority of listening to the most extreme material as a metric for how cool they are. You know the ones, musical snobs. To those who just listen and judge music on if they like it, on how it affects them they may just pass this on by.
The music itself is competently played, often reaching those speeds where the songs blur by. And hereby lies the problem, you can’t actually make out what the instruments are playing. It sounds as though it was recorded in an underground bunker with the microphones located outside. To these ears it is easily the worse sounding in terms of production I have heard this year. Its muted, and very low. Its possible that was the desired effect because as we know muted / muffled = brutal sound. This turns me off it almost instantly (maybe I’m the snob?) because there have been other brutal releases this year that sound like a million dollars compared to this.
So, having chance to read this back, I am conscious that I want to make it clear that this review is based purely on the music on offer, nothing else. For me, it doesn’t do an awful lot other than wear its brutal heart on its sleeve. Just being brutal is not enough (for me at least) to warrant any further interest in it. 5/10
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