Losing a band member can take its toll on a band, so when David Longdon, the beloved voice of UK prog rockers Big Big Train since 2009, unexpectedly passed away at 56, no ne would blame them for wanting a few years off. However as a band who has always swapped members in a collaborative way, Longdon’s death was tragic but they used their grief and this seismic change to not only complete two albums with his last vocal tracks but also have continued to tour and write new music.
The Likes Of Us is their first album with ex-Premiata Forneria Marconi singer/guitarist/keyboardist Alberto Bravin behind the mic and on keyboards and also sees Oskar Hollodorff replace Carly Bryant on keys. It’s also their debut on InsideOut, having previously self-released many of their previous albums, signing to the label has made them rediscover their prog roots, though they started as new-wave it’s always been the prog rock category they have been lumped into, because of their use of English eccentricity and nostalgia, beckoning the soundscapes of Genesis (Gabriel-era), Yes, The Flower Kings, Spock’s Beard and Frost*, whether they be an influence or contemporary, their broad appeal across the prog rock spectrum giving them a loyal fanbase for many years.
So how does this first album without the erstwhile vocalist sound? Well it sounds like BBT and until co-founder Gregory Spawton decides to lay down his bass that will always be the case, his creative mind drives this band but he’s always surrounded himself with the best musicians, including drummer Nick D’Virgilio who has also been in the band since 2009, so is not only a creative foil but also provides the other half of the longest tenured part of the band. Their rhythms are the heart of the band, both also providing 12-string acoustics to the album, while Nick bolsters the vocals.
These harmonies are also provided by keyboardist Oskar who makes and impact from the get go of Light Left In The Day, with some funky organs and even some synth brass (unless this is real brass). Also adding to the harmonies is Clare Lindley whose violin has been integral and a beautiful addition for a number of years. Leaving the last harmony place to be filled by Rikard Sjöblom who provides more keys but primarily guitars along with Dave Foster, the trio of Foster, Lindley and Sjöblom, creating magic on the brilliant Love Is The Light.
With so many multi-instrumental members it’s probably not a surprise that BBT’s music sounds so rich and full of depth. It’s also sequenced perfectly as those harmonies I was banging on about come in on Oblivion, which segues brilliantly from Light Left In The Day, those Heritage English prog bands worming their way into the Beneath The Masts, a gargantuan 16 minutes which feels like 4. Big Big Train make music that washes over you, with added poignancy, The Likes Of Us, establishes a shining new era of more brilliance. 9/10
It’s not all about rampant shredding, power metal gives way to classic metal and hard rock, (Chains), the song is the key, the solos a special treat on top. Due to this variation it’s good that Langhans has a voice that can vary itself while retaining that gruffness, I maligned his performance on the live album from last year but on record he nails it. Whether it’s the speedy Destiny Is Calling or the chuggy The Power Lies Within, he can adapt to any occasion. So too can the honed chops of long serving (original) bassist Petros Christo and the tough drumming of Jo Nunez, keeping the meaty rhythms going while Gus fires off more frenetic fretwork on tracks such as Fallen Angel.
However if you want something slower and much more evil then Deathspell Defloration, bubbles and boils, then goes full pelt as rhythm guitarist C. W. Wolfgang and bassist T. Nachtghul unleash their buzzsaw riffage. Beastial Rites is an under 3 minute blast of Satanic panic but conversely Rabid Morbid Death is nearly 8 minutes but the nastiest track on the record and as it's the final track you can hear J. Scarlett taking its final death throes as he's been beating the crap out of it for the rest of the album. This last track collaborates everything else on the album, the Motorhead meets the occult styling of Black Witchery, a song one drum break away from being Overkill. Walpurgisnacht’s Tom G Warrior “ough” an ode to Celtic Frost.
Firewind – Stand United (AFM Records)
With a US headlining tour, EU tour with Masterplan and a UK date headlining The Underworld in Camden, Greek power metal veterans Firewind return with Stand United. It’s their tenth studio album, the second with Herbie Langhans on vocals and for guitarist/founder Gus G, having the experience of German singer Langhans is invaluable as a co-writer and as a sounding board for the business side of Firewind.
Together with Dennis Ward, they have committed another nine originals to record and also a cover of 80’s pop rock song Talking In Your Sleep, which will take the place of Maniac in their live set. The title links the songs to a theme of unity and defiance, anthemic calls to come together under the banner of humanity and heavy metal. Not much can be said about Gus G that hasn’t already been said, anyone who was chosen to play for Ozzy has chops so it’s no wonder he sets alight to the fretboard here.
It’s not all about rampant shredding, power metal gives way to classic metal and hard rock, (Chains), the song is the key, the solos a special treat on top. Due to this variation it’s good that Langhans has a voice that can vary itself while retaining that gruffness, I maligned his performance on the live album from last year but on record he nails it. Whether it’s the speedy Destiny Is Calling or the chuggy The Power Lies Within, he can adapt to any occasion. So too can the honed chops of long serving (original) bassist Petros Christo and the tough drumming of Jo Nunez, keeping the meaty rhythms going while Gus fires off more frenetic fretwork on tracks such as Fallen Angel.
From the slower groove of The Power Lies Within, there’s some classic Firewind on Come Undone, repeating synths under the biting neo-classical metal riffage as the AOR touches of Langhan’s history are brought to last song Days Of Grace, an ending that perhaps is fades away rather than burns out. Still the rest of Stand United shows why Firewind are revered in the power/heavy metal scene. 8/10
New Years Day - Half Black Heart (Century Media Records)
Ash Costello has appeared in pretty much every music magazine, website and stage around the world, she's got a look some would call iconic but her music making is much more appealing to me. I've always held them I quite a high regard, especially as when they released their debut album, it led to a spate of bands doing something similar, fusing modern metal breakdowns with twitching electronics and Ash's expansive vocals that soar angelically on the clean poppy choruses and the next minute they rip your face off with a growl. It's gothy, it's industrial it's all very nu metal, and while bands like this usually send me running a mile, a new New Year's Day album always makes me a little excited.
So with the first single Vampyre sets the tone, it's got some horror movie lyrics, wrapped up in a dark romance as the music puts a lot of djenty riffs with those filtering electronics, while Hurts Like Hell has a bit more pop metal to it as Fearless leans more that way too, with it's empowering chorus. Half Black Heart seems as if it's a throwback to that first album and there is a reason for that as Ash has reunited with the original line up of Jeremy Valentyne, Brandon Wolfe and Trixx, using the experience from writing four previous albums, this fifth album has all that going into it but with the four members who set out on that journey back in 2005.
Older, wiser and more seasoned as a band, they still retain the hunger they had on the debut, whether it's the more introspective or ballady tracks such as Bulletproof or Burn It All Down, the angsty Enemy or the razor sharp metal of the title track or I Still Believe. They may have a Half Black Heart but it still beats with the passionate it did nearly 10 years ago. 8/10
Devastator - Conjurers Of Cruelty (Listenable Records)
Derby black/thrash band Devastator return to rip your face off and drink your blood out of a pint glass. Influenced by Sodom, Venom, Slayer and a contemporary of Scottish goat boy Hellripper, this is their second album and it slaps you around the face and forces you to call it daddy. There's so much talent packed into this album that it's incredibly surprising that this band have only been in existence since 2017. They manage to pack in so much, if you want fret melting thrash then listen to Necromantic Lust, on which lead guitarist R. Amun lets rip, but if you prefer some tremolo picked black metal then the title track will get your invisible grapefruit in the air, his solos are used brilliantly to bring melody to the unrepentant blasts of blackened fury, like a spot of classic metal in an extreme metal maelstrom.
New Years Day - Half Black Heart (Century Media Records)
Ash Costello has appeared in pretty much every music magazine, website and stage around the world, she's got a look some would call iconic but her music making is much more appealing to me. I've always held them I quite a high regard, especially as when they released their debut album, it led to a spate of bands doing something similar, fusing modern metal breakdowns with twitching electronics and Ash's expansive vocals that soar angelically on the clean poppy choruses and the next minute they rip your face off with a growl. It's gothy, it's industrial it's all very nu metal, and while bands like this usually send me running a mile, a new New Year's Day album always makes me a little excited.
So with the first single Vampyre sets the tone, it's got some horror movie lyrics, wrapped up in a dark romance as the music puts a lot of djenty riffs with those filtering electronics, while Hurts Like Hell has a bit more pop metal to it as Fearless leans more that way too, with it's empowering chorus. Half Black Heart seems as if it's a throwback to that first album and there is a reason for that as Ash has reunited with the original line up of Jeremy Valentyne, Brandon Wolfe and Trixx, using the experience from writing four previous albums, this fifth album has all that going into it but with the four members who set out on that journey back in 2005.
Older, wiser and more seasoned as a band, they still retain the hunger they had on the debut, whether it's the more introspective or ballady tracks such as Bulletproof or Burn It All Down, the angsty Enemy or the razor sharp metal of the title track or I Still Believe. They may have a Half Black Heart but it still beats with the passionate it did nearly 10 years ago. 8/10
Devastator - Conjurers Of Cruelty (Listenable Records)
Derby black/thrash band Devastator return to rip your face off and drink your blood out of a pint glass. Influenced by Sodom, Venom, Slayer and a contemporary of Scottish goat boy Hellripper, this is their second album and it slaps you around the face and forces you to call it daddy. There's so much talent packed into this album that it's incredibly surprising that this band have only been in existence since 2017. They manage to pack in so much, if you want fret melting thrash then listen to Necromantic Lust, on which lead guitarist R. Amun lets rip, but if you prefer some tremolo picked black metal then the title track will get your invisible grapefruit in the air, his solos are used brilliantly to bring melody to the unrepentant blasts of blackened fury, like a spot of classic metal in an extreme metal maelstrom.
However if you want something slower and much more evil then Deathspell Defloration, bubbles and boils, then goes full pelt as rhythm guitarist C. W. Wolfgang and bassist T. Nachtghul unleash their buzzsaw riffage. Beastial Rites is an under 3 minute blast of Satanic panic but conversely Rabid Morbid Death is nearly 8 minutes but the nastiest track on the record and as it's the final track you can hear J. Scarlett taking its final death throes as he's been beating the crap out of it for the rest of the album. This last track collaborates everything else on the album, the Motorhead meets the occult styling of Black Witchery, a song one drum break away from being Overkill. Walpurgisnacht’s Tom G Warrior “ough” an ode to Celtic Frost.
Be it thrash, black or speed metal Conjurers Of Cruelty is a feast for the ears. Bang your head, throw your horns and get ready as Devastator’s new album will be hard to match, if you like your thrash blackened. 9/10
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