Vincent Cavanagh has one of the purest voices ever put to record. The frontman of Anathema since it's inception, alongside his brother's Daniel and Jamie they were not only one of the most important bands in the death/doom sphere but as they grew, they became probably the most emotionally resonant and beautiful prog rock bands of the last two decades. Their split hurt, a world without Anathema was unthinkable for a while but once I saw that Vincent was returning to music with The Radicant I had to consume it as soon as possible.
Apparently a term from botany for something that will grow anywhere, I suppose it's a metaphor for creating music when there seems to be nothing. The Radicant is not just music though it's a full multimedia approach, merging music with visual art, Cavanagh inspired to link these electronic compositions with inspiring, thought provoking visuals that have been honed due to his many collaborations with visual, augmented reality and virtual artists, creating the soundscapes, field recordings and spatial audio for multiple pieces and artists.
These sonic dalliances inspire the debut EP from The Radicant, the experimental style of audio similar to Steven Wilson projects No Man and Bass Communion, Mariusz Duda's Lunatic Soul, the collaboration between David Sylvian & Robert Fripp and electronic artists such as Aphex Twin or Boards Of Canada. There's pulsating DnB, ambient dreaminess, sprawling electronica as well as the previously discussed spatial audio and field recordings that add a ticking clock on We Ascend, or a white nosie hiss on the angular Anchor.
The production is layered and evocative, Cavanagh and French producer Ténèbre making sure that it sounds huge but intimate, Sam John's mastering, claustrophobic but welcoming. Wide Steppe builds as if played with strings, each turn introducing another layer, I'll be honest I thought this was a lost Anathema track, the ethereal operatic vocals, emotional substance it's just wondrous in it's simplicity.
The Radicant is imbued with 11 albums worth of recording experience but tries something that Vincent himself has been perfecting since Anathema spilt up. It's different but with Vincent's voice and ear for composition The Radicant will have a long tenure. 9/10
Mr Big - Ten (Frontiers Music Srl)
When you press play on Mr Big's new album, you realise that All Good Luck Trying needs is some organ and it could easily be a Deep Purple song. It's got that bluesy, jazzy sound to it that Mr Gillian has loved for years. Eric Martin with the sneer of an old crooner, reminding me a lot of solo David Lee Roth, the link here being Billy Sheehan's virtuoso bass work.
We're back to Mr Big business on I Am You, Paul Gilbert's acoustics and echoed The Beatles-like guitars adding a bit of power pop. Yep Mr Big are back! Currently on their farewell tour, named The Big Finish, they didn't want to close things out without one more record. Ten is their tenth and probably final studio album and serves as a tribute to their late drummer Pat Torpey.
His loss the reason why they are calling it a day, but here the percussion is taken by fellow virtuoso Nick D'Virgilio, his percussive prowess displayed on the Aerosmith-like Right Outta Here, the spirit of the blues very strong on Ten, more so than on any previous Mr Big releases. With Nick joining the trio of Billy, Paul and Eric, he is able to adapt to any style they want to play on this album.
As I've said that style seems to be blues meets The Beatles, Torpey frequently singing Beatles songs while performing his drum solos, Gilbert and D'Virgilio are both Beatlemaniacs so these influences track, however there's also Mr Big balladry on the soulful Who We Are, as What Were You Thinking brings back the choppy rock n roll.
That's something that is lacking on Ten, it's bluesy, ballady, poppy but there's a lack of rock, there's no Addicted To That Rush, no Colorado Bulldog, none of the full on shredding from Gilbert or Sheehan. It's a band you feel are at the end, laid back and enjoying playing the music that inspired them, it's Mr Big paying homage to their fallen brother and to their idols, but they've lost their bite. 6/10
Blasfeme - Black Legion (Wulfhere Productions)
Blackend flames once again arise to reject God and all his works and spread their unholy blaze.
Described by us as a set of unholy hymns, Bristol's Blasfeme' debut album, Iniquity In Salvation, was both proceeded and succeeded by an EP, but Black Legion is their second full length. Uncompromising in their commitment to the darkness, their heretical extreme metal takes from both black and death metal, smearing itself in goats blood and corpse paint, then viciously tearing you limb from limb with malevolent intent and a sadistic grin.
Sacrificial daggers sharpened on a whetstone, Black Legion doesn't waste time with setting a scene or creating a phony atmosphere, it lets fly instantly with tremolo picking from Moord and Parusight, they also trade off vocals, both harsh and evil, grunts, screams and growls that speak of devils, demons and the occult.
It's full force from the opening chords, blistering pace and ferocity as the metallic blasts of Striga Hell's drumming and Dialgar's bass, carves through these songs such as the visceral blasting opener Purified By The High Flames Of Hell and Czernobog which has a hint of venom to it. As the frothing rage increases on Wolves Of Karpathia.
There's muscular classic metal riffs too that creep their way into the extreme metal savagery of Ritualistic Exsanguination and the battle metal of the title track. Black Legion wages war on the faithful, swords sharpened ready to fight for his infernal majesty, join their side before it's too late. 8/10
Voice - Holy Or Damned (Massacre Records)
Making their comeback in 2017, German metal crew Voice follow up an album from that year with their new one Holy Or Damned. Their sixth album in total is another piece of melodic power metal that they have been playing since 1988, though their debut album was released in 1996. So expect keys augmenting the riffs, anthemic choruses and that Teutonic chug present with bands such as Accept.
Still containing three of the founder members in guitarist/keyboardist Thommy Neuhieri, bassist Sören Glas and Oliver Glas, they keep things simple sticking with the sound they established way back in the 80's/90's shunning a lot of the modernity their compatriots now have for a retro sound. Oliver has a gruff voice (Grave Digger style) which means that they play down-tuned even with ballads such as Tears In The Dust.
He's soulful in the way he sings and the music is a cinematic style of heavy but melodic power metal, so Holy Or Damned is a decent heavy metal album if you like the German power style. 6/10
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