In talking about musical styles that can conjure up images of excess, of overblown and overlong arrangements, the prog movement that straddled the 70’s like a colossus is often given the snarky treatment. Discussions tend to gloss over the musicianship in a rush to decry it and to score cred points in an attempt to build credibility.
I think in some respects it being able to make fun of it for some of these excesses is ok if it’s looking at Rick Wakeman’s hat or at some of the stage shows used at this time. Remember that heavy metal titans Black Sabbath had similar ‘what was I thinking’ moments in the early 80’s and helped shape the Spinal Tap movie because of these. However, looking back with time diluting those filters you can appreciate the music more, which is where Jon Anderson And The Band Geeks comes in.
Perpetual Change is a live album which It is incredible to think that Jon Anderson is 80 years old, given the performance on here from him. The band themselves are incredible, playing each track with a verve and swagger that comes from countless hours practicing and each song is warmly received. I’ll be honest, I know next to nothing about Yes, or the prog movement other than it was something that was to be avoided by those who favoured the speedier, heavier side of guitar music. But listening now, some 50 or more years after their initial creation you have to admire how well the songs are built. I’ve no idea if the setlist comprises a greatest hits (I’m sure that someone will point that out to me) but they kick off with a triumphant Yours Is No Disgrace that flies along, full of Hammond organ and Anderson’s trademark vocal delivery.
Perpetual Change is a live album which It is incredible to think that Jon Anderson is 80 years old, given the performance on here from him. The band themselves are incredible, playing each track with a verve and swagger that comes from countless hours practicing and each song is warmly received. I’ll be honest, I know next to nothing about Yes, or the prog movement other than it was something that was to be avoided by those who favoured the speedier, heavier side of guitar music. But listening now, some 50 or more years after their initial creation you have to admire how well the songs are built. I’ve no idea if the setlist comprises a greatest hits (I’m sure that someone will point that out to me) but they kick off with a triumphant Yours Is No Disgrace that flies along, full of Hammond organ and Anderson’s trademark vocal delivery.
Yes, the songs are long (no, that wasn’t a joke) but I guess the audience knew what they signed up to when they got their ticket. I’ve no idea who is handling lead duties on this, but it is impeccable. Onwards they go through a setlist which comprises Yes classics as well as solo material and the initial fear that it would sound twee disappears. I mentioned earlier about listening to this in the context of what it is, which is a live document. Its sounds great, guitars are rich and the leads on Perpetual Change are spot on. It’s a performance where all are on fire, and I would think that the accompanying DVD would look great.
I’m not going to be churlish by saying that there are moments when the vocals seem light, because if I get to 80 and can still play at any level, I’ll be happy. I think anyone criticising it wants to have a word with themselves. Its difficult to say what songs are highlights here because I would think that fans would have their own favourites, some of which could be missing from here. But what is here is an incredible level of skill, commitment to be able to play these songs the way they do.
I’m not going to be churlish by saying that there are moments when the vocals seem light, because if I get to 80 and can still play at any level, I’ll be happy. I think anyone criticising it wants to have a word with themselves. Its difficult to say what songs are highlights here because I would think that fans would have their own favourites, some of which could be missing from here. But what is here is an incredible level of skill, commitment to be able to play these songs the way they do.
Starship Trooper possesses some sumptuous harmonising and phasing effects which show off the excellent chord progressions on it. And this is one of things on here, those chord choices are royal, absolutely royal. The song builds around it, ascending and expanding and at that point you totally get why prog ruled. Off course there is a keyboard solo but I don’t hold that against them. Just listen to that progression, absolutely mint.
I think one of the best things about reviewing is that sometimes things fall in your lap which you had no expectations from and end up loving. This is one of those moments for me. As an example of what a live album should sound like this is a prime example of what live albums should strive for. I don’t know if it will appeal to those outside of prog circles but if you are looking for a collection of songs delivered at a high standard of musicianship then you can’t go wrong with this. 9/10
Adrian Smith & Richie Kotzen - Black Light / White Noise (BMG Records) [Matt Bladen]
The collaboration between Iron Maiden guitar hero Adrian Smith and multi-band axe slinger Richie Kotzen, gains a second album while also gaining both participants first names. (They're debut was just Smith/Kotzen).
I mentioned in my review of their first record that the quality high, the playing tight and expressive, I also said that any Maiden solo project with Adrian Smith in it ranks as one my favourite as he seems to be the most eclectic be it Psycho Motel or Primal Rock Rebellion. Richie Kotzen too has some much loved records in his catalogue, be it his power trio The Winery Dogs, his two with Mr Big or his extensive solo body of work and in the news recently his near association with NiN. Vocally Smith channels Thin Lizzy while Kotzen's bluesy delivery is still so near to Chris Cornell. He unleashes his Telecaster with a twang duelling and unifying with Smith's Stratocaster, I assume.
Black Light/White Noise notches up a few gears from the debut as they've found their feet and their form here, it's not trying to be Winery Dogs part 2 or appeal to a larger rock audience, this is two guitar players inspired by some of the classic bands of the late-60's and 70's playing the music they love. This second album feels more ambitious, Heavy Weather has a slinky blues swagger ala Cream, Wrath takes a bit of Gary Moore meets Whitesnake as Darkside engages in bit of Celtic flavour. While the two title tracks both show the different sides, White Noise having a bit of Free to it while Black Light goes more Thin Lizzy/Hendrix.
Black Light/White Noise is a strong follow up from two veteran rockers. 8/10
Visceral - Eyes, Teeth And Bones (Raging Planet Records) [Thomas Megill Jr.]
Visceral, from Lisboa, Portugal dropped their second LP, Eyes, Teeth, And Bones on April 4th through Raging Planet Records.
The brutal death metal trio dropped an 11 song album clocking in around 37 minutes. Eyes, Teeth, And Bones is a very consistent listen throughout. The songs follow a similar, brutal, and unrelenting structure. The vocals sound like they are being uttered by Satan himself.
I think one of the best things about reviewing is that sometimes things fall in your lap which you had no expectations from and end up loving. This is one of those moments for me. As an example of what a live album should sound like this is a prime example of what live albums should strive for. I don’t know if it will appeal to those outside of prog circles but if you are looking for a collection of songs delivered at a high standard of musicianship then you can’t go wrong with this. 9/10
Adrian Smith & Richie Kotzen - Black Light / White Noise (BMG Records) [Matt Bladen]
The collaboration between Iron Maiden guitar hero Adrian Smith and multi-band axe slinger Richie Kotzen, gains a second album while also gaining both participants first names. (They're debut was just Smith/Kotzen).
I mentioned in my review of their first record that the quality high, the playing tight and expressive, I also said that any Maiden solo project with Adrian Smith in it ranks as one my favourite as he seems to be the most eclectic be it Psycho Motel or Primal Rock Rebellion. Richie Kotzen too has some much loved records in his catalogue, be it his power trio The Winery Dogs, his two with Mr Big or his extensive solo body of work and in the news recently his near association with NiN. Vocally Smith channels Thin Lizzy while Kotzen's bluesy delivery is still so near to Chris Cornell. He unleashes his Telecaster with a twang duelling and unifying with Smith's Stratocaster, I assume.
Black Light/White Noise notches up a few gears from the debut as they've found their feet and their form here, it's not trying to be Winery Dogs part 2 or appeal to a larger rock audience, this is two guitar players inspired by some of the classic bands of the late-60's and 70's playing the music they love. This second album feels more ambitious, Heavy Weather has a slinky blues swagger ala Cream, Wrath takes a bit of Gary Moore meets Whitesnake as Darkside engages in bit of Celtic flavour. While the two title tracks both show the different sides, White Noise having a bit of Free to it while Black Light goes more Thin Lizzy/Hendrix.
Black Light/White Noise is a strong follow up from two veteran rockers. 8/10
Visceral - Eyes, Teeth And Bones (Raging Planet Records) [Thomas Megill Jr.]
Visceral, from Lisboa, Portugal dropped their second LP, Eyes, Teeth, And Bones on April 4th through Raging Planet Records.
The brutal death metal trio dropped an 11 song album clocking in around 37 minutes. Eyes, Teeth, And Bones is a very consistent listen throughout. The songs follow a similar, brutal, and unrelenting structure. The vocals sound like they are being uttered by Satan himself.
Guitarist and vocalist Bruno Correia said, "With Eyes, Teeth, and Bones we wanted to push everything further—faster, heavier, and more intense. We made sure every riff, every drum fill, and every guttural growl serves a purpose—pure aggression, no compromises". Visceral definitely lived up to that motto with this record. Pure aggression is a great way to describe this record. The band pummels the listener with a riff, gives the illusion of reprieve, only to punch the listener in the mouth with another riff. It's brilliantly violent stuff.
Its been a while since I have reviewed anything, so naturally I dipped into something that I know well but don't always love very much, deathcore, probably the most hit and miss genre of them all because when it's done right it is devastating and brutal but when its done wrong it just sounds messy and confusing, so with this in mind Tundra are about to release their Rottweiler Records label debut Eternal.
Opener Alone makes very little sense and has zero impact, it's just an overtly long intro and it just completely misses any marks it aims to hit. Welcome to Hell does delve straight in to what you expect with an orchestral feel to the backing sounds the song is a decent enough attempt at deathcore but ultimately sounds more metalcore and unfortunately the drums sound too electronic and programmed in places, the main thing that grates is the vocals, there's just too many of them and they completely take your attention away from the music as most of the time you are trying to make sense of what is happening and unfortunately they link the stupid opener directly into this song and it totally ruins it.
I know this is a foul comparison in today's arena, but I am reminded of early Six Feet Under with this record. And I mean that in the most endearing way... everything from the brutality of the riffs to the demonic vocals, to the artwork. This album is a non-stop, 37 minute, brutal assault on the senses. It's a solid record and all brutal death metal masochists will enjoy. 7/10
Tundra - Eternal (Rottweiler Records) [GC]
Tundra - Eternal (Rottweiler Records) [GC]
Its been a while since I have reviewed anything, so naturally I dipped into something that I know well but don't always love very much, deathcore, probably the most hit and miss genre of them all because when it's done right it is devastating and brutal but when its done wrong it just sounds messy and confusing, so with this in mind Tundra are about to release their Rottweiler Records label debut Eternal.
Opener Alone makes very little sense and has zero impact, it's just an overtly long intro and it just completely misses any marks it aims to hit. Welcome to Hell does delve straight in to what you expect with an orchestral feel to the backing sounds the song is a decent enough attempt at deathcore but ultimately sounds more metalcore and unfortunately the drums sound too electronic and programmed in places, the main thing that grates is the vocals, there's just too many of them and they completely take your attention away from the music as most of the time you are trying to make sense of what is happening and unfortunately they link the stupid opener directly into this song and it totally ruins it.
The Pit doesn't really do much to pick up the mood, the song is as low and laborious crawl that never really gets out of 2nd gear, maybe they are trying too hard to create emotion in the songs or something, I cant really put my finger on it but whatever they are trying is not working so far. The Witch begins with the same slow pace and is slightly better but when the main part of the song kicks in and the vocals take centre stage.
I lose interest in what is happening as everything become disjointed and veers off in directions that don't add anything to the sound, it feels like there is a pattern forming and on Smoke And Mirrors opens with clean vocals but instead of stopping they just carry on all the way through the track and it just really doesn't work because the song just plods along and every now and then tries to go heavy but again just completely misses the mark and really just sounds like a heavy nu-metal track and nothing like deathcore/metalcore.
Dragging myself on we get to Hostage which finally delivers on what was promised, its got blastbeat drums, nasty guitars and some gutturals on top of everything and finally it's a much-needed shot in the arm for the album as it was all getting very annoying and pedestrian at this point, the reprieve lasts all of 3 minutes before a stupid and pointless interlude 911 that adds nothing and is just another tick in the why bother box. Undead mixes the nu-metal bounce with a metalcore chug and while it does work for the most part it does sound a bit dated but it's a better effort than 80% of the album so far, so every cloud and that!?
Dragging myself on we get to Hostage which finally delivers on what was promised, its got blastbeat drums, nasty guitars and some gutturals on top of everything and finally it's a much-needed shot in the arm for the album as it was all getting very annoying and pedestrian at this point, the reprieve lasts all of 3 minutes before a stupid and pointless interlude 911 that adds nothing and is just another tick in the why bother box. Undead mixes the nu-metal bounce with a metalcore chug and while it does work for the most part it does sound a bit dated but it's a better effort than 80% of the album so far, so every cloud and that!?
Insane suffers with timing issues and the whole sound starts to get very clunky and messy in places but the sound isn't as lost or messy as some of the previous songs even if the electronic samples added in are infuriating, Revelation is probably the most deathcore track on the whole album and they still manage to fuck this up with some utterly flabbergasting vocal choices that need to be heard to be believed! You Are just makes me want to tear my ears off and smash my speakers into tiny little bits because you may expect a big and angry end but what you are greeted with is pathetic electronic beats and more clean woe is me vocals and it's just another complete misstep and ends the album on a predictable low point.
It took everything I had in me to be able to sit through this album in its entirety, and while there were a couple of half decent songs on this album there was way too many bad bits to save this album, I tried my best but struggled massively to pick any positive points and the vast majority of the songs were all over the place and lacked any identity and from start to finish this was not in any way a decent listen. 2/10
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