Vicious Rumors - The Devils Asylum (Steamhammer/SPV) [Simon Black]
Euro Power Metal often feels like the poor relation of most Metal sub-genres over in the here in the UK; its American variant cousin is all but forgotten and disregarded in comparison.I partly get why there is so much negativity to the Euro variant – it’s reputation for cheesiness brought on by all those endless cookie cutter concept albums all frequently plodding the overtrodden and repetitive fantasy concept album path. Regardless of the skills of their delivery, the lack of originality can be crippling for the tough and judgemental UK audience.
The US variant owing as much to Thrash as it does to the plain old Heavy Godfather that birthed it, might consequently be expected to perhaps find more common audiences over here in the nation that spawned Metal, but the reverse seems true. The reason it hasn’t is in part down to the other factor contributing to all Power Metal negativity in the UK – that bands rarely put the groundwork over here to build an audience, despite the clear evidence that those that do shall reap the rewards.
The US variant owing as much to Thrash as it does to the plain old Heavy Godfather that birthed it, might consequently be expected to perhaps find more common audiences over here in the nation that spawned Metal, but the reverse seems true. The reason it hasn’t is in part down to the other factor contributing to all Power Metal negativity in the UK – that bands rarely put the groundwork over here to build an audience, despite the clear evidence that those that do shall reap the rewards.
Powerwolf and Sabaton from Europe for example have a bigger audience in the UK than Helloween (the common ancestor) over the last 20 years, because they invested early in the grinding toilet tours, slowly built their audience and are now enjoying packed British arena tours as a consequence.
The early loss-making prospect of that grind may put many Euro acts off of taking the risk of coming here much, a mere twenty miles across the English Channel, so expecting American acts to cross several thousand miles to the potential for crippling financial losses makes sense, but it has meant that over here we have completely missed out on bands like Vicious Rumors completely, despite their hugely significant role in the history of US Power Metal.
Their peak period when they were part of the Atlantic Records stable never even registered over here, and the fact that the band has had one of the most dizzyingly unstable line-ups I’ve ever come across can’t help, although guitarist (and occasionally lead vocalist) Geoff Thorpe remains the lynch-pin around which the band revolves, drummer Karry Howe is still around, bassist Robin Utbult has been part of the touring line up for the best part of a decade and is now permanently in play, but guitarists Denver Cooper and vocalist Challice are very, very new and three fifths of this line-up have not recorded together before. This could go either way…
To be honest, this sounds very much like listening to a new band who cite VR as one of their core influences rather than the genuine article. This, however, is absolutely not a bad thing…
Too many acts that have been at it for forty years tend to just go through the motions, but there’s a lot of material on here that sounds like the fresh and energetic output of some new kids on the block desperate to carve themselves a reputation. That energy keeps the album alive, and it flows by quite rapidly despite perhaps lacking some of the more consistent punchiness in the songwriting department that might be expected after four decades, but after a couple of spins I have warmed to this line-up and this album a lot.
Their peak period when they were part of the Atlantic Records stable never even registered over here, and the fact that the band has had one of the most dizzyingly unstable line-ups I’ve ever come across can’t help, although guitarist (and occasionally lead vocalist) Geoff Thorpe remains the lynch-pin around which the band revolves, drummer Karry Howe is still around, bassist Robin Utbult has been part of the touring line up for the best part of a decade and is now permanently in play, but guitarists Denver Cooper and vocalist Challice are very, very new and three fifths of this line-up have not recorded together before. This could go either way…
To be honest, this sounds very much like listening to a new band who cite VR as one of their core influences rather than the genuine article. This, however, is absolutely not a bad thing…
Too many acts that have been at it for forty years tend to just go through the motions, but there’s a lot of material on here that sounds like the fresh and energetic output of some new kids on the block desperate to carve themselves a reputation. That energy keeps the album alive, and it flows by quite rapidly despite perhaps lacking some of the more consistent punchiness in the songwriting department that might be expected after four decades, but after a couple of spins I have warmed to this line-up and this album a lot.
Vocalist Challice formerly of Rhode Island’s Enchanter brings a more traditional metal delivery to his vocalist, and although he seems more than capable of hitting some scaling peaks in line with some of his predecessors, the more gutsy and soulful delivery works well on an album that instrumentally sounds very clearly classic era Vicious Rumors and it’s worth sticking at it, as some of the best material is kept back for the end of the album, with the brutally effective The Devil’s Asylum hammering home that this is a band that still knows what it’s doing.
Let’s hope though, that the UK, and indeed Europe, get the chance to see what the fuss is all about, because it’s never to late to put the work in to build a new market and wake up the dead… 8/10
In Mourning – The Immortal (Dalapop / Supreme Chaos Records) [Spike]
In Mourning have always danced on the line between melodic death metal and doom, but with The Immortal, they’ve crossed it. This isn’t just an album; it’s a journey through shadowed landscapes and forgotten realms. From the opening notes of The Immortal, you’re pulled into a world where every riff feels like a step deeper into the unknown.
Tracks like Silver Crescent and Song Of The Cranes showcase the band’s ability to blend melancholy with aggression, creating a soundscape that’s both haunting and powerful. The addition of black metal elements adds a layer of darkness, enhancing the album’s atmospheric depth.
The Sojourner stands out as a testament to In Mourning’s evolution. It’s a track that encapsulates the album’s essence, introspective, heavy, and beautifully complex. The interplay between clean and harsh vocals creates a dynamic tension that keeps the listener engaged throughout.
The production, handled by Tobias Netzell at Fascination Street Studios, is pristine yet raw, capturing the band’s organic energy while presenting their sound with clarity. Every instrument is given space to breathe, allowing the intricate arrangements to shine.
The Immortal is a testament to In Mourning’s mastery of their craft. It’s an album that invites you to lose yourself in its depths, offering new discoveries with each listen. For fans of atmospheric and emotionally charged metal, this is a journey worth taking. 8/10
Dragonsfire - Rebirth Of The Beast (Metalopolis Records) [Cherie Curtis]
15 years since their last, Dragonsfire brings us 11 tracks of face melting power metal with stunningly complex composition, catchy choruses and powerful lyrics.
Dragonsfire was formed in 2005, but they sound like they should be playing a stadium in the late 80s because Rebirth Of The Beast feels like a classic band with contemporary edge, they get you moving and are joyfully loud. A personal favourite from this one is Speak Of War, we are met with rough and gritty shouted vocals by Dennis Ohler which are quickly switched to a beautifully sung chorus showcasing his amazing vocal sustain and catchy harmonies.
A Portal To Escape is gorgeous, it builds slowly with purpose and expressive lyrics before heading full throttle into fiery mosh pit fuel. Charge Ahead is noteworthy for its insanely deep and bassy drums which are constantly racing making this track rattle my brain with pure excitement. It’s not like anything I've heard before within this genre and paired with the backing vocals adds stunning depth.
If you listen to Charge Ahead with headphones on it does feel like you are amongst a charging a stampede. The dynamic between the band and how they play are incredibly complimentary and they fit together well and are experts of their instruments and the overall sound and mix for this album is spot on. Rebirth Of The Beast is a fun one I'll happily have this one on rotation. 8/10
No Apologies - Life (Last Ride Records) [GC]
There are a lot of big and bold words used to describe Sydney hardcore band No Apologies in the PR from the record company, starting with legends and the describing a band with one album that was released 18 years ago as titans is maybe the boldest way to start and there is plenty more that follows, so, let’s hope that Life backs all this up and is worth waiting so long for?!?
It all gets off to a thrashy and rambunctious start on Womb Birth and there is certainly no time for pissing about, its forceful and angry in a rousing way and there is also a wonderful groove wound into the sound which adds more to the sound, on Life you can tell there isn’t going to be many left turns and there will be a core sound throughout but that’s ok, the same groovy thrash infused hardcore is on show and this time it’s all sprinkled with a bit of punk for good measure with a huge sounding end sequence that is going to level buildings when played live!
No Apologies - Life (Last Ride Records) [GC]
There are a lot of big and bold words used to describe Sydney hardcore band No Apologies in the PR from the record company, starting with legends and the describing a band with one album that was released 18 years ago as titans is maybe the boldest way to start and there is plenty more that follows, so, let’s hope that Life backs all this up and is worth waiting so long for?!?
It all gets off to a thrashy and rambunctious start on Womb Birth and there is certainly no time for pissing about, its forceful and angry in a rousing way and there is also a wonderful groove wound into the sound which adds more to the sound, on Life you can tell there isn’t going to be many left turns and there will be a core sound throughout but that’s ok, the same groovy thrash infused hardcore is on show and this time it’s all sprinkled with a bit of punk for good measure with a huge sounding end sequence that is going to level buildings when played live!
Time starts off with a much slower approach and is fully groove centered and has a more measured approach before we get to the usual business and its back to full throttle violence, but the groove in never far from kicking back in and it then becomes more straight forward metal sounding that ever before which isn’t a bad thing, it doesn’t take long for them to revert back to what is their usual sound on Illness and then it really kicks in what has been bothering me, when they go more metal who do they sound like and here its answered, Biohazard! It’s the same hybrid mix of crunchy metal riffing with solos chucked in to break it up but there is always the undeniable hardcore influence shining through, they probably sway more to the hardcore elements, but the similarities are uncanny in places!
Palliative/Tomb then throws a complete left turn and is a bit bizarre, it’s full of soft acoustic guitars and hushed melodic vocals that I’m not sure I was really ready for or expecting, it sort of comes to life at the last minute but also in a very subdued way and just leaves me a bit confused. Passing the halfway point we get Loss and after the weird feeling from the last track it’s really the polar opposite and once again is just invigorating and urgent trashy hardcore that forms the most recognizable parts of the music and breathes life back into everything in the best way possible.
Hollow does the same thing as most of the album does and stomps and thrashes around with undeniable anger and rage but somehow it feels slightly empty now, as an album that is described as ‘’an unyielding sonic odyssey of existence and loss’’ I think there could be some variation in places, I understand that I didn’t really like when they went completely off track earlier but sometimes you just feel a little underwhelmed with the sincerity, the anger?
Yep, got that but I feel there needs to be some other emotions especially on a track like Grief you can tell there is genuine feeling there and a more melodic and tender approach might really push that message into your mind, it just feels like the subject needs to be handled differently sometimes, Eternal blasts by in just under a minute of furious rage filled almost grindcore tinged hardcore and you almost miss it and I even think No Apologies did because the end feels unfortunately feels like a very sudden full stop! Peace finishes the album with one last blast of metallic infused hardcore.
After I finished with Life my main thought was, is this an album I would have waited 18 years for and been blown away by? The answer unfortunately is no, I really enjoyed it and for the most part can’t fault the effort and anger that it’s filled with I just felt like in places that it needed it the sound lacked a bit of emotional depth in places. A decent comeback and a fun listen just don’t expect too much of it and you will be fine. 7/10
After I finished with Life my main thought was, is this an album I would have waited 18 years for and been blown away by? The answer unfortunately is no, I really enjoyed it and for the most part can’t fault the effort and anger that it’s filled with I just felt like in places that it needed it the sound lacked a bit of emotional depth in places. A decent comeback and a fun listen just don’t expect too much of it and you will be fine. 7/10
No comments:
Post a Comment