Reviews: Albion, Godthrymm, Escaping Aghartha, Midnight Rider (Matt Bladen, Adz Redpath, Mark Young & Cherie Curtis)

Albion - It Was In The Month Of May (Self Released)

Folk rock from past and current members of Jethro Tull, roll up your trousers legs and erect the maypole as, It Was In The Month Of May will gladly fill any emotional void you have from seeing the recent (and probably final) Jethro Tull tour.

Although many who dwell in the folk sphere of Tull, Fairport Convention and others may find some of the music on this second record a bit too rich for their cider fuelled blood as Albion gather up the harvest of spring inspired flutes and lilting acoustics while also reminding you of lashing rain and bleakness of this land with a heaviness that comes from Baroness. 

Beginning with Mis Mai, translating from Welsh to Month Of May, we begin this auspicious and joyous celebration of spring with, band founder and frontman Joe Parrish-James singing in Welsh, and rapidly I'm transported to Eisteddfod's of long ago and the dead lifeless eyes of Mr Urdd. 

Still that past trauma fades away quickly with the pastoral tones rapidly moving into the flute driven 70's prog of The Green Knight, a tale of Arthurian Legend that deals with whether it is better to be great or good. 

Joe's vocals are suitably soulful for the music, telling the story's with passion, his guitar playing is of course also excellent (not just anyone gets into Tull) and he's also taking the Ian Anderson of being the flautist which here like it is in Tull is a main instrument. 

Joe duets with Rhiannon Parrish-James throughout, prompting comparisons to Steeleye Span with Down With The Hero as Jack Clark adds the rest of the guitar, Peter Szypulski on bass and Ollie Medlow behind the kit, all virtuosos who blend the folk, prog and modern metal influences perfectly, creating the sort of band Mikael Akerfeldt would absolutely love! 

The influence of Akerfeldt coming though on the vocals of Cherry Hill (Maya II) which has an ambience that could have easily come off Damnation. 

Since their debut Albion have spent two years crusading all around their namesake, refining their sound to shift from a 70 minute record to one that clocks in at 53 minutes but still contains the same scope as that debut. 

I've noted before that all folk bands need a song about Tolkien and Albion have written an epic about his most interesting/powerful character Tom Bombadil, The Eldest which is song about music itself, swathes of flute and orchestrations built on euphoric folk rock which has a vein of Stan Rogers' song Barrett’s Privateers running through it. 

From here we've got acoustic She Is The River (Goldberry) which is a jaunty, instrumental jig built on the acoustics and the flute which takes us neatly into Hymn To Elbereth which stirs with the likes of Selling England By The Pound or Moonmadness. 

To close Albion return to their month of choice with the epic Calan Mai, translating to May Day a celebration of spring, the band making it their most impressive cut, taking Tull, Genesis, Span influences and making them their own, as they shift into a heavy chugs, classic metal harmonies and even symphonic stylings to create a stirring, jubilant end to this incredible record. 

I'm a sucker for 70's prog and as a historian I've always been a lover of any music that takes from the traditional music heritage of the land, and even though Albion are from London there is a very strong, defined Celtic heart to this record which as a Welshman I can't not identify with. 

Albion are playing two shows in Wales this weekend with Adfeilion and if I could I'd be at both I would, though Cardiff will have to suffice, as It Was In The Month Of May is an album that will be on a repeat for a long time to come. 9/10

Godthrymm - Projections (Profound Lore Records) [Adz Redpath]

This is a band that immediately intrigued me, hailing from the U.K. and featuring prime ex members of the mighty My Dying Bride and Anathema who are both personal favourites of mine and calling themselves a UK doom metal juggernaut my expectations are very high and understandably so for this their third full length release. 

Godthrymm are not a band I have followed to this point so this is my first introduction to their music and whilst 6 tracks is less than I expected from an album these days it certainly has a lot of scope. 

The essence and core of the sound definitely harks back to the early Peaceville days of early doom and has some truly strong core elements especially emphasised by the guitar work from Kris McLaughin and also the mighty Hamish Glencross who also handles the bulk of the lead vocals here joined by Catherine Glencross who certainly helps to give the group a more ethereal sound and vision with some adept work on the keys as well her own obvious vocal skills.

There are some very strong tracks on display here with the clear highlight for myself being Endure My Skin featuring the legendary Aaron Stainthorpe ( now ex My Dying Bride ) lending his iconic vocals to the track, also musically the most reminiscent of early My Dying Bride and the most cogent as a whole and probably the heaviest on display here. 

The production is consistent considering this was recorded throughout a year and in several studios by Andy Hawkins and Glencross, although this studio inconsistency does show at points when listening closely to the guitars and drums in particular, there are slight fluctuations especially with the bass drums tone and the balance between the guitars gain staging and clarity at volume but these are negligible at best.

It's nice to hear actual real drums mic'd up although some of the levelling is a touch harsh on the ear at volume with the cymbals meshing into the high end with the pushed guitars limiting the audible separation on occasion.

A standout track with a noticeable change in drum production for example is Jewel which has a very individual voice on this release with the lead vocals from Catherine Glencross truly shining and a tone to the music that adds true individuality within the Doom metal genre. 

The bass guitar is comfortably in the mix but more to fill the frequency space for the majority of the release and doesn't stand as tall as I would personally prefer however that is more personal taste and does not detract from the musicianship on all fronts which is without any critique as the strength of what's on offer here is more than obvious. 

My only other real critique if I was pushed would be the lead vocals, on the first two tracks in particular the have an almost Hetfield esque tonality and maybe not the Doom stylings I would have expected and that are possibly more suited to this style and heaviness, that being said they are tuneful and heartfelt but would maybe benefit in future from heavier layering in the studio.

I can appreciate this may not be the most in line with the vision aimed for here however I do feel it would elevate the tracks greatly this being said it is in no way off putting unless you are a true stalwart of the style, the best vocal balance for me comes on The Sun Never Fell which feels like a truly epic balance is struck between both vocalists and the music, and shows a band with huge vision and future potential.

For any criticism aired here this release truly harks back to the early MDB material in particular Turn Loose The Swans and Angel And The Dark River in both production and songwriting, whilst not as iconic in those areas Godthrymm are on their way to having a voice of their own and I would genuinely recommend this to any doom metal fans no matter the age. 

This is an honourable and powerful tribute to the heyday of the genre that will hopefully open doors further afield as they progress. The potential here is undeniable and I will definitely be listening to and following Godthrymm moving forward and I sincerely recommend you do also. 7/10

Escaping Aghartha - Lurkers Of Languid Water (Hypnotic Dirge Records) [Mark Young]

Using music as a tool for education is no bad thing, especially when its channelled through an extreme filter. Escaping Aghartha has a goal, with mainstay Avery Dart handling practically everything on here barring an individual performances on a number of tracks. This is a project that was started with the intent of education and has consistently delivered new music year on year since 2016. With Lurkers Of Languid Water, Escaping Aghartha present a cracker.

Did I mention that there are some epic run times on here? And that it is probably one of the most unique albums you will hear this year. I know that I’ve used that expression already this year, but it really is. I’m guessing that if you have heard these before then you have a better appreciation of what comes next. It starts with Eel Black Market, which is in turn a pummelling and mesmerising experience. I know we have talked about avant-garde metal already this week, and rightly or wrongly I’m comparing this to that release. 

The key difference for me is that despite the changes in tack, the use of organs it doesn’t forget that we need riffs, it needs direction and movement and it’s something that Eel Black Market delivers on. Its explosive, whilst being vulnerable at the same time. 

The second half of this blinding start is The Phantoms That Haunt And Linger, a slow burning affair underscored by its full throated delivery. It keeps a keen balance of melody and that black aggression, a grand arrangement that moves constantly with one thing on its mind, to build organically before it collapses under its own weight. 

Its straight into Altered Currents, possessing a different vibe, not faster but with a greater impetus that drives it forward. The same can said for Degrade and Impede, the pair deploying like shackles that had previously been placed are now removed. Its build differs, electronica is now at play, twisting its sound and then dropping in one of the worst ear-worm passages that somehow completely works.

Cradle Of The Sargasso Sea takes a step back, a hauntingly beautiful stop before Eaten To Obliteration breaks in and we restart our journey. It is powerful in its message, its can’t be any clearer with an arrangement that is suitable in its execution. One of the masterstrokes on here is that amazing sense of balance that manifests in these songs. 

It’s the same here, the final moments giving way to synths that provide some form of closing salute. Following in its wake is Transformations whose style lies more in the grandiose, almost Norse melody lines. Of course, it doesn’t stay like that, devolving in a way that raises your eyebrows. With anyone else, it would seem almost cringe but here it just fits. Don’t ask me to explain how or why, just accept that it does.

The last statement is writ by Journey To The Sargasso Sea. By now, it is my general expectation that the final song has the ability to make or break an album. You could have a run of frankly awful music that is redeemed by one stone cold classic, and vice-versa have the last one deflate the whole collection. This closing piece is firmly in keeping with the album as whole; lets make it epic, lets take the listener on a trip but let’s not make it an easy listen. In doing so, it ensures that you will come back to this again.

I’m glad its not called a concept album, because that would cheapen it in my eyes. When you look at the music released, it’s a continuation of a theme, one that is clearly very close to Avery’s heart. Stunning. 9/10

Midnight Rider – Limited Infinity (Massacre Records) [Cherie Curtis]

German heavy rock band Midnight Rider brings us Limited Infinity, an album that is not only highly addictive, but manages to capture the dusty beer foam-soaked desert sands of American summer rock, arguably better than most American rock bands do.

For a band on the smaller side, the production value isn't cheap or gritty in any way and neither overly computerized and modern - day; it’s the right amount raw and spirited that makes an album come alive from the blistering chemistry, slick and skillful solos you get from sheer hard work and love for the genre. 

The riffs are gravelly and repetitive with makes for a great catchy tune with the perfect amount of groove that will get your foot tapping whether you wanted it to or not. The instrumentals are fiery and intense complemented by clean and charismatic Sabbath- Style vocals that are powerful, charged and nostalgic which provides the perfect atmospheric soundtrack for the ultimate stress - free road trip.

I’ll be honest and say Midnight Rider aren’t trying to change the course of music history here; they use the same perfect formula as most 70’s hard rock classics but as that formula is not broken – why fix it? It’s like hearing a remastered version of an old classic with a bit more power, attitude with a side order of sleaze; it’s comfort food for your ears without any throat shredding intensity. There’s no need to be experimental when these guys have clearly managed to master their craft.

Overall, Limited Infinity is an easy listen. The natural old – school grit that shines through brings an effortless feel, balanced with the carefully polished sound that keeps the whole album fun, cool and incredibly feel –good. This one has made Its way into my commute playlist in the hopes that I'll be able to manifest a heatwave and a Monday morning that doesn't make me want to drive into a river. 9/10