Joe Bonamassa: Blues Of Desperation (Provouge)
The master of modern blues returns with his twelfth studio album, Joey Bones has managed to create twelve albums that are all a little different, while staying true to both the spirit of blues and rocks, what Heston Blumenthal does with food Bonamassa does with the blues, he coaxes it, teases it, shifts and rewires it to his own ends making all of his records have the same seam running through them but with variations every time. Blues Of Desperation comes two years after 2014's Different Shades Of Blue and unlike it's predecessor which was a paean to the old big band blues sound backed by horns throughout and full of dance ready rhythms. After seeing Joe live last year I was of the opinion that he needed to add a bit more of the hard rock grit he showed on his earlier, breakthrough records, thankfully if you love Joe when he's channelling Jimmy Page then Blues Of Desperation will be right up your street the opening duo sets the tone perfectly with This Train building on it's shuffling drumbeat, bridged with some boogie woogie piano from Reese Wynans it's a propulsive opening getting you into the groove for Mountain Climbing harking back to Zep-like riffage of John Henry which saunters before erupting into a superb chorus where Joe's rich voice is aided by his trio of backing vocalists led by Mahalia Barnes and exploding into a fret melting solo in the middle eight.
Yet again this is an album of Bonamassa originals and they stand up toe-to-toe with the covers Bonamassa has been known for. The slinky, soulful Drive has a layered acoustic approach with a smoky electric guitar cutting through when it's needed and paves the way for No Good Place For The Lonely which is modern day blues standard that could have been Clapton or Beck all over it with Jeff Bova's string arrangements all over it pushing the emotional factor to it's limit, the shadow of the blues hangs low too on You Left Me Nothin' But The Bill And The Blues. In change of style the title track has Middle Eastern flavour driven by Michael Rhodes bass and some echoed phasing on Bonamassa's voice, the track has an air of Kashmir about it and that is no bad thing. What is clear on this record as well as his previous records is the influence of Kevin Shirley in terms of both the production and indeed the inspiration on Bonamassa himself, Shirley and Bonamassa have also assembled another all-star cast with the aforementioned Rhodes, Wynans, Bova along with Anton Fig and Greg Morrow sharing drum duties.
With yet more railfandom (real word look it up) on the percussive Distant Lonesome Train and a searing guitar showcase on How Deep This River Runs Bonamassa still oozes quality on every song, especially with the rockier tracks on this record. However it's not all heaviness though the old brass section from the last album returns on the jazzy Livin' Easy which showcases the sax brilliantly and the spirit of New Orleans is for all to see on the album closer What I've Known For A Long Time which I'd guess is about a past relationship and is dealt with like a true bluesman with an aching heart and a nod to redemption. Blues Of Desperation is a great piece of work that once again shows Bonamassa's pure talent, he will never really release a bad album, but happily this brings the rock back in spades and is all the better for it. 8/10
Almanac: Tsar (Nuclear Blast)
Victor Smolski is no stranger to the metal world he was a member (and one of the primary songwriters) of German metal legends Rage from 1999 until last year, when Rage founder Peavy Wagner split the band and decided to replace the band with younger musicians. Since leaving Rage Smolski has concentrated on creating this album that obviously has elements of Rage but for the most part is more akin to Rage off shoot Lingua Mortis Orchestra as it is symphonic/neo-classical metal performance album with multiple vocalists and hand picked metal musicians playing alongside the Orquestra Barcelona Filharmonia to give this conceptual piece, based on the life of Ivan IV Vasilyevitch the first Tsar of Russia, a cinematic experience, at it's most grandiose on Self Blinded Eyes which has a massive backing choir in it's huge chorus.
Smolski naturally plays all the guitars on this record and my god can he play, his virtuoso solos and riffs are the main hook for all the songs he shreds like a demon and his fleet fingers rip up the fretboard, you just need to bear witness to the middle section of Hands Are Tied to see his supreme guitar skill. Backing him is the machine gun percussion from Michael Kolar who plays like hell from the opening title track driving the songs at a mighty pace, Armin Alic provides some booming bass keeping the tempo and directing the rhythm, add to this the stylish melodic keys of Enric Garcia and Smolski's backing band play in beautiful unison with the orchestra meaning that the scope of these songs is wider than on many albums of the same type. In my opinion no band are complete without it's vocalist and Almanac has three top quality singers at its disposal one is Jeannette Marchewka who was part of the LMO album as it's singer, she contributes lead and backing vocals to most of the tracks but they are most noticeable on Reign Of Madness.
She is aided by her two male counterparts Andy B. Franck from Brainstorm and David Readman Voodoo Circle/Pink Cream 69 who takes the lion's share of vocals. The three vocalists work in unison together giving this album a unique edge in the vocal section, Franck's grittier delivery is the great counterpoint to the incredible vocals of Readman (a man who I rate very highly) especially on the heavier tracks like Nevermore where Franck even adds some growls. This is some top quality symphonic metal based around superior musicianship and performances, if I had one gripe it would be that I would love to hear more of Jeannette Marchewka taking the lead vocals rather than just adding depth in the choruses, maybe this can be rectified on future releases but for now Tsar is a great opening gambit that picks up from where LMO left off and I hope to hear more from Smolski and this project sooner rather than later. 8/10
The Golden Grass: Coming Back Again (Listenable)
Professor Plum Brandy, The Golden Goose and The Fireball make-up New York rockers The Golden Grass and as the band members names probably suggest they are a little odd as a group. Delving into the rich sun-drenched psychedelia of the late 60's early 70's with nods to the Southern boogie of The Allman's and Grand Funk on Shadow Traveller which has mouth harp and cowbell. Factor in a edge of the kaleidoscope of British colour that acts like The Move brought to the table evident on Reflections and add the grit of The Groundhogs and Blue Cheer on Get It Together which starts off with The Who-like flurry before slowing in the verse to a heavyweight drag. With dual vocals of guitarist Plum Brandy and drummer Golden Goose blending the more melodic with the bluesier howl the band have a sound not much heard at the moment.
They are a true power trio and create some magic on the folky Hazy DayBreak which segues into the rough and ready riff-fest Down The Line which would sound out of place on a Admiral Sir Cloudeslley Shovell album, especially when it all goes trippy in the middle section before the riff thunders back in on top of Gooses' relentless drumming and Fireball's bass. The band have progressive elements throughout meaning that they sound very much like some of the best bands of the late 60's with a Californian, Southern, psych rock sound that is rich and inviting making want to get down and just rock out. 7/10
Wednesday, 30 March 2016
Tuesday, 29 March 2016
Reviews: Spiritual Beggars, Blood Ceremony, Dakesis
Spiritual Beggars: Sunrise To Sundown (InsideOut)
Swedish 'supergroup' Spiritual Beggars' new album Sunrise To Sundown is their third album with third vocalist Apollo Papathanasio (ex-Firewind) and their ninth overall. The band have developed their sound over the nine albums moving from more stoner metal with Spice (vocalist #1), to stoner rock with J.B (Grand Magus) before settling into a 70's hard rock groove, that yes has always been there but is now more pronounced. This album especially draws from the 70's influence more than ever, this is at it's most noticeable on Diamond Under Pressure which builds from Per Wiberg's bubbling organ into a strutting rocker that owes a debt to Deep Purple's Mistreated and makes for a strong first single. As usual the production is rich like a fine mahogany and the analogue sound that Staffan Karlsson creates behind the desk is very natural, letting his years of experience in engineering and mixing, for many of the band members day jobs, shine through. Obviously the production would be wasted if the performance was below par but this is never the case with Spiritual Beggars as Sharlee D'Angelo (Bass/Arch Enemy) and Ludwig Witt (Drums/Grand Magus) give a solid backroom with soulful rock groove see No Man's Land, they act as the foundation for Per Wiberg (Keys/ex-Opeth) and Michael Amott (Guitar/Arch Enemy) to really rock out and in places duel like Blackmore and Lord, see What Doesn't Kill You all while Apollo soars above the noise with his unique fervent vocal. The track credits are split between Witt, Wiberg and Amott and each track encompasses all the bands talents, from the rollicking Hard Road, to the percussive clatter of I Turn To Stone all the way through to the restrained rocker Southern Star. From start to finish Sunrise To Sundown is a classy classic rock album from 'the band that refuses to die'. 8/10
Blood Ceremony: Lord Of Misrule (Rise Above)
Canadian psychedelic folk doomsters Blood Ceremony make their comeback with fourth full length, their first album in three years, The Lords Of Misrule continues with Blood Ceremony's bewitching, retro styled rock filled with riffs a plenty and towering organs and of course the trademark flute that echoes the sound of the legend Ian Anderson. The record starts off with 7 minute The Devil's Window which opens with a flute blast and some rocking riffs from Sean Kennedy and bassist Lucas Gadke rumbles in unison while Michael Carrillo clattering along with the jazz drumming allowing the song to breathe in it's mid-section that sees acoustic folkery and a flute solo the order of the day before it builds up again into a stomping doom riff. Blood Ceremony's frontwoman has always been the bands special attraction her quirky vocal phrasing and haunting delivery, used to it's full on the proggy organ filled Loreley and the driving The Rogue's Lot but at it's most understated on the creeping The Weird Of Finistere. Things get ethereal on the opening on the title track, then Half Moon Street brings back the Jethro Tull influence featuring a flute guitar duel while Flower Phantoms is propulsive power pop that is The Beatles tripped up to the max. Everything about this album screams retro from the production to the songwriting and it is all the better for it, Lord Of Misrule doesn't vary wildly from Blood Ceremony's previous releases but this is no bad thing they still sit near the top of the retro rock pile brimming with occultism and pagan ritualism, this is a good album and as the last subdued acoustic chords of Things Present, Things Past trail off Blood Ceremony once again prove their credentials. 8/10
Dakesis: The New Dawn (CapsAArx)
Coming from the heartland of metal Birmingham Dakesis are a progressive power metal band that despite being relatively young in their inception (they formed in 2010) The New Dawn is a tour-de-force in modern prog-power metal, the pre-requisite stirring classical intro is a stable of the genre but as the riff of title track kicks off any kind of complacency is washed away by the rampaging riffs and frontwoman (the band's former keyboardist) Gemma Lawler's amazing strong vocals that are not the usual soprano wailing above the noise she has a tough but melodic set of pipes that mean the band are sitting on the same bracket as Welsh metalists Triaxis, think Thunderstone, Kamelot, and more modern Maiden all with a strong progressive element found in Symphony X and you wouldn't be far off. The pace doesn't let up on Betrayal which is very Kamelot as a duet with Matt Gore of The Mighty Wraith allowing Matt Jones to shred his head off, the man is literally possessed with the power of the riff thrashing away on Destined For The Flame which borders on Dragonforce territory especially with the keyboards, Adam Harris' pulverising drums and the fret melting solos.
A lot has changed since Darkesis' debut album but Lawler's move to the mic has been the most dramatic she is a revelation and gives this album it's melodic bite both behind the keys and by belting away on every track of this concept album...yes thats right folks a concept album but one that doesn't sacrifice the songwriting for the overall feel of the album, the soloing is incredible too with Amie Chatterley's fleet fingered bass playing steering the meaty rhythm sections. This album is brimming with metal anthems in the making To Conquer Or Die could be a Manowar track with it's thundering drumming, Judgement Day slows everything down with more symphonic elements filling things with some soul, The Sacrifice brings a more Gothic element to proceedings hinting at Evanescence with the opening building into a haunting track that builds the layers with chunky riffs coming in underpinned by keys. Autumn has beautiful classical guitars (that permeate many of the tracks giving them scope) along with some superb vocals from Lawler in duet with Harris that evokes the Mostly Autumn style of progressive folk rock.
All before quieter more straightforward elements and indeed shorter songs are brushed away by The Seventh Sky which is a progressive tour-de-force with frequent time changes, acoustic interludes, huge keyboard swathes, frenzied guitar riffage, the impressive vocals, thumping rhythms and amazing songwriting. Dakesis are an amazing band, they have a talent that reaches far beyond their years, I am actually amazed this is only their second album, it's brilliantly realised collection of songs that has you reaching for the play button as soon as the final epic By The Fading Light has finished. With a collection of songs like this Dakesis have stepped up to show they are indeed a force to reckoned with and one that you need to watch out for as I predict bigger and better things for them very soon and I can't wait to see them in Cardiff at the end of the month. 9/10
Swedish 'supergroup' Spiritual Beggars' new album Sunrise To Sundown is their third album with third vocalist Apollo Papathanasio (ex-Firewind) and their ninth overall. The band have developed their sound over the nine albums moving from more stoner metal with Spice (vocalist #1), to stoner rock with J.B (Grand Magus) before settling into a 70's hard rock groove, that yes has always been there but is now more pronounced. This album especially draws from the 70's influence more than ever, this is at it's most noticeable on Diamond Under Pressure which builds from Per Wiberg's bubbling organ into a strutting rocker that owes a debt to Deep Purple's Mistreated and makes for a strong first single. As usual the production is rich like a fine mahogany and the analogue sound that Staffan Karlsson creates behind the desk is very natural, letting his years of experience in engineering and mixing, for many of the band members day jobs, shine through. Obviously the production would be wasted if the performance was below par but this is never the case with Spiritual Beggars as Sharlee D'Angelo (Bass/Arch Enemy) and Ludwig Witt (Drums/Grand Magus) give a solid backroom with soulful rock groove see No Man's Land, they act as the foundation for Per Wiberg (Keys/ex-Opeth) and Michael Amott (Guitar/Arch Enemy) to really rock out and in places duel like Blackmore and Lord, see What Doesn't Kill You all while Apollo soars above the noise with his unique fervent vocal. The track credits are split between Witt, Wiberg and Amott and each track encompasses all the bands talents, from the rollicking Hard Road, to the percussive clatter of I Turn To Stone all the way through to the restrained rocker Southern Star. From start to finish Sunrise To Sundown is a classy classic rock album from 'the band that refuses to die'. 8/10
Blood Ceremony: Lord Of Misrule (Rise Above)
Canadian psychedelic folk doomsters Blood Ceremony make their comeback with fourth full length, their first album in three years, The Lords Of Misrule continues with Blood Ceremony's bewitching, retro styled rock filled with riffs a plenty and towering organs and of course the trademark flute that echoes the sound of the legend Ian Anderson. The record starts off with 7 minute The Devil's Window which opens with a flute blast and some rocking riffs from Sean Kennedy and bassist Lucas Gadke rumbles in unison while Michael Carrillo clattering along with the jazz drumming allowing the song to breathe in it's mid-section that sees acoustic folkery and a flute solo the order of the day before it builds up again into a stomping doom riff. Blood Ceremony's frontwoman has always been the bands special attraction her quirky vocal phrasing and haunting delivery, used to it's full on the proggy organ filled Loreley and the driving The Rogue's Lot but at it's most understated on the creeping The Weird Of Finistere. Things get ethereal on the opening on the title track, then Half Moon Street brings back the Jethro Tull influence featuring a flute guitar duel while Flower Phantoms is propulsive power pop that is The Beatles tripped up to the max. Everything about this album screams retro from the production to the songwriting and it is all the better for it, Lord Of Misrule doesn't vary wildly from Blood Ceremony's previous releases but this is no bad thing they still sit near the top of the retro rock pile brimming with occultism and pagan ritualism, this is a good album and as the last subdued acoustic chords of Things Present, Things Past trail off Blood Ceremony once again prove their credentials. 8/10
Dakesis: The New Dawn (CapsAArx)
Coming from the heartland of metal Birmingham Dakesis are a progressive power metal band that despite being relatively young in their inception (they formed in 2010) The New Dawn is a tour-de-force in modern prog-power metal, the pre-requisite stirring classical intro is a stable of the genre but as the riff of title track kicks off any kind of complacency is washed away by the rampaging riffs and frontwoman (the band's former keyboardist) Gemma Lawler's amazing strong vocals that are not the usual soprano wailing above the noise she has a tough but melodic set of pipes that mean the band are sitting on the same bracket as Welsh metalists Triaxis, think Thunderstone, Kamelot, and more modern Maiden all with a strong progressive element found in Symphony X and you wouldn't be far off. The pace doesn't let up on Betrayal which is very Kamelot as a duet with Matt Gore of The Mighty Wraith allowing Matt Jones to shred his head off, the man is literally possessed with the power of the riff thrashing away on Destined For The Flame which borders on Dragonforce territory especially with the keyboards, Adam Harris' pulverising drums and the fret melting solos.
A lot has changed since Darkesis' debut album but Lawler's move to the mic has been the most dramatic she is a revelation and gives this album it's melodic bite both behind the keys and by belting away on every track of this concept album...yes thats right folks a concept album but one that doesn't sacrifice the songwriting for the overall feel of the album, the soloing is incredible too with Amie Chatterley's fleet fingered bass playing steering the meaty rhythm sections. This album is brimming with metal anthems in the making To Conquer Or Die could be a Manowar track with it's thundering drumming, Judgement Day slows everything down with more symphonic elements filling things with some soul, The Sacrifice brings a more Gothic element to proceedings hinting at Evanescence with the opening building into a haunting track that builds the layers with chunky riffs coming in underpinned by keys. Autumn has beautiful classical guitars (that permeate many of the tracks giving them scope) along with some superb vocals from Lawler in duet with Harris that evokes the Mostly Autumn style of progressive folk rock.
All before quieter more straightforward elements and indeed shorter songs are brushed away by The Seventh Sky which is a progressive tour-de-force with frequent time changes, acoustic interludes, huge keyboard swathes, frenzied guitar riffage, the impressive vocals, thumping rhythms and amazing songwriting. Dakesis are an amazing band, they have a talent that reaches far beyond their years, I am actually amazed this is only their second album, it's brilliantly realised collection of songs that has you reaching for the play button as soon as the final epic By The Fading Light has finished. With a collection of songs like this Dakesis have stepped up to show they are indeed a force to reckoned with and one that you need to watch out for as I predict bigger and better things for them very soon and I can't wait to see them in Cardiff at the end of the month. 9/10
Monday, 28 March 2016
A View From The Back Of The Room: Von Hertzen Brothers
Von Hertzen Brothers & Messenger - The Fleece Bristol
Two of rocks most interesting bands in one place was a gig to good to miss so myself, my other half and Paul all descended upon Bristol's historic Fleece to take in what was sure to be an interesting night of music.
With what was a later start time than usual Messenger (7) finally came on to the stage and proceeded to tune their instruments and soundcheck, this took a while and ate into the bands time but finally the London group were ready to start their set, we would find out later that they had no time to soundcheck before the gig. Their performance was drawn from their psychedelic debut album and their as-yet-unreleased second record, the set was a little disjointed if I'm honest with the newer stuff a little heavier and more streamlined than the dreamy progressive music that the debut was full of. the set itself was dampened by the mix in the room with Khaled Lowe and Barnaby Maddick vocals being drowned out by Jaime Gomez Arellano's drums and Dan Knight's keys, the guitars too were a little fuzzy in places meaning that everything was just a bit too noisy to be heard. After around 35 minutes the set was over and the band celebrated their final gig of the tour by thanking the fans in attendance. Messenger were impressive but they were muted by the mix in the room and that the new material was not known by much of the audience but they were well received.
A short break and the stage was cleared ready for the headliners and as drummer Mikko Kaakkuriniemi and keyboardist Juha Kuoppala took to the stage everything was set for the brothers, bassist Jonne and guitarist Kie took to the stage first and Kie hit opening chords of New Day Rising before Mikko ran on and backed his brother on the guitar, the song built and Juha hit the keys for the song itself to kick off thoroughly, it was a strong start with Mikko singing with passion on the furious chorus. What was immediately evident was how good the sound was, all of the instruments were audible and blended well for the Brothers power rock assault, with a start like New Day Rising it was only right that dove right into thundering rocker You Don't Know My Name which got the crowd bouncing, the two tracks come from the Brothers latest album and as they give that album a strong start they did the same to this set, allowing everyone to take a breath Mikko did a bit of talking to tell everyone this was the last date of the tour and he wanted them to shout as loud as they could, with that Kie played the opening melody to the epic Flowers And Rust which did get the crowd in full voice as expected, now the set was mainly focussed on the last three VHB albums but the band were celebrating the anniversary of their breakthrough album Approach so three tracks from the set came from that album first up was creeping Endlessly which harked back to the band's progressive heritage as it built up with atmosphere before exploding into the massive chorus that had me shouting every word.
After the slowing of the set's pace things shook up again with the folky Always Been Right from Stars Aligned which showed off the keys in true styles and was followed by the heavyweight rocking of Miracle also from Stars Aligned which was a showcase for the brother's vocals harmonies. The band were a joy to watch with Mikko and Kie leaping around the stage as Jonne switched between bass and synths perfectly, Mikko became unhinged in the heavier tracks but he also showed off his more restrained side with ballads like Sunday Child and on River which has more Eastern promise than Turkish Delight as the final few songs of the set came into view the brothers once again went back to their progressive side with the off kilter bass driven Voices In Our Heads and the powerful and breathless Prospect For Escape ending the main set. A bit of speech from Mikko thanking everyone and introducing all those involved before starting the encore with Gloria which has become their anthem and the song that the ignorant prick next to me had shouted for in every quiet bit since the beginning of the set, more bouncing and one happy prat later and the final song of the night the euphoric Let Thy Will Be Done climaxed things with intensity. Von Hertzen Brothers' are an excellent live act brimming with energy and wide reaching approach to their music, with virtuoso performance and unrivalled clarity in the sound VHB's live show can't be missed, I for one can't wait to see them again at Steelhouse in July! 9/10
Two of rocks most interesting bands in one place was a gig to good to miss so myself, my other half and Paul all descended upon Bristol's historic Fleece to take in what was sure to be an interesting night of music.
With what was a later start time than usual Messenger (7) finally came on to the stage and proceeded to tune their instruments and soundcheck, this took a while and ate into the bands time but finally the London group were ready to start their set, we would find out later that they had no time to soundcheck before the gig. Their performance was drawn from their psychedelic debut album and their as-yet-unreleased second record, the set was a little disjointed if I'm honest with the newer stuff a little heavier and more streamlined than the dreamy progressive music that the debut was full of. the set itself was dampened by the mix in the room with Khaled Lowe and Barnaby Maddick vocals being drowned out by Jaime Gomez Arellano's drums and Dan Knight's keys, the guitars too were a little fuzzy in places meaning that everything was just a bit too noisy to be heard. After around 35 minutes the set was over and the band celebrated their final gig of the tour by thanking the fans in attendance. Messenger were impressive but they were muted by the mix in the room and that the new material was not known by much of the audience but they were well received.
A short break and the stage was cleared ready for the headliners and as drummer Mikko Kaakkuriniemi and keyboardist Juha Kuoppala took to the stage everything was set for the brothers, bassist Jonne and guitarist Kie took to the stage first and Kie hit opening chords of New Day Rising before Mikko ran on and backed his brother on the guitar, the song built and Juha hit the keys for the song itself to kick off thoroughly, it was a strong start with Mikko singing with passion on the furious chorus. What was immediately evident was how good the sound was, all of the instruments were audible and blended well for the Brothers power rock assault, with a start like New Day Rising it was only right that dove right into thundering rocker You Don't Know My Name which got the crowd bouncing, the two tracks come from the Brothers latest album and as they give that album a strong start they did the same to this set, allowing everyone to take a breath Mikko did a bit of talking to tell everyone this was the last date of the tour and he wanted them to shout as loud as they could, with that Kie played the opening melody to the epic Flowers And Rust which did get the crowd in full voice as expected, now the set was mainly focussed on the last three VHB albums but the band were celebrating the anniversary of their breakthrough album Approach so three tracks from the set came from that album first up was creeping Endlessly which harked back to the band's progressive heritage as it built up with atmosphere before exploding into the massive chorus that had me shouting every word.
After the slowing of the set's pace things shook up again with the folky Always Been Right from Stars Aligned which showed off the keys in true styles and was followed by the heavyweight rocking of Miracle also from Stars Aligned which was a showcase for the brother's vocals harmonies. The band were a joy to watch with Mikko and Kie leaping around the stage as Jonne switched between bass and synths perfectly, Mikko became unhinged in the heavier tracks but he also showed off his more restrained side with ballads like Sunday Child and on River which has more Eastern promise than Turkish Delight as the final few songs of the set came into view the brothers once again went back to their progressive side with the off kilter bass driven Voices In Our Heads and the powerful and breathless Prospect For Escape ending the main set. A bit of speech from Mikko thanking everyone and introducing all those involved before starting the encore with Gloria which has become their anthem and the song that the ignorant prick next to me had shouted for in every quiet bit since the beginning of the set, more bouncing and one happy prat later and the final song of the night the euphoric Let Thy Will Be Done climaxed things with intensity. Von Hertzen Brothers' are an excellent live act brimming with energy and wide reaching approach to their music, with virtuoso performance and unrivalled clarity in the sound VHB's live show can't be missed, I for one can't wait to see them again at Steelhouse in July! 9/10
Friday, 25 March 2016
A View From the Back Of The Room: Blaze Bayley
Blaze Bayley - Fuel Cardiff
Iron Maiden are headlining Download this year in what is their sixth year at the festival (starting at the Monsters Of Rock) while this will be amazing, it's always nice to have the ability to see a former member of the band (who in my opinion has the most consistent and best solo material of all the Maiden mothership) in a small club for £12 is always something a bit special.
Now I've seen Blaze fronting Wolfsbane and that was an hour and a half of non stop heavy metal fun, Blaze is ever consummate frontman, he has a knack of getting the crowd onside from the first five minutes. So after witnessing Wolfsbane my appetite to see him again fronting his solo band was strong, happily being able to see him in Fuel proved to be the ideal. This tour was in support of his latest album, the sprawling Sci-Fi concept piece Infinite Entanglement, meaning that a fair share of the set was devoted to the album although we were treated to choice cuts from the back catalogue encompassing Blaze, Wolfsbane and of course Maiden. Over the years Bayley has had a lot of members to his solo band but it's current line up is probably the best as drummer Martin McNee, bassist Karl Schramm and guitarist Chris Appleton also tread the boards as British metal upstarts Absolva, who are one of the most gifted bands on the current metal circuit. The three men are the ideal foils for Bayley's gurning, swearing, heavy metal Uncle Fester, they came out to the stage first and the intro to the latets albums title track kicked things off strongly as the riff kicked in and Bayley stormed to the stage dramatically delivering the powerful vocals in his own inimitable style. Blaze has always known how to right a chorus and the hook on Infinite Entanglement is excellent, the pace was kept up by A Thousand Years also from the new album and saw Appleton and Schramm shredding like mad while McNee smashed the hell out of the drums.
What I will say from the off is that the sound was actually pretty good you could hear all the instruments perfectly and Blaze's voice was clear and booming, the set progressed and we got the first Iron Maiden cover with Futureal coming from the Blazes years and getting some of the Maiden fans up and rocking. Following this was the chugging Kill And Destroy, where Blaze playfully teased the crowd for not being loud enough noting that the owner of Fuel told him that the crowd would be all for killing and destroying and after a bit of coercion the partisan crowd of Head Banging Bastards (to give them their official name) were louder than they were at the beginning of the set. The set was slowed with Solar Winds and the mini epic Calling You Home which blended well with Stare At The Sun while the set was ramped back up by Human which deals with the same machine meets Descartes as Robot which kept the pace after the thrash-like Watching The Night Sky. Blaze was on fire rapidly raging through the songs, allowing Appleton to take centre stage to show off his incredible guitar prowess when needed, in what was a bit of a curveball the band played Virus which was a never played, Blaze fronted Maiden song that featured on their Best Of The Beast album, he and the band ri-jigged it and if you didn't know it was by Maiden you wouldn't. Blaze's between song speeches were entertaining, funny and enlightening, especially when he said about his struggle with previous record companies, which ended in Blaze now owning all of his previous releases (victory for the little guy!)
After this came two from Silicone Messiah Blaze's debut album with the title track and Ghost In The Machine speeding things up yet again. A break an introduction and we were getting near to climax, it was now time to go really old school with Wolfsbane's Man Hunt that had the old school members of the crowd shouting at the top of their lungs, as Appleton took to centre stage to solo Blaze tried to come back on to finish the song but no the solo wasn't over, this swiftly turned into a drum solo and then a pantomime of Bayley the comedy villain trying to take back over the stage usurped by his young backing bad, as Appleton and Schramm duelled playing each others guitars, McNee filled with power. Finally Blaze reclaimed the stage and introduced the band to applause and the end was approaching, another Maiden cover this time Fear Of The Dark which Bayley did a lot of justice particular kudos to Appleton who became Murray and Gers in one man. The set came to a close with Man On The Edge and the crowd erupted at final moments of it. This had been a blinding set, the band were tight, technical and disciplined in making head bang, Blaze himself was funny, filthy and in fine voice showing why he is criminally overlooked as a frontman. A great night with excellent sound, fine performances and metal madness all round, I urge you to see Blaze in person you will not be disappointed. 8/10
*One last thing: If you are watching a live band in a small venue, when that band play the quiet bits your drunken conversations are very audible to those around you, especially the band on stage. Everyone there has paid for a ticket, including you, if you want to have a conversation about something other than the band on stage, or indeed if you want to make stupid noises, go outside the venue. I'm all for people having fun at a gig but if you want to be obnoxious to the point the staff notice you, kindly for the sake of the performers and the punters in attendance shut the fuck up no one wants to hear you!*
Iron Maiden are headlining Download this year in what is their sixth year at the festival (starting at the Monsters Of Rock) while this will be amazing, it's always nice to have the ability to see a former member of the band (who in my opinion has the most consistent and best solo material of all the Maiden mothership) in a small club for £12 is always something a bit special.
Now I've seen Blaze fronting Wolfsbane and that was an hour and a half of non stop heavy metal fun, Blaze is ever consummate frontman, he has a knack of getting the crowd onside from the first five minutes. So after witnessing Wolfsbane my appetite to see him again fronting his solo band was strong, happily being able to see him in Fuel proved to be the ideal. This tour was in support of his latest album, the sprawling Sci-Fi concept piece Infinite Entanglement, meaning that a fair share of the set was devoted to the album although we were treated to choice cuts from the back catalogue encompassing Blaze, Wolfsbane and of course Maiden. Over the years Bayley has had a lot of members to his solo band but it's current line up is probably the best as drummer Martin McNee, bassist Karl Schramm and guitarist Chris Appleton also tread the boards as British metal upstarts Absolva, who are one of the most gifted bands on the current metal circuit. The three men are the ideal foils for Bayley's gurning, swearing, heavy metal Uncle Fester, they came out to the stage first and the intro to the latets albums title track kicked things off strongly as the riff kicked in and Bayley stormed to the stage dramatically delivering the powerful vocals in his own inimitable style. Blaze has always known how to right a chorus and the hook on Infinite Entanglement is excellent, the pace was kept up by A Thousand Years also from the new album and saw Appleton and Schramm shredding like mad while McNee smashed the hell out of the drums.
What I will say from the off is that the sound was actually pretty good you could hear all the instruments perfectly and Blaze's voice was clear and booming, the set progressed and we got the first Iron Maiden cover with Futureal coming from the Blazes years and getting some of the Maiden fans up and rocking. Following this was the chugging Kill And Destroy, where Blaze playfully teased the crowd for not being loud enough noting that the owner of Fuel told him that the crowd would be all for killing and destroying and after a bit of coercion the partisan crowd of Head Banging Bastards (to give them their official name) were louder than they were at the beginning of the set. The set was slowed with Solar Winds and the mini epic Calling You Home which blended well with Stare At The Sun while the set was ramped back up by Human which deals with the same machine meets Descartes as Robot which kept the pace after the thrash-like Watching The Night Sky. Blaze was on fire rapidly raging through the songs, allowing Appleton to take centre stage to show off his incredible guitar prowess when needed, in what was a bit of a curveball the band played Virus which was a never played, Blaze fronted Maiden song that featured on their Best Of The Beast album, he and the band ri-jigged it and if you didn't know it was by Maiden you wouldn't. Blaze's between song speeches were entertaining, funny and enlightening, especially when he said about his struggle with previous record companies, which ended in Blaze now owning all of his previous releases (victory for the little guy!)
After this came two from Silicone Messiah Blaze's debut album with the title track and Ghost In The Machine speeding things up yet again. A break an introduction and we were getting near to climax, it was now time to go really old school with Wolfsbane's Man Hunt that had the old school members of the crowd shouting at the top of their lungs, as Appleton took to centre stage to solo Blaze tried to come back on to finish the song but no the solo wasn't over, this swiftly turned into a drum solo and then a pantomime of Bayley the comedy villain trying to take back over the stage usurped by his young backing bad, as Appleton and Schramm duelled playing each others guitars, McNee filled with power. Finally Blaze reclaimed the stage and introduced the band to applause and the end was approaching, another Maiden cover this time Fear Of The Dark which Bayley did a lot of justice particular kudos to Appleton who became Murray and Gers in one man. The set came to a close with Man On The Edge and the crowd erupted at final moments of it. This had been a blinding set, the band were tight, technical and disciplined in making head bang, Blaze himself was funny, filthy and in fine voice showing why he is criminally overlooked as a frontman. A great night with excellent sound, fine performances and metal madness all round, I urge you to see Blaze in person you will not be disappointed. 8/10
*One last thing: If you are watching a live band in a small venue, when that band play the quiet bits your drunken conversations are very audible to those around you, especially the band on stage. Everyone there has paid for a ticket, including you, if you want to have a conversation about something other than the band on stage, or indeed if you want to make stupid noises, go outside the venue. I'm all for people having fun at a gig but if you want to be obnoxious to the point the staff notice you, kindly for the sake of the performers and the punters in attendance shut the fuck up no one wants to hear you!*
A View From The Back Of The Room: Amorphis (Live Review By Paul)
Amorphis – The Fleece, Bristol
Having had the luxury of four gigs in a row in my home city, it was back across the Severn to one of my favourite venues, The Fleece in Bristol for only my second ever viewing of Finnish outfit Amorphis, having previously seen them at BOA in 2010. Now initially I thought that was poor on my part, as I missed what was reported to be a stunning set at BOA a few years ago when I was otherwise engaged in activities involving crabs and robots in the Sophie Tent with Evil Scarecrow. However, a quick piece of internet research found that the band are rare visitors to these shores and since that August day at Catton Hall in 2010 they’ve only played in the UK seven times, four times in London and solitary appearances in Manchester and Glasgow. This gig was their first in Bristol.
Having missed the opening band, we arrived just as the main support were taking the stage. Textures (5), a metalcore/djent outfit from Holland. I was familiar with their name but not their music and unfortunately I won’t be actively hunting any of their music in the near future. Although the band made a decent fist of things in their short set, their genre does nothing for me and the constant time changes, intricate patterns and extremely shouty vocals did little to enthuse me. Sure, you can nod your head along to them but although they received a polite reception, I can’t report that the place was overwhelmed either. A strange choice of support.
A completely different response for the main band though as Amorphis (9) ripped through a ninety-minute set excellently paced and which built in momentum from the opener Under The Red Cloud through to set closer The Smoke. In between the Finns treated a very healthy crowd to tracks from throughout their 25-year catalogue. Although the focus was on material from 2015’s stunning Under A Red Cloud, with six tracks aired, Amorphis dipped way back into their catalogue with some of their heavier works, My Kantele and On Rich And Poor from 1996’s Elegy and Drowned Maid from second release Tales From A Thousand Lakes along with more recent tunes from Circle and 2009’s Skyforger.
Shorn of his massive dreads, Tomi Joutsen still remains the focal point of the band, with his unique microphone stand and hugely impressive vocals range switching effortlessly between clean vocals and the death growls that were very much the feature of the earlier works. The band retains three original members; the superb lead guitar of Esa Holopainen ably supported by the reserved Tomi Koivusaari who dipped back into the past when he was also the band’s vocalist with some co-vocal death growls. Drummer Jan Rechbeger is the other 1990 era band member, having re-joined the band in 2002 after a break of six years and he laid down the foundations throughout the evening along with bassist Niclas Etelävuori. The subtle keyboards of Santeri Kallio completed the line-up.
The works from Under A Red Cloud comprised the three opening tracks, with Bad Blood ferociously heavy and prompting much head banging around the venue. The band returned to the album later in the set with the awesome Dark Path and The Four Wise Ones sitting comfortably alongside firm favourites House Of Sleep and a phenomenal Endless Days from Circle. Their fusion of Paradise Lost, Katatonia, Amon Amarth and Opeth hits all the right spots with me and this was confirmed with the encore which eclipsed everything that had gone before. The quite incredible Opeth tinged Death Of A King had the entire audience singing along at full pelt before Silver Bride from Skyforger and Eclipse’s The Smoke brought a faultless set to a close. This was an evening of real quality and I hope it won’t be too long before this fabulous band are back in the UK.
Having had the luxury of four gigs in a row in my home city, it was back across the Severn to one of my favourite venues, The Fleece in Bristol for only my second ever viewing of Finnish outfit Amorphis, having previously seen them at BOA in 2010. Now initially I thought that was poor on my part, as I missed what was reported to be a stunning set at BOA a few years ago when I was otherwise engaged in activities involving crabs and robots in the Sophie Tent with Evil Scarecrow. However, a quick piece of internet research found that the band are rare visitors to these shores and since that August day at Catton Hall in 2010 they’ve only played in the UK seven times, four times in London and solitary appearances in Manchester and Glasgow. This gig was their first in Bristol.
Having missed the opening band, we arrived just as the main support were taking the stage. Textures (5), a metalcore/djent outfit from Holland. I was familiar with their name but not their music and unfortunately I won’t be actively hunting any of their music in the near future. Although the band made a decent fist of things in their short set, their genre does nothing for me and the constant time changes, intricate patterns and extremely shouty vocals did little to enthuse me. Sure, you can nod your head along to them but although they received a polite reception, I can’t report that the place was overwhelmed either. A strange choice of support.
A completely different response for the main band though as Amorphis (9) ripped through a ninety-minute set excellently paced and which built in momentum from the opener Under The Red Cloud through to set closer The Smoke. In between the Finns treated a very healthy crowd to tracks from throughout their 25-year catalogue. Although the focus was on material from 2015’s stunning Under A Red Cloud, with six tracks aired, Amorphis dipped way back into their catalogue with some of their heavier works, My Kantele and On Rich And Poor from 1996’s Elegy and Drowned Maid from second release Tales From A Thousand Lakes along with more recent tunes from Circle and 2009’s Skyforger.
Shorn of his massive dreads, Tomi Joutsen still remains the focal point of the band, with his unique microphone stand and hugely impressive vocals range switching effortlessly between clean vocals and the death growls that were very much the feature of the earlier works. The band retains three original members; the superb lead guitar of Esa Holopainen ably supported by the reserved Tomi Koivusaari who dipped back into the past when he was also the band’s vocalist with some co-vocal death growls. Drummer Jan Rechbeger is the other 1990 era band member, having re-joined the band in 2002 after a break of six years and he laid down the foundations throughout the evening along with bassist Niclas Etelävuori. The subtle keyboards of Santeri Kallio completed the line-up.
The works from Under A Red Cloud comprised the three opening tracks, with Bad Blood ferociously heavy and prompting much head banging around the venue. The band returned to the album later in the set with the awesome Dark Path and The Four Wise Ones sitting comfortably alongside firm favourites House Of Sleep and a phenomenal Endless Days from Circle. Their fusion of Paradise Lost, Katatonia, Amon Amarth and Opeth hits all the right spots with me and this was confirmed with the encore which eclipsed everything that had gone before. The quite incredible Opeth tinged Death Of A King had the entire audience singing along at full pelt before Silver Bride from Skyforger and Eclipse’s The Smoke brought a faultless set to a close. This was an evening of real quality and I hope it won’t be too long before this fabulous band are back in the UK.
Tuesday, 22 March 2016
A View From The Back Of The Room: Toseland (Live Review By Paul)
Toseland – The Globe
A Monday night is rarely going to get the pulses racing for a gig. However, there were decent numbers at one of my favourite Cardiff venues, The Globe, for the arrival of British Motorbike legend James Toseland and his band in what was their first ever Welsh headlining show.
First up were Brighton based classic rock outfit Colour of Noise (8). Entering to the mighty Clutch’s Firebird (earning them a bonus point for taste), after a slightly shaky start the band quickly got into their stride and with the help of some devout fans in the front row soon had the audience clapping and singing along. Led by Matt Mitchell (Furyon) whose experience and energy was infectious, Colour Of Noise were a curiously assembled bunch who made a superb sound. Guitarist Bruce John Dickinson has lots of road experience with Little Angels and demonstrated the best fretwork of the evening with some high quality playing. At the back of the stage the experienced Randy Nixon on drums laid down the beat with impressive “Silent” Ben Daniel on bass and snazzy stage outfit. Meanwhile rhythm guitarist Dan Electro won best shirt and also most impressive Tyrion Lannister look-a-like award as he chopped the riffs. The band played a decent length set which improved as the evening moved on. Tracks from their pledge backed self-titled debut came thick and fast with Hit Rock Bottom possibly the stand-out track of the evening in terms of audience participation. If you like your music played in the classic rock vein, with Thunder, The Answer etc. your bag, then check Colour Of Noise out. For me they stole the show. Oh, and they were spotted dining the Tandoori Mahal as I left the venue at the end of the night. That makes them legends. (Too bloody right - Ed)
I was fully aware of Toseland (7) before I attended this gig but had little knowledge of their music. Championed by Planet Rock, I knew that lead singer James Toseland was a motorcycling champion but that was about it. I also knew that they’d put the hours in with regular gigging. Coming days after the release of their third album, Cradle The Rage, this was the second night of their tour but the band were not at all rusty. If anything, they were a little too polished. With little ceremony, Toseland hit the stage and immediately you could see that James Toseland has the shapes and moves to be a natural frontman. Fitter than a butcher’s dog, he has what can only be described as ‘pretty boy’ looks but he was also a fantastic frontman; warm and honest and in particular very appreciative of the hardy souls who had by now filled the venue to a very decent number.
Kicking off with Too Close To Call from the new release, the band demonstrated boundless energy, with the audience soon jumping and getting fully involved. Toseland are a decent bunch of musicians with drummer Joe Yoshida going full pelt which was really noticeable at such close quarters. Once again The Globe’s sound was first class although damn loud. Flanking James was Georgian Zurab Mehua on guitar, calm and understated but occasionally rocking out. Meanwhile stage left there was little reserved about the attitude of bassist Roger Davis and guitarist Ed Bramford (complete with token LOG T-shirt) who didn’t stop moving, fist pumping or urging more from the crowd. In fact, a little too hard on the shape throwing which at times felt a little contrived.
Anyway, what about Toseland’s sound? Well, it’s pretty generic hard rock with the immediate and unavoidable vocal comparison of James Toseland with Alter Bridge’s Myles Kennedy. In fact, if you closed your eyes it was almost uncannily like him. Toseland’s songs are radio friendly rock with a driving stomp. Living In A Moment, Puppet On A Chain and Heart And Bones are all out and out rockers, ideal for the Planet Rock listeners which is what the audience appeared to be comprised (and I suppose that includes me!). Clean vocals, big riffs, brash trashy drums and pumping bass lines. You get the picture. And to some extent that was the problem. The generic nature meant that the tunes began to blend slightly until the keyboard was brought front and centre as the pace slowed a little with Fingers Burned and Never Love Another from the new release. I’m not a big fan of the rock ballad but Fingers Burned at least allowed for a bit of prime guitar work. Interspersed with the new stuff were a number of tracks from the first album, Renegade which went down well with the die hards.
Things really went up a gear though during the final couple of tracks of the encore. Firstly, the title track of the new album, a real rocker which segued into the track of the evening for me, an extended and very powerful Renegade which had the audience roaring their approval. I have to say that for the admission price of £8.80, you really got full value for money from two bands who appear to wear their hearts on their sleeves. I’m looking forward to giving Toseland another view at Steelhouse in July and I’ll be watching for another opportunity to catch Colour Of Noise in the near future. Excellent stuff.
A Monday night is rarely going to get the pulses racing for a gig. However, there were decent numbers at one of my favourite Cardiff venues, The Globe, for the arrival of British Motorbike legend James Toseland and his band in what was their first ever Welsh headlining show.
First up were Brighton based classic rock outfit Colour of Noise (8). Entering to the mighty Clutch’s Firebird (earning them a bonus point for taste), after a slightly shaky start the band quickly got into their stride and with the help of some devout fans in the front row soon had the audience clapping and singing along. Led by Matt Mitchell (Furyon) whose experience and energy was infectious, Colour Of Noise were a curiously assembled bunch who made a superb sound. Guitarist Bruce John Dickinson has lots of road experience with Little Angels and demonstrated the best fretwork of the evening with some high quality playing. At the back of the stage the experienced Randy Nixon on drums laid down the beat with impressive “Silent” Ben Daniel on bass and snazzy stage outfit. Meanwhile rhythm guitarist Dan Electro won best shirt and also most impressive Tyrion Lannister look-a-like award as he chopped the riffs. The band played a decent length set which improved as the evening moved on. Tracks from their pledge backed self-titled debut came thick and fast with Hit Rock Bottom possibly the stand-out track of the evening in terms of audience participation. If you like your music played in the classic rock vein, with Thunder, The Answer etc. your bag, then check Colour Of Noise out. For me they stole the show. Oh, and they were spotted dining the Tandoori Mahal as I left the venue at the end of the night. That makes them legends. (Too bloody right - Ed)
I was fully aware of Toseland (7) before I attended this gig but had little knowledge of their music. Championed by Planet Rock, I knew that lead singer James Toseland was a motorcycling champion but that was about it. I also knew that they’d put the hours in with regular gigging. Coming days after the release of their third album, Cradle The Rage, this was the second night of their tour but the band were not at all rusty. If anything, they were a little too polished. With little ceremony, Toseland hit the stage and immediately you could see that James Toseland has the shapes and moves to be a natural frontman. Fitter than a butcher’s dog, he has what can only be described as ‘pretty boy’ looks but he was also a fantastic frontman; warm and honest and in particular very appreciative of the hardy souls who had by now filled the venue to a very decent number.
Kicking off with Too Close To Call from the new release, the band demonstrated boundless energy, with the audience soon jumping and getting fully involved. Toseland are a decent bunch of musicians with drummer Joe Yoshida going full pelt which was really noticeable at such close quarters. Once again The Globe’s sound was first class although damn loud. Flanking James was Georgian Zurab Mehua on guitar, calm and understated but occasionally rocking out. Meanwhile stage left there was little reserved about the attitude of bassist Roger Davis and guitarist Ed Bramford (complete with token LOG T-shirt) who didn’t stop moving, fist pumping or urging more from the crowd. In fact, a little too hard on the shape throwing which at times felt a little contrived.
Anyway, what about Toseland’s sound? Well, it’s pretty generic hard rock with the immediate and unavoidable vocal comparison of James Toseland with Alter Bridge’s Myles Kennedy. In fact, if you closed your eyes it was almost uncannily like him. Toseland’s songs are radio friendly rock with a driving stomp. Living In A Moment, Puppet On A Chain and Heart And Bones are all out and out rockers, ideal for the Planet Rock listeners which is what the audience appeared to be comprised (and I suppose that includes me!). Clean vocals, big riffs, brash trashy drums and pumping bass lines. You get the picture. And to some extent that was the problem. The generic nature meant that the tunes began to blend slightly until the keyboard was brought front and centre as the pace slowed a little with Fingers Burned and Never Love Another from the new release. I’m not a big fan of the rock ballad but Fingers Burned at least allowed for a bit of prime guitar work. Interspersed with the new stuff were a number of tracks from the first album, Renegade which went down well with the die hards.
Things really went up a gear though during the final couple of tracks of the encore. Firstly, the title track of the new album, a real rocker which segued into the track of the evening for me, an extended and very powerful Renegade which had the audience roaring their approval. I have to say that for the admission price of £8.80, you really got full value for money from two bands who appear to wear their hearts on their sleeves. I’m looking forward to giving Toseland another view at Steelhouse in July and I’ll be watching for another opportunity to catch Colour Of Noise in the near future. Excellent stuff.
Monday, 21 March 2016
Reviews: Blaze Bayley, Shooter Jennings, Dyscordia
Blaze Bayley: Infinite Entanglement (Blaze Bayley Recording)
Blaze Bayley is a man who will always be overshadowed by his past, unlike Paul DiAnno who was there at the beginning and is still held in the same regard as Maiden's current and long term vocalist Bruce Dickinson, Blaze came into the band at a turbulent time and had to try and compete with Dickinson, ultimately this never worked but many thought this was Blaze's fault which I think is a little harsh. Blaze is a different singer to Dickinson, he has a lower register yes but the same dramatic power as the current Maiden frontman. In Wolfsbane he was pure rock n roll fury and his solo albums have been the heaviest of any of the other Maiden members, dating back to Blaze and his current outfit Blaze Bayley he has consistently released heavy albums that incorporate NWOBHM, thrash and speed metal that means he can rightly call his fans Head Banging Bastards.
The other trademark of Blaze's solo records is Science Fiction, most of his albums deal with Sci-Fi themes, most within a concept dating back to his debut solo record 2000's Silicon Messiah and it's follow up 2002's Tenth Dimension, Infinite Entanglement continues that theme of Sci-Fi concept records with one that deals with the themes of artificial intelligence and quantum physics that appear on the two previously mentioned albums. The record is the first part of a trilogy following Bayley's central character on a quest to dealing with what it is to be human, high concept indeed but luckily everything is backed by Bayley's trademark pounding heavy metal style. Now Bayley does seem to change his solo band from record to record but this one he has settled on his most recent touring band of Chris Appleton (Guitar), Karl Schramm (Bass) and Martin McNee (drums) who are also known as the band Absolva. The three men are all superb players McNee and Schramm locked in to rampaging grooves throughout the album which allows Appleton to riff and solo like mad, exploding when needed.
The opening trio of songs sets the album's tone, the proggy title track starts things off with off kilter rhythms and almost a breakdown on the chorus, then things go to the arena on A Thousand Years as it has a massive hook and Human is a superb slice of proper metal. Things get slower on What Will Come which has long time Bayley collaborator Thomas Zwijsen playing the nylon classical guitar behind accompanied by Anne Bakker on the violin, Stars Are Burning and Solar Winds bring back the steel before The Dreams Of William Black sees a dreamscape comprised of numerous Bayley fans saying "Where Are You?" but this leads into the galloping Maiden-like Calling You Home a trick that's repeated on the closing A Work Of Anger which is a classic Maiden epic starting off slow burning before turning into swaying fist-in-the-air anthem. Infinite Entanglement is a great record, it works well as a concept, has strong metal themes, intelligent lyrics and proper metal anthems all of this is brings together yet more powerful music from this often overlooked icon, for metal fans Blaze always delivers. 8/10
Shooter Jennings: Countach [For Giorgio] (Black Country Rock)
Shooter Jennings started his follow up to The Other Life in 2014 around the time of his last EP Don't Wait Up (For George) and just as that was a tribute to country legend George Jones, Countach is Shooter's tribute to film composer/synth pioneer/disco king Giorgio Moroder, it was initially slated to be released last year but was delayed due to the death of Jennings' longtime manager and friend and Black Country Rock co-founder 'Colonel' Jon Hensley. So the album is as much a tribute to Hensley as it is to Moroder and what a tribute it is skillfully blending synth driven neo-noir with Outlaw Country. The album is primarily all covers drawing from Moroder's solo work, collaborations and his soundtracks, only the opening title track is one of Jennings' own starting out a country on Loading where he proclaims "Don't You Think This Outlaw Bit Has Got Out Of Hand" the track builds and the synth cuts in halfway whisking away the country bit quickly for swathes of 80's-tastic repeating electronic pulse that did so much to inspire the House/EDM genre years later, it even has Moroders trademark synthesized vocals that lead into From Here To Eternity (from the Moroder album of the same name) where Shooter goes back to his normal Southern grit vocal at the end.
Shooter has never been afraid to take risks but on Countach he's taken a fair few, much of the country styling of earlier records are done away with, albeit not completely as there is still plenty of acoustic guitar and fiddle, on From Here... and the creeping I'm Left, You're Right, She's Gone supplied by Aubrey Richmond and Cliff Wagoner, but all the traditional instrumentation is used to bolster the synths and keys from Shooter himself. His support unit and band are a tried and tested set of guys with bassist Ted Russell Kamp and drummer Jamie Douglas providing the backline, along with Mark Rains recording, Pete Lyman mastering and David Spreng producing with Jennings to give this album it's thick, layered, authentic late 70's/80's sound. Jenning's has also brought in few friends to help out with the father of outlaw country Steve Young on a traditional Country sounding version of Moroder's Born To Die. Video game designer Richard Garriott de Cayeux (who's Shroud Of Avatar served as the platform for this album's launch) crops up on Chase which is the man himself explaining his passion for games over the originals synthetic backbeat.
This album is not a collection of songs but more like with the modern dance artists and of course Moroder himself the tracks all flow together as if they were one song with small snippets from the movies Moroder has scored in between. The album builds up after the break of Born To Die with Chase quickly moving into Love Kills where Jennings' channels Freddie Mercury on the Hi-NRG styled song that ramps things up ready for a full on honest to the original version of the title theme from The Neverending Story albeit featuring Brandi Carlile adding a note of heartbreak and Neal Casal adding a mean guitar before the album climaxes with the disturbing cover of Cat People where Manson tries to reach the darker part of Bowie (the original's vocalist). Countach is I will admit is an odd album, if you don't like Country music or Giorgio Moroder then you won't get much out of it however once again Jennings has impressed with his sheer versatility and for a music fan like me this is very interesting indeed. 8/10
Dyscordia: Words In Ruin (Road Mark Productions)
Belgium has always been a bit off the grid for metal but they do have some bands that are big players in the metal genre, brutal death metallers Aborted are possibly the most well known but it's in the progressive/power metal genre that Belgium makes it mark with Ancient Rites, Dushan Petrossi's two projects Iron Mask and Magic Kingdom, Fire Force all coming from the Dungeons And Dragons Metal. Dyscordia are Belgian and they are not Aborted, in fact the band owe more to Nevermore, Iced Earth, Evergrey than anything else.
Formed from the ashes of noted Belgian progressive metal act Gwyllion (named after a Welsh monster) Dyscordia features that band's drummer and guitarist; Wouter and Martijin Debonnet respectively, as well as former members of Anesthesy & Artrach, bassist Wouter Nottebaert, lead guitarist Guy Commeene and singer Piet Overstijns (who was also in Battalion with Commeene), Dyscordia's final member is Stefan Segers you plays yet more guitar and adds this bands secret weapon the death grunts. With the dual male vocal and three (yes three) pronged guitar assault Dyscordia are an interesting prospect and sees the band revamping their style since their Gwyllion days, Words In Ruin is their second album as Dyscordia and sees the band improving and perfecting their craft to play heavy progressive power metal, with down tuned guitars, blasting drums and a distinctly Gothenburg melod-death sound, matched with the robust vocals from Overstijins who has a wide range much like Warrell Dane or Tom S Englund that work well with the deathy grunts of Segers giving the songs an extra edge of heaviness.
Harlequin's Grief opens proceedings with a blastbeat driven thrashing rager, A Perfect Day is a galloping power metal track, the pace is kept heavy for most of the album, the folky Blind Guardian elements creep in on Sacred Soil Of Souls, with the pace slowed and rage abated the final two songs Chthonic Star and Words Of Fortune go back to kicking the hell out of you. Dyscordia have taken me by surprise, but it's a pleasant surprise I may add, I picked up this album blindly and I am very impressed the mix of Gothenburg-death metal and progressive power metal and the bands obvious musical talent, Words In Ruin is a superior release and one that should mean the Belgian band are held in high regard. 8/10
Blaze Bayley is a man who will always be overshadowed by his past, unlike Paul DiAnno who was there at the beginning and is still held in the same regard as Maiden's current and long term vocalist Bruce Dickinson, Blaze came into the band at a turbulent time and had to try and compete with Dickinson, ultimately this never worked but many thought this was Blaze's fault which I think is a little harsh. Blaze is a different singer to Dickinson, he has a lower register yes but the same dramatic power as the current Maiden frontman. In Wolfsbane he was pure rock n roll fury and his solo albums have been the heaviest of any of the other Maiden members, dating back to Blaze and his current outfit Blaze Bayley he has consistently released heavy albums that incorporate NWOBHM, thrash and speed metal that means he can rightly call his fans Head Banging Bastards.
The other trademark of Blaze's solo records is Science Fiction, most of his albums deal with Sci-Fi themes, most within a concept dating back to his debut solo record 2000's Silicon Messiah and it's follow up 2002's Tenth Dimension, Infinite Entanglement continues that theme of Sci-Fi concept records with one that deals with the themes of artificial intelligence and quantum physics that appear on the two previously mentioned albums. The record is the first part of a trilogy following Bayley's central character on a quest to dealing with what it is to be human, high concept indeed but luckily everything is backed by Bayley's trademark pounding heavy metal style. Now Bayley does seem to change his solo band from record to record but this one he has settled on his most recent touring band of Chris Appleton (Guitar), Karl Schramm (Bass) and Martin McNee (drums) who are also known as the band Absolva. The three men are all superb players McNee and Schramm locked in to rampaging grooves throughout the album which allows Appleton to riff and solo like mad, exploding when needed.
The opening trio of songs sets the album's tone, the proggy title track starts things off with off kilter rhythms and almost a breakdown on the chorus, then things go to the arena on A Thousand Years as it has a massive hook and Human is a superb slice of proper metal. Things get slower on What Will Come which has long time Bayley collaborator Thomas Zwijsen playing the nylon classical guitar behind accompanied by Anne Bakker on the violin, Stars Are Burning and Solar Winds bring back the steel before The Dreams Of William Black sees a dreamscape comprised of numerous Bayley fans saying "Where Are You?" but this leads into the galloping Maiden-like Calling You Home a trick that's repeated on the closing A Work Of Anger which is a classic Maiden epic starting off slow burning before turning into swaying fist-in-the-air anthem. Infinite Entanglement is a great record, it works well as a concept, has strong metal themes, intelligent lyrics and proper metal anthems all of this is brings together yet more powerful music from this often overlooked icon, for metal fans Blaze always delivers. 8/10
Shooter Jennings: Countach [For Giorgio] (Black Country Rock)
Shooter Jennings started his follow up to The Other Life in 2014 around the time of his last EP Don't Wait Up (For George) and just as that was a tribute to country legend George Jones, Countach is Shooter's tribute to film composer/synth pioneer/disco king Giorgio Moroder, it was initially slated to be released last year but was delayed due to the death of Jennings' longtime manager and friend and Black Country Rock co-founder 'Colonel' Jon Hensley. So the album is as much a tribute to Hensley as it is to Moroder and what a tribute it is skillfully blending synth driven neo-noir with Outlaw Country. The album is primarily all covers drawing from Moroder's solo work, collaborations and his soundtracks, only the opening title track is one of Jennings' own starting out a country on Loading where he proclaims "Don't You Think This Outlaw Bit Has Got Out Of Hand" the track builds and the synth cuts in halfway whisking away the country bit quickly for swathes of 80's-tastic repeating electronic pulse that did so much to inspire the House/EDM genre years later, it even has Moroders trademark synthesized vocals that lead into From Here To Eternity (from the Moroder album of the same name) where Shooter goes back to his normal Southern grit vocal at the end.
Shooter has never been afraid to take risks but on Countach he's taken a fair few, much of the country styling of earlier records are done away with, albeit not completely as there is still plenty of acoustic guitar and fiddle, on From Here... and the creeping I'm Left, You're Right, She's Gone supplied by Aubrey Richmond and Cliff Wagoner, but all the traditional instrumentation is used to bolster the synths and keys from Shooter himself. His support unit and band are a tried and tested set of guys with bassist Ted Russell Kamp and drummer Jamie Douglas providing the backline, along with Mark Rains recording, Pete Lyman mastering and David Spreng producing with Jennings to give this album it's thick, layered, authentic late 70's/80's sound. Jenning's has also brought in few friends to help out with the father of outlaw country Steve Young on a traditional Country sounding version of Moroder's Born To Die. Video game designer Richard Garriott de Cayeux (who's Shroud Of Avatar served as the platform for this album's launch) crops up on Chase which is the man himself explaining his passion for games over the originals synthetic backbeat.
This album is not a collection of songs but more like with the modern dance artists and of course Moroder himself the tracks all flow together as if they were one song with small snippets from the movies Moroder has scored in between. The album builds up after the break of Born To Die with Chase quickly moving into Love Kills where Jennings' channels Freddie Mercury on the Hi-NRG styled song that ramps things up ready for a full on honest to the original version of the title theme from The Neverending Story albeit featuring Brandi Carlile adding a note of heartbreak and Neal Casal adding a mean guitar before the album climaxes with the disturbing cover of Cat People where Manson tries to reach the darker part of Bowie (the original's vocalist). Countach is I will admit is an odd album, if you don't like Country music or Giorgio Moroder then you won't get much out of it however once again Jennings has impressed with his sheer versatility and for a music fan like me this is very interesting indeed. 8/10
Dyscordia: Words In Ruin (Road Mark Productions)
Belgium has always been a bit off the grid for metal but they do have some bands that are big players in the metal genre, brutal death metallers Aborted are possibly the most well known but it's in the progressive/power metal genre that Belgium makes it mark with Ancient Rites, Dushan Petrossi's two projects Iron Mask and Magic Kingdom, Fire Force all coming from the Dungeons And Dragons Metal. Dyscordia are Belgian and they are not Aborted, in fact the band owe more to Nevermore, Iced Earth, Evergrey than anything else.
Formed from the ashes of noted Belgian progressive metal act Gwyllion (named after a Welsh monster) Dyscordia features that band's drummer and guitarist; Wouter and Martijin Debonnet respectively, as well as former members of Anesthesy & Artrach, bassist Wouter Nottebaert, lead guitarist Guy Commeene and singer Piet Overstijns (who was also in Battalion with Commeene), Dyscordia's final member is Stefan Segers you plays yet more guitar and adds this bands secret weapon the death grunts. With the dual male vocal and three (yes three) pronged guitar assault Dyscordia are an interesting prospect and sees the band revamping their style since their Gwyllion days, Words In Ruin is their second album as Dyscordia and sees the band improving and perfecting their craft to play heavy progressive power metal, with down tuned guitars, blasting drums and a distinctly Gothenburg melod-death sound, matched with the robust vocals from Overstijins who has a wide range much like Warrell Dane or Tom S Englund that work well with the deathy grunts of Segers giving the songs an extra edge of heaviness.
Harlequin's Grief opens proceedings with a blastbeat driven thrashing rager, A Perfect Day is a galloping power metal track, the pace is kept heavy for most of the album, the folky Blind Guardian elements creep in on Sacred Soil Of Souls, with the pace slowed and rage abated the final two songs Chthonic Star and Words Of Fortune go back to kicking the hell out of you. Dyscordia have taken me by surprise, but it's a pleasant surprise I may add, I picked up this album blindly and I am very impressed the mix of Gothenburg-death metal and progressive power metal and the bands obvious musical talent, Words In Ruin is a superior release and one that should mean the Belgian band are held in high regard. 8/10
Saturday, 19 March 2016
A View From The Back Of The Room: Exodus (Live Review By Paul)
Exodus - The Globe
With aching necks and ringing in the ears from Machine Head’s monumental performance the night before, we dragged our aching carcasses to The Globe for more Bay Area thrash. I’m so glad I did as we were treated to another stunning evening of top drawer metal.
A few weeks ago I picked up support band Lost Society’s third album Braindead. (the review is posted on the site) This release was sufficient to ensure that I got into place in time for the Finns to hit the stage in a frenzy of hyperactivity. Led by the energetic Samy Elbanna, the band ripped through a very quick passing 40 minutes of quality thrash which incited early pit action, much head banging and a hugely receptive response from the assembled throng. With insane shredding courtesy of Arttu Lesonen and Elbanna and the intense and excellent drumming of Ossi Paananen, Lost Society delivered tracks from their three albums with a decent serving from Braindead including the stomp of I Am The Antidote. The band possess huge reserves of energy and this had a symbiotic effect on the intensity in the crowd which surged ever higher as the set moved on. Lost Society were thoroughly entertaining, with an infectious groove and blitzkrieg approach. 8/10
At their last appearance at BOA in 2013 thrash titans Exodus more than held their own on a day that also included Anthrax and Slayer. Since then we’ve witnessed the return of Steve “Zetro” Souza and the release of the excellent Blood In Blood Out. The Globe was at full capacity for the arrival of the band who arrived on stage with no pomp or ceremony (although it is virtually impossible to do anything other than fall on stage at The Globe) and proceeded to set the scene for the evening with Black 13, the opener from their latest release.
Although Gary Holt has been absent from this tour due to his Slayer commitments, you wouldn’t have noticed as his able replacement Kragen Lum from Heathen shredded and thrashed with similar aplomb. In fact, if you didn’t know that Holt was a member of the band you’d have been none the wiser. Blood In Blood Out followed, the second of four tracks to be played. Cue stellar audience participation on the choruses and frenzied head banging throughout the venue. In fact, the crowd was excellent throughout the gig and Souza made several references to the loudness of the assembled throng in front of him.
One of the great things about The Globe is that everything is up close and personal wherever you are and I reflected that my only regret about the gig was that it should have been in a much bigger venue. Exodus are a superb band, with Tom Hunting’s drumming on a par with Gene Hoglan in my opinion. As the gig developed, the band spliced old classics with the newer material. And Then There Were None was just brutal, whilst the sole track from The Atrocity Exhibition – Exhibit A, Children Of A Lesser God was fantastic. Alongside Souza, bassist Jack Gibson’s expression rarely changed, content to focus on laying down the rampaging bass lines. Lee Altus’s razor sharp guitar work and constant mouthing of the lyrics demanded that you joined in.
Salt The Wound (with a nod to the solo that Kirk Hammett contributed to) and Body Harvest were the other choice cuts from Blood In Blood Out before it was time for old school and even higher levels of intensity in the pit. Metal Command got things moving, starting a trio of brutality from Bonded By Blood. Piranha and the incredible A Lesson In Violence were succeeded by three from Tempo Of The Damned; Firstly, Blacklist, then a blistering War Is My Shepherd and then the set closing destruction of Impaler. During the set Souza paid a massive tribute to Lemmy which was warmly welcomed by the audience and prompted a spontaneous round of chanting of the great man’s name. Well played sir.
Whilst the band took a deserved breather, the crowd steeled itself for the inevitable and highly anticipated encores. As Exodus tore into a breath-taking Bonded By Blood, it seemed that 90% of the audience was swirling around the floor. Of course, if you want a tune to really get things moving, look no further than The Toxic Waltz which maintained the action on the floor. Strike Of The Beast concluded the evening and the band left the stage to huge applause.
After the gig Steve Souza spent time with the fans, answering questions and happily having photos taken. A genuinely pleasant and engaging man, when asked about a new release, he was extremely positive and noted that it would happen when Holt returned from Slayer duties. For a band now well into the veteran stage, this is heartening news and if they can maintain the form of the last release, not to mention the incredible levels of live performance, I’ll be picking up tickets to see these guys whenever they hit our shores. A fantastic evening and a quite spectacular end to a heavy heavy week. 9/10
With aching necks and ringing in the ears from Machine Head’s monumental performance the night before, we dragged our aching carcasses to The Globe for more Bay Area thrash. I’m so glad I did as we were treated to another stunning evening of top drawer metal.
A few weeks ago I picked up support band Lost Society’s third album Braindead. (the review is posted on the site) This release was sufficient to ensure that I got into place in time for the Finns to hit the stage in a frenzy of hyperactivity. Led by the energetic Samy Elbanna, the band ripped through a very quick passing 40 minutes of quality thrash which incited early pit action, much head banging and a hugely receptive response from the assembled throng. With insane shredding courtesy of Arttu Lesonen and Elbanna and the intense and excellent drumming of Ossi Paananen, Lost Society delivered tracks from their three albums with a decent serving from Braindead including the stomp of I Am The Antidote. The band possess huge reserves of energy and this had a symbiotic effect on the intensity in the crowd which surged ever higher as the set moved on. Lost Society were thoroughly entertaining, with an infectious groove and blitzkrieg approach. 8/10
At their last appearance at BOA in 2013 thrash titans Exodus more than held their own on a day that also included Anthrax and Slayer. Since then we’ve witnessed the return of Steve “Zetro” Souza and the release of the excellent Blood In Blood Out. The Globe was at full capacity for the arrival of the band who arrived on stage with no pomp or ceremony (although it is virtually impossible to do anything other than fall on stage at The Globe) and proceeded to set the scene for the evening with Black 13, the opener from their latest release.
Although Gary Holt has been absent from this tour due to his Slayer commitments, you wouldn’t have noticed as his able replacement Kragen Lum from Heathen shredded and thrashed with similar aplomb. In fact, if you didn’t know that Holt was a member of the band you’d have been none the wiser. Blood In Blood Out followed, the second of four tracks to be played. Cue stellar audience participation on the choruses and frenzied head banging throughout the venue. In fact, the crowd was excellent throughout the gig and Souza made several references to the loudness of the assembled throng in front of him.
One of the great things about The Globe is that everything is up close and personal wherever you are and I reflected that my only regret about the gig was that it should have been in a much bigger venue. Exodus are a superb band, with Tom Hunting’s drumming on a par with Gene Hoglan in my opinion. As the gig developed, the band spliced old classics with the newer material. And Then There Were None was just brutal, whilst the sole track from The Atrocity Exhibition – Exhibit A, Children Of A Lesser God was fantastic. Alongside Souza, bassist Jack Gibson’s expression rarely changed, content to focus on laying down the rampaging bass lines. Lee Altus’s razor sharp guitar work and constant mouthing of the lyrics demanded that you joined in.
Salt The Wound (with a nod to the solo that Kirk Hammett contributed to) and Body Harvest were the other choice cuts from Blood In Blood Out before it was time for old school and even higher levels of intensity in the pit. Metal Command got things moving, starting a trio of brutality from Bonded By Blood. Piranha and the incredible A Lesson In Violence were succeeded by three from Tempo Of The Damned; Firstly, Blacklist, then a blistering War Is My Shepherd and then the set closing destruction of Impaler. During the set Souza paid a massive tribute to Lemmy which was warmly welcomed by the audience and prompted a spontaneous round of chanting of the great man’s name. Well played sir.
Whilst the band took a deserved breather, the crowd steeled itself for the inevitable and highly anticipated encores. As Exodus tore into a breath-taking Bonded By Blood, it seemed that 90% of the audience was swirling around the floor. Of course, if you want a tune to really get things moving, look no further than The Toxic Waltz which maintained the action on the floor. Strike Of The Beast concluded the evening and the band left the stage to huge applause.
After the gig Steve Souza spent time with the fans, answering questions and happily having photos taken. A genuinely pleasant and engaging man, when asked about a new release, he was extremely positive and noted that it would happen when Holt returned from Slayer duties. For a band now well into the veteran stage, this is heartening news and if they can maintain the form of the last release, not to mention the incredible levels of live performance, I’ll be picking up tickets to see these guys whenever they hit our shores. A fantastic evening and a quite spectacular end to a heavy heavy week. 9/10
Friday, 18 March 2016
A View From The Back Of The Room: Machine Head (Live Review By Paul)
Machine Fucking Head: Great Hall Cardiff
There are some gigs where it is a privilege to be able to say “I was there”. This was one of those nights.
I count myself as a veteran MFH fan having seen them many times over the years; my eldest has racked up a couple more shows than me and all of our party had seen the Californians before. This show ranked amongst the best I think I’ve ever seen. When Robb Flynn and co promoted their tour as ‘An evening with Machine Head’ it was difficult to see past the ego but boy did they prove the doubters wrong.
Although the start was later than expected which meant the room temperature in the venue was already high when Diary Of A Madman hit the PA, a full two-and-a-half-hour set of superbly chosen songs soon laid to rest any grumbles. In a previous review of Sabaton I suggested that Ghost Division was possibly the best opener a band could have. Well, you can fuck that in the eye because when the first strains of Imperium hit the air, the desire to be in the pit was almost uncontrollable. Luckily for me, age and injury has curbed that enthusiasm and I was content to bang my head (muthafucker) from my vantage point near the sound desk. Of course, there was no shortage of willing volunteers who did throw themselves into the fray, and that set the tone for the evening. The MFH crowd do love a circle pit, and with Flynn’s encouragement there was plenty of opportunity. Imperium set the tone for the evening; hard, fast and heavy as hell.
Whilst MFH is definitely Flynn’s machine (oops!), he has some very trusty lieutenants to support him. The incredible drumming of Dave McClain was elevated about the main stage, Phil Demmel’s stunning fretwork sliced away to Flynn’s right and everything was soundly cemented by the Burton-esque windmilling of Jared Maceachern on bass who has rightly banished the memory of Adam Duce (at least until Game Over was played!). The opening salvo gave no quarter; Beautiful Mourning was followed by Now We Die and a monumental Take My Scars which incited action in all quarters of the venue. Huge amounts of pit action along with some real hard-core head banging. A trip back to Unto The Locust with Locust (which is a tune) before possibly THE track of the evening: From This Day is nestled amongst Machine Head’s relatively unloved release, The Burning Red, but dear god was it well received, with huge audience participation on the chorus. Well done Cardiff; it was awesome.
Ten Ton Hammer followed immediately after, leaving battered bodies gasping for air but there was no let up with Flynn playing ringmaster, coercing extra effort from those brave enough to step into the pit whilst the rest of us were content to bang the fuck out of our necks. This Is The End was brutal but paled into insignificance compared to the epic Elegy which was followed by the crunching The Blood, The Sweat, The Tears. Damn, this was vintage Head. A rather uninspiring guitar solo from Demmel slowed the pace and a slight pause in the madness continued with Darkness Within which had superb crowd singing and an emotional performance from Flynn. He’s had his critics but Flynn is an imposing front man, encouraging the crowd and limiting his speeches throughout the evening. He rightly acknowledged that it has been six years since MFH had played in South Wales (Newport 2010) and whilst he vowed to not leave it that along again, one can only feel grateful that the mighty MFH deemed it appropriate to play in our fair city.
Drum solos? I love Rush but I find Neil Peart’s self-indulgence a little tiresome. Dave McClain is just incredible but solos just don’t float my boat. If I was feeling charitable I’d concede that it is an opportunity for the drummer to demonstrate their skills. It also gave the rest of the band a breather However, from small acorns grow mighty oaks and from McClain’s solo we were treated to the full frontal assault of Bulldozer and Killers And Kings before all hell broke loose with the strains of Davidian. Cue mass destruction and much screaming along as “Freedom reigned with the shot gun blast”. To be able to throw your most incredible tune before the set had ended was remarkable.
A six song multiple encore followed and by now MFH had proved their metal and were flying. A stunning Descend The Shades Of Night, complete with acoustic guitar was greeted like an old friend. A rare outing in the shape of Now I Lay Thee Down followed, before Aesthetics Of Hate and Game Over poured more fuel on the raging crowd. Things really heated up with the arrival of Blood For Blood from Burn My Eyes which segued into Halo to bring the evening to a close. Flynn and co were on fire and all around the response was incredibly favourable. This is a band who are technically brilliant musicians and who produced a flawless display. An Evening with Machine Head? More like a masterclass in how to deliver. It really was an honour to witness this one. Fucking A! 10/10
There are some gigs where it is a privilege to be able to say “I was there”. This was one of those nights.
I count myself as a veteran MFH fan having seen them many times over the years; my eldest has racked up a couple more shows than me and all of our party had seen the Californians before. This show ranked amongst the best I think I’ve ever seen. When Robb Flynn and co promoted their tour as ‘An evening with Machine Head’ it was difficult to see past the ego but boy did they prove the doubters wrong.
Although the start was later than expected which meant the room temperature in the venue was already high when Diary Of A Madman hit the PA, a full two-and-a-half-hour set of superbly chosen songs soon laid to rest any grumbles. In a previous review of Sabaton I suggested that Ghost Division was possibly the best opener a band could have. Well, you can fuck that in the eye because when the first strains of Imperium hit the air, the desire to be in the pit was almost uncontrollable. Luckily for me, age and injury has curbed that enthusiasm and I was content to bang my head (muthafucker) from my vantage point near the sound desk. Of course, there was no shortage of willing volunteers who did throw themselves into the fray, and that set the tone for the evening. The MFH crowd do love a circle pit, and with Flynn’s encouragement there was plenty of opportunity. Imperium set the tone for the evening; hard, fast and heavy as hell.
Whilst MFH is definitely Flynn’s machine (oops!), he has some very trusty lieutenants to support him. The incredible drumming of Dave McClain was elevated about the main stage, Phil Demmel’s stunning fretwork sliced away to Flynn’s right and everything was soundly cemented by the Burton-esque windmilling of Jared Maceachern on bass who has rightly banished the memory of Adam Duce (at least until Game Over was played!). The opening salvo gave no quarter; Beautiful Mourning was followed by Now We Die and a monumental Take My Scars which incited action in all quarters of the venue. Huge amounts of pit action along with some real hard-core head banging. A trip back to Unto The Locust with Locust (which is a tune) before possibly THE track of the evening: From This Day is nestled amongst Machine Head’s relatively unloved release, The Burning Red, but dear god was it well received, with huge audience participation on the chorus. Well done Cardiff; it was awesome.
Ten Ton Hammer followed immediately after, leaving battered bodies gasping for air but there was no let up with Flynn playing ringmaster, coercing extra effort from those brave enough to step into the pit whilst the rest of us were content to bang the fuck out of our necks. This Is The End was brutal but paled into insignificance compared to the epic Elegy which was followed by the crunching The Blood, The Sweat, The Tears. Damn, this was vintage Head. A rather uninspiring guitar solo from Demmel slowed the pace and a slight pause in the madness continued with Darkness Within which had superb crowd singing and an emotional performance from Flynn. He’s had his critics but Flynn is an imposing front man, encouraging the crowd and limiting his speeches throughout the evening. He rightly acknowledged that it has been six years since MFH had played in South Wales (Newport 2010) and whilst he vowed to not leave it that along again, one can only feel grateful that the mighty MFH deemed it appropriate to play in our fair city.
Drum solos? I love Rush but I find Neil Peart’s self-indulgence a little tiresome. Dave McClain is just incredible but solos just don’t float my boat. If I was feeling charitable I’d concede that it is an opportunity for the drummer to demonstrate their skills. It also gave the rest of the band a breather However, from small acorns grow mighty oaks and from McClain’s solo we were treated to the full frontal assault of Bulldozer and Killers And Kings before all hell broke loose with the strains of Davidian. Cue mass destruction and much screaming along as “Freedom reigned with the shot gun blast”. To be able to throw your most incredible tune before the set had ended was remarkable.
A six song multiple encore followed and by now MFH had proved their metal and were flying. A stunning Descend The Shades Of Night, complete with acoustic guitar was greeted like an old friend. A rare outing in the shape of Now I Lay Thee Down followed, before Aesthetics Of Hate and Game Over poured more fuel on the raging crowd. Things really heated up with the arrival of Blood For Blood from Burn My Eyes which segued into Halo to bring the evening to a close. Flynn and co were on fire and all around the response was incredibly favourable. This is a band who are technically brilliant musicians and who produced a flawless display. An Evening with Machine Head? More like a masterclass in how to deliver. It really was an honour to witness this one. Fucking A! 10/10
Thursday, 17 March 2016
Reviews: Circus Maximus, Bombus, Sunburst
Circus Maximus: Havoc (Frontiers)
I'll admit I have come very late to the party in when Norwegian progressive metallers are concerned, having only recently discovered their charms, they have rapidly become one of my most played artists at MoM towers. So when I heard that the band were nearing the release of their fourth album then you can imagine that my palate became whetted. Circus Maximus are styled as progressive/power metal and this is true they do have songs that are complex and intricate but they also have a really knack of merging this with melody and an accessibility that will endear them to even the most avid anti-proggers. They move between power metal and melodic rock in an instant with everything meshing together flawlessly, The band have ramped up everything on this fourth record, the heavier parts are far heavier, the melodic parts of Havoc moving things occasionally into AOR territory, but overall the band play with enough virtuosity that they firmly stay as a progressive band just one that can write an accessible song.
Like all great album you have a journey with the early songs building until the final third where the band really raise their game to become more ambitious and impressive, this is reflected in the song times which go from around 5 minutes at the start of the album on The Weight which owes as much to Coheed And Cambria as it does to Dream Theater, before we get into the much longer songs like After The Fire which starts as dark, electronica before ramping up into a much heavier prospect that fuses the melodic stylings of Muse and more modern djent sounds. The band are all superb musicians Glenn Mollen's bass leads the off kilter rhythm on Highest Bitter and along with drummer Truls Haugen lends an industrial sound to the title track. In the treble sounds Mats Haugen's guitars are ever present in the bands sound, whether giving little flourishes over the rhythm on Pages or really rallying his mettle on After The Fire.
It's Lasse Finbråten's keys that lift this band up to another level though, adding the heartbreak to Loved Ones which has all the emotional punch of a 30 Seconds To Mars song, although clocking in at a longer time, while also giving an understated performance on Flames where the single keys add the extra dimension to the galloping rhythm once again bringing to mind Muse and also Von Hertzen Bros while also giving Remember a driving eurodance backbeat. A hearty well done too to vocalist Michael Eriksen who has a voice that can adapt to any of changes in the musical score. Havoc is another amazing album from Circus Maximus who are not your normal prog/power metal band they have a sound that makes them very special indeed, I just wish I'd discovered them earlier. I'm glad that Circus Maximus are still delivering the impressive music that first endeared me to them, with Havoc being the culmination of the bands career so far condensed into one fantastic disc. 10/10
Bombus: Repeat Until Death (Century Media)
Gothenburg natives Bombus are now on their third album and yes they will indeed repeat until death on this record. Having a similar style to Mastodon or Red Fang, Bombus play riff driven heavy metal with relentless power and stoner influences. The album opens with Eyes On the Price which has an almost dance like rhythm to it and hits you at full force from second one. Both the guitars and the vocals are shared by Feffe Berglund and Matte Säker and they make the bands sound, on the classic metal chug of Rust they fuse perfectly as Ola Henriksson rumbles away on the four strings. As I've said the Mastodon influence is huge most notably on Deadweight and Horde Of Flies but the band also have nods to fellow countrymen Mustasch with groove-laden riff fests and the husky vocals. The album is a bit odd in the middle section as it gets to I Call You Over (Hairy Teeth Part II) which is a slow burning ballad that does feel forced and a little out of place if I'm honest. The album title is a bit very apt, much of this album is very samey but if you are waiting for the new Mastodon record you could do worse than this. 6/10
Sunburst: Fragments Of Creation (Inner Wound)
No I've reviewed a lot of Greek metal on this blog and Greek power/prog metal is always of the highest quality, there does seem to be something about the country that always deals in top quality prog/power metal. Sunburst seem intent on carrying that flag forward and as the rampaging Out Of This World explodes out of the speakers with thundering blast beats from Outloud's Kostas Milonas and top quality riffage from Gus Drax who is also in symphonic metallers Black Fate along with singer Vasilis Georgiou. This is powerful progressive metal that owes as much to Symphony X and Fates Warning as it does to Kamelot or Serenity, Drax's guitar playing is excellent fluid and full of technicality but providing the songs with their melodic hook as he blazes up and down the fretboard on tracks such as the thumping mid-pace Dementia and the excellent Symbol of Life which powers away at 100mph and opens out into a huge melodic chorus. The melodic elements are bolstered by the keys of Outloud/Firewind ivory tinkler Bob Katsionis who plays on eight of the ten tracks, including the Herculean ballad Lullaby where he adds the stirring piano on a track that builds into a glorious chorus and a superb solo from Drax.
What I like about Sunburst is that they are progressive and do have a lot of lighter moments but mostly they are heavy as hell with Nick Grey's low bass rhythms driving songs such as End Of The Game, on Reincarnation which has Wylde-esque pinched harmonics and on the relentless instrumental Beyond The Darkest Sun listen past Drax's guitar clinic (which is hard I admit) and you hear Milonas destroying the drumkit. It's this heaviness that endears me to Sunburst as it reminds me a lot of Kamelot which is no bad thing, with the comparison completed by the resonant dramatic vocals of Georgiou who is a dead ringer for Kamelot's former singer Khan, of course there is also some Firewind in there because why wouldn't there be they are Greek after all? Fragments Of Creation is a strong debut album that gets better and better as it goes along, it's progressive, powerful and in places phenomenal and when the final 10 minute epic Remedy Of My Heart is over you want to do the whole thing again. A tremendous first effort from the Larissa natives I look forward to more soon. 8/10
I'll admit I have come very late to the party in when Norwegian progressive metallers are concerned, having only recently discovered their charms, they have rapidly become one of my most played artists at MoM towers. So when I heard that the band were nearing the release of their fourth album then you can imagine that my palate became whetted. Circus Maximus are styled as progressive/power metal and this is true they do have songs that are complex and intricate but they also have a really knack of merging this with melody and an accessibility that will endear them to even the most avid anti-proggers. They move between power metal and melodic rock in an instant with everything meshing together flawlessly, The band have ramped up everything on this fourth record, the heavier parts are far heavier, the melodic parts of Havoc moving things occasionally into AOR territory, but overall the band play with enough virtuosity that they firmly stay as a progressive band just one that can write an accessible song.
Like all great album you have a journey with the early songs building until the final third where the band really raise their game to become more ambitious and impressive, this is reflected in the song times which go from around 5 minutes at the start of the album on The Weight which owes as much to Coheed And Cambria as it does to Dream Theater, before we get into the much longer songs like After The Fire which starts as dark, electronica before ramping up into a much heavier prospect that fuses the melodic stylings of Muse and more modern djent sounds. The band are all superb musicians Glenn Mollen's bass leads the off kilter rhythm on Highest Bitter and along with drummer Truls Haugen lends an industrial sound to the title track. In the treble sounds Mats Haugen's guitars are ever present in the bands sound, whether giving little flourishes over the rhythm on Pages or really rallying his mettle on After The Fire.
It's Lasse Finbråten's keys that lift this band up to another level though, adding the heartbreak to Loved Ones which has all the emotional punch of a 30 Seconds To Mars song, although clocking in at a longer time, while also giving an understated performance on Flames where the single keys add the extra dimension to the galloping rhythm once again bringing to mind Muse and also Von Hertzen Bros while also giving Remember a driving eurodance backbeat. A hearty well done too to vocalist Michael Eriksen who has a voice that can adapt to any of changes in the musical score. Havoc is another amazing album from Circus Maximus who are not your normal prog/power metal band they have a sound that makes them very special indeed, I just wish I'd discovered them earlier. I'm glad that Circus Maximus are still delivering the impressive music that first endeared me to them, with Havoc being the culmination of the bands career so far condensed into one fantastic disc. 10/10
Bombus: Repeat Until Death (Century Media)
Gothenburg natives Bombus are now on their third album and yes they will indeed repeat until death on this record. Having a similar style to Mastodon or Red Fang, Bombus play riff driven heavy metal with relentless power and stoner influences. The album opens with Eyes On the Price which has an almost dance like rhythm to it and hits you at full force from second one. Both the guitars and the vocals are shared by Feffe Berglund and Matte Säker and they make the bands sound, on the classic metal chug of Rust they fuse perfectly as Ola Henriksson rumbles away on the four strings. As I've said the Mastodon influence is huge most notably on Deadweight and Horde Of Flies but the band also have nods to fellow countrymen Mustasch with groove-laden riff fests and the husky vocals. The album is a bit odd in the middle section as it gets to I Call You Over (Hairy Teeth Part II) which is a slow burning ballad that does feel forced and a little out of place if I'm honest. The album title is a bit very apt, much of this album is very samey but if you are waiting for the new Mastodon record you could do worse than this. 6/10
Sunburst: Fragments Of Creation (Inner Wound)
No I've reviewed a lot of Greek metal on this blog and Greek power/prog metal is always of the highest quality, there does seem to be something about the country that always deals in top quality prog/power metal. Sunburst seem intent on carrying that flag forward and as the rampaging Out Of This World explodes out of the speakers with thundering blast beats from Outloud's Kostas Milonas and top quality riffage from Gus Drax who is also in symphonic metallers Black Fate along with singer Vasilis Georgiou. This is powerful progressive metal that owes as much to Symphony X and Fates Warning as it does to Kamelot or Serenity, Drax's guitar playing is excellent fluid and full of technicality but providing the songs with their melodic hook as he blazes up and down the fretboard on tracks such as the thumping mid-pace Dementia and the excellent Symbol of Life which powers away at 100mph and opens out into a huge melodic chorus. The melodic elements are bolstered by the keys of Outloud/Firewind ivory tinkler Bob Katsionis who plays on eight of the ten tracks, including the Herculean ballad Lullaby where he adds the stirring piano on a track that builds into a glorious chorus and a superb solo from Drax.
What I like about Sunburst is that they are progressive and do have a lot of lighter moments but mostly they are heavy as hell with Nick Grey's low bass rhythms driving songs such as End Of The Game, on Reincarnation which has Wylde-esque pinched harmonics and on the relentless instrumental Beyond The Darkest Sun listen past Drax's guitar clinic (which is hard I admit) and you hear Milonas destroying the drumkit. It's this heaviness that endears me to Sunburst as it reminds me a lot of Kamelot which is no bad thing, with the comparison completed by the resonant dramatic vocals of Georgiou who is a dead ringer for Kamelot's former singer Khan, of course there is also some Firewind in there because why wouldn't there be they are Greek after all? Fragments Of Creation is a strong debut album that gets better and better as it goes along, it's progressive, powerful and in places phenomenal and when the final 10 minute epic Remedy Of My Heart is over you want to do the whole thing again. A tremendous first effort from the Larissa natives I look forward to more soon. 8/10
Subscribe to:
Posts (Atom)