Romeo's Daughter & Blood Red Saints, Fuel Cardiff
Once again to the home city for more music, this time it was night of sugar coated, AOR from one of Britain's most critically acclaimed, but oft overlooked AOR bands Romeo's Daughter with support from one of the newest melodic rock bands on the block Blood Red Saints. As I headed to the venue with the the crew of Retro Vibe Records I was looking forward to seeing two bands that I had never seen (a rarity for me), as we congregated in the small venue it was heartening to see a a reasonable size crowd for the gig.
Blood Red Saints
Arriving on the stage, Blood Red Saints kicked of their set of traditional British radio rock, with a strong blues base they were in the tradition of Dare, FM or Newman. The band are made up of two founder members of In Faith, one from Angels Or Kings and the fourth serving time in Gary Hughes' (TEN) solo band. With the talent in the band it was no surprise that they took to the stage with a confident swagger, they had the look and the chops to back up their resumes, drawing from their debut album they played melodic rock with a bluesy edge to it which came mainly from Pete Godfrey's grittier vocals and the slick guitar lines from Lee Revill on the opening number Kicking Up Dust, Rob Naylor and Pete Newdeck locked into a steady driving groove as the band moved into the Foreigner-esque Best Of Me, a mass sing-along was triggered by a cover of Wanted Dead Or Alive and they even threw in an In Faith song to flesh out the set. The bands style of harder edged AOR was received warmly by the crowd and was a perfect setting for the night the four members of the band. A sturdy set of melodic rock set the tone of the evening and this band showed that their collective power is really a sum of it's parts, hopefully there will be more from this band in the future as they have a real energy live. 7/10
Romeo's Daughter
A quick change and the headline act came to the stage, the band formed in 1988 released two album son major labels and then split up only to then reformed in 2009. This tour was a mish-mash of their four albums with the majority being drawn from their debut and their most recent efforts Rapture and Spin. As the beautiful Leigh Matty took to the stage with her perennial sideman guitarist Craig Joiner the rest of the band followed and they burst into 1989 single Heaven In The Back Seat (as featured on Nightmare On Elm Street 5 film fans) which set the pace, with a pounding backbeat and Joiner's sublime guitar work the band were firing on all cylinders topped by the simply divine vocals of Leigh, she has a one in a million voice, her soulful crooning voice is still just perfect and she hasn't really lost a single octave, delivering every line of the following hour and a bit with real power.
After the initial Backseat came Velvet Tongue, Touch and Radio before hitting the groove again with their 2012 comeback single Bittersweet. The crowd were loving every minute Joiner peeling off lick after lick as Matty beguiled and bewitched like a mix of Stevie Nicks and Ann Wilson, they jumped when they needed, sang back when it was required and generally reciprocated the energy from on stage. The set progressed with the obligatory mix of rockers and ballads but as the final few songs approached the band pulled out the big guns with Attracted To The Animal rapidly followed by the double whammy of debut album tracks as I Cry Myself To Sleep At Night (Covered by our own Bonnie Tyler) and the excellent Inside Out finished the main set, with the final few songs also cuing some excellent shape throwing from some of the younger members of the party.
An applause and a quick break then the encore saw Leigh and Craig take the stage by themselves for an acoustic version of Will Be which queued a mass singalong from the small but loyal crowd of AOR-lovers gathered, before they rocked it up for the final time with the superb Wild Child, which is the original and best version of the song Heart played on their Brigade album. I said at the beginning of this review that Romeo's Daughter are often overlooked in the history of melodic rock, but their early allegiance with Robert John 'Mutt' Lange has meant that the songs they made their name with have been kept alive in the public conscience, but what is more telling is that returning after such a long time away from the scene has also it meant that finally they can get the recognition as the potent force they are. 8/10
Wednesday, 13 April 2016
Reviews: Cheap Trick, Black Stone Cherry, Immensity (Reviews By Paul)
Cheap Trick: Bang, Zoom, Crazy, Hello (Big Machine)
The richly deserved rock and roll Hall of Famers Cheap Trick return with their 17th album and it’s a cracker. Often described as the Japanese Beatles due to their sound and the idolisation they receive in the Land of the Rising Sun, Illinois’s favourite sons have produced a fantastically catchy follow up to 2009’s The Latest. Often known for their saccharine coated I Want You To Want Me, this release demonstrates that there is so much more to a band who are often overlooked for their huge influence on the rock world. I’ve loved Cheap Trick for a long time but I have to admit that my knowledge of their catalogue has been limited to some of their earlier classics such as The Dream Police and Surrender. I’ve often considered Cheap Trick as slightly poppier rock but on Bang, Zoom, Crazy, Hello they have a rediscovered a real edge to their sound.
In fact, they’ve delivered a variable palate of tunes, which all contain some exceptional work from the vastly underrated Rick Nielsen. His work is just scintillating, and he can solo with the best. Check out his work on Do You Believe Me? for just one example of sheer quality. Meanwhile the evergreen Robin Zander provides a masterclass in the vocal department, with his delivery ranging from the all-out rocker on tracks like Blood Red Lips, a real T-Rex stomper, to the beautiful Bowie tinged When I Wake Up Tomorrow all and even the cover of Billy Page’s The In Crowd. As you listen to this album, it’s crystal clear how influential this band have been to the rock industry. Whether it be the Americana style of Sing My Blues Away with its Jeff Lynne style hook, the raucous opener Heart On The Line, No Direction Home resplendent with their distinctive signature harmonies or the pumping Long Time No See Ya which would sit comfortably on a Devin Townsend release and you realise that Cheap Trick are clearly not imitators but originators.
The superb quality of each cleverly crafted composition is the result of the main team of composers; Julian Raymond who alongside Zander, Nielsen and bassist Tom Petterson has produced 40 minutes of high class rock. And what a debut for Daxx Nielsen, son of Rick and filling the legendary shoes of Bun E Carlos on the sticks for the first time. He combines brilliantly with Petterson to cement the platform which allows Zander and Rick Nielsen to really shine throughout. The almost throwaway casualness of Blood Red Lips, all seventies stomp and pomp is great whilst Roll Me allows Zander to demonstrate that even at 63 his voice remains in first class condition. As well as containing Nielsen’s stunning fretwork, Do You Believe Me? also contains a hook reminiscent of Billy Squire at his peak combined with the wilder side of Steven Tyler. Penultimate track The Sun Never Sets rocks and rolls with style whilst album closer All Strung Out adds yet another layer to this fine release with shades of one their peers, a certain Mr Iggy Pop. I cannot find fault with this album at all and it is already firmly ensconced in 2016’s top ten. 10/10
The richly deserved rock and roll Hall of Famers Cheap Trick return with their 17th album and it’s a cracker. Often described as the Japanese Beatles due to their sound and the idolisation they receive in the Land of the Rising Sun, Illinois’s favourite sons have produced a fantastically catchy follow up to 2009’s The Latest. Often known for their saccharine coated I Want You To Want Me, this release demonstrates that there is so much more to a band who are often overlooked for their huge influence on the rock world. I’ve loved Cheap Trick for a long time but I have to admit that my knowledge of their catalogue has been limited to some of their earlier classics such as The Dream Police and Surrender. I’ve often considered Cheap Trick as slightly poppier rock but on Bang, Zoom, Crazy, Hello they have a rediscovered a real edge to their sound.
In fact, they’ve delivered a variable palate of tunes, which all contain some exceptional work from the vastly underrated Rick Nielsen. His work is just scintillating, and he can solo with the best. Check out his work on Do You Believe Me? for just one example of sheer quality. Meanwhile the evergreen Robin Zander provides a masterclass in the vocal department, with his delivery ranging from the all-out rocker on tracks like Blood Red Lips, a real T-Rex stomper, to the beautiful Bowie tinged When I Wake Up Tomorrow all and even the cover of Billy Page’s The In Crowd. As you listen to this album, it’s crystal clear how influential this band have been to the rock industry. Whether it be the Americana style of Sing My Blues Away with its Jeff Lynne style hook, the raucous opener Heart On The Line, No Direction Home resplendent with their distinctive signature harmonies or the pumping Long Time No See Ya which would sit comfortably on a Devin Townsend release and you realise that Cheap Trick are clearly not imitators but originators.
The superb quality of each cleverly crafted composition is the result of the main team of composers; Julian Raymond who alongside Zander, Nielsen and bassist Tom Petterson has produced 40 minutes of high class rock. And what a debut for Daxx Nielsen, son of Rick and filling the legendary shoes of Bun E Carlos on the sticks for the first time. He combines brilliantly with Petterson to cement the platform which allows Zander and Rick Nielsen to really shine throughout. The almost throwaway casualness of Blood Red Lips, all seventies stomp and pomp is great whilst Roll Me allows Zander to demonstrate that even at 63 his voice remains in first class condition. As well as containing Nielsen’s stunning fretwork, Do You Believe Me? also contains a hook reminiscent of Billy Squire at his peak combined with the wilder side of Steven Tyler. Penultimate track The Sun Never Sets rocks and rolls with style whilst album closer All Strung Out adds yet another layer to this fine release with shades of one their peers, a certain Mr Iggy Pop. I cannot find fault with this album at all and it is already firmly ensconced in 2016’s top ten. 10/10
Black Stone Cherry: Kentucky (Mascot)
Arena powerhouses and friends of Jesus Black Stone Cherry return with album number five, titled after their home state and it contains few surprises. Having just missed the target with Magic Mountain in 2014, which was of variable consistency, it might be argued that they were under some pressure to deliver this time around. Kentucky isn't a ground breaking musical release. It’s an hour of big songs written in the country rock sound which fits so snuggly into the arenas where they are now so comfortable. In fact, virtually every track on this album will sound great in an arena with decent sound. From the crushing power chords that hit you full on in opener The Way Of Our Future, the sing-a-long anthem of In Our Dreams to the hideous acoustic closer The Rambler, Kentucky demonstrates that BSC has now established their sound and if it ain’t broke, why fix it? Their cover of War (Made famous by Edwin Starr fact fans - Ed) is pointless but will get a huge response from the assembled masses next time they play the shed known as the Motorpoint Arena. Why this is on this album is beyond my comprehension. It's just a little lazy.
As you’d expect from this bunch, Kentucky contains several nods to the man upstairs during the journey from start to finish; Rescue Me stands out in particular. To be fair to BSC, they've tried to move to a deeper soul and blues based approach in certain songs; Soul Machine is a decent example with some nice female vocals enhancing the choruses and a brass section complements Chris Robertson’s neat guitar work. Cheaper To Drink Alone promises much but falls into the typical BSC formulaic delivery with the verse chorus verse approach although it does diverge into a blues type guitar exploration before reaching its conclusion. By the time you get to the final third of the album it’s just a little bit too much padding. Feeling Fuzzy and the ponderous Darkest Secret repeat the earlier part of the album whilst penultimate track Born To Die feels like a left over from a previous session. Ironically, bonus track I Am The Lion is one of their better tracks, with a slight variation to their usual approach although with Robertson’s voice so distinctive I concede that it is hard to really vary their approach. The current popularity of the harder edged country flavoured rock will no doubt ensure that Kentucky mirrors the high chart placings of its predecessor. It’s just a little too bland and repetitive for me. 6/10
Immensity: The Isolation Splendour (Hypnotic Dirge)
The Isolation Splendour is the debut release by Greek Death Doom outfit Immensity. It is a dark brooding atmospheric release, reminiscent of the earlier works of such icons as Paradise Lost, Katatonia, Opeth although it was Ahab that immediately came to mind on first listen. The mix of death and clean vocals works stunningly well and the lengthy weighty tracks build slowly with the clean vocal sections providing respite from the sometimes crushingly heavy riffs. Powerful passages of interplay are evident throughout; check the opening single Irradiance (For The Unlight) which builds patiently and quite magnificently. With the release containing two remastered tracks from their earlier demo The Lonely Aquarelle this is a hefty tomb of work, clocking in at just under 68 minutes for seven tracks. However, repeated plays have turned it into one of the year’s most interesting releases. If you don’t enjoy slow tension filled melodic doom then this won’t be for you. Luckily I really enjoy this genre and The Isolation Splendour serves as a splendid aperitif for the forthcoming release from Katatonia. Without a doubt, one of the melodic doom releases of the year. 9/10
Arena powerhouses and friends of Jesus Black Stone Cherry return with album number five, titled after their home state and it contains few surprises. Having just missed the target with Magic Mountain in 2014, which was of variable consistency, it might be argued that they were under some pressure to deliver this time around. Kentucky isn't a ground breaking musical release. It’s an hour of big songs written in the country rock sound which fits so snuggly into the arenas where they are now so comfortable. In fact, virtually every track on this album will sound great in an arena with decent sound. From the crushing power chords that hit you full on in opener The Way Of Our Future, the sing-a-long anthem of In Our Dreams to the hideous acoustic closer The Rambler, Kentucky demonstrates that BSC has now established their sound and if it ain’t broke, why fix it? Their cover of War (Made famous by Edwin Starr fact fans - Ed) is pointless but will get a huge response from the assembled masses next time they play the shed known as the Motorpoint Arena. Why this is on this album is beyond my comprehension. It's just a little lazy.
As you’d expect from this bunch, Kentucky contains several nods to the man upstairs during the journey from start to finish; Rescue Me stands out in particular. To be fair to BSC, they've tried to move to a deeper soul and blues based approach in certain songs; Soul Machine is a decent example with some nice female vocals enhancing the choruses and a brass section complements Chris Robertson’s neat guitar work. Cheaper To Drink Alone promises much but falls into the typical BSC formulaic delivery with the verse chorus verse approach although it does diverge into a blues type guitar exploration before reaching its conclusion. By the time you get to the final third of the album it’s just a little bit too much padding. Feeling Fuzzy and the ponderous Darkest Secret repeat the earlier part of the album whilst penultimate track Born To Die feels like a left over from a previous session. Ironically, bonus track I Am The Lion is one of their better tracks, with a slight variation to their usual approach although with Robertson’s voice so distinctive I concede that it is hard to really vary their approach. The current popularity of the harder edged country flavoured rock will no doubt ensure that Kentucky mirrors the high chart placings of its predecessor. It’s just a little too bland and repetitive for me. 6/10
Immensity: The Isolation Splendour (Hypnotic Dirge)
The Isolation Splendour is the debut release by Greek Death Doom outfit Immensity. It is a dark brooding atmospheric release, reminiscent of the earlier works of such icons as Paradise Lost, Katatonia, Opeth although it was Ahab that immediately came to mind on first listen. The mix of death and clean vocals works stunningly well and the lengthy weighty tracks build slowly with the clean vocal sections providing respite from the sometimes crushingly heavy riffs. Powerful passages of interplay are evident throughout; check the opening single Irradiance (For The Unlight) which builds patiently and quite magnificently. With the release containing two remastered tracks from their earlier demo The Lonely Aquarelle this is a hefty tomb of work, clocking in at just under 68 minutes for seven tracks. However, repeated plays have turned it into one of the year’s most interesting releases. If you don’t enjoy slow tension filled melodic doom then this won’t be for you. Luckily I really enjoy this genre and The Isolation Splendour serves as a splendid aperitif for the forthcoming release from Katatonia. Without a doubt, one of the melodic doom releases of the year. 9/10
Tuesday, 12 April 2016
Reviews: Martyr, Lizzies, Bus
NWOBHM is a tradition in the UK and one of finest exports, band's from all over the world took the NWOBHM sound laid down by Iron Maiden, Saxon and Judas Priest, so here we have four bands from all over the world that have been inspired by one of the most endearing styles in metal. Get your Denim and Leather on before reading!!
First up we have Dutch band Martyr (7), they can be considered to be contemporaries of the NWOBHM scene, You Are Next (Into The Limelight) is their fourth album in career that began in the mid 80's the band split in 1987 before coming back to life in 2011, this is their second album since their reformation and it's full of the galloping, bass heavy metal of early-Maiden, the sound is very authentic with some twin guitars harmonies on the tracks with solos cutting through the noise along with some proto thrash riffage on Infinity and an Anthrax stomp on Inch By Inch. This is music that is very much stuck in it's time but can evoke memories of a bygone era, You Are Next is Martyr continuing where they left off all those years ago. Over to Spain now for the debut album of Lizzies (8) whose debut album smacks of prime period Tokyo Blade and more modern acts like Cauldron, this female four-piece play speedy classic metal, that is a more stripped back affair than Martyr's but all the grittier for it, Good Luck (The Sign) is chock full of quality songwriting from the off with 666 Miles having a tongue firmly in it's cheek, Viper and Mirror Maze are indicative of the rest of the album with feminist lyrics tied with excellent classic metal sound, this quartet can really rock with touches of the legends but their own spin too. Lizzies are an excellent band and their debut is a sparkling slice of classic thrash metal that sees the four ladies kicking the ass of the male dominated NWOBHM scene. Finally we have Bus (7) from Athens Greece who are more at the doom end of the scale with elements of Angel Witch and some Candlemass, they have a proto-power metal sound with low end riffs and some demon conjuring on Masteroid and the bass driven New Black Volume they are heavier than both of the proceeding bands with big slabs of riffage that owe as much to Sabbath as they do any of the bands previously mentioned especially on the creeping Don't Fear Your Demons. Bus is a weird name for a band, I will admit but their self released album The Unknown Secretary (what is it about this band and weird titles) is the ideal introduction to their doomier sound.
As you can see the NWOBHM baton that was laid down at the beginning of the 80's is still be carried now these three bands all have the NWOBHM sound coursing through them but they also show that it can be evolved and adapted into many of the post 80's styles of metal.
First up we have Dutch band Martyr (7), they can be considered to be contemporaries of the NWOBHM scene, You Are Next (Into The Limelight) is their fourth album in career that began in the mid 80's the band split in 1987 before coming back to life in 2011, this is their second album since their reformation and it's full of the galloping, bass heavy metal of early-Maiden, the sound is very authentic with some twin guitars harmonies on the tracks with solos cutting through the noise along with some proto thrash riffage on Infinity and an Anthrax stomp on Inch By Inch. This is music that is very much stuck in it's time but can evoke memories of a bygone era, You Are Next is Martyr continuing where they left off all those years ago. Over to Spain now for the debut album of Lizzies (8) whose debut album smacks of prime period Tokyo Blade and more modern acts like Cauldron, this female four-piece play speedy classic metal, that is a more stripped back affair than Martyr's but all the grittier for it, Good Luck (The Sign) is chock full of quality songwriting from the off with 666 Miles having a tongue firmly in it's cheek, Viper and Mirror Maze are indicative of the rest of the album with feminist lyrics tied with excellent classic metal sound, this quartet can really rock with touches of the legends but their own spin too. Lizzies are an excellent band and their debut is a sparkling slice of classic thrash metal that sees the four ladies kicking the ass of the male dominated NWOBHM scene. Finally we have Bus (7) from Athens Greece who are more at the doom end of the scale with elements of Angel Witch and some Candlemass, they have a proto-power metal sound with low end riffs and some demon conjuring on Masteroid and the bass driven New Black Volume they are heavier than both of the proceeding bands with big slabs of riffage that owe as much to Sabbath as they do any of the bands previously mentioned especially on the creeping Don't Fear Your Demons. Bus is a weird name for a band, I will admit but their self released album The Unknown Secretary (what is it about this band and weird titles) is the ideal introduction to their doomier sound.
As you can see the NWOBHM baton that was laid down at the beginning of the 80's is still be carried now these three bands all have the NWOBHM sound coursing through them but they also show that it can be evolved and adapted into many of the post 80's styles of metal.
Monday, 11 April 2016
Reviews: Zakk Wylde, Tax The Heat, Gypsy Chief Goliath
Zakk Wylde: Book Of Shadows II (Entertainment One)
In all of Zakk Wylde's long and varied career, other than his first two Ozzy albums, my favourite albums by the Bezerker are Pride And Glory and his debut solo record Book Of Shadows. I find the work with Black Label Society a little too overbearing at times but the early roots of Zakk are country, blues and Southern Rock, when he eases off the pinched harmonics and furious solos he can create some beautiful music. Book Of Shadows II surprisingly is Zakk's second solo album and the sequel to BOS, now with 20 year gap between releases it would be easy to think that this would just be BLS record under Zakk's name but as Autumn Changes starts off with introspective acoustic strumming and, rich clean guitar lines you are keenly aware that this is not the furious, ax-wielding, guitar maniac that leads BLS. Yes there has always been some slower ballad like songs on the Society records (In This River) but since Unblackend Zakk has shown again that when he is turned down or unplugged he can be equally as powerful, hearing him croon with his mighty Southern drawl is a revelation as he doesn't need to ape Ozzy, this is more his own voice and the record is better for it.
First single Sleeping Dogs is a soul bearing, cathartic but up beat number that closes the album beautifully, this and Autumn Changes bookend and album that creates a hazy atmosphere throughout that gives the escapism, letting you slip away into the stripped back arrangements. BOSII is the sound of Zakk harking back to his roots and moving away from the metal sound that has seemed to become a bit stagnant on recent BLS albums, it's also the sound of a more mature more world weary Wylde, as a guitar he is still immensely talented but there isn't the showing off that comes from his day job, everything is a little understated, he also shows his often overlooked piano skills as well. As I've said the tracks are introspective, with a bit of the Allman's sunny harmonies, some Neil Young on The Levee and a lot of Skynyrd at their most mournful. If you are looking for the stomping BLS metal then you won't find it however for me Book Of Souls II could be Zakk's most accomplished offering to date, I've grown tired of BLS live if I'm honest however if he toured this record in conjunction with it's predecessor and the Pride And Glory work that I would go too. A new (old) side of Zakk but the more honest, poignant side of him that has made a great release. 9/10
Tax The Heat: Fed To The Lions (Nuclear Blast)
Sharp suited Bristol four-piece Tax The Heat have been making waves for a good while now, but they have now finally gotten around to releasing their debut full length record. Fed To The Lions merges 60's inspired R&B with garage rock meaning that the band are like an amalgamation of The Kinks and (early) The Who, playing QOTSA songs, with the radio bothering songwriting of Royal Blood or Band Of Skulls. With the fuzzy bass lines laid down by Antonio Angotti and the driving percussion of Jack Taylor it means the songs are immediate and have a sense of urgency to them, this gets feet tapping and heads nodding from the opening two numbers Highway Home which has Josh Homme's imprint all over it and the quirky Animals. From these two songs you see that this record is not jumping on the retro bandwagon, it is merely influenced by the past, it has a distinct modern touch to it, much of this coming from the ultra-modern, almost dance-like production of Evansson, who ramps up the rhythms to almost hypnotic levels.
With this focus on rhythm being central to the record the guitars of JP Jacyshyn and Alex Veale are very riff-centric forming part of the punchy tempo, with some frantic strumming throughout augmented by the occasional use of a slide and the brief bursts of lead guitar breaks and white hot soloing, the record very rarely dips in pace and means that the 12 songs fly by in a flurry of blues rocking riffs and gutsy song writing. The tracks on this record don't always sit too easily in the genre boundaries, Learn To Drown (You're Wrong) is a spiky punk rocker, the title track has the stop-start stomp of Royal Blood with Veale playing with a reverb on his vocals, while Some Sympathy has the southern rock swagger of The Black Crowes, this means that the record constantly surprises and makes it a great party album as the spirit of the swinging sixties is evident under the modern flourishes, I can't wait to see how they translate to, what I've heard is a incendiary live show at Steelhouse. Fed To The Lions is a cracking debut record from the Bristol mob and one that should really get people talking. 8/10
Gypsy Chief Goliath: Citizens Of Nowhere (Pitch Black Records)
Canadian's Gypsy Chief Goliath play the kind of deep-fried, stoner, blues Down, COC, Crowbar have made a name playing, filled with sludgy riffs that are interwoven with dual guitar Lizzy-like harmonies, snarling vocals, a bottom end stronger than a bong hit and songs that have a metallic but classic groove. Citizens Of Nowhere is the band's third album (their second on Greek label Pitch Black) and it continues with their stoner metal style, the band have a rhythm thicker than a rump steak and it shows as the riffs are heavyweight, packed with distortion but also searing melodic leads. The albums starts off with it's weakest track unfortunately but from Holding Grace it gets better as it progresses, this track is slower and heavier than the first track but also has the bands signature harmonica blazing through it, as it creeps the title track stirs the thunder again with slabs of guitars moving at pace. The band have good songs but they are let down by the production a little, I realise that this was recorded on analogue equipment reel-to-reel but much of the nuances cannot be heard, the bass is almost inaudible sounding like a phut behind the drums, still if you like your metal hazy, and dense as a weed-fug and a cover of Killing Yourself To Live then Citizens Of Nowhere will be right of your street. 7/10
In all of Zakk Wylde's long and varied career, other than his first two Ozzy albums, my favourite albums by the Bezerker are Pride And Glory and his debut solo record Book Of Shadows. I find the work with Black Label Society a little too overbearing at times but the early roots of Zakk are country, blues and Southern Rock, when he eases off the pinched harmonics and furious solos he can create some beautiful music. Book Of Shadows II surprisingly is Zakk's second solo album and the sequel to BOS, now with 20 year gap between releases it would be easy to think that this would just be BLS record under Zakk's name but as Autumn Changes starts off with introspective acoustic strumming and, rich clean guitar lines you are keenly aware that this is not the furious, ax-wielding, guitar maniac that leads BLS. Yes there has always been some slower ballad like songs on the Society records (In This River) but since Unblackend Zakk has shown again that when he is turned down or unplugged he can be equally as powerful, hearing him croon with his mighty Southern drawl is a revelation as he doesn't need to ape Ozzy, this is more his own voice and the record is better for it.
First single Sleeping Dogs is a soul bearing, cathartic but up beat number that closes the album beautifully, this and Autumn Changes bookend and album that creates a hazy atmosphere throughout that gives the escapism, letting you slip away into the stripped back arrangements. BOSII is the sound of Zakk harking back to his roots and moving away from the metal sound that has seemed to become a bit stagnant on recent BLS albums, it's also the sound of a more mature more world weary Wylde, as a guitar he is still immensely talented but there isn't the showing off that comes from his day job, everything is a little understated, he also shows his often overlooked piano skills as well. As I've said the tracks are introspective, with a bit of the Allman's sunny harmonies, some Neil Young on The Levee and a lot of Skynyrd at their most mournful. If you are looking for the stomping BLS metal then you won't find it however for me Book Of Souls II could be Zakk's most accomplished offering to date, I've grown tired of BLS live if I'm honest however if he toured this record in conjunction with it's predecessor and the Pride And Glory work that I would go too. A new (old) side of Zakk but the more honest, poignant side of him that has made a great release. 9/10
Tax The Heat: Fed To The Lions (Nuclear Blast)
Sharp suited Bristol four-piece Tax The Heat have been making waves for a good while now, but they have now finally gotten around to releasing their debut full length record. Fed To The Lions merges 60's inspired R&B with garage rock meaning that the band are like an amalgamation of The Kinks and (early) The Who, playing QOTSA songs, with the radio bothering songwriting of Royal Blood or Band Of Skulls. With the fuzzy bass lines laid down by Antonio Angotti and the driving percussion of Jack Taylor it means the songs are immediate and have a sense of urgency to them, this gets feet tapping and heads nodding from the opening two numbers Highway Home which has Josh Homme's imprint all over it and the quirky Animals. From these two songs you see that this record is not jumping on the retro bandwagon, it is merely influenced by the past, it has a distinct modern touch to it, much of this coming from the ultra-modern, almost dance-like production of Evansson, who ramps up the rhythms to almost hypnotic levels.
With this focus on rhythm being central to the record the guitars of JP Jacyshyn and Alex Veale are very riff-centric forming part of the punchy tempo, with some frantic strumming throughout augmented by the occasional use of a slide and the brief bursts of lead guitar breaks and white hot soloing, the record very rarely dips in pace and means that the 12 songs fly by in a flurry of blues rocking riffs and gutsy song writing. The tracks on this record don't always sit too easily in the genre boundaries, Learn To Drown (You're Wrong) is a spiky punk rocker, the title track has the stop-start stomp of Royal Blood with Veale playing with a reverb on his vocals, while Some Sympathy has the southern rock swagger of The Black Crowes, this means that the record constantly surprises and makes it a great party album as the spirit of the swinging sixties is evident under the modern flourishes, I can't wait to see how they translate to, what I've heard is a incendiary live show at Steelhouse. Fed To The Lions is a cracking debut record from the Bristol mob and one that should really get people talking. 8/10
Gypsy Chief Goliath: Citizens Of Nowhere (Pitch Black Records)
Canadian's Gypsy Chief Goliath play the kind of deep-fried, stoner, blues Down, COC, Crowbar have made a name playing, filled with sludgy riffs that are interwoven with dual guitar Lizzy-like harmonies, snarling vocals, a bottom end stronger than a bong hit and songs that have a metallic but classic groove. Citizens Of Nowhere is the band's third album (their second on Greek label Pitch Black) and it continues with their stoner metal style, the band have a rhythm thicker than a rump steak and it shows as the riffs are heavyweight, packed with distortion but also searing melodic leads. The albums starts off with it's weakest track unfortunately but from Holding Grace it gets better as it progresses, this track is slower and heavier than the first track but also has the bands signature harmonica blazing through it, as it creeps the title track stirs the thunder again with slabs of guitars moving at pace. The band have good songs but they are let down by the production a little, I realise that this was recorded on analogue equipment reel-to-reel but much of the nuances cannot be heard, the bass is almost inaudible sounding like a phut behind the drums, still if you like your metal hazy, and dense as a weed-fug and a cover of Killing Yourself To Live then Citizens Of Nowhere will be right of your street. 7/10
Sunday, 10 April 2016
Reviews: Judas Priest, Colour Of Noise, Holy Dragons (Reviews By Paul)
Judas Priest: Battle Cry (Colombia)
The mighty metal gods are not afraid of releasing the odd live album or two. One of my all-time favourite live albums is Priest Live from the mid-1980s, which captured the Priest in full pomp as they dominated the States with a no hold barred assault. Having stormed back into full form with 2014’s Redeemer Of Souls, Battle Cry captures the band on fire at 2015’s Wacken Festival. The set list mirrors the show I saw at Wolverhampton Civic Hall in December of that year, covering their stunning back catalogue which mixed with some of the real killer tunes from their last release. Opener Dragonaut is classic Priest with a current twist; thick riffs, powerful rhythm and of course the metal god himself Rob Halford proving he can still deliver the goods (sorry!)
With a set list that is stuffed fuller than a fat bird’s gusset, you can just take your pick of metal anthems. Listen to Metal Gods; Halford may no longer hit the glass shattering heights as regularly as he once did but he has adapted his live performance brilliantly and this is captured in all its glory on this release. Priest live remains a slick machine and with Richie Faulkner adding fresh energy to the rock solid core of the band old favourites such as Victim Of Changes (where Halford is immense as do the Wacken Crowd) and Beyond The Realms Of Death sound as current as Halls Of Valhalla and Redeemer Of Souls. Of course the sing-a-longs are also the staples in the set; Breaking The Law, Hell Bent For Leather are delivered with power before the climax; an absolutely blistering Painkiller complete with Halford’s vocal performance the icing on this most brilliant of tracks. This is the sound of a band enjoying a new lease of life and of course in front of a crowd who truly respect their legendary status. 8/10
Colour Of Noise: Colour Of Noise (Self Released)
Sometimes you miss the odd release but it’s so good that it deserves a review when you finally get hold of it. Having been mightily impressed with Colour Of Noise in their support slot with Toseland at The Globe in mid-March, to the extent that I picked up their album at the merch table before I left the gig, I was looking forward to hearing the guys first full release. Initially released via a pledge campaign late in 2015, this is an album crammed full of quality rock ‘n’ roll. It’s not fancy, it’s not crammed full of epic marathon 10 minute songs but it is 36 minutes of superbly crafted good time music. So what makes it so good? Well, to start with the general vibe of every track makes it impossible to avoid nodding your head, tap your foot or quite quickly sing along. Secondly, the guitar work of Bruce John Dickinson is second to none. No virtuoso noodling but just simple and effective with a steel that has been formed over many years during his time on the circuit with outfits such as Little Angels.
The mighty metal gods are not afraid of releasing the odd live album or two. One of my all-time favourite live albums is Priest Live from the mid-1980s, which captured the Priest in full pomp as they dominated the States with a no hold barred assault. Having stormed back into full form with 2014’s Redeemer Of Souls, Battle Cry captures the band on fire at 2015’s Wacken Festival. The set list mirrors the show I saw at Wolverhampton Civic Hall in December of that year, covering their stunning back catalogue which mixed with some of the real killer tunes from their last release. Opener Dragonaut is classic Priest with a current twist; thick riffs, powerful rhythm and of course the metal god himself Rob Halford proving he can still deliver the goods (sorry!)
With a set list that is stuffed fuller than a fat bird’s gusset, you can just take your pick of metal anthems. Listen to Metal Gods; Halford may no longer hit the glass shattering heights as regularly as he once did but he has adapted his live performance brilliantly and this is captured in all its glory on this release. Priest live remains a slick machine and with Richie Faulkner adding fresh energy to the rock solid core of the band old favourites such as Victim Of Changes (where Halford is immense as do the Wacken Crowd) and Beyond The Realms Of Death sound as current as Halls Of Valhalla and Redeemer Of Souls. Of course the sing-a-longs are also the staples in the set; Breaking The Law, Hell Bent For Leather are delivered with power before the climax; an absolutely blistering Painkiller complete with Halford’s vocal performance the icing on this most brilliant of tracks. This is the sound of a band enjoying a new lease of life and of course in front of a crowd who truly respect their legendary status. 8/10
Colour Of Noise: Colour Of Noise (Self Released)
Sometimes you miss the odd release but it’s so good that it deserves a review when you finally get hold of it. Having been mightily impressed with Colour Of Noise in their support slot with Toseland at The Globe in mid-March, to the extent that I picked up their album at the merch table before I left the gig, I was looking forward to hearing the guys first full release. Initially released via a pledge campaign late in 2015, this is an album crammed full of quality rock ‘n’ roll. It’s not fancy, it’s not crammed full of epic marathon 10 minute songs but it is 36 minutes of superbly crafted good time music. So what makes it so good? Well, to start with the general vibe of every track makes it impossible to avoid nodding your head, tap your foot or quite quickly sing along. Secondly, the guitar work of Bruce John Dickinson is second to none. No virtuoso noodling but just simple and effective with a steel that has been formed over many years during his time on the circuit with outfits such as Little Angels.
Thirdly, the band has a real ace upfront and central with the fantastic pipes of Matt Mitchell. The Furyon front man has a stunning voice, ideally suited to tracks such as Head On, Medicine Man and foot stomping opener Can You Hear Me? And finally, providing a solid and reliable foundation you have Andy Nixon, Dan Lundholm and Ben Daniel who hold the whole thing together. Dirty riffs are prevalent throughout; there are no ballads hidden in this beauty with Drive It Like You Stole It and Rock Bottom just pumping hard rock. Colour Of Noise is a storming debut dripping with an infectious groove which will bring a smile to the hardest of faces. Having seen the guys live, I know they can deliver too. Highly recommended. 9/10
Holy Dragons: Civilizator (Pitch Black)
The world of hard rock and heavy metal is renowned for being a global product, with bands across the world carving their own niches out in their own way; often unheard and only supported by a minor hardcore element. However, these bands continue to develop and persevere and for that they get massive kudos. Holy Dragons sit firmly in this camp, hailing from Kazakhstan.
Incredibly, Civilizator is their 14th release. The band were formed in 1992 by Jurgen Thunderson (lead and acoustic guitars, synthesizers and backing vocals), the only original member. Alongside Thunderson, fellow shredder Chris “Thorheim” Caine is joined by drummer Antonio “Deimos” Repablo, bassist Ivan Manchenko and vocalist Alexander “Demoraivola” Kuligin. Not being familiar with their other 13 albums, I took this release on face value. At over 70 minutes, this is a weighty album which requires commitment. If you can hold your nerve, then Civilizator is a pleasing mix of old and new styles of traditional heavy metal.
The crazy Bat Bomb sees Kuligin delivering a fine Geoff Tate style delivery with a powerful and confident vocal performance. Indeed, this is one of the stand out tracks on the album, merging the pace and frantic gallop of power metal with the chunkier riffage of bands such as Queensryche. Fusing old school keyboard sounds that hark back to medieval times, there is a lot going on in a song that is complex but well crafted. Some of the guitar work from Thunderson and Caine is top drawer. However, the track is slightly disjointed at the fade with an acoustic section which doesn’t sit comfortably with the rest of the song. Holy Dragons mix up their styles throughout this release but favour the faster approach of classic British and German bands; pick any number of the power metal stable from Blind Guardian through to Primal Fear and add the more traditional sound of Saxon, Raven, Maiden as well as some Annihilator type thrash and you have a potent mix of metal.
They are not afraid of the odd political statement either, with No Oil No War, Through The Wall Of Lies, My Fear and Stop The War! Pretty damn clear in their messages. No Oil No War in particular is a brooding Maidenesque track which builds over its eight minutes. Holy Dragons clearly love what they do and they do it well. The shorter tracks such as Hawker Hurricane and Secret Friend hark back to the 1980s where metal was either just heavy or hair. This is a solid release which contains some real gems. 7/10
Holy Dragons: Civilizator (Pitch Black)
The world of hard rock and heavy metal is renowned for being a global product, with bands across the world carving their own niches out in their own way; often unheard and only supported by a minor hardcore element. However, these bands continue to develop and persevere and for that they get massive kudos. Holy Dragons sit firmly in this camp, hailing from Kazakhstan.
Incredibly, Civilizator is their 14th release. The band were formed in 1992 by Jurgen Thunderson (lead and acoustic guitars, synthesizers and backing vocals), the only original member. Alongside Thunderson, fellow shredder Chris “Thorheim” Caine is joined by drummer Antonio “Deimos” Repablo, bassist Ivan Manchenko and vocalist Alexander “Demoraivola” Kuligin. Not being familiar with their other 13 albums, I took this release on face value. At over 70 minutes, this is a weighty album which requires commitment. If you can hold your nerve, then Civilizator is a pleasing mix of old and new styles of traditional heavy metal.
The crazy Bat Bomb sees Kuligin delivering a fine Geoff Tate style delivery with a powerful and confident vocal performance. Indeed, this is one of the stand out tracks on the album, merging the pace and frantic gallop of power metal with the chunkier riffage of bands such as Queensryche. Fusing old school keyboard sounds that hark back to medieval times, there is a lot going on in a song that is complex but well crafted. Some of the guitar work from Thunderson and Caine is top drawer. However, the track is slightly disjointed at the fade with an acoustic section which doesn’t sit comfortably with the rest of the song. Holy Dragons mix up their styles throughout this release but favour the faster approach of classic British and German bands; pick any number of the power metal stable from Blind Guardian through to Primal Fear and add the more traditional sound of Saxon, Raven, Maiden as well as some Annihilator type thrash and you have a potent mix of metal.
They are not afraid of the odd political statement either, with No Oil No War, Through The Wall Of Lies, My Fear and Stop The War! Pretty damn clear in their messages. No Oil No War in particular is a brooding Maidenesque track which builds over its eight minutes. Holy Dragons clearly love what they do and they do it well. The shorter tracks such as Hawker Hurricane and Secret Friend hark back to the 1980s where metal was either just heavy or hair. This is a solid release which contains some real gems. 7/10
Friday, 8 April 2016
Reviews: Thunderstone, The Treatment, Innerwish
Thunderstone: Apocalypse Again (AFM Records)
Thunderstone are one of the most well known bands in the power metal and their sixth album sees original frontman and the 'voice' of Thunderstone Pasi Rantanen returning to the fold after At Vance's Rick Altzi gave it a jolly good go on their previous release Dirt Metal. However as good as Altzi is Thunderstone has always been the home of Rantanen and with their prodigal brother back in the fold Thunderstone feel whole again. They sound whole again too Rantanen's gruff delivery is evident from the opening rage of Veterans Of The Apocalypse which has the classic Thunderstone hallmarks shared by bands such as Sontata Arctica with the duelling guitar and keys sprinting along backed by double kickdrums giving the songs that traditional power metal pace. Thunderstone have always been a bit of heavier prospect than their compatriots and this continues on this records with riffs coming thick and fast and the keys moving from classic organs to tinkling synths in a heartbeat.
The Path is an orchestral styled track with a massive chorus included, Fire And Ice is a bit slower but more creepingly progressive than the other songs on this record. Much like the last few Stratovarius albums the speed metal assault has be used sparingly with a few of the tracks having a more mid-paced chug using orchestral elements and synths to bring the power although not on the frantic Wounds though. These slower tracks give a bit of variation to the album meaning nothing gets stale. Mostly it's the keys of Jukka Karinen are the strongest part of this record they contribute so much to every song, they are not always the lightning fast guitar competitive keys either, on tracks like Higher they are brooding Lord-like organs and on the epic Days Of Our Lives they give the track it's melodic cinematic edge. Apocalypse Again sees line up changes in the band, that are for the better in my opinion but they still have the same sound that has held them in such high regard by many for so long, they are even experimenting a bit with it which can be commended. 7/10
The Treatment: Generation Me (Frontiers Records)
Much like Thunderstone, Cambridge rockers The Treatment have also had a change of membership with guitarist Fabien Dammers and vocalist Matt Jones leaving in 2015 replaced by Tao Grey and Mitchel Emms on vocals. Seeing this line up at Steelhouse last year the band didn't seem to miss a beat, Emms voice is equally as good as his predecessor and Tao slots into the band working in dual union with the other axe man Tagore Grey. On stage the band were excellent as usual their sleazier style working well for them all all decked out in matching biker jackets. With a good showing on the old material I was anticipating their next album to see how this new blood would contribute on the record, thankfully much like on stage on record the band seem to be full of the same rock n roll power shown on their first two records. If anything with Emms they have added a punkier, sleazier sound that captures the spirit of the late 80's Sunset Strip where GNR, Crue, Ratt all made their mark. This Sunset Strip sound is epitomised by the tracks Tell Us The Truth and Bloodsucker both of which could sit on a Motley Crue album comfortably, moving to the lighter side with Backseat Heartbeat having the AOR pulse of Night Ranger or Winger.
The title track itself is condemnation of the self centered, fame hungry nature of modern life (something Emms has witnessed first hand) and sees the band playing with fury. Generation Me has to be The Treatment's heaviest record with huge riffs from the Grey's and a storming rhythm section of Swoggle and Dhani thundering from the off. The opening trio of songs rock away with aggressive swagger, providing the start of the album with enough guts to hook you in, Let It Begin is driven by an AC/DC style riff, with the Angus influence continuing on The Devil and if I'm honest it infects most of the record with Cry Tough standing out on this score. As I've said it's the heaviest and most varied record the band have done, they'd come a long way from the long haired kids of their debut record, with a rockstar styling and the songs to mach, The Treatment have become a formidable addition to the British rock scene. This new attitude and a great new record shows that the future looks bright for The Treatment, look out for their UK tour at the end of this month, catch them in a small venue while you still can! 8/10
Innerwish: S/T (Ulterium Records)
Innerwish are seen by a few as that 'other' Greek power metal band that aren't Firewind but that comparison is inaccurate, that is to say they are the other major band on the Greek power metal scene but they are no mere also-rans Innerwish have been producing powerful, power metal with a rougher traditional edge for many a year now. The Athens band are now well into their second decade and their fifth record could be their strongest, the first duo of Roll The Dice and Broken set the scene perfected with furious riffs from Manolis and Thimios, add to this a strong groove from Antonis and Fragiskos, most notable on the breakdown outro of Broken and Innerwish has toughness that many power metal bands can't master, Innerwish have always had a classic metal sound with little reliance on keys, yes Georgios' ivories are there on Machines Of Fear but unlike Thunderstone, Sonata and Stratovarius the guitars are Innerwish's chief weapon, likening them more to Sabaton on Modern Babylon and the aforementioned Machines Of Fear, in fact with a lot of this record dedicated to war the Sabaton influence is very strong. Things slow on the intro to Needles In My Mind which has classical guitars at the beginning before bursting into a Maiden gallop, My World On Fire sounds like their Greek compatriots Firewind, while Rain Of A Thousand Years adds a symphonic Blind Guardian touch to proceedings. I've mentioned the Sabaton influence (a few times actually but it is pronounced) and much of this is due to the gritty vocals of George who can croon when he needs to but his throaty delivery is what gives the songs their character as the instrumental part of the record continues to supply heavyweight, classic metal riffs. Innerwish is a great album if you love your metal in the traditional style with power metal flourishes, it also pulls the band away from their compatriots, as they can more than stand on their own collective feet and cut their own groove in the crowded metal scene. 8/10
Thunderstone are one of the most well known bands in the power metal and their sixth album sees original frontman and the 'voice' of Thunderstone Pasi Rantanen returning to the fold after At Vance's Rick Altzi gave it a jolly good go on their previous release Dirt Metal. However as good as Altzi is Thunderstone has always been the home of Rantanen and with their prodigal brother back in the fold Thunderstone feel whole again. They sound whole again too Rantanen's gruff delivery is evident from the opening rage of Veterans Of The Apocalypse which has the classic Thunderstone hallmarks shared by bands such as Sontata Arctica with the duelling guitar and keys sprinting along backed by double kickdrums giving the songs that traditional power metal pace. Thunderstone have always been a bit of heavier prospect than their compatriots and this continues on this records with riffs coming thick and fast and the keys moving from classic organs to tinkling synths in a heartbeat.
The Path is an orchestral styled track with a massive chorus included, Fire And Ice is a bit slower but more creepingly progressive than the other songs on this record. Much like the last few Stratovarius albums the speed metal assault has be used sparingly with a few of the tracks having a more mid-paced chug using orchestral elements and synths to bring the power although not on the frantic Wounds though. These slower tracks give a bit of variation to the album meaning nothing gets stale. Mostly it's the keys of Jukka Karinen are the strongest part of this record they contribute so much to every song, they are not always the lightning fast guitar competitive keys either, on tracks like Higher they are brooding Lord-like organs and on the epic Days Of Our Lives they give the track it's melodic cinematic edge. Apocalypse Again sees line up changes in the band, that are for the better in my opinion but they still have the same sound that has held them in such high regard by many for so long, they are even experimenting a bit with it which can be commended. 7/10
The Treatment: Generation Me (Frontiers Records)
Much like Thunderstone, Cambridge rockers The Treatment have also had a change of membership with guitarist Fabien Dammers and vocalist Matt Jones leaving in 2015 replaced by Tao Grey and Mitchel Emms on vocals. Seeing this line up at Steelhouse last year the band didn't seem to miss a beat, Emms voice is equally as good as his predecessor and Tao slots into the band working in dual union with the other axe man Tagore Grey. On stage the band were excellent as usual their sleazier style working well for them all all decked out in matching biker jackets. With a good showing on the old material I was anticipating their next album to see how this new blood would contribute on the record, thankfully much like on stage on record the band seem to be full of the same rock n roll power shown on their first two records. If anything with Emms they have added a punkier, sleazier sound that captures the spirit of the late 80's Sunset Strip where GNR, Crue, Ratt all made their mark. This Sunset Strip sound is epitomised by the tracks Tell Us The Truth and Bloodsucker both of which could sit on a Motley Crue album comfortably, moving to the lighter side with Backseat Heartbeat having the AOR pulse of Night Ranger or Winger.
The title track itself is condemnation of the self centered, fame hungry nature of modern life (something Emms has witnessed first hand) and sees the band playing with fury. Generation Me has to be The Treatment's heaviest record with huge riffs from the Grey's and a storming rhythm section of Swoggle and Dhani thundering from the off. The opening trio of songs rock away with aggressive swagger, providing the start of the album with enough guts to hook you in, Let It Begin is driven by an AC/DC style riff, with the Angus influence continuing on The Devil and if I'm honest it infects most of the record with Cry Tough standing out on this score. As I've said it's the heaviest and most varied record the band have done, they'd come a long way from the long haired kids of their debut record, with a rockstar styling and the songs to mach, The Treatment have become a formidable addition to the British rock scene. This new attitude and a great new record shows that the future looks bright for The Treatment, look out for their UK tour at the end of this month, catch them in a small venue while you still can! 8/10
Innerwish: S/T (Ulterium Records)
Innerwish are seen by a few as that 'other' Greek power metal band that aren't Firewind but that comparison is inaccurate, that is to say they are the other major band on the Greek power metal scene but they are no mere also-rans Innerwish have been producing powerful, power metal with a rougher traditional edge for many a year now. The Athens band are now well into their second decade and their fifth record could be their strongest, the first duo of Roll The Dice and Broken set the scene perfected with furious riffs from Manolis and Thimios, add to this a strong groove from Antonis and Fragiskos, most notable on the breakdown outro of Broken and Innerwish has toughness that many power metal bands can't master, Innerwish have always had a classic metal sound with little reliance on keys, yes Georgios' ivories are there on Machines Of Fear but unlike Thunderstone, Sonata and Stratovarius the guitars are Innerwish's chief weapon, likening them more to Sabaton on Modern Babylon and the aforementioned Machines Of Fear, in fact with a lot of this record dedicated to war the Sabaton influence is very strong. Things slow on the intro to Needles In My Mind which has classical guitars at the beginning before bursting into a Maiden gallop, My World On Fire sounds like their Greek compatriots Firewind, while Rain Of A Thousand Years adds a symphonic Blind Guardian touch to proceedings. I've mentioned the Sabaton influence (a few times actually but it is pronounced) and much of this is due to the gritty vocals of George who can croon when he needs to but his throaty delivery is what gives the songs their character as the instrumental part of the record continues to supply heavyweight, classic metal riffs. Innerwish is a great album if you love your metal in the traditional style with power metal flourishes, it also pulls the band away from their compatriots, as they can more than stand on their own collective feet and cut their own groove in the crowded metal scene. 8/10
Thursday, 7 April 2016
A View From The Back Of The Room: The Sheepdogs
The Sheepdogs & The People, The Poet - The Globe, Cardiff
I heard a lot of buzz about The Sheepdogs after they supported The Temperance Movement in Cardiff in January, in the time between then and now I have become very acquainted with the Canadian band so when I saw that they would be doing a headline show in The Globe, it became a must-see gig in my eyes. So on a crisp Wednesday night I ventured forth into the Cardiff night to one of my favourite little venues to if the fuss made after TTM gig was justified.
Inside the venue there was a smattering of people that steadily increased as the support act took to the stage The People, The Poet. The Pontypridd or more accurately Beddau based band have played the prestigious SXSW festival in America and as soon as they kicked off their set it's abundantly clear that American's would lap this band up. They play emotive blue-collar rock with an indie spirit based around the old storytelling tradition of folk singers. Think Augustines or Gaslight Anthem wrapped up with some The Hold Steady and pinch of U2 at their most introspective and you'd be on the right track. The songs deal with life, love and hardship with frontman Leon delivering the lines with an excellent gravelly roar that brings the king of misery himself Tom Waits to mind. In between the songs the banter with the Welsh crowd was amusing (especially the story about murder and the singers mum loving Happy Being Miserable if they changed the lyrics). The band are down to earth and obviously love what they do, their songs speak to your soul and by the end even on a Wednesday night the Cardiff crowd were engaging in some singing along at full voice. Their Americana-influenced blues-drenched sound was not as upbeat as the headliners but the raw power of their performance saw them get a huge ovation at the climax of their set. 8/10
A switch over of sets with all the instruments tuned and sorted we were all ready for the main event. As the Canadian five piece took to the stage all hair and beards it was like being immediately transported back to the those heady days of 70's California before going South to the bayou and beyond, they opened with Where Can I Roam which started the show slowly it's stomp-clap rhythm building the excitement which bubbled over into the first two tracks from latest album Future Nostalgia, first off was I'm Gonna Be Myself which has to be the theme to a Peter Fonda motorbike movie? Then without missing a beat into the blusier I Really Wanna Be Your Man. What hits you are the harmonies of the band, both from the guitars and the vocals they evoke the glistening summer melodies of The Allman Brothers especially on songs such as the hazy Southern Dreaming which sees frontman and guitarist Ewan Currie and guitarist Rusty Matyas seem like like Duane and Dickie reincarnate, their guitars have a beautiful symmetry about them and when it comes to the guitar solos (of which there are a few) they trade-off with each other effortlessly. I'd go as far to say the Canadian's are one of the greatest southern rock bands I've seen and are more authentic than many from the South.
Their blend of rock, soul, blues all melds together flawlessly but they are not not afraid to truly rock out and jam through the songs like Bad Lieutenant which has a dueling solo section. The slowed the pace in the middle of the set meaning that drummer Sam Corbett and bassist Ryan Gullen couldn't provide the wall of noise they had on the songs, they were the key part to the bands sound and also their volume, my God they were loud, even from my raised vantage point at times the sound was deafening. Much of this maybe because in Canada the band are very big so are used to playing arenas rather than little venues, for me the volume was perfect though, it added a power to the set. The band ploughed through their debut album (playing 10 songs from it) the funky Downtown was about halfway before Matyas pulled out the pedal steel and added the sublime slide guitar on Jim Gordon and the more upbeat Plastic Man which saw organist Shamus go nuts with the boogie piano. Shamus then stepped up to the front of the stage, as Ewan took to the keys, Shamus then played a mean trombone on the gospel sounding Help Us All.
There was of course one thing missing, I personally was getting a fever and the only cure was more cowbell happily the multi-talented Shamus obliged on instrumental freak out preceding the psychedelic rocker Feeling Good. As the set marched towards it's end The Allman influence was at its strongest, with main set closer I Don't Know which sounds like it could have come off Eat A Peach this retro sound followed through into the encore which was their cover of Whipping Post, the Allman Brothers classic was delivered with passion and fury and rounded out what was a 20 song set list. The Sheepdogs were sublime, they were tight, professional, there was very little needless chatter and their songs had the busy room jumping with glee, the atmosphere was electric and the band fed off that to give a spine tingling performance. When this band return to these shores do yourself a favour and go see them as they are fantastic! 10/10
I heard a lot of buzz about The Sheepdogs after they supported The Temperance Movement in Cardiff in January, in the time between then and now I have become very acquainted with the Canadian band so when I saw that they would be doing a headline show in The Globe, it became a must-see gig in my eyes. So on a crisp Wednesday night I ventured forth into the Cardiff night to one of my favourite little venues to if the fuss made after TTM gig was justified.
Inside the venue there was a smattering of people that steadily increased as the support act took to the stage The People, The Poet. The Pontypridd or more accurately Beddau based band have played the prestigious SXSW festival in America and as soon as they kicked off their set it's abundantly clear that American's would lap this band up. They play emotive blue-collar rock with an indie spirit based around the old storytelling tradition of folk singers. Think Augustines or Gaslight Anthem wrapped up with some The Hold Steady and pinch of U2 at their most introspective and you'd be on the right track. The songs deal with life, love and hardship with frontman Leon delivering the lines with an excellent gravelly roar that brings the king of misery himself Tom Waits to mind. In between the songs the banter with the Welsh crowd was amusing (especially the story about murder and the singers mum loving Happy Being Miserable if they changed the lyrics). The band are down to earth and obviously love what they do, their songs speak to your soul and by the end even on a Wednesday night the Cardiff crowd were engaging in some singing along at full voice. Their Americana-influenced blues-drenched sound was not as upbeat as the headliners but the raw power of their performance saw them get a huge ovation at the climax of their set. 8/10
A switch over of sets with all the instruments tuned and sorted we were all ready for the main event. As the Canadian five piece took to the stage all hair and beards it was like being immediately transported back to the those heady days of 70's California before going South to the bayou and beyond, they opened with Where Can I Roam which started the show slowly it's stomp-clap rhythm building the excitement which bubbled over into the first two tracks from latest album Future Nostalgia, first off was I'm Gonna Be Myself which has to be the theme to a Peter Fonda motorbike movie? Then without missing a beat into the blusier I Really Wanna Be Your Man. What hits you are the harmonies of the band, both from the guitars and the vocals they evoke the glistening summer melodies of The Allman Brothers especially on songs such as the hazy Southern Dreaming which sees frontman and guitarist Ewan Currie and guitarist Rusty Matyas seem like like Duane and Dickie reincarnate, their guitars have a beautiful symmetry about them and when it comes to the guitar solos (of which there are a few) they trade-off with each other effortlessly. I'd go as far to say the Canadian's are one of the greatest southern rock bands I've seen and are more authentic than many from the South.
Their blend of rock, soul, blues all melds together flawlessly but they are not not afraid to truly rock out and jam through the songs like Bad Lieutenant which has a dueling solo section. The slowed the pace in the middle of the set meaning that drummer Sam Corbett and bassist Ryan Gullen couldn't provide the wall of noise they had on the songs, they were the key part to the bands sound and also their volume, my God they were loud, even from my raised vantage point at times the sound was deafening. Much of this maybe because in Canada the band are very big so are used to playing arenas rather than little venues, for me the volume was perfect though, it added a power to the set. The band ploughed through their debut album (playing 10 songs from it) the funky Downtown was about halfway before Matyas pulled out the pedal steel and added the sublime slide guitar on Jim Gordon and the more upbeat Plastic Man which saw organist Shamus go nuts with the boogie piano. Shamus then stepped up to the front of the stage, as Ewan took to the keys, Shamus then played a mean trombone on the gospel sounding Help Us All.
There was of course one thing missing, I personally was getting a fever and the only cure was more cowbell happily the multi-talented Shamus obliged on instrumental freak out preceding the psychedelic rocker Feeling Good. As the set marched towards it's end The Allman influence was at its strongest, with main set closer I Don't Know which sounds like it could have come off Eat A Peach this retro sound followed through into the encore which was their cover of Whipping Post, the Allman Brothers classic was delivered with passion and fury and rounded out what was a 20 song set list. The Sheepdogs were sublime, they were tight, professional, there was very little needless chatter and their songs had the busy room jumping with glee, the atmosphere was electric and the band fed off that to give a spine tingling performance. When this band return to these shores do yourself a favour and go see them as they are fantastic! 10/10
Wednesday, 6 April 2016
Reviews: Lords Of Black, Beastmaker, Stone Broken
Lords Of Black: II (Frontiers)
If you don't know anything about Spanish Pro/power metallers Lords Of Black chances are by July you will, this is due to frontman Ronnie Romero being chosen to front Ritchie Blackmore's revived Rainbow project which will be doing the rounds this summer. For those who have heard the debut record by Lords Of Black will realise what Blackmore's reasoning is for this but as Merciless opens the second album the barrage of progressive power riffs give way to Romero's excellent vocals that more than bear a passing resemblance to yet another Ronnie who happened to be a former frontman of Rainbow. So with the circle complete in Blackmore's world what can you expect from the second record from Romero's day job?
Well as I've said earlier the opening strains of Merciless are exactly that thick, fast and heavy with keys underpinning the flurry of riffage, the pace is maintained with Only One Life Away which is driven by technical guitar playing from Tony Hernando and intense double kick drumming from Andy C, we get a mid-paced fist pounder with Everything You're Not which could have been on any of the Dio projects with it's powerful keys and hard rock guitars. Lords Of Black evoke the spirit of classic Stratovarius and Kamelot with symphonic elements, meeting the dramatic delivery and a textured musical palette to create some seriously good music, considering all of the instrumentation is shared by Tony Hernando and Andy C they are obviously both masters of any instrument they care to pick up, add to the expert playing the passionate vocals of Romero and Lords Of Black raise themselves above many of the bands of their ilk the progressive and modern metal elements creep in on Cry No More and Tears I Will Be is a piano driven but muscular ballad with a bass led verse before the chorus really grabs you by the heartstrings, Tears I Will Be starts the slower part of the record quickly followed by the 'true' ballad of the album Insane.
The final part of the album speeds up again for more power metal mayhem on Live By The Lie, Die By The Truth, the thrash-like Shadows Of War and The Art Of Illusions Pat III: The Wasteland which is the final part of the mini-concept started on their debut. The album's magnum opus is the incredibly progressive 9 minute plus Ghost Of You which is the album's true epic full of classical guitars and a substantial amount of pomp which shows all of Lords Of Black's musical power in just one track. With 12 original songs on the album the special edition of the record takes it up to 15 tracks, the bonus songs are a metalized version of Queen's Innuendo and tellingly Lady Of The Lake originally by Rainbow both of which are well done and add a little bit of a cherry on top of the the rest of the album. II is another great record, lets hope that the Rainbow reunion don't record as Lords Of Black are too good a band to slip by. 9/10
Beastmaker: Lusus Naturae (Rise Above)
Normally I'm all for anything that is released on Rise Above Records, I do like a bit of stoner, doom and occult retroism, however I realise that the genre is a little saturated so it means that only really those that are at the top of the pile or doing something different can stand out from the pack. Unfortunately Beastmaker are not in that pile, their doom-laden Sabbath worship is so generic that they border on parody at times. The California three piece have cavernous riffs, low bass rumblings and spacious cymbal filled drumming much like Sabbath or Pentagram, but it's really nothing you haven't heard before, they even start the album with the tolling of bells accompanied by howling wind and rain, something that was ominous in 1970 but has an air of "It's Been Done" in 2016. Now I'm sure there will be some that will say, most music is influenced by the past and this is especially true in the doom genre but what bands like Electric Wizard or indeed The Sword (who are the closest to the band sound wise) have over Beastmaker is that they try to stretch their remit a little, Wizard take the scare the shit out of you route and The Sword add flourishes of prog and psychedelia, but Beastmaker just sound a little bland, that isn't to say they aren't consummate musicians and performers it's just the music they produce has been done before, many times and there is not enough adaptation to maintain your interest for the 12 tracks. 5/10
Stone Broken: All In Time (Self Released)
Many of you may have heard Stone Broken's single Not Your Enemy on Planet Rock and Kerrang, if you haven't then let me break it down for you, they sound frighteningly like Nickleback, but good Nickleback when they rock the hell out rather than play bland radio ballads. You'd be surprised to hear that Stone Broken are not American, they are from the West Midlands, but their sound is distinctly American. Stone Broken do indeed rock the hell out, Not Your Enemy is the album's first strike and it is a rampaging opeing salvo with Robyn Haycock's booming drums battering away and Kieron Conroy's bass laying down the heavy groove as Chris Davis and Rich Moss add the towering riffs, your heads are set to bang from the first few seconds and you don't cease until it's end. Much like tracks such as Burn It To The Ground there is melody in the heaviness with big hooks that continue as the album progresses.
What makes them similar to the Canadian arena rockers are Rich's vocals that are a grittier Kroger but they add enough of their own style to stop them from being a tribute act, as I've said there is some Southern BSC style rock on the massive arena anthem Be There there is also some Alter Bridge on Better which has some intense guitar soloing from Chris Davis who again shows his mettle on Let Me Go which sounds a lot like a more melodic Black Label Society, with the band slowing the pace for a lighter based ballad Wait For You which is a saccharine affair but you can see it burn up the Billboard charts if it had half a chance. Stone Broken are a great band and All In Time is as strong as any of the American bands around at the moment, it's American radio rock at it's finest and it's glad to see a British band with the balls to take on the the Yanks (Canadians) at their own game, if Nickelback had released and album like this then it would be number one so lets hope Stone Broken can be afforded the same acceptance as they write and perform great songs and have more than delivered an award winning performance on this debut record. 8/10
If you don't know anything about Spanish Pro/power metallers Lords Of Black chances are by July you will, this is due to frontman Ronnie Romero being chosen to front Ritchie Blackmore's revived Rainbow project which will be doing the rounds this summer. For those who have heard the debut record by Lords Of Black will realise what Blackmore's reasoning is for this but as Merciless opens the second album the barrage of progressive power riffs give way to Romero's excellent vocals that more than bear a passing resemblance to yet another Ronnie who happened to be a former frontman of Rainbow. So with the circle complete in Blackmore's world what can you expect from the second record from Romero's day job?
Well as I've said earlier the opening strains of Merciless are exactly that thick, fast and heavy with keys underpinning the flurry of riffage, the pace is maintained with Only One Life Away which is driven by technical guitar playing from Tony Hernando and intense double kick drumming from Andy C, we get a mid-paced fist pounder with Everything You're Not which could have been on any of the Dio projects with it's powerful keys and hard rock guitars. Lords Of Black evoke the spirit of classic Stratovarius and Kamelot with symphonic elements, meeting the dramatic delivery and a textured musical palette to create some seriously good music, considering all of the instrumentation is shared by Tony Hernando and Andy C they are obviously both masters of any instrument they care to pick up, add to the expert playing the passionate vocals of Romero and Lords Of Black raise themselves above many of the bands of their ilk the progressive and modern metal elements creep in on Cry No More and Tears I Will Be is a piano driven but muscular ballad with a bass led verse before the chorus really grabs you by the heartstrings, Tears I Will Be starts the slower part of the record quickly followed by the 'true' ballad of the album Insane.
The final part of the album speeds up again for more power metal mayhem on Live By The Lie, Die By The Truth, the thrash-like Shadows Of War and The Art Of Illusions Pat III: The Wasteland which is the final part of the mini-concept started on their debut. The album's magnum opus is the incredibly progressive 9 minute plus Ghost Of You which is the album's true epic full of classical guitars and a substantial amount of pomp which shows all of Lords Of Black's musical power in just one track. With 12 original songs on the album the special edition of the record takes it up to 15 tracks, the bonus songs are a metalized version of Queen's Innuendo and tellingly Lady Of The Lake originally by Rainbow both of which are well done and add a little bit of a cherry on top of the the rest of the album. II is another great record, lets hope that the Rainbow reunion don't record as Lords Of Black are too good a band to slip by. 9/10
Beastmaker: Lusus Naturae (Rise Above)
Normally I'm all for anything that is released on Rise Above Records, I do like a bit of stoner, doom and occult retroism, however I realise that the genre is a little saturated so it means that only really those that are at the top of the pile or doing something different can stand out from the pack. Unfortunately Beastmaker are not in that pile, their doom-laden Sabbath worship is so generic that they border on parody at times. The California three piece have cavernous riffs, low bass rumblings and spacious cymbal filled drumming much like Sabbath or Pentagram, but it's really nothing you haven't heard before, they even start the album with the tolling of bells accompanied by howling wind and rain, something that was ominous in 1970 but has an air of "It's Been Done" in 2016. Now I'm sure there will be some that will say, most music is influenced by the past and this is especially true in the doom genre but what bands like Electric Wizard or indeed The Sword (who are the closest to the band sound wise) have over Beastmaker is that they try to stretch their remit a little, Wizard take the scare the shit out of you route and The Sword add flourishes of prog and psychedelia, but Beastmaker just sound a little bland, that isn't to say they aren't consummate musicians and performers it's just the music they produce has been done before, many times and there is not enough adaptation to maintain your interest for the 12 tracks. 5/10
Stone Broken: All In Time (Self Released)
Many of you may have heard Stone Broken's single Not Your Enemy on Planet Rock and Kerrang, if you haven't then let me break it down for you, they sound frighteningly like Nickleback, but good Nickleback when they rock the hell out rather than play bland radio ballads. You'd be surprised to hear that Stone Broken are not American, they are from the West Midlands, but their sound is distinctly American. Stone Broken do indeed rock the hell out, Not Your Enemy is the album's first strike and it is a rampaging opeing salvo with Robyn Haycock's booming drums battering away and Kieron Conroy's bass laying down the heavy groove as Chris Davis and Rich Moss add the towering riffs, your heads are set to bang from the first few seconds and you don't cease until it's end. Much like tracks such as Burn It To The Ground there is melody in the heaviness with big hooks that continue as the album progresses.
What makes them similar to the Canadian arena rockers are Rich's vocals that are a grittier Kroger but they add enough of their own style to stop them from being a tribute act, as I've said there is some Southern BSC style rock on the massive arena anthem Be There there is also some Alter Bridge on Better which has some intense guitar soloing from Chris Davis who again shows his mettle on Let Me Go which sounds a lot like a more melodic Black Label Society, with the band slowing the pace for a lighter based ballad Wait For You which is a saccharine affair but you can see it burn up the Billboard charts if it had half a chance. Stone Broken are a great band and All In Time is as strong as any of the American bands around at the moment, it's American radio rock at it's finest and it's glad to see a British band with the balls to take on the the Yanks (Canadians) at their own game, if Nickelback had released and album like this then it would be number one so lets hope Stone Broken can be afforded the same acceptance as they write and perform great songs and have more than delivered an award winning performance on this debut record. 8/10
Tuesday, 5 April 2016
Reviews: Scar Of The Sun, Synthetic, Angarthal
Scar Of The Sun: In Flood (Scarlet Records)
In Flood is Scar Of The Sun's second album and as their band name probably tells you they are not the most happy of chaps, their sound is part Paradise Lost, part In Flames with a heaving load of modern metal thrown into a Gothic doom mix, so expect blastbeat drumming, low tuned riffs, melodic leads but also some tasty time signature changes. The doom elements are at their strongest on Among Waters And Giants which is a a brooding opener to the album but from their business as they say picks up with modern death metal style making its impact felt. This Greek band have toured with bands such as Dark Tranquillity, Moonspell, Pain, Rage and Tyr and you can see why their songs are melodic, with some sweeping, technical guitar leads from Alexi and Greg but a gut punching amount of aggressive metal chugging from the rhythm section of Thanos and Panagiotis.
The Dark Tranquility and Tyr tour make the most sense as Scar Of The Sun have some Gothenburg elements on Versus The World, what separates them from In Flames or Dark Tranquility are Terry's booming clean vocals, he doesn't need to rely on the guttural roars many of the bands of this ilk do as his vocals carry a lot of power but also enough resonance to convey the emotion in the tracks, this is also where the Paradise Lost element comes in as on tracks like Walking In My Shoes, Sand and the doom laden final track The Ghost Peril he booms like Nick Holmes. It's not all slow and deliberate far from it in fact Enemies Of Reason could have come off one of the most recent Trivium albums as it perfectly balances modern metal with classic melodic elements.
The melodic elements is due to the understated but expertly applied use of keys and synths provided by Terry along with Firewind/Outloud's Bob Katsionis, Nick Sid formerly of Cyanna and sound designer Van Labrakis, just check out the backing to The Raid to see the importance of synths, keys and samples in this music. Scar Of The Sun's sophomore album In Flood is a real stormer of a modern metal album full of melodic hooks, heavy beatdowns, storming riffs, progressive elements and some strong vocals and all bolstered by Rhys Fulber's production and Terry's engineering. A great follow up to the bands debut and one that should hopefully get them some recognition. 8/10
Synthetic: Here Lies The Truth (Self Released)
Synthetic is a collaboration between two Greek friends at separate ends of Europe, guitarist Simon was in Thessaloniki Greece and vocalist Sterge B was in Cambridge at this records inception. What came from these two men was a musical journey that has led to this debut record and indeed the creation of a new British metal band. Since this albums release Simon and Sterge have recruited an actual band with an idea to tour this record however as far as the album iteslf goes all of the strings are plucked by Simon who handles guitar, bass and keys, while Sterge sings, the tub thumping is left to Scar Symmetry's Dirk Verbeuren on Hollow and the rest of the album it is the realm of the master of electronica art metal Thanasis Lightbridge he not only provides the relentless percussion but also the electronic soundscapes he's made his name with in his Dol Ammad, Dol Theeta, Dol Kruug and
Synesthesia projects.
It's the synths that permeate Synthetic's melo-death sound adding texture and atmosphere to the melodic, technical death metal music contained within. The riffs are razor sharp and the solos squeal away with expert proficiency, Sterge's vocals are gruff but clear and he can growl when needed giving the aggressive edge of bands such as Amon Amarth or Soilwork, the use of light and shade is also evident as some songs build from auspicious beginnings into full blown ragers although most just grab you by the throat from the outset with the electronic elements bolstering the sound. Here Lies The Truth has had a lot of work go into it and for what started out as a studio project there is definitely scope for this to translate to the live arena and as an album though it's a strong debut from this talented two piece. 7/10
Angarthal: Uranus And Gaia (Asgardh Music/Bakerteam)
Steve Angarthal is a virtuoso guitarist from Italy and the founder of Neo-Classical metal band Fire Trails with singer Pino Scotto. Angarthal is Steve's debut album of his new solo project and it is a solo project in the truest sense as nearly everything you hear is Steve the guitars, bass, keys and vocals with Luca Saja supplying the drumming. This is classically influenced rock music that also has 70's rock influences running through it, if any of you are familiar with Alcatraz then you'll have an idea of what this record sounds like, lyrically the tracks are a mish mash of different concepts with Greek Uranus And Gaia and Celtic mythology (the Purple-like Morrigan), biblical symbolism Leviathan Rising, along with the obvious neo-classical go to of fantasy literature on Wielders Of Magic which is inspired by the novel The Sword Of Shannara. With the huge influence Ritchie Blackmore on this record it has a tribute to Ronnie James Dio with Unbroken sounding like it could have come from a Dio album, things slow down with Miles In The Desert and the classical acoustic filled Losing My Direction that closes the record beautifully. If you love the early work of Malmsteen and Vai, when they played in bands not solo wankery then you will love Angarthal it's classy hard rock with some expert musical talent behind it. 7/10
In Flood is Scar Of The Sun's second album and as their band name probably tells you they are not the most happy of chaps, their sound is part Paradise Lost, part In Flames with a heaving load of modern metal thrown into a Gothic doom mix, so expect blastbeat drumming, low tuned riffs, melodic leads but also some tasty time signature changes. The doom elements are at their strongest on Among Waters And Giants which is a a brooding opener to the album but from their business as they say picks up with modern death metal style making its impact felt. This Greek band have toured with bands such as Dark Tranquillity, Moonspell, Pain, Rage and Tyr and you can see why their songs are melodic, with some sweeping, technical guitar leads from Alexi and Greg but a gut punching amount of aggressive metal chugging from the rhythm section of Thanos and Panagiotis.
The Dark Tranquility and Tyr tour make the most sense as Scar Of The Sun have some Gothenburg elements on Versus The World, what separates them from In Flames or Dark Tranquility are Terry's booming clean vocals, he doesn't need to rely on the guttural roars many of the bands of this ilk do as his vocals carry a lot of power but also enough resonance to convey the emotion in the tracks, this is also where the Paradise Lost element comes in as on tracks like Walking In My Shoes, Sand and the doom laden final track The Ghost Peril he booms like Nick Holmes. It's not all slow and deliberate far from it in fact Enemies Of Reason could have come off one of the most recent Trivium albums as it perfectly balances modern metal with classic melodic elements.
The melodic elements is due to the understated but expertly applied use of keys and synths provided by Terry along with Firewind/Outloud's Bob Katsionis, Nick Sid formerly of Cyanna and sound designer Van Labrakis, just check out the backing to The Raid to see the importance of synths, keys and samples in this music. Scar Of The Sun's sophomore album In Flood is a real stormer of a modern metal album full of melodic hooks, heavy beatdowns, storming riffs, progressive elements and some strong vocals and all bolstered by Rhys Fulber's production and Terry's engineering. A great follow up to the bands debut and one that should hopefully get them some recognition. 8/10
Synthetic: Here Lies The Truth (Self Released)
Synthetic is a collaboration between two Greek friends at separate ends of Europe, guitarist Simon was in Thessaloniki Greece and vocalist Sterge B was in Cambridge at this records inception. What came from these two men was a musical journey that has led to this debut record and indeed the creation of a new British metal band. Since this albums release Simon and Sterge have recruited an actual band with an idea to tour this record however as far as the album iteslf goes all of the strings are plucked by Simon who handles guitar, bass and keys, while Sterge sings, the tub thumping is left to Scar Symmetry's Dirk Verbeuren on Hollow and the rest of the album it is the realm of the master of electronica art metal Thanasis Lightbridge he not only provides the relentless percussion but also the electronic soundscapes he's made his name with in his Dol Ammad, Dol Theeta, Dol Kruug and
Synesthesia projects.
It's the synths that permeate Synthetic's melo-death sound adding texture and atmosphere to the melodic, technical death metal music contained within. The riffs are razor sharp and the solos squeal away with expert proficiency, Sterge's vocals are gruff but clear and he can growl when needed giving the aggressive edge of bands such as Amon Amarth or Soilwork, the use of light and shade is also evident as some songs build from auspicious beginnings into full blown ragers although most just grab you by the throat from the outset with the electronic elements bolstering the sound. Here Lies The Truth has had a lot of work go into it and for what started out as a studio project there is definitely scope for this to translate to the live arena and as an album though it's a strong debut from this talented two piece. 7/10
Angarthal: Uranus And Gaia (Asgardh Music/Bakerteam)
Steve Angarthal is a virtuoso guitarist from Italy and the founder of Neo-Classical metal band Fire Trails with singer Pino Scotto. Angarthal is Steve's debut album of his new solo project and it is a solo project in the truest sense as nearly everything you hear is Steve the guitars, bass, keys and vocals with Luca Saja supplying the drumming. This is classically influenced rock music that also has 70's rock influences running through it, if any of you are familiar with Alcatraz then you'll have an idea of what this record sounds like, lyrically the tracks are a mish mash of different concepts with Greek Uranus And Gaia and Celtic mythology (the Purple-like Morrigan), biblical symbolism Leviathan Rising, along with the obvious neo-classical go to of fantasy literature on Wielders Of Magic which is inspired by the novel The Sword Of Shannara. With the huge influence Ritchie Blackmore on this record it has a tribute to Ronnie James Dio with Unbroken sounding like it could have come from a Dio album, things slow down with Miles In The Desert and the classical acoustic filled Losing My Direction that closes the record beautifully. If you love the early work of Malmsteen and Vai, when they played in bands not solo wankery then you will love Angarthal it's classy hard rock with some expert musical talent behind it. 7/10
Reviews: Amon Amarth, Metal Church, Grave Digger (Reviews By Paul)
Amon Amarth: Jomsviking (Metal Blade)
Jomsviking is the tenth studio release from the Swedish Vikings following 2013’s Deceiver Of The Gods and it’s a slight change in direction with their attempt at a concept album which follows the story of a jilted love, murder and revenge. Musically this is typical Amon Amarth, with Johan Hegg’s distinctive gruff vocals and flat out anthemic style choruses. Its rousing stuff and the first couple of tracks stick very much in the melodic death metal that the band are known for; First Kill rattles along at pace whilst Wanderer is a more paced stomp. Whilst the release contains all the ingredients that you would want from an Amon Amarth release, Jomsviking definitely contains more melody than some of their previous releases. The guitar work from Olavi Mikkonen and Johan Soderberg favours the duel axe attack harmonies whilst Ted Lundstrom’s bass combines solidly with stand in drummer Tobias Gustafsson.
Mixed by Andy Sneap, the sound is big and bombastic. The subtlety limited. This is Amon Amarth for Odin’s sake. On A Sea Of Blood follows the same blueprint that has rightly earned the band their reputation as a brutally brilliant live band; it bludgeons and batters with no remorse. And I suppose therein lies the only problem for the band. With a sound which is distinctive and almost trademarked, where do they go to progress further? I’m not sure. Thematically, Amon Amarth have established their niche with the world of metal. No-one does Viking metal better. Tracks such as Raise Your Horns and The Way Of The Vikings stand comfortably alongside other anthems from the past and will surely get the blood pumping in the live arena. The latter track in particular contains a killer riff. The inclusion of the fantastic Doro Pesch on A Dream That Cannot Be is a welcome move, and adds some variety; her powerful voice fitting nicely into a more generic heavy metal track. This is not a bad album whatsoever; it just struggles to add anything to the already brutal catalogue of the band. 7/10
Metal Church: XI (Nuclear Blast)
For those who were around in the 1980s, there was much more to the thrash movement than the big 4. Alongside the muscle and sinew of Bay Area behemoths like Exodus and Testament and New Jersey's Overkill, sat San Francisco’s Metal Church whose 1984 eponymous debut and 1986’s follow up The Dark have always been seriously underrated gems. Driven with steely determination by guitarist Kurt Vanderhoof, the band changed vocalists in time for album number 3, Blessing In Disguise, Mike Howe replacing the gravelly voiced David Wayne. When the band disbanded in 1994, I was slightly bereft having never managed to catch them in the live arena. Having reformed several years later, firstly with Wayne returning to the microphone before his tragic death in 2005 and then with Ronnie Munroe, the band released several more albums including the excellent Generation Nothing in 2013.
XI sees the return of Mike Howe to the fold for the first time in over 20 years and it's a stunning return to form for a band that never received the recognition that they deserved. Alongside Vanderhoof and Howe, Metal Church comprises bassist Steve Unger, drummer Jeff Plate and guitarist Rick Van Zandt. XI kicks off with the powerhouse Reset, Vanderhoof and Van Zandt hitting a deliciously hooked riff whilst Plate hammers away on the skins. However, it's Howe’s vocal performance that immediately grabs you by the throat; growling and gnarly and totally suited to the song. Reset contains a massive hook, catchy chorus and grows on you every time it penetrates the cranium. It really blasts along and may well be one of THE opening tracks of the year.
No let up with track two, the blistering Killing Your Time which follows a similar frontal lobe assault, riffs galore and another meaty hook to snare and drag the listener in. No Tomorrow changes the pace slightly, with an acoustic intro before Plate’s military drumming opens the track up, combining with Unger’s thunderous bass lines to propel the band forward. Plate’s drumming is stunning on this track whilst the chorus really highlights what a joy it is to have Howe back behind the Mic. XI is packed full of quality heavy metal and whilst the thrash element remains the underpinning force, tracks such as Signal Path follow a more traditional pathway. Indeed, Signal Path has all the hallmarks of classic Hell, which can only be a damn fine thing. Clear lyrics, chunky riffage and a measured, well paced tempo.
Sky Falls In is a slower paced beast, still packing the punch and grit expected but with almost a nu-metal approach; almost mind, not fully and the harmonies on the chorus give the track a special edge. Things hot back up with the next track, the full out rampage of Needle & Suture which sees Vanderhoof bringing the riff bucket to the table and pouring it all over the place. The rhythm section provides the balast which allows Howe, Vanderhoof and Van Zandt to kick out the jams. Unger’s driving bass comes to the fore again on my personal favourite, the haunting Shadow, full of atmosphere and imagery and allowing Howe to really let loose. It is a mighty animal. With shades of the classic Watch The Children Pray, Blow Your Mind is the album’s epic composition at over six minutes long and building majestically, once again powerfully driven fretwork at the forefront with Howe giving a virtuoso performance.
The final four tracks don't let up in quality; Soul Eating Machine is a balls out rocker, with a stunning melody; It Waits a darker 1986 era Metal Church track, smouldering and intense before penultimate track Suffer Fools, complete with some visceral guitar work and Howe’s vocal work uncannily reminiscent of Dave Bower and Fan The Fire brings this stunning album to a conclusion. A mighty return to to scene for Howe, and a strong candidate for album of the year. I'm going to be fortunate enough to be in London when Metal Church hit the Underworld in May and I will be heading there for evening worship full of anticipation. 9/10
Grave Digger: The Reaper Shall Return (Napalm Records)
Two years ago power metal veterans released their 14th album, Return Of The Reaper. It wasn't overwhelmingly well received here at MoM towers, with the inability of vocalist Chris Boltendhal to sing in tune a contributory factor to the relatively low rating of 6. Album 15 from the relentless Germans, The Reaper Shall Return, continues in much the same vein as the previous 14. Apart from the ridiculous title (surely The Reaper has already returned?) the basic format for this release is simple; anthemic heavy metal with huge riffs, sing-a-long choruses and overblown farcical lyrics; then repeat for the next 15, yes 15 tracks before concluding with an even worse power ballad than Nothing To Believe on the last album. Goodbye is so ghastly I can't find words to describe it properly.
Desperate is about the best I can find. In between opener The Reapers Dance and the horrible Metal Will Never Die, complete with cliches galore “All for one, and one for metal, Metal will never die” are sandwiched a range of tracks which demonstrate decent musicianship of guitarist Axel Ritt, drummer Stefan Arnold, bassist Jens Becker and newish keyboardist Marcus Kniep. However, with Boltendhal’s singing totally lacklustre, see Black Cat for a perfect illustration, the album just becomes laughable and I'm afraid pretty tired and unimaginative fare. I appreciate these guys probably bleed metal in a way I could never understand. I appreciate their efforts. It just sucks. Sorry. 5/10
Jomsviking is the tenth studio release from the Swedish Vikings following 2013’s Deceiver Of The Gods and it’s a slight change in direction with their attempt at a concept album which follows the story of a jilted love, murder and revenge. Musically this is typical Amon Amarth, with Johan Hegg’s distinctive gruff vocals and flat out anthemic style choruses. Its rousing stuff and the first couple of tracks stick very much in the melodic death metal that the band are known for; First Kill rattles along at pace whilst Wanderer is a more paced stomp. Whilst the release contains all the ingredients that you would want from an Amon Amarth release, Jomsviking definitely contains more melody than some of their previous releases. The guitar work from Olavi Mikkonen and Johan Soderberg favours the duel axe attack harmonies whilst Ted Lundstrom’s bass combines solidly with stand in drummer Tobias Gustafsson.
Mixed by Andy Sneap, the sound is big and bombastic. The subtlety limited. This is Amon Amarth for Odin’s sake. On A Sea Of Blood follows the same blueprint that has rightly earned the band their reputation as a brutally brilliant live band; it bludgeons and batters with no remorse. And I suppose therein lies the only problem for the band. With a sound which is distinctive and almost trademarked, where do they go to progress further? I’m not sure. Thematically, Amon Amarth have established their niche with the world of metal. No-one does Viking metal better. Tracks such as Raise Your Horns and The Way Of The Vikings stand comfortably alongside other anthems from the past and will surely get the blood pumping in the live arena. The latter track in particular contains a killer riff. The inclusion of the fantastic Doro Pesch on A Dream That Cannot Be is a welcome move, and adds some variety; her powerful voice fitting nicely into a more generic heavy metal track. This is not a bad album whatsoever; it just struggles to add anything to the already brutal catalogue of the band. 7/10
Metal Church: XI (Nuclear Blast)
For those who were around in the 1980s, there was much more to the thrash movement than the big 4. Alongside the muscle and sinew of Bay Area behemoths like Exodus and Testament and New Jersey's Overkill, sat San Francisco’s Metal Church whose 1984 eponymous debut and 1986’s follow up The Dark have always been seriously underrated gems. Driven with steely determination by guitarist Kurt Vanderhoof, the band changed vocalists in time for album number 3, Blessing In Disguise, Mike Howe replacing the gravelly voiced David Wayne. When the band disbanded in 1994, I was slightly bereft having never managed to catch them in the live arena. Having reformed several years later, firstly with Wayne returning to the microphone before his tragic death in 2005 and then with Ronnie Munroe, the band released several more albums including the excellent Generation Nothing in 2013.
XI sees the return of Mike Howe to the fold for the first time in over 20 years and it's a stunning return to form for a band that never received the recognition that they deserved. Alongside Vanderhoof and Howe, Metal Church comprises bassist Steve Unger, drummer Jeff Plate and guitarist Rick Van Zandt. XI kicks off with the powerhouse Reset, Vanderhoof and Van Zandt hitting a deliciously hooked riff whilst Plate hammers away on the skins. However, it's Howe’s vocal performance that immediately grabs you by the throat; growling and gnarly and totally suited to the song. Reset contains a massive hook, catchy chorus and grows on you every time it penetrates the cranium. It really blasts along and may well be one of THE opening tracks of the year.
No let up with track two, the blistering Killing Your Time which follows a similar frontal lobe assault, riffs galore and another meaty hook to snare and drag the listener in. No Tomorrow changes the pace slightly, with an acoustic intro before Plate’s military drumming opens the track up, combining with Unger’s thunderous bass lines to propel the band forward. Plate’s drumming is stunning on this track whilst the chorus really highlights what a joy it is to have Howe back behind the Mic. XI is packed full of quality heavy metal and whilst the thrash element remains the underpinning force, tracks such as Signal Path follow a more traditional pathway. Indeed, Signal Path has all the hallmarks of classic Hell, which can only be a damn fine thing. Clear lyrics, chunky riffage and a measured, well paced tempo.
Sky Falls In is a slower paced beast, still packing the punch and grit expected but with almost a nu-metal approach; almost mind, not fully and the harmonies on the chorus give the track a special edge. Things hot back up with the next track, the full out rampage of Needle & Suture which sees Vanderhoof bringing the riff bucket to the table and pouring it all over the place. The rhythm section provides the balast which allows Howe, Vanderhoof and Van Zandt to kick out the jams. Unger’s driving bass comes to the fore again on my personal favourite, the haunting Shadow, full of atmosphere and imagery and allowing Howe to really let loose. It is a mighty animal. With shades of the classic Watch The Children Pray, Blow Your Mind is the album’s epic composition at over six minutes long and building majestically, once again powerfully driven fretwork at the forefront with Howe giving a virtuoso performance.
The final four tracks don't let up in quality; Soul Eating Machine is a balls out rocker, with a stunning melody; It Waits a darker 1986 era Metal Church track, smouldering and intense before penultimate track Suffer Fools, complete with some visceral guitar work and Howe’s vocal work uncannily reminiscent of Dave Bower and Fan The Fire brings this stunning album to a conclusion. A mighty return to to scene for Howe, and a strong candidate for album of the year. I'm going to be fortunate enough to be in London when Metal Church hit the Underworld in May and I will be heading there for evening worship full of anticipation. 9/10
Grave Digger: The Reaper Shall Return (Napalm Records)
Two years ago power metal veterans released their 14th album, Return Of The Reaper. It wasn't overwhelmingly well received here at MoM towers, with the inability of vocalist Chris Boltendhal to sing in tune a contributory factor to the relatively low rating of 6. Album 15 from the relentless Germans, The Reaper Shall Return, continues in much the same vein as the previous 14. Apart from the ridiculous title (surely The Reaper has already returned?) the basic format for this release is simple; anthemic heavy metal with huge riffs, sing-a-long choruses and overblown farcical lyrics; then repeat for the next 15, yes 15 tracks before concluding with an even worse power ballad than Nothing To Believe on the last album. Goodbye is so ghastly I can't find words to describe it properly.
Desperate is about the best I can find. In between opener The Reapers Dance and the horrible Metal Will Never Die, complete with cliches galore “All for one, and one for metal, Metal will never die” are sandwiched a range of tracks which demonstrate decent musicianship of guitarist Axel Ritt, drummer Stefan Arnold, bassist Jens Becker and newish keyboardist Marcus Kniep. However, with Boltendhal’s singing totally lacklustre, see Black Cat for a perfect illustration, the album just becomes laughable and I'm afraid pretty tired and unimaginative fare. I appreciate these guys probably bleed metal in a way I could never understand. I appreciate their efforts. It just sucks. Sorry. 5/10
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