The Rolling Stones, Principality Stadium, Cardiff
While my colleague Paul was enjoying some black freaking metal, I opted to take a steady walk to Cardiff's biggest arena for a band who have been performing for over 50 years! Now I had never seen Mick, Keef, Ronnie and Charlie live so I grabbed my old Mum (who has saw the Stones 12 times, back in the good old days) and bang on 5pm went through the gates and took our seats. Seeing what is our national rugby stadium empty was a particularly odd site, I’d only ever been on the pitch area when it was empty so from our vantage point my mother pointed out that it “didn’t look very far to run”. Still fans slowly trickled in the floor separated by an enormous barrier about a third of the way up that kept the normal punters from those who had paid astronomical amounts of money to be in the No Filter Pit (e.g. the part nearest the stage and Ego ramp).
Christ what a long wait it was two as support band Elbow (6) took to the stage at 7pm. So here’s my problem with Elbow supporting, one could we have not had a Welsh band in support? Two can Guy Garvey shut the hell up about it, having him saying “We’re Elbow, all the way from Manchester and we’re supporting the Stones” after every song ad nauseam to little or no response got really grating. We know who you are, you know who you are, we know who you’re here to support, now be quiet and play some maudlin songs. That’s the largest gripe I have, Elbow are a little twee and slow to be supporting the Stones most of their songs romantic string laden ballads which was at odds with the majorly hammered audience looking for some good time rock n roll. The only real reaction they got was for One Day Like This and Grounds For Divorce which were at the end of their set. It was over and while we had another 45 minute wait it was a little better than having to hear Guy Garvey slur into a microphone anymore. If The Stones or a band of their calibre play Cardiff again, I’d suggest picking one of the big rock acts we have here to support you, if not ask for Budgie!
The anticipation built and for those of us who had the higher vantage point we saw when the private cars arrived and the band headed to the backstage area, within minutes the lights went down the PA went up and the iconic blues riff of Street Fighting Man kicked things off with a bang, almost immediately the level of showmanship was tenfold that of Elbow, or any other band for that matter as four main members of The Stones betrayed their Septuagenarian age group by working the entirety of the stage, Mick strutting, dancing wildly, with those moves that have been sung about, as Ronnie darted back and forth leaving Keef to just saunter with an effortless cool. Behind the kit the one man dynamo Charlie kept ever song note and beat perfect his stone-faced playing style a counterpoint to the joyous looks on his comrades, they rapidly powered their way through It’s Only Rock N Roll (But I Like It), Tumbling Dice and Paint It Black the crowd lapping up every moment, my mother especially was pretty much horse after just four songs!
Mick Jagger is the archetype of frontman, having obviously been given some local insight beforehand he told the crowd how they had seen the blue lady, had chicken off the bone with curry sauce half and half (it’s a Cardiff tradition) and when asking about who was in the audience that evening singled out people from Splott as the heaviest partiers. (He was given accurate information anyway). He also reminisced about their legendary cancelled gig in 1973 at Cardiff Castle and said that they played the blues then so this easily slid into the Buddy Johnson song Just Your Fool which led to the fan requested Get Off Of My Cloud.
Backed by a brilliant band the kudos have to go to Chuck Leavell (keys), Darryl Jones (bass), Matt Klifford (keys and other stuff) and Sasha Allen who owned Gimme Shelter being the only non-Stone to be allowed on Mick’s ego ramp, With You Can’t Always Get What You Want and Honky Tonk Woman polishing off the first part it was time for Mick to sit down while Keef took lead vocals for You Got The Silver and Before They Make Me Run, I always find the Richards led material to be a lot closer to the original blues sound The Stones had in the 60’s but live it does lead to a little restlessness from the crowd. Luckily to bring the crowd back to boiling point the supremely theatrical Sympathy For The Devil came next as Jagger channelled the devil himself strutting down the ramp bewitching the loyal fans around him. I’ve never seen The Stones but I found myself in awe of their ability to keep a crowd in the palm of their hand, it’s something they have clearly mastered over 50+ years but they do it not by rolling out the same old song and dance but by still loving the music they play.
This is best witnessed on the sprawling Midnight Rambler which had solo trade off’s throughout again this stretched things out leading to the mighty trio of Start Me Up, Jumpin Jack Flash and Brown Sugar cueing mass sing-along’s and some terrifying shapes thrown by those who know better. With a “yeah yeah yeah woo” the main set came to an end and a (thankfully) short break came back to the percussive beat of Gimme Shelter before (I Can’t No) Satisfaction brought it home, cue an entire stadium on their feet for about 10 minutes of applause. Making our way out there was no negative comments made, we were all in agreement that it was fantastic, it was also one of the best behaved crowds I’ve seen despite the alcohol flowing freely (at £5.50 a pint!), even my hard to please mother was in her element saying that the gig had made her feel 18 again!
Their legacy intact you do wonder how it must feel to be a Rolling Stone (they covered the Dylan classic in probably the evenings most meta portion) universally adored but still able to make mistakes (starting Jack Flash in the wrong key brought a giggle especially with Mick saying "forget that bit") none of us will never truly know what it's like to be a Rolling Stone but they seem to suggest it's only rock n roll and happily everyone seems to like it! 10/10
Tuesday, 19 June 2018
A View From The Back Of The Room: Zornheym (Live Review By Paul H)
Zornheym, Agrona, In Which It Burns, Fuel Rock Club
With the Rolling Bones playing across the road on the same night, it was a brave move for Eradication Booking Agency to go toe to toe with the geriatric appreciation society; not that there was much cross over in fan base but because of the utter ball ache of getting in and out of the city centre on such a night.
With Ante Inferno unable to fill their slot, Pembrokeshire four-piece In Which It Burns (8) stepped in at the last minute and for the small crowd who arrived early enough to catch them it was well worth it. The band formed in 2016, and comprise Steve Flynn (lead guitar), Dan Mayhew (drums), Michael Thomas (bass) and Wayne Mayhew (rhythm guitar and vocals). IWIB don’t conform to the usual metal stereotype appearance, although there is sufficient there to ensure you could have a good guess about what they play. Frontman Wayne Mayhew does look the part, and his snarling delivery was impressive, fitting the band’s aggressive social commentary superbly. The band play hard thrash to great effect and sounded tight despite the intense heat which the band clearly felt. With two EPs under their belts, the band has a good set of material which was well received. Issues of racism and social injustice are amongst the topics addressed; good stuff. Hatred In Disguise was the stand out track but there was plenty here to demand a repeat viewing. Hopefully the band can get back soon because they deserve a bigger audience.
Having launched the magnificent Realm Of The Fallen a mere two weeks before, this was Agrona’s (9) third appearance at Fuel within a month. Not that you would have known, as the South Wales black metal monsters delivered yet another blistering set, sufficiently imposing and confident to headline a venue ten times as big. With the sound even better than recent shows, the band blasted yet another hole in Fuel’s ceiling as their gathering commenced with The Treacherous Dead and celebration of all things evil commenced. Vocalist Taranis once more orchestrated proceedings from the pit, the faithful gathered at his feet for the ritual. Supported by the ever-fiery vocals of Adara, the spewing bile flowed with ease. Short one member, the band made light of being short one member, Phoenix’s lacerating guitar cutting through the mix.
Alongside him bassist Kreulon displayed a terrifying new mask, one that proved to be a little too oppressive by the end of the set. Some adjustments needed! Meanwhile drummer Ankou was on double duty, racing off after his set to get to Swansea to play with Cranial Separation. The man is a machine. With their music now established, it was a challenge to pick out highlights but Storms End never fails whilst Unbound and Summoning The Void were both immense. This was the band’s last South Wales show for a while, but they have gigs across the South West coming up, so get across the border and support one of the most exciting bands on the UK scene now.
Following Agrona is always a challenge but Swedes Zornheym (8), making their Welsh debut and only their second UK appearance were up for it. With duel guitars and no bass, the band’s melodic extreme metal relies heavily on loops and tapes and there were a few challenges during the set, which were resolved thanks to the excellent sound tech and a little help from Alyn Hunter (who gets a bonus point for his efforts!). The band’s first album, Where Hatred Dwells And Darkness Reigns is a bit of a monster and the band’s efforts in the live arena allowed the tracks to translate well. Vocalist Bendler is an imposing sight, muscular and tall and equipped with pipes of gravel. Alongside him, lead guitarist Zorn seemed unaffected by the heat, throwing out solos and riffs for fun, ably supported by fellow guitarist Scucca. Meanwhile drummer Angst was rarely on his drum stool, and between songs spent much of his time standing on top of the stool peering out at the audience.
I’d like to see these guys in a setting where they had more space to express themselves and with the sound gods on their side. As usual, Fuel opened the doors to all and sundry towards the end of the set, meaning that the room filled up with punters who had been to see the Stones. With Metal 2 The Masses to follow the next evening, and the band close to completing their set, I made a quick exit. Once again, a superb night’s entertainment, for the princely price of ten Welsh pounds. Thanks to Gavin for persisting with these shows; a shame that the scene isn’t as well supported as it should be as this was great stuff.
With the Rolling Bones playing across the road on the same night, it was a brave move for Eradication Booking Agency to go toe to toe with the geriatric appreciation society; not that there was much cross over in fan base but because of the utter ball ache of getting in and out of the city centre on such a night.
With Ante Inferno unable to fill their slot, Pembrokeshire four-piece In Which It Burns (8) stepped in at the last minute and for the small crowd who arrived early enough to catch them it was well worth it. The band formed in 2016, and comprise Steve Flynn (lead guitar), Dan Mayhew (drums), Michael Thomas (bass) and Wayne Mayhew (rhythm guitar and vocals). IWIB don’t conform to the usual metal stereotype appearance, although there is sufficient there to ensure you could have a good guess about what they play. Frontman Wayne Mayhew does look the part, and his snarling delivery was impressive, fitting the band’s aggressive social commentary superbly. The band play hard thrash to great effect and sounded tight despite the intense heat which the band clearly felt. With two EPs under their belts, the band has a good set of material which was well received. Issues of racism and social injustice are amongst the topics addressed; good stuff. Hatred In Disguise was the stand out track but there was plenty here to demand a repeat viewing. Hopefully the band can get back soon because they deserve a bigger audience.
Having launched the magnificent Realm Of The Fallen a mere two weeks before, this was Agrona’s (9) third appearance at Fuel within a month. Not that you would have known, as the South Wales black metal monsters delivered yet another blistering set, sufficiently imposing and confident to headline a venue ten times as big. With the sound even better than recent shows, the band blasted yet another hole in Fuel’s ceiling as their gathering commenced with The Treacherous Dead and celebration of all things evil commenced. Vocalist Taranis once more orchestrated proceedings from the pit, the faithful gathered at his feet for the ritual. Supported by the ever-fiery vocals of Adara, the spewing bile flowed with ease. Short one member, the band made light of being short one member, Phoenix’s lacerating guitar cutting through the mix.
Alongside him bassist Kreulon displayed a terrifying new mask, one that proved to be a little too oppressive by the end of the set. Some adjustments needed! Meanwhile drummer Ankou was on double duty, racing off after his set to get to Swansea to play with Cranial Separation. The man is a machine. With their music now established, it was a challenge to pick out highlights but Storms End never fails whilst Unbound and Summoning The Void were both immense. This was the band’s last South Wales show for a while, but they have gigs across the South West coming up, so get across the border and support one of the most exciting bands on the UK scene now.
Following Agrona is always a challenge but Swedes Zornheym (8), making their Welsh debut and only their second UK appearance were up for it. With duel guitars and no bass, the band’s melodic extreme metal relies heavily on loops and tapes and there were a few challenges during the set, which were resolved thanks to the excellent sound tech and a little help from Alyn Hunter (who gets a bonus point for his efforts!). The band’s first album, Where Hatred Dwells And Darkness Reigns is a bit of a monster and the band’s efforts in the live arena allowed the tracks to translate well. Vocalist Bendler is an imposing sight, muscular and tall and equipped with pipes of gravel. Alongside him, lead guitarist Zorn seemed unaffected by the heat, throwing out solos and riffs for fun, ably supported by fellow guitarist Scucca. Meanwhile drummer Angst was rarely on his drum stool, and between songs spent much of his time standing on top of the stool peering out at the audience.
I’d like to see these guys in a setting where they had more space to express themselves and with the sound gods on their side. As usual, Fuel opened the doors to all and sundry towards the end of the set, meaning that the room filled up with punters who had been to see the Stones. With Metal 2 The Masses to follow the next evening, and the band close to completing their set, I made a quick exit. Once again, a superb night’s entertainment, for the princely price of ten Welsh pounds. Thanks to Gavin for persisting with these shows; a shame that the scene isn’t as well supported as it should be as this was great stuff.
Monday, 18 June 2018
Reviews: Khemmis, The Heretic Order, Deus Vermin, Born Of Ire
Khemmis: Desolation (Nuclear Blast)
Denver based doomsters Khemmis have been whipping up the riffs for a long time now but it's only on their previous record Hunted that they became a noteworthy outside of Colorado, their style of music is quite a modern take on the doom genre, it's slow heavy concrete riffs one minute but then galloping harmonised leads the next. There's a little something for everyone and while the tracks such as Bloodletting are long winding mini epics but they grab a hold of your attention before taking you on a journey. On this third album they have refined their sound even more adding more classic metal influences where they can.
Take a track such as Isolation it's got that battle metal bounce of Grand Magus as Phil Pendergast and Ben Hutcherson trade solos while their voices mesh (although Phil takes most of the lead vocal cues and great he is too). Clad in a cover with strong fantasy imagery the songs take the same cues of wild flights of fancy evoking soundscapes of distant shores and battles fought long ago. It's heroic classic metal born out of the doom scene, if you're a fan of The Sword or Magus then buy Desolation, simple as that! 8/10
The Heretic Order: Evil Rising (Massacre)
The second album from The Heretic Order is a bit of revelation who knew that an occult/classic metal band formed by one of the guitarists of Breed 77 would be so damn popular? Yet here we are and the band yet again are corpse paint amalgamation of Sabbath (Omens), Priest (Unholy War) and of course the master of occult metal himself King Diamond/Mercyful Fate. Evil Rising isn't a drastic departure from their debut record it's some NWOBHM-like riffs with the odd doom passage thrown in to get a steady headbang on and there's also some crepey theatrics you'd expect on Under The Cross Of Pain which also has one of the best solos on the record. Having listened to the band on record and watched them live I have to say i prefer their live show as by the middle of this record I was losing interest a little. I'll listen to both records, watch them at Bloodstock, then listen to them again and see if I change my mind but for now it's: 6/10
Deus Vermin: Monument Of Decay (FHED)
Nice to see respected underground label FHED still promoting heavy music and their latest release is from Leeds blackened death metal band Deus Vermin who kindly emailed me due to our reviews of their buddies Agrona. So it was without hesitation that I put the EP on and it's the dirtiest thing to come out of Leeds since Don Revie and Norman Hunter, a violent maelstrom of thunderous blastbeats, guttural vocal screams and down tuned guitars Monument Of Decay has tasty analogue sounding production to ramp up the feeling of filth, in fact it's so analogue that it is only released on cassette (limited to 50 hand-numbered copies).
Swarms and Inquity take you by the scruff of the neck and choke the hell out of you and it's only with the monolithian fret-slide filled Worms where things slow as doom laden riffs are met with Gojira grooves. These six tracks whizz by in flurry of total organised chaos but as an extra the seventh 'track' is in fact a full live performance from Temple Of Boom festival. Monument Of Decay is a bit more raw than Agrona's symphonic stylings but it shows that the UK extreme scene is at it's hottest ever. 7/10
Born Of Ire: S/T (Self Released)
Born Of Ire are a two piece with Cal taking guitars and Duda on drums and they are kind of like a thrash metal jukebox with the overarching influence being the big slabs of Metallica on Marionette, Spire and the elongated instrumental At The Foot Of The Mountain, there's a Slayer-like battery on InFiction and Liar's Rhythm has the stop-start speed riffs of Annihilator. It's all very well performed and reminds you enough of their influences without slavishly copying them, what I also noticed was it's very well produced for a debut self released title which really adds sound. Born Of Ire is a reminder that the UK does great thrash metal and it's sets them up as ones to watch. 7/10
Denver based doomsters Khemmis have been whipping up the riffs for a long time now but it's only on their previous record Hunted that they became a noteworthy outside of Colorado, their style of music is quite a modern take on the doom genre, it's slow heavy concrete riffs one minute but then galloping harmonised leads the next. There's a little something for everyone and while the tracks such as Bloodletting are long winding mini epics but they grab a hold of your attention before taking you on a journey. On this third album they have refined their sound even more adding more classic metal influences where they can.
Take a track such as Isolation it's got that battle metal bounce of Grand Magus as Phil Pendergast and Ben Hutcherson trade solos while their voices mesh (although Phil takes most of the lead vocal cues and great he is too). Clad in a cover with strong fantasy imagery the songs take the same cues of wild flights of fancy evoking soundscapes of distant shores and battles fought long ago. It's heroic classic metal born out of the doom scene, if you're a fan of The Sword or Magus then buy Desolation, simple as that! 8/10
The Heretic Order: Evil Rising (Massacre)
The second album from The Heretic Order is a bit of revelation who knew that an occult/classic metal band formed by one of the guitarists of Breed 77 would be so damn popular? Yet here we are and the band yet again are corpse paint amalgamation of Sabbath (Omens), Priest (Unholy War) and of course the master of occult metal himself King Diamond/Mercyful Fate. Evil Rising isn't a drastic departure from their debut record it's some NWOBHM-like riffs with the odd doom passage thrown in to get a steady headbang on and there's also some crepey theatrics you'd expect on Under The Cross Of Pain which also has one of the best solos on the record. Having listened to the band on record and watched them live I have to say i prefer their live show as by the middle of this record I was losing interest a little. I'll listen to both records, watch them at Bloodstock, then listen to them again and see if I change my mind but for now it's: 6/10
Deus Vermin: Monument Of Decay (FHED)
Nice to see respected underground label FHED still promoting heavy music and their latest release is from Leeds blackened death metal band Deus Vermin who kindly emailed me due to our reviews of their buddies Agrona. So it was without hesitation that I put the EP on and it's the dirtiest thing to come out of Leeds since Don Revie and Norman Hunter, a violent maelstrom of thunderous blastbeats, guttural vocal screams and down tuned guitars Monument Of Decay has tasty analogue sounding production to ramp up the feeling of filth, in fact it's so analogue that it is only released on cassette (limited to 50 hand-numbered copies).
Swarms and Inquity take you by the scruff of the neck and choke the hell out of you and it's only with the monolithian fret-slide filled Worms where things slow as doom laden riffs are met with Gojira grooves. These six tracks whizz by in flurry of total organised chaos but as an extra the seventh 'track' is in fact a full live performance from Temple Of Boom festival. Monument Of Decay is a bit more raw than Agrona's symphonic stylings but it shows that the UK extreme scene is at it's hottest ever. 7/10
Born Of Ire: S/T (Self Released)
Born Of Ire are a two piece with Cal taking guitars and Duda on drums and they are kind of like a thrash metal jukebox with the overarching influence being the big slabs of Metallica on Marionette, Spire and the elongated instrumental At The Foot Of The Mountain, there's a Slayer-like battery on InFiction and Liar's Rhythm has the stop-start speed riffs of Annihilator. It's all very well performed and reminds you enough of their influences without slavishly copying them, what I also noticed was it's very well produced for a debut self released title which really adds sound. Born Of Ire is a reminder that the UK does great thrash metal and it's sets them up as ones to watch. 7/10
Sunday, 17 June 2018
A View From The Back Of The Room: The Psychedelic Furs (Review By Paul H)
The Psychedelic Furs - Tramshed, Cardiff
Mrs. H has always been a bit of an indie fan. And when I say indie, I mostly mean the art/alternative rock and miserable post-punk gothic leanings which includes everything from The Mission, My Bloody Valentine, Suede, The Cure to The Smiths and the oratory style of Sir William of Bragg, not the boorish leanings of Oasis and the like. She’s always loved Richard Butler and The Psychedelic Furs, and I regularly discover the band blasting in the house, especially their most famous song, Pretty In Pink, used in the John Hughes directed film of the same name. The Furs formed in 1977 and delivered their debut album, a self-titled affair was released in 1980 with their final release World Outside released in 1991, just over a decade later. The band went on hiatus after that release before reforming in 2000 and continuing to gig. A rare opportunity to see them up close at the Tramshed was on offer and as I had two gigs more to my liking at the end of the week, I was for once the +1 on a sticky night in the capital.
Sometimes it is rather enjoyable to attend a gig where a) you have limited interest or knowledge of the band and b) you are open to everything that comes at you. Having caught the tail end of the main support we didn’t have to wait too long before the Furs hit the stage and launched into Dumb Waiters. The band has been touring for several weeks and was tight and crafted, with Richard Butler afforded a hero’s welcome as he strode on to the stage, his long black coat and shades providing a gothic tint and making a mockery of the heat in the venue. Alongside him, brother and bassist Tim Butler, resplendent in a deep maroon coat, provided much of the visual impact, mouthing the words with real passion and moving incessantly, his dark glasses rounding off the coolness of image. The early part of the set contained some of The Furs darker and more gothic edged tunes, with Into You Like A Train and Mr Jones particularly fine.
Whilst the Butler brothers remain the undoubted stars of the band, there was much to appreciate elsewhere, with saxophonist and clarinetist Mars Williams belying his small stature with a giant of a performance. Amanda Kramer, in a spectacular teal coat and fabulous top hat provided the subtle but essential synth touches. With the crowd lapping up every word, and the band limiting their communication with the audience to a “thanks” at the end of each song, it really was an evening where the music did all the talking. Sister Europe and a brilliant Love My Way continued in a set crammed full of highlights, as the band moved comfortably to top gear without breaking stride.
Set closer Imitation Of Christ and Heaven were both superbly executed, the former with its dark overtures allowing guitarist Rich Good to flex the strings to great effect. Of course, the obligatory encore could only contain one thing and after a brilliant India it was singalong time as Pretty In Pink finished a rather top evening of entertainment. Fair play, for a band I’d had very little interest in previously, this was pretty good stuff and a refreshing change from the usual ear-splitting cacophony that usually floats my boat. 8/10
Mrs. H has always been a bit of an indie fan. And when I say indie, I mostly mean the art/alternative rock and miserable post-punk gothic leanings which includes everything from The Mission, My Bloody Valentine, Suede, The Cure to The Smiths and the oratory style of Sir William of Bragg, not the boorish leanings of Oasis and the like. She’s always loved Richard Butler and The Psychedelic Furs, and I regularly discover the band blasting in the house, especially their most famous song, Pretty In Pink, used in the John Hughes directed film of the same name. The Furs formed in 1977 and delivered their debut album, a self-titled affair was released in 1980 with their final release World Outside released in 1991, just over a decade later. The band went on hiatus after that release before reforming in 2000 and continuing to gig. A rare opportunity to see them up close at the Tramshed was on offer and as I had two gigs more to my liking at the end of the week, I was for once the +1 on a sticky night in the capital.
Sometimes it is rather enjoyable to attend a gig where a) you have limited interest or knowledge of the band and b) you are open to everything that comes at you. Having caught the tail end of the main support we didn’t have to wait too long before the Furs hit the stage and launched into Dumb Waiters. The band has been touring for several weeks and was tight and crafted, with Richard Butler afforded a hero’s welcome as he strode on to the stage, his long black coat and shades providing a gothic tint and making a mockery of the heat in the venue. Alongside him, brother and bassist Tim Butler, resplendent in a deep maroon coat, provided much of the visual impact, mouthing the words with real passion and moving incessantly, his dark glasses rounding off the coolness of image. The early part of the set contained some of The Furs darker and more gothic edged tunes, with Into You Like A Train and Mr Jones particularly fine.
Whilst the Butler brothers remain the undoubted stars of the band, there was much to appreciate elsewhere, with saxophonist and clarinetist Mars Williams belying his small stature with a giant of a performance. Amanda Kramer, in a spectacular teal coat and fabulous top hat provided the subtle but essential synth touches. With the crowd lapping up every word, and the band limiting their communication with the audience to a “thanks” at the end of each song, it really was an evening where the music did all the talking. Sister Europe and a brilliant Love My Way continued in a set crammed full of highlights, as the band moved comfortably to top gear without breaking stride.
Set closer Imitation Of Christ and Heaven were both superbly executed, the former with its dark overtures allowing guitarist Rich Good to flex the strings to great effect. Of course, the obligatory encore could only contain one thing and after a brilliant India it was singalong time as Pretty In Pink finished a rather top evening of entertainment. Fair play, for a band I’d had very little interest in previously, this was pretty good stuff and a refreshing change from the usual ear-splitting cacophony that usually floats my boat. 8/10
Saturday, 16 June 2018
Reviews: Trillium, Refuge, Cryonic Temple, Fire Down Below
Trillium: Tectonic (Frontiers)
Since the first Trillium Amanda Somerville has been involved in numerous projects including Kiske/Somerville, Exit Eden, Serenity, Avantasia (Live) and of course motherhood. So to say there's been a lot on her plate is to underestimate the size of plates, but now she's back with her second 'metal' album the Trillium project is another side to Somerville's amazingly wide vocal range as she leads a heavy metal band formed of Andre Borgman (drums), Erik van Ittersum (keys) and husband Sanders Gommans (guitar/bass), (except track 3 has bass by Mark Burnash & 2nd guitar solo by Paul Owsinski, track 11 guitars by Paul Owsinski).
When I say heavy metal there's a bit of AOR and some of the symphonic stylings of her other projects, but Tectonic is a tough metal release with galloping riffs, chunky breakdowns, some theatrical touches and Amanda's brilliant vocals linking it all together. The digestion period of this album has been about 7 years and it means that this album has moments like the industrial and sultry Hit Me, the symphonic Shards, the theatrical Cliche Freak Show with the the beautiful Eternal Spring closing out the album, you get a sense of all of the soundscapes Somerville can turn her hand to although it never strays to far from a distorted metal crunch. No earthquakes here but it will get your house shaking when played at full volume. 7/10
Refuge: Solitary Men (Frontiers)
Peavy Wagner, Manni Schmidt & Christos Efthimiadis are probably best known to metal fans as most successful version of longstanding German metal band Rage. In the current incarnation of that band only Wagner remains but in 2014 the three reunited under the banner of Tres Hombres to play songs from that era of Rage (Noise Records 1986-1994). From there Refuge evolved into another offshoot of Rage running concurrently with the current more symphonic version of the band. Wagner states that this is not a professional project as the members all have day jobs, so Refuge is a “hobby band” that has become real band writing their own material.
Whatever it is when you press play you can’t deny that the magic is still there, taking their name from a song on Rage’s 1993 release The Missing Link Refuge are a return to the balls out classic German metal of those early albums but with a brilliant modern bite. Wagner’s bass gallops and booming vocals are instantly memorable as Schmidt riffs and solos his way through the tracks effortlessly away sending your fists high, to the beat of Efthimiadis laying down a barrage of battery from track one that never really seems to retreat.
Just sounding like Rage would be too easy so for every power metal anthem like The Man In The Ivory Tower, there’s a propulsive hard rocker like We Owe Life To Death, a rip snorting thrasher like From The Ashes or a thundering doom lick like Living On The Edge Of Time. It’s a cascade of these three men’s best creative juices flowing freely, whether Refuge stays as a hobby project or continues as a full band Solitary Men is up there with some of the best material ever written by this trio! 8/10
Cryonic Temple: Deliverance (Scarlet Records)
The sixth album from the Swedish power metal band Cryonic Temple has a striffing symphonic opening but where on familar territory as Rise Eternally Beyond has thundering blastbeats, melodic fast paced riffs and more solos that you can ever need. Deliverance continues the concept, started on their previous record which means that between many of the songs there are cinematic pieces splitting the record and propelling the storyline.
For anyone who are not familiar Cryonic Temple and I'll admit that I wasn't until their previous release, they are on the heavier style of power metal having a lot of Hammerfall and Iron Fire influences but with the keys and synths fleshing out the sound a little, where Cryonic Temple also shine are the powerful vocals of Mattias who has a tough lower register but goes to squealing highs on the title track. Deliverance is a little long at 14 tracks but other than that it's a strong power metal record from these Swedish veterans. 7/10
Fire Down Below: Hymn Of The Cosmic Man (Ripple Music)
We come across a lot of stoner rock here, with varying results, more often than that not though the bands are exactly the kind of fuzzy, riff worshipping music we like here at MoM Towers. One such band are Belgian rockers Fire Down Below who are really interesting, the four piece are a cosmically aligned riff heavy band who play a very good style of twisting desert rock, made up of Sam Nuytens (drums), Jeroen Van Troyen (rhythm guitar/vocals), Kevin Gernaey (lead guitar), Bert Wynsberghe (bass).
The record moves from shoegazing haziness on Nebula to the kaleidoscopic Ascension, the heavy riffing of Ignition/Space Cruiser which strats the album off and the epic 11 minute finale of Adrift In A Sea Of Stars. If the more ethereal desert rock style is what excites you then turn down the lights, crank up Hymn For The Cosmic Man a drift away on the sonic seas of stoner brilliance. 7/10
Since the first Trillium Amanda Somerville has been involved in numerous projects including Kiske/Somerville, Exit Eden, Serenity, Avantasia (Live) and of course motherhood. So to say there's been a lot on her plate is to underestimate the size of plates, but now she's back with her second 'metal' album the Trillium project is another side to Somerville's amazingly wide vocal range as she leads a heavy metal band formed of Andre Borgman (drums), Erik van Ittersum (keys) and husband Sanders Gommans (guitar/bass), (except track 3 has bass by Mark Burnash & 2nd guitar solo by Paul Owsinski, track 11 guitars by Paul Owsinski).
When I say heavy metal there's a bit of AOR and some of the symphonic stylings of her other projects, but Tectonic is a tough metal release with galloping riffs, chunky breakdowns, some theatrical touches and Amanda's brilliant vocals linking it all together. The digestion period of this album has been about 7 years and it means that this album has moments like the industrial and sultry Hit Me, the symphonic Shards, the theatrical Cliche Freak Show with the the beautiful Eternal Spring closing out the album, you get a sense of all of the soundscapes Somerville can turn her hand to although it never strays to far from a distorted metal crunch. No earthquakes here but it will get your house shaking when played at full volume. 7/10
Refuge: Solitary Men (Frontiers)
Peavy Wagner, Manni Schmidt & Christos Efthimiadis are probably best known to metal fans as most successful version of longstanding German metal band Rage. In the current incarnation of that band only Wagner remains but in 2014 the three reunited under the banner of Tres Hombres to play songs from that era of Rage (Noise Records 1986-1994). From there Refuge evolved into another offshoot of Rage running concurrently with the current more symphonic version of the band. Wagner states that this is not a professional project as the members all have day jobs, so Refuge is a “hobby band” that has become real band writing their own material.
Whatever it is when you press play you can’t deny that the magic is still there, taking their name from a song on Rage’s 1993 release The Missing Link Refuge are a return to the balls out classic German metal of those early albums but with a brilliant modern bite. Wagner’s bass gallops and booming vocals are instantly memorable as Schmidt riffs and solos his way through the tracks effortlessly away sending your fists high, to the beat of Efthimiadis laying down a barrage of battery from track one that never really seems to retreat.
Just sounding like Rage would be too easy so for every power metal anthem like The Man In The Ivory Tower, there’s a propulsive hard rocker like We Owe Life To Death, a rip snorting thrasher like From The Ashes or a thundering doom lick like Living On The Edge Of Time. It’s a cascade of these three men’s best creative juices flowing freely, whether Refuge stays as a hobby project or continues as a full band Solitary Men is up there with some of the best material ever written by this trio! 8/10
Cryonic Temple: Deliverance (Scarlet Records)
The sixth album from the Swedish power metal band Cryonic Temple has a striffing symphonic opening but where on familar territory as Rise Eternally Beyond has thundering blastbeats, melodic fast paced riffs and more solos that you can ever need. Deliverance continues the concept, started on their previous record which means that between many of the songs there are cinematic pieces splitting the record and propelling the storyline.
For anyone who are not familiar Cryonic Temple and I'll admit that I wasn't until their previous release, they are on the heavier style of power metal having a lot of Hammerfall and Iron Fire influences but with the keys and synths fleshing out the sound a little, where Cryonic Temple also shine are the powerful vocals of Mattias who has a tough lower register but goes to squealing highs on the title track. Deliverance is a little long at 14 tracks but other than that it's a strong power metal record from these Swedish veterans. 7/10
Fire Down Below: Hymn Of The Cosmic Man (Ripple Music)
We come across a lot of stoner rock here, with varying results, more often than that not though the bands are exactly the kind of fuzzy, riff worshipping music we like here at MoM Towers. One such band are Belgian rockers Fire Down Below who are really interesting, the four piece are a cosmically aligned riff heavy band who play a very good style of twisting desert rock, made up of Sam Nuytens (drums), Jeroen Van Troyen (rhythm guitar/vocals), Kevin Gernaey (lead guitar), Bert Wynsberghe (bass).
The record moves from shoegazing haziness on Nebula to the kaleidoscopic Ascension, the heavy riffing of Ignition/Space Cruiser which strats the album off and the epic 11 minute finale of Adrift In A Sea Of Stars. If the more ethereal desert rock style is what excites you then turn down the lights, crank up Hymn For The Cosmic Man a drift away on the sonic seas of stoner brilliance. 7/10
Thursday, 14 June 2018
Reviews: Don Airey, Subsignal, Infared, RSO (Reviews By Paul H)
Don Airey: One Of A Kind (earMusic)
One of the unsung heroes of the hard rock scene, Don Airey needs no introduction. If you don’t know who he is then you really need to brush up on your rock history. As well as keyboard player for Deep Purple for many years, taking over the late great Jon Lord’s place, Airey has played with some of the biggest bands in rock. You know that huge swathe of keyboards at the start of Ozzy’s Mr Crowley? Yeah, that’s Airey. Throw in Rainbow, Sabbath, Whitesnake, Gary Moore and many others and you get the picture.
So, Airey, in between the huge tours with Purple has found time to deliver his fifth solo album, One Of A Kind, and it’s a solid slab of classic rock that features Carl Sentance on vocals, Simon McBride on guitar, Laurence Cottle on bass and drummer Jon Finnigan on drums. Unsurprisingly the album is thick with the traditional keyboard sound which personifies Airey’s work, with Sentance hitting the Gillan high-pitches with ease. Sentance has a decent pedigree of course, from his work in Persian Risk through to Nazareth and he delivers a fine vocal performance. McBride is another guitar hero in the making, and of course is currently a member of Snakecharmer.
One of the unsung heroes of the hard rock scene, Don Airey needs no introduction. If you don’t know who he is then you really need to brush up on your rock history. As well as keyboard player for Deep Purple for many years, taking over the late great Jon Lord’s place, Airey has played with some of the biggest bands in rock. You know that huge swathe of keyboards at the start of Ozzy’s Mr Crowley? Yeah, that’s Airey. Throw in Rainbow, Sabbath, Whitesnake, Gary Moore and many others and you get the picture.
So, Airey, in between the huge tours with Purple has found time to deliver his fifth solo album, One Of A Kind, and it’s a solid slab of classic rock that features Carl Sentance on vocals, Simon McBride on guitar, Laurence Cottle on bass and drummer Jon Finnigan on drums. Unsurprisingly the album is thick with the traditional keyboard sound which personifies Airey’s work, with Sentance hitting the Gillan high-pitches with ease. Sentance has a decent pedigree of course, from his work in Persian Risk through to Nazareth and he delivers a fine vocal performance. McBride is another guitar hero in the making, and of course is currently a member of Snakecharmer.
The title track is one of the highlights of the album, a mighty majestic piece that builds with strings adding to the AOR feel. Children Of The Sun is one of the heavier numbers, and has Purple stamped all over it. A fast paced, free flowing track, Sentance works his vocals hard; the interplay between Airey and McBride subtle and sweet. The bonus edition gets you four live tracks; the best of these being a riotous Pictures Of Home. This is an album for the classic rock fan, and if you like your rock with large banks of Hammond organ and quality guitar work then it is worth picking up a copy. 7/10
Subsignal: La Muerta (Gentle Art Of Music)
Having formed as a side project to Sieges Even, Subsignal is now an established and popular band, which consists of original members Arno Menses (vocals) and guitarist Markus Steffen, long term bassist Ralf Schwager and more recently keyboard player Marcus Maichel and drummer Dirk Brand. La Muerta is the fifth release by the band, and very pleasant it is too. Combining the best in progressive rock, metal and even pop, with an AOR feel that isn’t riddled with the fromage which invariably plagues other AOR outfits, this is an album that should appeal to fans of Marillion, Yes and The Pineapple Thief.
Subsignal: La Muerta (Gentle Art Of Music)
Having formed as a side project to Sieges Even, Subsignal is now an established and popular band, which consists of original members Arno Menses (vocals) and guitarist Markus Steffen, long term bassist Ralf Schwager and more recently keyboard player Marcus Maichel and drummer Dirk Brand. La Muerta is the fifth release by the band, and very pleasant it is too. Combining the best in progressive rock, metal and even pop, with an AOR feel that isn’t riddled with the fromage which invariably plagues other AOR outfits, this is an album that should appeal to fans of Marillion, Yes and The Pineapple Thief.
Instrumental passages display an emotive and intricate style which I admit, took several plays to appreciate; meanwhile, Menses’ vocals are crystal clear, smooth as honey and easy on the ear. The title track is captivating, the acoustic instrumental Teardrops Will Dry In Source Of Orig beautiful whilst The Bells Of Lyonesse is possibly one of the most perfect AOR tracks you will ever hear. An impressive release which gets better after every listen. 8/10
Infrared: Saviours (Self Released)
So, back in the 1980s in Ottowa, Canada, four teenagers were intent on making it in the fledgling thrash scene. Fully influenced by the Big 4, the band failed before their chance came. Scroll forward to 2014 and three of those hopeful young men, now older and wiser, reunited for Infrared’s second assault. Debut release No Peace completed, the band, Kirk Gidley on guitar, Armin Kamal on guitar and vocals, Alain Grouix on drums and new bassist Mike Forbes moved onto sophomore release Survivors. So far so good … but then of course, so what!
So, back in the 1980s in Ottowa, Canada, four teenagers were intent on making it in the fledgling thrash scene. Fully influenced by the Big 4, the band failed before their chance came. Scroll forward to 2014 and three of those hopeful young men, now older and wiser, reunited for Infrared’s second assault. Debut release No Peace completed, the band, Kirk Gidley on guitar, Armin Kamal on guitar and vocals, Alain Grouix on drums and new bassist Mike Forbes moved onto sophomore release Survivors. So far so good … but then of course, so what!
Well, honestly, this is a routine piece of thrash metal which certainly pays homage to the 1980s Big 4, although mainly Megadeth and Metallica, and has a huge slab of countrymen Anvil included as well. The tracks are monstrous in composition, huge chunky riffs and thundering drumming is usually fine with me, but I do need a vocalist that can deliver and here there is a problem, Kamal’s groaning vocal is a weak spot of some magnitude and sadly detracts massively from the solid thrashing speed which powers through tracks such as All In Favour, Project Karma and The Fallen. A shame that an album with some promise is marred in this way. Sorry. 5/10
RSO: Radio Free America (BMG)
The acclaimed (by who remains questionable) duo of former Bon Jovi Richie Sambora and former Alice Cooper guitarist Orianthi, RSO, released their genre-spanning musical project Radio Free America earlier this month. With Sambora in control, there was little chance that this was going to be a ball breaking head splitting release, and it really fucking isn’t. 15 duet tracks that encompass elements of rock, blues, pop, R&B and country, this is just horrible in every way. You know that bland pop which gym classes seem to have on endless repeat? Yep, some of this rhino crap would fit right in there.
RSO: Radio Free America (BMG)
The acclaimed (by who remains questionable) duo of former Bon Jovi Richie Sambora and former Alice Cooper guitarist Orianthi, RSO, released their genre-spanning musical project Radio Free America earlier this month. With Sambora in control, there was little chance that this was going to be a ball breaking head splitting release, and it really fucking isn’t. 15 duet tracks that encompass elements of rock, blues, pop, R&B and country, this is just horrible in every way. You know that bland pop which gym classes seem to have on endless repeat? Yep, some of this rhino crap would fit right in there.
Sure, it’s slick, it’s glossy and has about as much soul as a paper plate. One Night Of Peace invokes a children’s choir, which is akin to sticking needles in your ears whilst the Sonny and Cher cover of I Got You Babe provokes the gag reflex and nothing else. They may be talented virtuoso guitarists, but holy shit, this is dreadful. I’m sure that music for mothers is a thing – the equivalent of dad rock maybe? All I know is that Stief, who should have reviewed this, will get something very nasty in his sleeping bag at Bloodstock because of this. 2/10
Reviews: TNT, Toledo Steel, Monolith Grows!, Kilmore
TNT: XIII (Frontiers Music)
Norwegian rockers TNT have been have been kicking out the jams for a long while now, 1982 to be exact. XIII is their thirteenth record and their first with new vocalist Baol Bardot Bulsara who replaces the bands most consistent vocalist Tony Harnell, he's backed as ever by founding members Ronni Le Tekro (guitar) and Diesel Dahl (drums) who are alongside bassist Ove Husemoen. After 13 albums TNT know what work so don't expect to hear anything wildly different than the melodic rock the band are known for, expect fretboard fireworks, soaring vocals and anthemic hooks. We're Gonna Make It is very Journey due in a huge part to Baol's Steve Perryesque voice, Fair Warning has slower sleazier sound, It's Electric is funky and there are a few saccharine ballads that slow the pace. I've always found TNT a little lightweight as an act and XIII hasn't done anything to change my mind, one for AOR aficionados or Journey super fans. 6/10
Toledo Steel: No Quarter (Dissonance Productions)
Norwegian rockers TNT have been have been kicking out the jams for a long while now, 1982 to be exact. XIII is their thirteenth record and their first with new vocalist Baol Bardot Bulsara who replaces the bands most consistent vocalist Tony Harnell, he's backed as ever by founding members Ronni Le Tekro (guitar) and Diesel Dahl (drums) who are alongside bassist Ove Husemoen. After 13 albums TNT know what work so don't expect to hear anything wildly different than the melodic rock the band are known for, expect fretboard fireworks, soaring vocals and anthemic hooks. We're Gonna Make It is very Journey due in a huge part to Baol's Steve Perryesque voice, Fair Warning has slower sleazier sound, It's Electric is funky and there are a few saccharine ballads that slow the pace. I've always found TNT a little lightweight as an act and XIII hasn't done anything to change my mind, one for AOR aficionados or Journey super fans. 6/10
Toledo Steel: No Quarter (Dissonance Productions)
"Toledo steel, which is from Toledo Spain is historically an unusually hard form of steel that was primarily used for sword making in the Roman period" So steel is the name of the game and with this band there's some proper British Steel going on. A throwback band hailing from Southampton, this rough and ready mob are riding that NWOBHM influence with some Priest, Accept and Saxon on this decidedly retort release. No Quarter opens with Behold The Machine a 6 minute twisting track that has the gallops and twin leads any faithful NWOBHMer would be silly to ignore. It's all decidedly retro with some Brit grit at the heart of it, the album is extremely reminiscent of the glory days and it stands above many of the bands playing in this new wave, perhaps because there's no blatant copying, the songs borrow from a style rather than brazen copying. At just 8 tracks No Quarter gives and expects none back, it's a shameless celebration of a distinctly British genre that is in resurgence with Monument currently leading the charge, it's on the shoulders of Toledo Steel to be at the head of the chasing pack. 8/10
Monolith Grows: Black And Supersonic (Burning Wax Promotions)
Progressive stoner metal is perhaps a slight misnomer as stoner usually relies on meat and two veg riffs but prog welcomes a buffet of sounds. However Italian band Monolith Grows have brought the two together in a powerful drive of dirty grunge rock, swathes of stoner grooves and some intergalactic desert rock, with Satan Monday Bureau shifting into the self explanatory Interlude With Synths And Clean Guitars, a calming couple of minutes in an otherwise raucous album. Black And Supersonic tries it's hardest to conjure the wisened musical muscle of multiple Chris Cornell with the heaviness layered on So Fresh! and the bass heavy Low the two most Cornellian tracks on the record as the layered hazy riffs heave. If you're not a Soundgarden/Kyuss fan then you won't get Monolith Grows, if you are these vibes are the best. 7/10
Kilmore: Call Of The Void (Self Released)
Riffs and more riffs from Halifax Nova Scotia, I'll say this now I like this band a lot, there a bit Zep and bit Soundgarden, with the funky 70's (Dawn To Dusk) dancing with the gritty 90's grooves Kepler Star and a bluesiness that holds it all together like glue. As Heather howls with a soulful sassy shake she's also riffing up a storm with Dan on the six strings, in the background Neil and Lor are the expressive rhythm section loading up the low end but also when things get a bit lighter and slower they have the job of adding a heaviness, with Seven Seas they are the crunch behind the Coheed & Cambria-styled riff. The more I listened to this album the more I think Kilmore are the band Halestorm should be, just check out Dark Matter and you'll understand what I mean. They've managed to get the ingredients right on their debut record Call Of The Void, the two years taken to create this record have meant it sounds great full of modern/classic rock riffs. It's difficult to write much more as you need to just buy the album to really understand how good Kilmore are. 8/10
Monolith Grows: Black And Supersonic (Burning Wax Promotions)
Progressive stoner metal is perhaps a slight misnomer as stoner usually relies on meat and two veg riffs but prog welcomes a buffet of sounds. However Italian band Monolith Grows have brought the two together in a powerful drive of dirty grunge rock, swathes of stoner grooves and some intergalactic desert rock, with Satan Monday Bureau shifting into the self explanatory Interlude With Synths And Clean Guitars, a calming couple of minutes in an otherwise raucous album. Black And Supersonic tries it's hardest to conjure the wisened musical muscle of multiple Chris Cornell with the heaviness layered on So Fresh! and the bass heavy Low the two most Cornellian tracks on the record as the layered hazy riffs heave. If you're not a Soundgarden/Kyuss fan then you won't get Monolith Grows, if you are these vibes are the best. 7/10
Kilmore: Call Of The Void (Self Released)
Riffs and more riffs from Halifax Nova Scotia, I'll say this now I like this band a lot, there a bit Zep and bit Soundgarden, with the funky 70's (Dawn To Dusk) dancing with the gritty 90's grooves Kepler Star and a bluesiness that holds it all together like glue. As Heather howls with a soulful sassy shake she's also riffing up a storm with Dan on the six strings, in the background Neil and Lor are the expressive rhythm section loading up the low end but also when things get a bit lighter and slower they have the job of adding a heaviness, with Seven Seas they are the crunch behind the Coheed & Cambria-styled riff. The more I listened to this album the more I think Kilmore are the band Halestorm should be, just check out Dark Matter and you'll understand what I mean. They've managed to get the ingredients right on their debut record Call Of The Void, the two years taken to create this record have meant it sounds great full of modern/classic rock riffs. It's difficult to write much more as you need to just buy the album to really understand how good Kilmore are. 8/10
Wednesday, 13 June 2018
Reviews: Here Lies Man, Betrayer, Naisian, Black Crucifixion (Reviews By Paul Scoble)
Here Lies Man: You Will Know Nothing (Riding Easy Records)
You Will Know Nothing is Here Lies Man’s second album, the band, which is made up of members of the band Antibalas, claim to be mixing Black Sabbath with Afrobeat. To be honest, I think both of these references are a little wide of the mark. Yes, this is a very ‘Riffy’ album, but it’s a style of riff that pre-dates Black Sabbath. There are a lot of interesting rhythmic things going on, but I can’t hear anything that screams Afrobeat. The main sound on this album is late 60’s psychedelic rock. If you put this into the stereo on the Magic Bus, Ken Kesey and the Merry Pranksters would totally get this album, in fact, they’d probably use it in one of their acid tests. If you don’t understand that last sentence, but would like to, then read Tom Wolfe’s amazing book “The Electric Kool Aid Acid Test”.
The album features 11 tracks of mainly riffy psychedelic rock, up tempo riffs, lots of Hammond organ, mellotron, flute, and some very interesting drumming that includes some tribal style drumming. The main sound is very reminiscent of early Deep Purple (Shades Of Blue Light in particular). The album has been influenced by Cream, The Doors, Blue Cheer, The Grateful Dead, and maybe a little Zappa. The vocals are nearly all chanted ‘gang’ style vocals (it might be the whole band chanting, but it could also be one voice multi-tracked). The vocals are sporadic throughout the album, it feels like these are songs with choruses, but no verses.
This feels a little like an instrumental album. The lack of vocals, in large parts of the album is a little of a problem. The more riffy tracks do all sound a little similar. This is helped however by 3 of the tracks being, much softer in feel, bringing a lot more jazz into play, and this breaks up the faster tracks. This breaking the album up using these softer songs (my favourite of these songs is the dreamy, ambient sounding track Voices At The Window), stops the sameness of the rockier songs making the album feel monotonous. You Will Know Nothing is an enjoyable piece of late sixties psychedelic rock. If you think music peaked in 1968, you should definitely give this a go. 7/10
Betrayer: Scaregod (Mystic Production)
Betrayer have been going since 1989, albeit with a hiatus between 1995 and 2012. Scaregod is Betrayer’s 3rd studio album. Scaregod is 9 tracks of Old school death metal. Tight fast riffs, screaming solos and gnarly, harsh vocals can be found on this album. Sounds good? Yeah, that's what I thought, but the more I listened to this album, the more it became apparent that there was a serious problem with it. There is a massive elephant in the room with this album. The Elephant's name is Morbid Angel.
The first time I listened to Scaregod it felt very familiar. Repeated listens, confirmed what I first thought. Every riff, every solo, and particularly the vocals have come from Morbid Angels first 2 albums (Altars Of Madness and Blessed Are The Sick). Although the guitar sound is a little thicker than that on those early MA albums (probably more to do with modern production techniques), but the riffs are so similar. The tremolo dive-bombs and harmonic squeals in the solos are straight out of Trey’s playbook. The structure, rhythm and cadence of the vocals on the track Acrid Blood are taken straight from the MA song Lord Of All Fevers And Plague
Scaregod isn’t a bad album. In fact it’s a really good piece of old school death metal. It’s just that it’s someone else’s really good old school death metal album. It’s a shame, as the musicians involved are clearly very talented. But, they have to find their own identity if they are to have any relevance at all. If you don’t know Morbid Angel, this will definitely impress you, but you’ll be much more impressed if you listen to the originals. 6/10
Naisian: Rejoinder EP (Self Released)
Naisian are a 3 piece from Sheffield, who are back after a 5 year break. The EP contains 3 tracks of heavy as anything sludge. The style of sludge on offer here is reminiscent of Unholy Trance, but with elements of Neurosis and Pelican as well in the mix. The tracks aren’t just heavy, there's a serious groove to the proceedings as well, that makes this a really enjoyable listen. This is a great little EP, the only problem is that it is, well, little. The entire thing is only 13 minutes long. It turns up, kicks your head in, and immediately fucks off again. Just as you’re going, “Wow, this is great,” It’s over. So, really great EP, the fact that I’m complaining there isn’t enough of it, shows that, but please Naisian, record a full length, so I can enjoy your insane heavy, groove laden riffs a little longer. 7/10
Black Crucifixion - Lightless Violent Chaos (Universal Music)
Finnish black metal band Black Crucifixion are back with their 4th studio album since their inception in 1991 (although they have done several EP’s, splits and a live album as well as the 4 studio albums). The 7 tracks on offer here are in a melodic, tuneful style of black metal. The album isn’t particularly blasting. Although they use some very effective tremolo picking, there aren’t many blast-beats on the album. The style is more measured and thoughtful than blasting for blastings sake. The sound on the album isn’t full on necro, it’s well produced, but at the same time feels organic, and real. The basic feel of the album is about atmosphere and menace, rather than ferocity and anger.
In many parts this album is very simple and subtle. several of the songs (Free Of Light in particular) remind me of Trelldom (Gaahls band before he was in Gorgoroth) or Lawless Darkness era Watain. This album is all about songs, they all have their own identity, which allows the band to take the listener on a very enjoyable journey. The vocals on the album is very effective as well. There are the usual harsh vocals, but there is also some very effective low chanting as well as whispering. The whispering style is particularly effective in the track Discipline, which is sinister and baleful, partly due to the vocal style.
Lightless Violent Chaos, is a very good, measured and thoughtful black metal album. It’s not surprising that a band that has been going for 27 years, they have a maturity that a lot of black metal bands don’t have. The album is a beautifully put together album, that has clearly had a lot of thought put into it. All in all, a really enjoyable, rewarding album. 8/10
You Will Know Nothing is Here Lies Man’s second album, the band, which is made up of members of the band Antibalas, claim to be mixing Black Sabbath with Afrobeat. To be honest, I think both of these references are a little wide of the mark. Yes, this is a very ‘Riffy’ album, but it’s a style of riff that pre-dates Black Sabbath. There are a lot of interesting rhythmic things going on, but I can’t hear anything that screams Afrobeat. The main sound on this album is late 60’s psychedelic rock. If you put this into the stereo on the Magic Bus, Ken Kesey and the Merry Pranksters would totally get this album, in fact, they’d probably use it in one of their acid tests. If you don’t understand that last sentence, but would like to, then read Tom Wolfe’s amazing book “The Electric Kool Aid Acid Test”.
The album features 11 tracks of mainly riffy psychedelic rock, up tempo riffs, lots of Hammond organ, mellotron, flute, and some very interesting drumming that includes some tribal style drumming. The main sound is very reminiscent of early Deep Purple (Shades Of Blue Light in particular). The album has been influenced by Cream, The Doors, Blue Cheer, The Grateful Dead, and maybe a little Zappa. The vocals are nearly all chanted ‘gang’ style vocals (it might be the whole band chanting, but it could also be one voice multi-tracked). The vocals are sporadic throughout the album, it feels like these are songs with choruses, but no verses.
This feels a little like an instrumental album. The lack of vocals, in large parts of the album is a little of a problem. The more riffy tracks do all sound a little similar. This is helped however by 3 of the tracks being, much softer in feel, bringing a lot more jazz into play, and this breaks up the faster tracks. This breaking the album up using these softer songs (my favourite of these songs is the dreamy, ambient sounding track Voices At The Window), stops the sameness of the rockier songs making the album feel monotonous. You Will Know Nothing is an enjoyable piece of late sixties psychedelic rock. If you think music peaked in 1968, you should definitely give this a go. 7/10
Betrayer: Scaregod (Mystic Production)
Betrayer have been going since 1989, albeit with a hiatus between 1995 and 2012. Scaregod is Betrayer’s 3rd studio album. Scaregod is 9 tracks of Old school death metal. Tight fast riffs, screaming solos and gnarly, harsh vocals can be found on this album. Sounds good? Yeah, that's what I thought, but the more I listened to this album, the more it became apparent that there was a serious problem with it. There is a massive elephant in the room with this album. The Elephant's name is Morbid Angel.
The first time I listened to Scaregod it felt very familiar. Repeated listens, confirmed what I first thought. Every riff, every solo, and particularly the vocals have come from Morbid Angels first 2 albums (Altars Of Madness and Blessed Are The Sick). Although the guitar sound is a little thicker than that on those early MA albums (probably more to do with modern production techniques), but the riffs are so similar. The tremolo dive-bombs and harmonic squeals in the solos are straight out of Trey’s playbook. The structure, rhythm and cadence of the vocals on the track Acrid Blood are taken straight from the MA song Lord Of All Fevers And Plague
Scaregod isn’t a bad album. In fact it’s a really good piece of old school death metal. It’s just that it’s someone else’s really good old school death metal album. It’s a shame, as the musicians involved are clearly very talented. But, they have to find their own identity if they are to have any relevance at all. If you don’t know Morbid Angel, this will definitely impress you, but you’ll be much more impressed if you listen to the originals. 6/10
Naisian: Rejoinder EP (Self Released)
Naisian are a 3 piece from Sheffield, who are back after a 5 year break. The EP contains 3 tracks of heavy as anything sludge. The style of sludge on offer here is reminiscent of Unholy Trance, but with elements of Neurosis and Pelican as well in the mix. The tracks aren’t just heavy, there's a serious groove to the proceedings as well, that makes this a really enjoyable listen. This is a great little EP, the only problem is that it is, well, little. The entire thing is only 13 minutes long. It turns up, kicks your head in, and immediately fucks off again. Just as you’re going, “Wow, this is great,” It’s over. So, really great EP, the fact that I’m complaining there isn’t enough of it, shows that, but please Naisian, record a full length, so I can enjoy your insane heavy, groove laden riffs a little longer. 7/10
Black Crucifixion - Lightless Violent Chaos (Universal Music)
Finnish black metal band Black Crucifixion are back with their 4th studio album since their inception in 1991 (although they have done several EP’s, splits and a live album as well as the 4 studio albums). The 7 tracks on offer here are in a melodic, tuneful style of black metal. The album isn’t particularly blasting. Although they use some very effective tremolo picking, there aren’t many blast-beats on the album. The style is more measured and thoughtful than blasting for blastings sake. The sound on the album isn’t full on necro, it’s well produced, but at the same time feels organic, and real. The basic feel of the album is about atmosphere and menace, rather than ferocity and anger.
In many parts this album is very simple and subtle. several of the songs (Free Of Light in particular) remind me of Trelldom (Gaahls band before he was in Gorgoroth) or Lawless Darkness era Watain. This album is all about songs, they all have their own identity, which allows the band to take the listener on a very enjoyable journey. The vocals on the album is very effective as well. There are the usual harsh vocals, but there is also some very effective low chanting as well as whispering. The whispering style is particularly effective in the track Discipline, which is sinister and baleful, partly due to the vocal style.
Lightless Violent Chaos, is a very good, measured and thoughtful black metal album. It’s not surprising that a band that has been going for 27 years, they have a maturity that a lot of black metal bands don’t have. The album is a beautifully put together album, that has clearly had a lot of thought put into it. All in all, a really enjoyable, rewarding album. 8/10
Tuesday, 12 June 2018
Reviews: Sinaya, Yatin Srivastava Project, Yovel (Reviews By Rich)
Sinaya: Maze Of Madness (Brutal Records)
Maze Of Madness is the debut album by Brazilian death metallers Sinaya. Much like fellow Brazilian band Nervosa, Sinaya have an all female line up and these girls are definitely pissed off as Maze Of Madness is one angry album.
Sinaya play a style of death metal very much influenced by the death metal of yesteryears and there is very much a old school death metal groove flowing through these songs as well as an influence from old school thrash metal. The songs generally remain at a crushing mid pace throughout the album with brutal tunes such as Abyss To Death, Infernal Sight and Buried By Terror threatening to cave your skull in with their sheer heaviness. The album does pick up the pace at times especially with the absolutely savage Bath Of Memories which is easily my favourite from the album.
The album doesn't stray from its tried and tested formula and there is little variation throughout but at just under 37 minutes in duration the album doesn't overstay its welcome and you won't find your interest waning. With Maze Of Madness Sinaya have a cracking debut album that shows great promise for their future. It's fantastic to see a greater female presence in extreme metal. It's something that is long overdue. 8/10
Yatin Srivastava Project: Chaos//Despair (Self Released)
Chaos // Despair is the new release from Indian guitarist Yatin Srivastava. The project has previously released two EP's but this is the first full length debut album from the Yatin Srivastava Project. It is very much a collaborative album with Yatin working alongside many musicians from the Indian rock and metal scene as well as a number of well known guest musicians such as Steven Wilson drummer Craig Blundell and frontman of The Pineapple Thief Bruce Soord.
The album is split into two themes with the first half representing the Chaos and the second half representing Despair. Yatin has put together a damn impressive progressive metal album which showcases the talents of the many musicians involved as well as Yatin's own skill as a guitarist. The songs each are a journey in themselves through a vast musical landscape with crushing metallic riffage with ethereal keyboards boosted by some impressive vocals from the albums guests. Opening song Alive starts off the album very strong with its dissonant riffage and emotive vocal performance from Kunai Singh but the album really comes into its own for me during the second half and the Despair suite where the music becomes more emotionally charged and far more melancholic which appealed to a miserable git like myself.
Chaos // Despair is a fantastic debut album from Yatin Srivastava Project. It's very much a modern progressive metal album and similarities are found in bands and artists such as Devin Townsend, The Pineapple Thief, TesseracT and Porcupine Tree but if you are being compared to such great acts as those then you can be doing no wrong. This is one project to be keeping your eyes on. 8/10
Sinaya play a style of death metal very much influenced by the death metal of yesteryears and there is very much a old school death metal groove flowing through these songs as well as an influence from old school thrash metal. The songs generally remain at a crushing mid pace throughout the album with brutal tunes such as Abyss To Death, Infernal Sight and Buried By Terror threatening to cave your skull in with their sheer heaviness. The album does pick up the pace at times especially with the absolutely savage Bath Of Memories which is easily my favourite from the album.
The album doesn't stray from its tried and tested formula and there is little variation throughout but at just under 37 minutes in duration the album doesn't overstay its welcome and you won't find your interest waning. With Maze Of Madness Sinaya have a cracking debut album that shows great promise for their future. It's fantastic to see a greater female presence in extreme metal. It's something that is long overdue. 8/10
Yatin Srivastava Project: Chaos//Despair (Self Released)
Chaos // Despair is the new release from Indian guitarist Yatin Srivastava. The project has previously released two EP's but this is the first full length debut album from the Yatin Srivastava Project. It is very much a collaborative album with Yatin working alongside many musicians from the Indian rock and metal scene as well as a number of well known guest musicians such as Steven Wilson drummer Craig Blundell and frontman of The Pineapple Thief Bruce Soord.
The album is split into two themes with the first half representing the Chaos and the second half representing Despair. Yatin has put together a damn impressive progressive metal album which showcases the talents of the many musicians involved as well as Yatin's own skill as a guitarist. The songs each are a journey in themselves through a vast musical landscape with crushing metallic riffage with ethereal keyboards boosted by some impressive vocals from the albums guests. Opening song Alive starts off the album very strong with its dissonant riffage and emotive vocal performance from Kunai Singh but the album really comes into its own for me during the second half and the Despair suite where the music becomes more emotionally charged and far more melancholic which appealed to a miserable git like myself.
Chaos // Despair is a fantastic debut album from Yatin Srivastava Project. It's very much a modern progressive metal album and similarities are found in bands and artists such as Devin Townsend, The Pineapple Thief, TesseracT and Porcupine Tree but if you are being compared to such great acts as those then you can be doing no wrong. This is one project to be keeping your eyes on. 8/10
Yovel: Hɪðəˈtu (Self Released)
Hɪðəˈtu is the debut album from Greek black metallers Yovel. A self released album available on Bandcamp Hɪðəˈtu is a concept album which in the words of the band is an ode to the struggle.
Musically Hɪðəˈtu is an album which mixes the atmospheric side of black metal with the violent side represented through a bunch of well rounded songs which use ambient and acoustic passages as well as spoken word passages and samples to great effect. The songs which stood out to me were (Too) Late Capitalism with its fantastic use of samples taken from the film Judgment At Nuremberg, the epic closing track Centennial and my personal favourite Song Of The Coming which seems to mix together all aspects of Yovel's sound into one fantastic composition.
Hɪðəˈtu is a fantastic debut album which whilst showing great promise for the band already demonstrates their great talent, songwriting and compositional abilities. One album I highly recommend to black metal fans out there. 8/10
Hɪðəˈtu is the debut album from Greek black metallers Yovel. A self released album available on Bandcamp Hɪðəˈtu is a concept album which in the words of the band is an ode to the struggle.
Musically Hɪðəˈtu is an album which mixes the atmospheric side of black metal with the violent side represented through a bunch of well rounded songs which use ambient and acoustic passages as well as spoken word passages and samples to great effect. The songs which stood out to me were (Too) Late Capitalism with its fantastic use of samples taken from the film Judgment At Nuremberg, the epic closing track Centennial and my personal favourite Song Of The Coming which seems to mix together all aspects of Yovel's sound into one fantastic composition.
Hɪðəˈtu is a fantastic debut album which whilst showing great promise for the band already demonstrates their great talent, songwriting and compositional abilities. One album I highly recommend to black metal fans out there. 8/10
Monday, 11 June 2018
A View From The Back Of The Room: A Forest Of Stars (Live Review By Paul H)
A Forest Of Stars, Damim, Praecantator, Levitas, Yylva, Fuel Rock Club Cardiff
Whilst men in tight shirts who can’t get things off the top shelf due to their bulging biceps headed to the Cardiff City Stadium for a night of bloke hugging (yes, The Stereophonics were in town), the best value ticket for a million miles was the five bands for a tenner bill at Fuel. Why the place wasn’t rammed to the rafters was beyond me but those who did make the effort were treated to another excellent evening courtesy of the fantastic Eradication Booking Agency who are putting together some stonking bills. Full marks to Gavin and the team for the hard work in a scene where reward is rarely of the folding variety.
The opening band was a possible first for Fuel. Atmospheric and ethereal black metal outfit Yylva (8) played an enchanting set and used an acoustic guitar and a harp, yes, a fucking harp. Has there ever been a harp on stage at Fuel before? Answers on a postcard please. Anyway, for 30 minutes the assembled punters stood captivated by the three on stage, led by harpist, vocalist and main force of the band, Clare Webster, whose dexterity on the strings was matched by her powerful and melancholic voice. The band usually have accompanying blast beats and powerful riffs. Tonight, Rob George’s delicate guitar work held the music together and it was stunning. At times you could hear a pin drop as the wistful harp work weaved its magic.
Next up was local outfit Levitas (8) who have been around the scene for a couple of years. The band features Rhys Williams on guitar and vocals, Helen Kinsella on guitar and vocals, Liam Wolf on bass and vocals and Sam Heffernan on drums. The band play agonised black metal with reverb drenched shoegaze soundscapes, and they are a damn fine band too. High on energy, impact and technically tight, the band impressed from the start. Wolf and Williams cover the vocals, with Williams’ mournful delivery the ying to Wolf’s howling guttural yang. Powerful riffs and intricate slower sections allowed breath to be caught after periods of intensity. Heffernan’s drumming is effortless whilst Kinsella and Williams displayed some impressive fretwork. A band that are worth checking out.
A confusing set from four-piece Praecantator (5) followed. The band’s black metal, combined with their cloaked image was well-received and although it was a small audience, we were clearly enjoying what we heard. Although the band had a 35-minute set scheduled, an abrupt halt after 15 minutes curtailed their set, with the bizarre sight of the three outfield members walking off, leaving the drummer sat bemused for a few seconds before following. Word on the street was that the issue was with the new drummer, and with faces as black as their cassocks afterwards, there was clearly something not quite right. With the band having released their debut EP Arcane Sceptre recently, let’s hope they can get their issues sorted.
With a member of Akercoke in their line-up, there was no chance that Damim (9) would be anything other than brilliant but what followed was just mind blowing. The band, who were until 2016 Dá¾±m, started at 100mph and ploughed furrows through Fuel with their powerful, intense black metal. Ferocious and blisteringly heavy, the band feature Nathanael Underwood (vocals and guitar – Akercoke), Ewan from Spawned From Hate ably filling in for Edd on guitars, alongside Faust on bass and drummer Flow Toulman. Having been disappointed to have missed them at Eradication Festival a few weeks earlier, it was great to finally get my ears around their massive slabs of avant garde blackened thrash. Tracks from their noughties releases Purity (The Darwinian Paradox) and The Difference Engine were lapped up and a new track suggested that the promise of a new release will shortly come true. A great band who are tighter than Doro Pesch’s leather pants, and vicious and intoxicating live.
With time against me before I caught the crazy train home, there was sufficient minutes to catch a couple of tracks from the headliners, A Forest Of Stars (8). I liked what I saw and heard with the seven members of the band crammed on the stage; their progressive folk black metal works in a way that you might not expect it to, and I’d taken time to listen to their catalogue including 2015’s Beware The Sword You Cannot See in advance. The calm and mellow segments provided by Katie Stone aka Katheryne, Queen Of The Ghosts with her violin and flute segued neatly with the gruff vocals of Mister Curse (Dan Eyre) whilst the rest of the band’s abstract psychedelic black metal provided plenty of interest.
If there was one complaint, it was that there was there was not enough harp (© Gavin Davies) from any band apart from Yylva. Metal needs more harp. On a serious note, another great evening and some superb performances once again.
Whilst men in tight shirts who can’t get things off the top shelf due to their bulging biceps headed to the Cardiff City Stadium for a night of bloke hugging (yes, The Stereophonics were in town), the best value ticket for a million miles was the five bands for a tenner bill at Fuel. Why the place wasn’t rammed to the rafters was beyond me but those who did make the effort were treated to another excellent evening courtesy of the fantastic Eradication Booking Agency who are putting together some stonking bills. Full marks to Gavin and the team for the hard work in a scene where reward is rarely of the folding variety.
The opening band was a possible first for Fuel. Atmospheric and ethereal black metal outfit Yylva (8) played an enchanting set and used an acoustic guitar and a harp, yes, a fucking harp. Has there ever been a harp on stage at Fuel before? Answers on a postcard please. Anyway, for 30 minutes the assembled punters stood captivated by the three on stage, led by harpist, vocalist and main force of the band, Clare Webster, whose dexterity on the strings was matched by her powerful and melancholic voice. The band usually have accompanying blast beats and powerful riffs. Tonight, Rob George’s delicate guitar work held the music together and it was stunning. At times you could hear a pin drop as the wistful harp work weaved its magic.
Next up was local outfit Levitas (8) who have been around the scene for a couple of years. The band features Rhys Williams on guitar and vocals, Helen Kinsella on guitar and vocals, Liam Wolf on bass and vocals and Sam Heffernan on drums. The band play agonised black metal with reverb drenched shoegaze soundscapes, and they are a damn fine band too. High on energy, impact and technically tight, the band impressed from the start. Wolf and Williams cover the vocals, with Williams’ mournful delivery the ying to Wolf’s howling guttural yang. Powerful riffs and intricate slower sections allowed breath to be caught after periods of intensity. Heffernan’s drumming is effortless whilst Kinsella and Williams displayed some impressive fretwork. A band that are worth checking out.
A confusing set from four-piece Praecantator (5) followed. The band’s black metal, combined with their cloaked image was well-received and although it was a small audience, we were clearly enjoying what we heard. Although the band had a 35-minute set scheduled, an abrupt halt after 15 minutes curtailed their set, with the bizarre sight of the three outfield members walking off, leaving the drummer sat bemused for a few seconds before following. Word on the street was that the issue was with the new drummer, and with faces as black as their cassocks afterwards, there was clearly something not quite right. With the band having released their debut EP Arcane Sceptre recently, let’s hope they can get their issues sorted.
With a member of Akercoke in their line-up, there was no chance that Damim (9) would be anything other than brilliant but what followed was just mind blowing. The band, who were until 2016 Dá¾±m, started at 100mph and ploughed furrows through Fuel with their powerful, intense black metal. Ferocious and blisteringly heavy, the band feature Nathanael Underwood (vocals and guitar – Akercoke), Ewan from Spawned From Hate ably filling in for Edd on guitars, alongside Faust on bass and drummer Flow Toulman. Having been disappointed to have missed them at Eradication Festival a few weeks earlier, it was great to finally get my ears around their massive slabs of avant garde blackened thrash. Tracks from their noughties releases Purity (The Darwinian Paradox) and The Difference Engine were lapped up and a new track suggested that the promise of a new release will shortly come true. A great band who are tighter than Doro Pesch’s leather pants, and vicious and intoxicating live.
With time against me before I caught the crazy train home, there was sufficient minutes to catch a couple of tracks from the headliners, A Forest Of Stars (8). I liked what I saw and heard with the seven members of the band crammed on the stage; their progressive folk black metal works in a way that you might not expect it to, and I’d taken time to listen to their catalogue including 2015’s Beware The Sword You Cannot See in advance. The calm and mellow segments provided by Katie Stone aka Katheryne, Queen Of The Ghosts with her violin and flute segued neatly with the gruff vocals of Mister Curse (Dan Eyre) whilst the rest of the band’s abstract psychedelic black metal provided plenty of interest.
If there was one complaint, it was that there was there was not enough harp (© Gavin Davies) from any band apart from Yylva. Metal needs more harp. On a serious note, another great evening and some superb performances once again.
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