Wolves In The Throne Room, The Globe, Cardiff
This was something special. A sweltering night, an appreciative and knowledgeable crowd and two stunning bands made The Globe the place to be. WITTR hadn’t played more than one UK date (2017’s DesertFest) since 2012, and this was their debut in Wales (source: Setlist FM). Both bands released superb albums in 2017, Wode’s Servants Of The Counter Cosmos and WITTR’s Thrice Woven both receiving high ratings on the blog. The only question to ask was why wasn’t the venue bursting at the seams? As it was, with the heat wave stoking the temperatures way above the 30° mark in the old cinema, fewer people at least made the experience a bit more comfortable.
Mancunians Wode (9) formed in 2010 and have released two albums, their self-titled debut in 2016 and the sophomore release last year. Both albums are crafted epics, full of layered atmospheric black metal with themes of occultism, death and the cosmos. The band took the stage close to 8pm and proceeded to deliver 35 minutes of magnificent music. It’s sometimes hard to describe the attraction of black metal, with its roaring vocals often unintelligible to the listener, but Wode’s musicianship provided clear evidence of the appeal. Gloriously technical, guitarist Dan Shaw double picking and tremolo riffing in a frenzied kaleidoscope of ferocity. Meanwhile, how drummer Tim Horrocks, resplendent in his Manilla Road shirt, maintained such intensity in the heat was remarkable.
The 35 minutes was absorbing, with the silence between songs not in any way a reflection on the band but merely the stunned silence as Wode pummelled us into complete submission. Bassist Ed Troup played it as cool as he could, his leather waistcoat making him look more suited to a routine rock band but his thunderous bass lines anything but routine as the ear drums were crushed. Meanwhile frontman, vocalist and guitarist Mike Czerwoniuk snarled and growled his way through the set, his gargantuan riffs adding even more meat to an already intense mix. A quite fantastic set which could have lasted all night and we wouldn’t have cared.
You know you are in for something special when the headline act drape huge cloth banners across not only the rear of the stage but the front speaker stacks as well. A hushed audience watched as WITTR (10) took to the stage, atmospheric synths hauntingly clinging to every sinew as the fires were lit, clearly in total contempt of the house management who looked on with some alarm as the incense billowed. Brothers Aaron and Nathan Weaver are now accompanied by long time live guitarist (and now permanent member) Kody Keyworth, whilst Brittany McConnell provide keys and percussion and Peregrine Sommerville added even more depth with a third guitar. The ritual began, Thuja Magus Imperium from Celestial Lineage sounding monstrous with the three guitars and Weaver’s incredible drumming. The sound was just astonishing, and a wall of sonic devastation just flowed for the next 90 minutes,
There is little communication with the audience; WITTR just get on with it and they did this astonishingly well. Each track proving to be epic in composition and duration, Sommerville and Keyworth thrashing their guitars, headbanging whilst never missing a beat as the music drew gasps from the crowd. It was that powerful. Huge tracks from Thrice Woven, Born From A Serpent’s Eye and the epic Angrboda followed, enhanced by the simple red lighting and intoxicating mix of incense and man sweat which was by now permeating around the venue. As the intensity reached even greater heights, I found myself totally absorbed by the sound that was swirling around the venue, caressing the audience like a serpent’s coils.
By the time the closing track arrived, I was spent; my energy sucked out of my body by the emotional experience that this epic black metal outfit generate. If you happened to get to this show, you will feel honoured and stimulated by the experience. If you missed out, well, what can I say? An evening of majestic and imperious quality. It was an honour to be in the audience for one of the most incredible shows The Globe has ever seen.
Tuesday, 3 July 2018
Monday, 2 July 2018
A View From The Back Of The Room: Oli Brown (Live Review By Paul H)
The Oli Brown Band, The Globe
Ten years ago, the blues world took notice of the debut album by a certain Oliver Brown. The guitarist and singer, born in Norfolk, demonstrated a rare maturity and quality for one so young. Open Road was crammed full of heartfelt blues and rock music. Brown followed this up with two further solo albums, the sophomore and award-winning Heads I Win Tails You Lose in 2010, when he also made his Glastonbury debut, and 2012’s Here I Am. Brown has of course, sharpened his rock claws with Musipedia favourites RavenEye, a superb hard rocking trio whose debut album Nova and live performances are both well worth a listen. Ten years on from Open Road, and Brown is back on the road, performing his solo material which included a first solo date in Cardiff for six years.
A very warm night in South Wales saw a sparse crowd of no more than 60 people turn up at The Globe as Oli and crew hit date number three of the UK tour. With no organised support band, it was left to RavenEye bassist Aaron Spiers (6) (who also performed bass duties for TOBB) to warm up the already slightly overheating audience with 30 minutes of acoustic numbers. Playing a combination of covers and original compositions, Spiers is a talented singer and can demonstrate sufficient prowess on the acoustic guitar to be entertaining too. Covers included tracks from RavenEye, The Black Keys and Dolly Parton, whilst his own tunes held their own. His between song patter was balanced and he radiates a real warmth and passion about his music.
Oli Brown (8) hit the stage with no backing music, just tuned up and alongside drummer Wayne Proctor and Spiers, now on more familiar bass duties, launched into a set of over and hour and a half. The first thing you notice is that when playing blues, Brown is much more reserved, demonstrating a respect for the genre. No diving around the stage, walking through the crowd on Spiers’ shoulders, as is routine at a RavenEye gig. No, this was an evening where the music did the talking and he played through a series of tracks from his solo releases, including a lovely Speechless, alongside covers of some of those influential artists who helped shape his career. Watching Brown lovingly deliver his craft is mesmeric; his fluidity and natural ability allowing the music to flow whilst his dexterity was superb as he peeled off solo after solo, both hard and fast and slow and measured. The small crowd responded enthusiastically, whilst Brown seemed genuinely surprised when he talked about RavenEye and received a huge cheer.
The man is humble. Hell, RavenEye supported Kiss throughout Europe last year. No mean feat. As the well-paced set concluded, with opportunity for Spiers and Proctor to show their qualities as well, I reflected on how wrong it is that a superb guitarist who plays magical music receives so little attention, when generic rubbish fills the Principality Stadium for four nights in a row. Something is very wrong with the musical tastes of this nation but in some ways that is what makes rock music so special. Brown is a fantastic musician with a stunning voice, and backed by two talented guys, this was a night which was well worth making the effort for. And next time, so should you.
Ten years ago, the blues world took notice of the debut album by a certain Oliver Brown. The guitarist and singer, born in Norfolk, demonstrated a rare maturity and quality for one so young. Open Road was crammed full of heartfelt blues and rock music. Brown followed this up with two further solo albums, the sophomore and award-winning Heads I Win Tails You Lose in 2010, when he also made his Glastonbury debut, and 2012’s Here I Am. Brown has of course, sharpened his rock claws with Musipedia favourites RavenEye, a superb hard rocking trio whose debut album Nova and live performances are both well worth a listen. Ten years on from Open Road, and Brown is back on the road, performing his solo material which included a first solo date in Cardiff for six years.
A very warm night in South Wales saw a sparse crowd of no more than 60 people turn up at The Globe as Oli and crew hit date number three of the UK tour. With no organised support band, it was left to RavenEye bassist Aaron Spiers (6) (who also performed bass duties for TOBB) to warm up the already slightly overheating audience with 30 minutes of acoustic numbers. Playing a combination of covers and original compositions, Spiers is a talented singer and can demonstrate sufficient prowess on the acoustic guitar to be entertaining too. Covers included tracks from RavenEye, The Black Keys and Dolly Parton, whilst his own tunes held their own. His between song patter was balanced and he radiates a real warmth and passion about his music.
Oli Brown (8) hit the stage with no backing music, just tuned up and alongside drummer Wayne Proctor and Spiers, now on more familiar bass duties, launched into a set of over and hour and a half. The first thing you notice is that when playing blues, Brown is much more reserved, demonstrating a respect for the genre. No diving around the stage, walking through the crowd on Spiers’ shoulders, as is routine at a RavenEye gig. No, this was an evening where the music did the talking and he played through a series of tracks from his solo releases, including a lovely Speechless, alongside covers of some of those influential artists who helped shape his career. Watching Brown lovingly deliver his craft is mesmeric; his fluidity and natural ability allowing the music to flow whilst his dexterity was superb as he peeled off solo after solo, both hard and fast and slow and measured. The small crowd responded enthusiastically, whilst Brown seemed genuinely surprised when he talked about RavenEye and received a huge cheer.
The man is humble. Hell, RavenEye supported Kiss throughout Europe last year. No mean feat. As the well-paced set concluded, with opportunity for Spiers and Proctor to show their qualities as well, I reflected on how wrong it is that a superb guitarist who plays magical music receives so little attention, when generic rubbish fills the Principality Stadium for four nights in a row. Something is very wrong with the musical tastes of this nation but in some ways that is what makes rock music so special. Brown is a fantastic musician with a stunning voice, and backed by two talented guys, this was a night which was well worth making the effort for. And next time, so should you.
Saturday, 30 June 2018
Reviews: Immortal, Brass Owl, Ultra-Violence, Cold Snap (Reviews By Paul H)
Immortal: Northern Chaos Gods (Nuclear Blast)
Founded in Bergen, Norway in 1991, it would be fair to say that Immortal are one of the legendary black metal outfits. Their classic At The Heart Of Winter album stands in the pantheon of black metal releases. Their last album was 2009’s All Shall Fall, a creative masterpiece that was hewn out of the Northern ice fields, but as we know, was to be their last with Abbath Doom Occulta at the helm. His departure in 2015, following an unsavoury period of infighting was unsurprising but for many the name Immortal was feared consigned to the halls of history. Not so, and with Northern Chaos Gods, their 9th release, Demonaz and Horgh have delivered a blistering return.
Listening to the Peter Tägtgren (who also provided the bass work) produced release in scorching heat is surreal. This is an album that reopens the icebound Gates Of Blashyrkh, the demon and battle filled winter landscaped realm. A world that is shrouded in cold and darkness. From the relentless pummelling of the opening title track, which cuts ferociously and fiercely into the heart of the listener, this is a statement of both intent and a demonstration of the power with which Immortal have once again harnessed. 42 minutes of blasting machine gun fire drumming, monstrous riffs and of course, the eerie screams of Demonaz sweep through the speakers like a wave of white walkers, the tracks chiselled from the glacial fjords of their homeland. It is triumphant in so many ways, with Into Battle Ride and Gates Of Blashyrkh majestic in their power and triumph. Gates Of Blashyrkh could possibly be the very essence of Immortal; a distillate of grimness that will once again see the band claw their way back onto the ice throne of Norwegian black metal.
The sheer scale of this assault is captured magnificently in the towering Called To Ice; a blisteringly intense and thunderous charge through the Nordic Winter storm. Where Mountains Rise continues the monumental sound, retaining the old school feel whilst progressing the new Immortal front and centre. Demonaz said “This is how Immortal is meant to sound, and this is an album that pays tribute to our musical past as well.” Northern Chaos Gods captures not only the past but guides the direction of the band, post Abbath. Nothing defines it better than the closing epic, Mighty Ravendark, which arrives at over nine minutes in length. Soaring guitars, crashing riffs, bludgeoning bass lines and Horgh’s stunning drumming combine to conclude the “ultimate journey through Blashyrkh, the realm of all darkness and cold.” A magnificent, triumphant and explosive return to the icy world. Even in the heat of the summer, the bleakness of the permafrost prevails. A grand epic and a welcome return. 10/10
Brass Owl: Brass Owl EP (Self Released)
Formed in southern Ohio, Brass Owl comprises a bonafide shred master on guitar, an award-winning session drummer and a bassist with a distinctive retro style. This EP has a jam-oriented sound and reflects the collective experience of the band. isn’t just a testament to the bands past accomplishments, but also reflects how tightly they have gelled as a unit. The mastermind behind this project is Brian Tarter, who is apparently approved by Steve Vai and it shows in some of the thrilling guitar work throughout the four tracks on offer here. State Of Mind for example, sees him noodling for fun, peeling off the solos whilst the band act as a tight unit. It’s entertaining, interesting and contains enough blues-soaked rock n’ roll to appeal to a wide audience. 7/10
Ultra-Violence: Operation Misdirection (Candlelight Records)
Described by lead vocalist Loris Castiglia as ‘the last chapter of a trilogy we started five years ago with our debut album’, Italian thrashers (what else could they be with their name?) Ultra-Violence certainly grab the bull by the horns with the opening beast Cadaver Decomposition Island, a six-minute rager that bizarrely morphs into almost AOR territory after about three minutes before hitting the accelerator once again. Welcome To The Freakshow shows the Death Angel colours one would expect. There’s a variety of thrash on offer, with the Megadeth style My Fragmented Self offering a contrast to the fear of being without your phone; the social commentary of Nomophobia with its progressive synth intros segueing into heads down Bay Area thrash.
The band, who formed in Turin in 2009 comprise Castiglia on vocals and guitar, Andrea Vacchiotti (guitars), drummer Francesco La Rosa and bassist Andrea Lorenti. They have a no-nonsense approach, ratchet everything to 11 and go for broke. That’s not strictly true, as there is a subtly in some of their tracks which many routine thrash outfits appear to miss. However, there is nothing that I’d heard that could prepare for the cover version that appeared nestled in the middle of this album. Yes, right out of left field appeared a thrash version of Dire Straits’ Money For Nothing. Bizarre isn’t the word! It’s so unexpected that I can’t quite comprehend whether it is genius or utter rubbish. I’m tempted to plump for the former and that earns Operation Misdirection a solid 7/10
Cold Snap: All Our Sins Arising Empire (Nuclear Blast)
When you read that Croatians, Cold Snap have supported the likes of Pro Pain, Dead By April and Ektomorf, you immediately have a good idea what they are going to sound like. Sure enough, they hit the opening track on their fourth album with a metaphoric punch in the face. Having formed in 2003, the band provide a style that combines the groove of Lamb Of God with the aggression and power of Hatebreed, a volatile and vicious mix that incorporates numerous styles whilst always exuding a weight that is both punishing and fresh. Having graced many of the major European festivals in recent years, including Metal Days and Wacken, Cold Snap have a style that only comes from hard work and putting in the hours. It's snarling, bulldog metal which doesn’t always float my boat, but All Our Sins is a visceral battery which covers various topics from the band members' various perspectives. Ranging from personal issues, such as watching close family members endure pain and suffering due to illness, to general views of the world as it exists today including people having to flee from their war-torn homelands or famous musicians feeling the need to take their own lives.
All Our Sins is heavy and infectious. Tracks such as Demons and Fallen Angels are huge and with the addition of a second vocalist the six-piece has been able to widen the scope of their sound with the introduction of more prominent screamed and growled vocals, as well as a more groove-oriented approach to riffing that melds the familiar bounce of nu-metal with the bands signature cut throat attack. Cold Snap is Jan Kerekeš vocals; Dario Sambol drums; Zoran Ernoić bass; Dario Berg vocals / samples; Dorian Pavlović guitar and Zdravko Lovrić guitar. All Our Sins is out in July and is well worth a listen if you like something with real punch. 8/10
Founded in Bergen, Norway in 1991, it would be fair to say that Immortal are one of the legendary black metal outfits. Their classic At The Heart Of Winter album stands in the pantheon of black metal releases. Their last album was 2009’s All Shall Fall, a creative masterpiece that was hewn out of the Northern ice fields, but as we know, was to be their last with Abbath Doom Occulta at the helm. His departure in 2015, following an unsavoury period of infighting was unsurprising but for many the name Immortal was feared consigned to the halls of history. Not so, and with Northern Chaos Gods, their 9th release, Demonaz and Horgh have delivered a blistering return.
Listening to the Peter Tägtgren (who also provided the bass work) produced release in scorching heat is surreal. This is an album that reopens the icebound Gates Of Blashyrkh, the demon and battle filled winter landscaped realm. A world that is shrouded in cold and darkness. From the relentless pummelling of the opening title track, which cuts ferociously and fiercely into the heart of the listener, this is a statement of both intent and a demonstration of the power with which Immortal have once again harnessed. 42 minutes of blasting machine gun fire drumming, monstrous riffs and of course, the eerie screams of Demonaz sweep through the speakers like a wave of white walkers, the tracks chiselled from the glacial fjords of their homeland. It is triumphant in so many ways, with Into Battle Ride and Gates Of Blashyrkh majestic in their power and triumph. Gates Of Blashyrkh could possibly be the very essence of Immortal; a distillate of grimness that will once again see the band claw their way back onto the ice throne of Norwegian black metal.
The sheer scale of this assault is captured magnificently in the towering Called To Ice; a blisteringly intense and thunderous charge through the Nordic Winter storm. Where Mountains Rise continues the monumental sound, retaining the old school feel whilst progressing the new Immortal front and centre. Demonaz said “This is how Immortal is meant to sound, and this is an album that pays tribute to our musical past as well.” Northern Chaos Gods captures not only the past but guides the direction of the band, post Abbath. Nothing defines it better than the closing epic, Mighty Ravendark, which arrives at over nine minutes in length. Soaring guitars, crashing riffs, bludgeoning bass lines and Horgh’s stunning drumming combine to conclude the “ultimate journey through Blashyrkh, the realm of all darkness and cold.” A magnificent, triumphant and explosive return to the icy world. Even in the heat of the summer, the bleakness of the permafrost prevails. A grand epic and a welcome return. 10/10
Brass Owl: Brass Owl EP (Self Released)
Formed in southern Ohio, Brass Owl comprises a bonafide shred master on guitar, an award-winning session drummer and a bassist with a distinctive retro style. This EP has a jam-oriented sound and reflects the collective experience of the band. isn’t just a testament to the bands past accomplishments, but also reflects how tightly they have gelled as a unit. The mastermind behind this project is Brian Tarter, who is apparently approved by Steve Vai and it shows in some of the thrilling guitar work throughout the four tracks on offer here. State Of Mind for example, sees him noodling for fun, peeling off the solos whilst the band act as a tight unit. It’s entertaining, interesting and contains enough blues-soaked rock n’ roll to appeal to a wide audience. 7/10
Ultra-Violence: Operation Misdirection (Candlelight Records)
Described by lead vocalist Loris Castiglia as ‘the last chapter of a trilogy we started five years ago with our debut album’, Italian thrashers (what else could they be with their name?) Ultra-Violence certainly grab the bull by the horns with the opening beast Cadaver Decomposition Island, a six-minute rager that bizarrely morphs into almost AOR territory after about three minutes before hitting the accelerator once again. Welcome To The Freakshow shows the Death Angel colours one would expect. There’s a variety of thrash on offer, with the Megadeth style My Fragmented Self offering a contrast to the fear of being without your phone; the social commentary of Nomophobia with its progressive synth intros segueing into heads down Bay Area thrash.
The band, who formed in Turin in 2009 comprise Castiglia on vocals and guitar, Andrea Vacchiotti (guitars), drummer Francesco La Rosa and bassist Andrea Lorenti. They have a no-nonsense approach, ratchet everything to 11 and go for broke. That’s not strictly true, as there is a subtly in some of their tracks which many routine thrash outfits appear to miss. However, there is nothing that I’d heard that could prepare for the cover version that appeared nestled in the middle of this album. Yes, right out of left field appeared a thrash version of Dire Straits’ Money For Nothing. Bizarre isn’t the word! It’s so unexpected that I can’t quite comprehend whether it is genius or utter rubbish. I’m tempted to plump for the former and that earns Operation Misdirection a solid 7/10
Cold Snap: All Our Sins Arising Empire (Nuclear Blast)
When you read that Croatians, Cold Snap have supported the likes of Pro Pain, Dead By April and Ektomorf, you immediately have a good idea what they are going to sound like. Sure enough, they hit the opening track on their fourth album with a metaphoric punch in the face. Having formed in 2003, the band provide a style that combines the groove of Lamb Of God with the aggression and power of Hatebreed, a volatile and vicious mix that incorporates numerous styles whilst always exuding a weight that is both punishing and fresh. Having graced many of the major European festivals in recent years, including Metal Days and Wacken, Cold Snap have a style that only comes from hard work and putting in the hours. It's snarling, bulldog metal which doesn’t always float my boat, but All Our Sins is a visceral battery which covers various topics from the band members' various perspectives. Ranging from personal issues, such as watching close family members endure pain and suffering due to illness, to general views of the world as it exists today including people having to flee from their war-torn homelands or famous musicians feeling the need to take their own lives.
All Our Sins is heavy and infectious. Tracks such as Demons and Fallen Angels are huge and with the addition of a second vocalist the six-piece has been able to widen the scope of their sound with the introduction of more prominent screamed and growled vocals, as well as a more groove-oriented approach to riffing that melds the familiar bounce of nu-metal with the bands signature cut throat attack. Cold Snap is Jan Kerekeš vocals; Dario Sambol drums; Zoran Ernoić bass; Dario Berg vocals / samples; Dorian Pavlović guitar and Zdravko Lovrić guitar. All Our Sins is out in July and is well worth a listen if you like something with real punch. 8/10
Wednesday, 27 June 2018
Reviews: The Night Flight Orchestra, Kissin' Dynamite, Like A Storm, Diamante
The Night Flight Orchestra: Sometimes The World Ain't Enough
An ambitious title for a band's fourth album but when Amber Galactic made the world sit up and take notice you can see why The Night Flight Orchestra would want to aim a little higher and propel their slick, pop laced, AOR into the universe at large. Who knew so much unbridled joy could come from members of Soilwork and Arch Enemy, there's no tough, aggressive metal here just the best kind of FM radio rock the kind that will have you crushing a neon landscape in a whit open top Lambo, it's an image that's reflected on the electronic Turn To Miami a track that would have definitely been the titles to a buddy cop show in the 80's, a huge chorus hook and sexy shimmering synths.
The band were born out of the frustration of listening to the same old American radio standards again and again so they set about producing their own and on Amber Galactic they mixed everything in the right quantities, however even the best partis need something a little more and Sometimes The World Ain't Enough refines the sound a little more making it better, if a little less immediate than its predecessor. Paralysed has Sharlee D'Angelo laying down a electro-funk bass line that was made for loving you (if you know what I mean), Pretty Little Thing Closing In struts out of Giorgio Moroder's Studio 54 in it's best flares and platform soles. You can hear the influences on this record, Survivor and Graham Bonnet the two biggest in Bjorn Strid's muscular vocals (although no word on whether he puts on his shoes right after he gets out of bed) but there's a buffet of West Coast AOR throughout with saccharine, emotional ballads and throbbing danceable rockers with every spin of the disk.
Another slice of superior rocking from NFO, no distortion, growls or breakdowns in sight, just a place (West Coast USA) and a period (1977-1985) crystallized by a band in the 21st Century, it's going to be the soundtrack to my summer already. 9/10
Diamante: Coming In Hot (Eleven Seven Music)
Described as a blue haired rock n roll troubadour LA rocker Diamante has unleashed her 'proper' debut record to the masses having previously released digital compilations. She is probably also known by some due to her collaboration with Bad Wolves. Coming In Hot is a collection of bang up to date modern pop rock, produced by Howard Benson (Chris Cornell, Kelly Clarkson, My Chemical Romance, Halestorm) that draws from Diamante's influences of Debbie Harry and Joan Jett and owes a debt to Halestorm, In This Moment, The Pretty Reckless and even bands like Shinedown who have all been instrumental in leading this charge of electronically charged hard rock with pop sensibilities.
An ambitious title for a band's fourth album but when Amber Galactic made the world sit up and take notice you can see why The Night Flight Orchestra would want to aim a little higher and propel their slick, pop laced, AOR into the universe at large. Who knew so much unbridled joy could come from members of Soilwork and Arch Enemy, there's no tough, aggressive metal here just the best kind of FM radio rock the kind that will have you crushing a neon landscape in a whit open top Lambo, it's an image that's reflected on the electronic Turn To Miami a track that would have definitely been the titles to a buddy cop show in the 80's, a huge chorus hook and sexy shimmering synths.
The band were born out of the frustration of listening to the same old American radio standards again and again so they set about producing their own and on Amber Galactic they mixed everything in the right quantities, however even the best partis need something a little more and Sometimes The World Ain't Enough refines the sound a little more making it better, if a little less immediate than its predecessor. Paralysed has Sharlee D'Angelo laying down a electro-funk bass line that was made for loving you (if you know what I mean), Pretty Little Thing Closing In struts out of Giorgio Moroder's Studio 54 in it's best flares and platform soles. You can hear the influences on this record, Survivor and Graham Bonnet the two biggest in Bjorn Strid's muscular vocals (although no word on whether he puts on his shoes right after he gets out of bed) but there's a buffet of West Coast AOR throughout with saccharine, emotional ballads and throbbing danceable rockers with every spin of the disk.
Another slice of superior rocking from NFO, no distortion, growls or breakdowns in sight, just a place (West Coast USA) and a period (1977-1985) crystallized by a band in the 21st Century, it's going to be the soundtrack to my summer already. 9/10
Kissin’ Dynamite: Ecstasy (Metal Blade)
German bands (like a lot of European countries) seem to do two types of bands, they are either brilliant or terrible, there’s very rarely any overlay. For every Accept there’s a Grave Digger and I could go on and on, so it was with a little trepidation that I pressed play on the new album by German hard rocker’s Kissin’ Dynamite. This trepidation was all but obliterated by the bouncy hard rocking of opening number I’ve Got The Fire, Kissin’ Dynamite are in the brilliant category. Having been around since 2006 they represent the new wave of glammy, melodic metal that’s full of pomp and machismo, some of the record borders on misogyny, Someone’s Got To Do It being the biggest culprit with some suspect innuendo but it's not as obvious as some other bands who were huge in the era where the Sunset Strip ruled the airwaves. There are a couple of ballads of course, but the main bulk of the album is hook driven hard rock with the throbbing Placebo, the heavy Breaking The Silence and the celebratory No Time To Wonder. the songs don't reinvent the wheel, the band themselves have even admitted it to this but when they've got a niche (this is their sixth album) it's better not to mess with it. 7/10
Like A Storm: Catacombs (WM New Zealand)
Like A Storm are apparently New Zealand's highest charting rock act, they have been called the hardest working band in rock by Myles Kennedy which probably explains why this record is their first since 2015 Like A Storm is made up of three brothers Chris Brooks (vocals, guitar, didgeridoo, keys/programming], Matt Brooks (vocals, lead guitar, keys/programming), Kent Brooks (bass, vocals, keys/programming), alongside Los Angeles drummer Zach Wood (drums, percussion) and you note a particularly odd instrument there, the didgeridoo, it seems Like A Storm are on a quest to incorporate the ancient instrument into their music and it does work well especially on the harder songs like the title track. Outside of the didgeridoo the band's major style is accessible modern metalcore styled music with synths and programming. Think Architects with the sheen of Shinedown. It's not the normal stuff I listen too but there is something interesting about Like A Storm that made me return to this record after the first spin. 7/10
German bands (like a lot of European countries) seem to do two types of bands, they are either brilliant or terrible, there’s very rarely any overlay. For every Accept there’s a Grave Digger and I could go on and on, so it was with a little trepidation that I pressed play on the new album by German hard rocker’s Kissin’ Dynamite. This trepidation was all but obliterated by the bouncy hard rocking of opening number I’ve Got The Fire, Kissin’ Dynamite are in the brilliant category. Having been around since 2006 they represent the new wave of glammy, melodic metal that’s full of pomp and machismo, some of the record borders on misogyny, Someone’s Got To Do It being the biggest culprit with some suspect innuendo but it's not as obvious as some other bands who were huge in the era where the Sunset Strip ruled the airwaves. There are a couple of ballads of course, but the main bulk of the album is hook driven hard rock with the throbbing Placebo, the heavy Breaking The Silence and the celebratory No Time To Wonder. the songs don't reinvent the wheel, the band themselves have even admitted it to this but when they've got a niche (this is their sixth album) it's better not to mess with it. 7/10
Like A Storm: Catacombs (WM New Zealand)
Like A Storm are apparently New Zealand's highest charting rock act, they have been called the hardest working band in rock by Myles Kennedy which probably explains why this record is their first since 2015 Like A Storm is made up of three brothers Chris Brooks (vocals, guitar, didgeridoo, keys/programming], Matt Brooks (vocals, lead guitar, keys/programming), Kent Brooks (bass, vocals, keys/programming), alongside Los Angeles drummer Zach Wood (drums, percussion) and you note a particularly odd instrument there, the didgeridoo, it seems Like A Storm are on a quest to incorporate the ancient instrument into their music and it does work well especially on the harder songs like the title track. Outside of the didgeridoo the band's major style is accessible modern metalcore styled music with synths and programming. Think Architects with the sheen of Shinedown. It's not the normal stuff I listen too but there is something interesting about Like A Storm that made me return to this record after the first spin. 7/10
Diamante: Coming In Hot (Eleven Seven Music)
Described as a blue haired rock n roll troubadour LA rocker Diamante has unleashed her 'proper' debut record to the masses having previously released digital compilations. She is probably also known by some due to her collaboration with Bad Wolves. Coming In Hot is a collection of bang up to date modern pop rock, produced by Howard Benson (Chris Cornell, Kelly Clarkson, My Chemical Romance, Halestorm) that draws from Diamante's influences of Debbie Harry and Joan Jett and owes a debt to Halestorm, In This Moment, The Pretty Reckless and even bands like Shinedown who have all been instrumental in leading this charge of electronically charged hard rock with pop sensibilities.
At 14 tracks perhaps it's a bit long but there is no denying the quality of tracks such as the title track, Had Enough, Fight Like A Girl which all hit a powerful groove but there are also tender moments like Black Heart and tracks such as Haunted add atmosphere. I will say that the 14 tracks do pass by quite quickly but I think the album as a whole could do with a bit of trimming (maybe end the record with Black Heart) although the cover of Crazy On You is actually quite good, making it a more sultry gritty song than the rampaging original. Diamante is probably set for big things her smoky, edgy athletic vocal range is excellent and the tracks here are prime pop rock at its most polished. 7/10
Monday, 25 June 2018
Reviews: Orange Goblin, Tremonti, Trauma, Chubby Thunderous Bad Kush Masters (Reviews By Paul H)
Orange Goblin: The Wolf Bites Back (Spinefarm Records)
Over 20 years into their career, the London power house that is Orange Goblin shows no sign of slowing up. In fact, with this latest release the band have hit an even higher gear and are demonstrating the adage that there is no replacement for experience and quality. It’s been four years since the excellent Back From The Abyss pummeled our ears, and since that time the band has put a lot of effort into getting their ninth album spot on. The good news is that The Wolf Bites Back is as good as anything the band has ever released. Retaining their earthy biker stoner approach, there is also substantial variation which supports the band’s desire to expand their sound whilst retaining their roots. Opener Sons Of Salem is classic Goblin; gnarly, gritty and fast paced with Ben Ward spitting the lyrics out. Move forward to the title track, a stomping head banger of a tune, down and dirty, displaying the band’s Motörhead style raucous approach.
Over 20 years into their career, the London power house that is Orange Goblin shows no sign of slowing up. In fact, with this latest release the band have hit an even higher gear and are demonstrating the adage that there is no replacement for experience and quality. It’s been four years since the excellent Back From The Abyss pummeled our ears, and since that time the band has put a lot of effort into getting their ninth album spot on. The good news is that The Wolf Bites Back is as good as anything the band has ever released. Retaining their earthy biker stoner approach, there is also substantial variation which supports the band’s desire to expand their sound whilst retaining their roots. Opener Sons Of Salem is classic Goblin; gnarly, gritty and fast paced with Ben Ward spitting the lyrics out. Move forward to the title track, a stomping head banger of a tune, down and dirty, displaying the band’s Motörhead style raucous approach.
Ward acknowledged that this album is designed to be played in the live arena, and the stripped back feel should work brilliantly. With Phil Campbell making a guest appearance there is a real raw feel going on, Joe Hoare’s guitar spewing out filthy riffs for fun whilst the anchor of the band, Chris Turner on drums and bassist Martin Millard are tight and solid, providing the platform from which the band build. Renegade is fast and furious, Swords Of Fire an anthem, whilst the funk and groove of Ghost Of The Primitives, a near seven minute thunder blast, expands the band’s repertoire. The punk feel of Suicide Division will incite chaos when the band hit ‘go’ during their November tour with COC; a rampaging three-minute old school rage which never drops below 100mph. It’s all fantastic stuff.
The smouldering blues of The Stranger provides a welcome breather from the frenetic pace and allows the band to demonstrate a quality in their playing, Ward delivering a smoky husky vocal style, and Hoare displaying some beautiful guitar work. Burn The Ships is another foot stomper, In Bocca Al Lupo is an instrumental piece which changes pace and allows the band to demonstrate some tasty playing whilst closer Zeitgeist is a fitting closing song, with an epic feel. As always, Orange Goblin deliver quality in spades and this is a worthy addition to their catalogue. See you down the front in November. 9/10
Tremonti: A Dying Machine (Napalm Records)
The fourth album from Alter Bridge guitarist Mark Tremonti, and his first concept album. Accompanied by his trusty colleagues Eric Friedman and Garrett Whitlock, the album is accompanied by a full-length novel that Tremonti has co-authored with John Shirley. A Dying Machine follows on from 2016’s Dust and at 61 minutes is quite a commitment to listen to. As with all Tremonti releases, the album is slick, polished and extraordinarily well produced (Michael Baksette is once again at the helm, having produced the previous three albums along with some of Alter Bridge’s work). The album opens strongly, Bringer Of War and From The Sky both big high powered hard rock songs with Tremonti’s superb guitar work at the fore; the title track maintains the thunderous sound, the clean vocals akin to Tremonti’s usual partner Myles Kennedy.
Tremonti: A Dying Machine (Napalm Records)
The fourth album from Alter Bridge guitarist Mark Tremonti, and his first concept album. Accompanied by his trusty colleagues Eric Friedman and Garrett Whitlock, the album is accompanied by a full-length novel that Tremonti has co-authored with John Shirley. A Dying Machine follows on from 2016’s Dust and at 61 minutes is quite a commitment to listen to. As with all Tremonti releases, the album is slick, polished and extraordinarily well produced (Michael Baksette is once again at the helm, having produced the previous three albums along with some of Alter Bridge’s work). The album opens strongly, Bringer Of War and From The Sky both big high powered hard rock songs with Tremonti’s superb guitar work at the fore; the title track maintains the thunderous sound, the clean vocals akin to Tremonti’s usual partner Myles Kennedy.
As with all Tremonti’s solo work, the blueprint doesn’t stray far from the day job and whilst there is a heavier edge, it could still be Alter Bridge. Throw Them To The Lions is another accelerating beast, Whitlock’s drumming clean and solid. At 61 minutes A Dying Machine is quite an undertaking and it does contain a lot of quality songs; but here’s the problem I always have with Tremonti. It’s all so bloody prescribed. It’s fiery, it’s hard and heavy and anthemic in every sense. And it’s just a little boring. Nothing really grabs you hard and shakes you. The Day When Legions Burned is a stomper but As The Silence Becomes Me had me stifling a yawn. Good, but not great. 7/10
Trauma: As The World Dies (Rivet Records)
One of the original Bay Area thrash outfits, Trauma lay low for three decades after their debut Scratch And Dream before returning in 2015 with second release Rapture And Wrath. Album number three arrived in the shape of As The World Dies, an album that stays true to their signature sound. Produced by guitarist Joe Fraulob and mixed by Juan Urteaga (Machine Head, Testament, Exodus, Ted Nugent) As The World Dies is ten tracks of solid, thrash metal which unfortunately struggles from opening track The Rage mainly due to founder and vocalist Donny Hillier’s screeching delivery. Musically it is competent and listenable, which it should be with a line-up that comprises long time drummer Kris Gustofson, bassist Greg Christian, (a founding member and integral part of Testament) and guitarist Joe Fraulob, a former member of Danzig whilst Steve Robello played guitar in Dublin Death Patrol.
Trauma: As The World Dies (Rivet Records)
One of the original Bay Area thrash outfits, Trauma lay low for three decades after their debut Scratch And Dream before returning in 2015 with second release Rapture And Wrath. Album number three arrived in the shape of As The World Dies, an album that stays true to their signature sound. Produced by guitarist Joe Fraulob and mixed by Juan Urteaga (Machine Head, Testament, Exodus, Ted Nugent) As The World Dies is ten tracks of solid, thrash metal which unfortunately struggles from opening track The Rage mainly due to founder and vocalist Donny Hillier’s screeching delivery. Musically it is competent and listenable, which it should be with a line-up that comprises long time drummer Kris Gustofson, bassist Greg Christian, (a founding member and integral part of Testament) and guitarist Joe Fraulob, a former member of Danzig whilst Steve Robello played guitar in Dublin Death Patrol.
Trauma will forever be connected by the fact that one of their early members was the legendary Cliff Burton and in 2013 in the film Birth School Metallica Death: The Inside Story Of Metallica, legendary Bay Area thrash singer Steve “Zetro” Souza of Exodus recalled seeing Trauma as a music-hungry teenager, describing them as possible for the “next big thing”. Trauma never realised that potential and this album will not change that situation at all. Hillier’s vocals are just not very good;
The title track for example, has him reaching for notes in a similar style to Maiden’s Bruce Dickinson, and whilst at times he hits the high notes, too often the weaknesses are exposed. Gun To Your Head sounds like it was stolen from the Maiden cutting room floor and as the album progresses, so the songs faded from memory. 5/10
Chubby Thunderous Bad Kush Masters: Come & Chutney (Riff Rock Records)
Yum! an enticing album title with which to draw you in. The over amped down tuned fuzzy tie-dye stoner hits you hard from the off. The London band (which includes former Dopefight front man Owen Carty) have been turning heads on the UK’s burgeoning underground scene not least because of their combination of tie-dye and corpse paint, but with an apparently staggeringly heavy live show that has everyone who sees them agreeing that they’re about to become huge. Probably. Tracks like Cojones Feos and the lovely opening tune Doggy Bag Of Slurry tell you all you need to know. Booming bass, filthy raw vocals and gritty riffs all combine for a ride which requires a magic carpet, a bong and some rainbow coloured knit wear. You’ll either love it or hate it. The album features several guest appearances including guest vocals from Chantal Brown of Vodun, guest guitar solo from Gary Harkin of Ten Foot Wizard, and guest keyboards by Thom Carter of Riddles on closing track Psychedelic Hallucinogenic Vagrancy. Chubby Thunderous Bad Kush Masters exist solely to leave the listener with one thought, “that was some weird shit.” Get on board and enjoy your trip man. 6/10
The title track for example, has him reaching for notes in a similar style to Maiden’s Bruce Dickinson, and whilst at times he hits the high notes, too often the weaknesses are exposed. Gun To Your Head sounds like it was stolen from the Maiden cutting room floor and as the album progresses, so the songs faded from memory. 5/10
Chubby Thunderous Bad Kush Masters: Come & Chutney (Riff Rock Records)
Yum! an enticing album title with which to draw you in. The over amped down tuned fuzzy tie-dye stoner hits you hard from the off. The London band (which includes former Dopefight front man Owen Carty) have been turning heads on the UK’s burgeoning underground scene not least because of their combination of tie-dye and corpse paint, but with an apparently staggeringly heavy live show that has everyone who sees them agreeing that they’re about to become huge. Probably. Tracks like Cojones Feos and the lovely opening tune Doggy Bag Of Slurry tell you all you need to know. Booming bass, filthy raw vocals and gritty riffs all combine for a ride which requires a magic carpet, a bong and some rainbow coloured knit wear. You’ll either love it or hate it. The album features several guest appearances including guest vocals from Chantal Brown of Vodun, guest guitar solo from Gary Harkin of Ten Foot Wizard, and guest keyboards by Thom Carter of Riddles on closing track Psychedelic Hallucinogenic Vagrancy. Chubby Thunderous Bad Kush Masters exist solely to leave the listener with one thought, “that was some weird shit.” Get on board and enjoy your trip man. 6/10
Sunday, 24 June 2018
Reviews: Dana Fuchs, Thunderpussy, Electric Rebels, Highview (Review By Paul H)
Dana Fuchs: Love Lives On (Get Along Records)
Born in New Jersey, Dana Fuchs (pronounced Fyooks) has channelled a tragic family background into a strong career. Her music features death and loss as a regular theme, somewhat unsurprising if you read about the events that have surrounded her life. Love Lives On is her ninth album, with her debut as far back as 2003 with Lonely For A Life Time. Fuchs’ possesses a stunning voice, soulful and smoky, able to t to rock out or deliver Country-style ballads, such as the gospel-style emotion drenched Faithful Sinner.
Born in New Jersey, Dana Fuchs (pronounced Fyooks) has channelled a tragic family background into a strong career. Her music features death and loss as a regular theme, somewhat unsurprising if you read about the events that have surrounded her life. Love Lives On is her ninth album, with her debut as far back as 2003 with Lonely For A Life Time. Fuchs’ possesses a stunning voice, soulful and smoky, able to t to rock out or deliver Country-style ballads, such as the gospel-style emotion drenched Faithful Sinner.
Much of the album contains aspects of Southern rock, soul, roots and blues, all delivered in an accomplished manner, with brass sections complementing the simple musicianship. And when I say simple, that ain’t no derogatory term, no sirree! Check out the smouldering Sedative, which screams class from start to finish. Whilst the rock element is probably a little light in comparison to most releases we review, this is a slow burn which improves on repeated plays. Fuchs’ love of Esther Phillips and Etta James is evident throughout the album. This is an impressive release which allows some respite from our usual aural assault. 8/10
Thunderpussy: Thunderpussy (Stardog Records)
Thunderpussy hail from Seattle, WA, not to be confused with the Swedish outfit of a similar name. The band comprises Molly Sides on vocals, Leah Julius on bass, guitarist Whitney Petty and drummer Ruby Dunphy. Formed in 2013, the band plays a pleasing range of garage and alt-rock with a hard rock edge. There’s an abrasive yet sweet twang to Sides’ delivery, with her wide range hitting the deeper tones of Joplin and Slick whilst the higher range includes the power of Elin Larsson of the Blues Pills.
Thunderpussy: Thunderpussy (Stardog Records)
Thunderpussy hail from Seattle, WA, not to be confused with the Swedish outfit of a similar name. The band comprises Molly Sides on vocals, Leah Julius on bass, guitarist Whitney Petty and drummer Ruby Dunphy. Formed in 2013, the band plays a pleasing range of garage and alt-rock with a hard rock edge. There’s an abrasive yet sweet twang to Sides’ delivery, with her wide range hitting the deeper tones of Joplin and Slick whilst the higher range includes the power of Elin Larsson of the Blues Pills.
The soulful blues of tracks such as Gentle Frame which has a Vintage Trouble flavour nestle comfortably alongside the harder rocker Velvet Noose (featuring a solo from Pearl Jam’s Mike McCready) and Badlands. Establishing a reputation for impressive live shows, Thunderpussy have been making waves in the US with their sound which even crosses into the Florence Welch territory on The Cloud. Whilst it is not the usual riff heavy power that we usually get stuck into here, this is a decent release, especially if you are after something a little different. 7/10
Electric Rebels: Heaven Tonight EP (Self Released)
A three-track EP from Manchester five-piece Electric Rebels, and as their info states, it’s 100% rock n’ roll. The band is Neil Priddey on vocals, guitarists Steve Warburton and Frank Segers, drummer Matt Bates and bassist Laurie Simmonds. Opening track One More Night is full of chunky riffs, harmonised vocals and Priddey's gravel-soaked vocals. Sick Of The Bitch needs little explanation, and follows a similar vein to the opening track. Plenty of potential here, the riffs and melody combine neatly into a solid if unspectacular song. Final song Heaven Tonight starts with a thumping chug, and expands into a slower, but no less riff heavy track. A band that it will be worth keeping an ear out for. 7/10
HighView: Aftermind EP (Self Released)
Hailing from Canberra, Australia, Aftermind is the second EP from this rock quintet. Playing empowering melodies with captivating chorus structures, this is an EP which will appeal to fans of Shinedown, Sevendust and the like. Consisting five tracks, each with intricate guitar work and interspersed with synths which flesh out the songs. With plenty of depth and quality, my only issue is that this could be any one of a hundred other bands. Still, if you like a bit of elaborate alternative rock with a hard edge, HighView should fit the slot perfectly. 6/10
Electric Rebels: Heaven Tonight EP (Self Released)
A three-track EP from Manchester five-piece Electric Rebels, and as their info states, it’s 100% rock n’ roll. The band is Neil Priddey on vocals, guitarists Steve Warburton and Frank Segers, drummer Matt Bates and bassist Laurie Simmonds. Opening track One More Night is full of chunky riffs, harmonised vocals and Priddey's gravel-soaked vocals. Sick Of The Bitch needs little explanation, and follows a similar vein to the opening track. Plenty of potential here, the riffs and melody combine neatly into a solid if unspectacular song. Final song Heaven Tonight starts with a thumping chug, and expands into a slower, but no less riff heavy track. A band that it will be worth keeping an ear out for. 7/10
HighView: Aftermind EP (Self Released)
Hailing from Canberra, Australia, Aftermind is the second EP from this rock quintet. Playing empowering melodies with captivating chorus structures, this is an EP which will appeal to fans of Shinedown, Sevendust and the like. Consisting five tracks, each with intricate guitar work and interspersed with synths which flesh out the songs. With plenty of depth and quality, my only issue is that this could be any one of a hundred other bands. Still, if you like a bit of elaborate alternative rock with a hard edge, HighView should fit the slot perfectly. 6/10
Saturday, 23 June 2018
Reviews: Atrocity, Tomb Mold, The Chapter, Tad Morose (Reviews By Paul H)
Atrocity: Okkult II (Massacre Records)
It’s been five years since the German death metal legends Atrocity released any music. Take one listen to Shadowtaker, a skull crushing bludgeoning assault and the second track on their latest release and you will release why this band remains an essential addition to the scene. Whilst only Alex Krull remains from the original line up that fought its way out of Ludwigsburg back in the mid-1980s, there is sufficient here to sate even the most demanding metal head. With the addition of Pete Streit on guitar in 2015, the duel guitar work which emerges from his work with long-standing member Thorsten Bauer, who also delivers the bass lines to great effect. There is still the symphonic keyboards and choral samples but for the main part Okkult II kicks your ass and then hands it to you in a paper bag. With the death metal icons LG Petrov from Entombed AD and Ex-Morgoth man Marc Grewe also making appearances on the album, tracks such as Infernal Sabbath and Devil’s Covenant have added feel, groove and flavour. This is a strong release which should be made mandatory to listen to. 8/10
Tomb Mold: Manor Of Infinite Forms (20 Buck Spin)
Within seconds of the opening title track I knew I’d like this album. Massive riffs, huge drums and guttural growls left me in little doubt that this was a bloody gore fest of a death metal album. The sophomore release from this Canadian four-piece, Manor Of Infinite Forms is a brutal release which leaves everything in its path flattened. Thunderous grooves, variations in reverb and speed allowing the band to change pace with ease, with a neck snapping nuclear holocaust style approach which should please purists. Interestingly it is drummer Max Kiebanoff who also provides vocals, a challenge when playing live I’m sure but he does this superbly. This is disgustingly organ ripping death metal which really holds nothing back. Powerful and aggressive, but stunningly delivered, tracks such as Blood Mirror, the spine shattering Abysswalker and closing epic Two Worlds Become One demand high volume and the kind of impact that you receive after repeatedly smashing your face with a dinner tray. Dazed but grinning like a madman, this album just pulverises. Get it. Listen to it. Then patch up your bleeding orifices. 9/10
The Chapter: Angels & Demons (The Chapter)
Gothic doom from Portugal visits us in the shape of The Chapter, A five piece who provide the haunting melancholic akin to Moonspell, Katatonia, Paradise Lost and My Dying Bride. Angels & Demons is the band’s first release in 12 years. Pedro Rodrigues has a vocal delivery that resembles Jonas Renkse and Nick Holmes, albeit with slightly less tune at times. Dark riffs are supplied by the duel guitar work of Pedro Almeida and Joao Gomes and it is when the band accelerates away from their somewhat ponderous doom that they are at their best. However, with misery and despair the mainstay of the band’s themes on tracks such as To Live For and Shattered Emotions, there is little light here. It does become a little predictable and by the time you arrive at closing track The Past Is Dead, the formulaic approach becomes rather stale. 6/10
Tad Morose: Chapter X (GMR Music Group)
I’d never heard of these Swedes until Chapter X arrived. Formed way back in 1991, with their debut album Leaving The Past Behind arriving two years later, the band now contains only Christer Andersson from the original line-up. Andersson plays a slicing guitar and works in tandem with Kenneth Jonsson in a duel attack that at times reaches a blurred frenzy. Tad Morose began as a progressive rock band but have morphed into a more routine power metal outfit as time has passed.
With 14 tracks on offer the quality on offer is variable at best, with the racing speed of tracks such as Apocalypse, Deprived Of Light standing out far more than the lumbering Leviathan Rise which challenges singer Ronny Hemlin to the point of struggle. Unfortunately, the more the album progresses, the more of a trial it is to accommodate Hemlin’s vocals. Nemesis for example, is a jumble of styles, with Hemlin all over the place. A snarling opening to Turn To Dust offers hope, and it is this approach which brings the greatest reward when the band accelerate and allow the thundering drumming to compensate. Overall though, despite the odd nugget, this is largely average at best. 5/10
It’s been five years since the German death metal legends Atrocity released any music. Take one listen to Shadowtaker, a skull crushing bludgeoning assault and the second track on their latest release and you will release why this band remains an essential addition to the scene. Whilst only Alex Krull remains from the original line up that fought its way out of Ludwigsburg back in the mid-1980s, there is sufficient here to sate even the most demanding metal head. With the addition of Pete Streit on guitar in 2015, the duel guitar work which emerges from his work with long-standing member Thorsten Bauer, who also delivers the bass lines to great effect. There is still the symphonic keyboards and choral samples but for the main part Okkult II kicks your ass and then hands it to you in a paper bag. With the death metal icons LG Petrov from Entombed AD and Ex-Morgoth man Marc Grewe also making appearances on the album, tracks such as Infernal Sabbath and Devil’s Covenant have added feel, groove and flavour. This is a strong release which should be made mandatory to listen to. 8/10
Tomb Mold: Manor Of Infinite Forms (20 Buck Spin)
Within seconds of the opening title track I knew I’d like this album. Massive riffs, huge drums and guttural growls left me in little doubt that this was a bloody gore fest of a death metal album. The sophomore release from this Canadian four-piece, Manor Of Infinite Forms is a brutal release which leaves everything in its path flattened. Thunderous grooves, variations in reverb and speed allowing the band to change pace with ease, with a neck snapping nuclear holocaust style approach which should please purists. Interestingly it is drummer Max Kiebanoff who also provides vocals, a challenge when playing live I’m sure but he does this superbly. This is disgustingly organ ripping death metal which really holds nothing back. Powerful and aggressive, but stunningly delivered, tracks such as Blood Mirror, the spine shattering Abysswalker and closing epic Two Worlds Become One demand high volume and the kind of impact that you receive after repeatedly smashing your face with a dinner tray. Dazed but grinning like a madman, this album just pulverises. Get it. Listen to it. Then patch up your bleeding orifices. 9/10
The Chapter: Angels & Demons (The Chapter)
Gothic doom from Portugal visits us in the shape of The Chapter, A five piece who provide the haunting melancholic akin to Moonspell, Katatonia, Paradise Lost and My Dying Bride. Angels & Demons is the band’s first release in 12 years. Pedro Rodrigues has a vocal delivery that resembles Jonas Renkse and Nick Holmes, albeit with slightly less tune at times. Dark riffs are supplied by the duel guitar work of Pedro Almeida and Joao Gomes and it is when the band accelerates away from their somewhat ponderous doom that they are at their best. However, with misery and despair the mainstay of the band’s themes on tracks such as To Live For and Shattered Emotions, there is little light here. It does become a little predictable and by the time you arrive at closing track The Past Is Dead, the formulaic approach becomes rather stale. 6/10
Tad Morose: Chapter X (GMR Music Group)
I’d never heard of these Swedes until Chapter X arrived. Formed way back in 1991, with their debut album Leaving The Past Behind arriving two years later, the band now contains only Christer Andersson from the original line-up. Andersson plays a slicing guitar and works in tandem with Kenneth Jonsson in a duel attack that at times reaches a blurred frenzy. Tad Morose began as a progressive rock band but have morphed into a more routine power metal outfit as time has passed.
With 14 tracks on offer the quality on offer is variable at best, with the racing speed of tracks such as Apocalypse, Deprived Of Light standing out far more than the lumbering Leviathan Rise which challenges singer Ronny Hemlin to the point of struggle. Unfortunately, the more the album progresses, the more of a trial it is to accommodate Hemlin’s vocals. Nemesis for example, is a jumble of styles, with Hemlin all over the place. A snarling opening to Turn To Dust offers hope, and it is this approach which brings the greatest reward when the band accelerate and allow the thundering drumming to compensate. Overall though, despite the odd nugget, this is largely average at best. 5/10
Friday, 22 June 2018
Reviews: The Darkness, Zeal & Ardor, Satan's Empire, Null 'O Zero
The Darkness: Live At Hammersmith (Cooking Vinyl)
The Hammersmith Apollo is a legendary venue in the annals of rock history Black Sabbath, Jethro Tull, Ted Nugent, Kate Bush and countless others have all recorded live albums in this historic venue and now Lowestofts purveyors of rock and roll debauchery The Darkness have added their catsuited mark to that list. Playing a set familiar to anyone who saw them on their most recent headline tour last year, this is the brothers Hawkins, Frankie Poullain and Rufus Taylor in full glam rock splendour in front of a baying crowd. Kicking off the show with the explosive Open Fire we're off and running with chugging dual guitar riffs, a swaggering rhythm section and Justin's still amazing vocal gymnastics. Funded through Pledgemusic Live At Hammersmith has an old school touch, sounding like it was recorded on The Rolling Stones Mobile Studio in the height of the 70's there is a crackle and an echo to the record that is pure 70's magic.
Open Fire moves into the big hitter Love Is Only A Feeling which highlights Rufus' more delicate drumming and also gives the crowd a chance to belt out the memorable chorus with aplomb. Justin's between song banter is still bonkers, baiting photographers but he sounds like a man loving every minute of his time on stage. The rampaging Southern Trains is followed by the crunchy Black Shuck (that dog still don't give a...), One Way Ticket is a cowbell fuelled AC/DC rocker (cowbell supplied by Frankie), riffs supplied Dan Hawkins who locks down the show on every song especially on this heavier start to the show keeping the pace high with Givin' Up (cue more singing), All The Pretty Girls and the chest beating Barbarian.
With tracks from Permission To Land all the way to Pinewood Smile along with some deep cuts the fire is lit and burning bright the entire set but obviously towards the end of the set Get Your Hands Off My Woman, Growing On Me, Christmas Time (it was in December after all) and I Believe In A Thing Called Love get the loudest reactions of the evening but Live At The Apollo perfectly captures the raging fire that is a The Darkness live show, if you missed it in December pick up this record, turn it up loud and dance in your pants (shiny or not)! 9/10
Zeal & Ardor: Stranger Fruit (MKVA)
Swiss/American Manuel Gagneu has expertly led Avant Garde metal act Zeal & Ardor through 2 full length albums. It's rare these days that metal really takes you by surprise by being totally different to anything else around but this is totally at the end of the spectrum. It's a fusion that shouldn't work but the mix of black metal fury and African American spiritual music sounds like it shouldn't work but it not only works it's bewitching to hear, thumping gospel tinged blues mixes with furious extreme metal shredding on Don't You Dare it's like Gary Clark Jr fronting Immortal (which I'd pay to see) and singing about Lovecraftian horrors, Servants is a bit more clean but Fire Of Motion is just pure Satanic fury featuring a sample from Aleister Crowley.
At 16 tracks it may seem long but four of those tracks are instrumentals that build on the already established dark atmosphere but Row Row is infused by Motown handclaps but adds frenetic heavy guitars and is followed by it's sequel the chanting Ship On Fire. There is a concept running through the album is complicated and bittersweet but it revolves around death and insignificance with the message hidden in the sometimes indecipherable lyrics. Stranger Fruit is a dark and unsettling record with blast beats and screams sitting as comfortable bedfellows with gospel, soul and blues, it's arresting and begs for repeated lessons to really open up it's magic, it's an impressive follow up to a brilliant debut which will peg Manuel as a world beater in the coming year. 9/10
Null'O'Zero: Instructions To Dominate (Rock Of Angels Records)
From Athens Greece Null'O'Zero bring their second album Instructions To Dominate to Rock Of Angels Records and it's a heavy record based in the later Megadeth style but with some Symphony X virtuoso flourishes and especially vocally with Geo Sinner having the melodic viciousness of Russell Allen. The sound of this record is massive, production wise everything is in overdrive you can hear every slap of the bass, pound of drum skin and impressive technical guitar riff can be heard from the groove of My Last Disguise, through the widdling Imprisoned In The Dark, the slow burning Until The End Of Life and the thrashy The Last One. It's well performed aggressive metal but it fails to leave a lasting impression and after one listen you'd be reluctant to give it a repeated spin. 6/10
Satan's Empire: Rising (3Ms Music)
Coming out of Dundee Scotland it's the return of NWOBHM band Satan's Empire after 30 years, those who were around the first time may remember Soldiers Of War on the Neat Records released Leadweight compilation album. So after 30 years they have brought some old and new songs (including Soldiers Of War) and finally released their debut album which is full of gritty NWOBHM could have been anthems. The current membership is a reunion of their 'London' line up and as Slaves Of Satan opens with a distorted NWOBHM gallop and a vocal uncannily similar to Biff Byford, it isn't Biff (he's busy lets be honest) but close your eyes and Derek Lyons embodies his style perfectly.
Elsewhere Wayne Hudson brings the distorted bass with the singular titled Magpie behind the skins (who's the bands newest member), the dual guitars (which there has to be by law on any classic British metal record) here are Paul Lewis and Sandy McRitchie who play their best on the progressive Soldier Of War and Dragonslayer which pinches from Diamond Head. It's formulaic yes but for NWOBHM fans the return of Satan's Empire will prick up a few ears. 7/10
The Hammersmith Apollo is a legendary venue in the annals of rock history Black Sabbath, Jethro Tull, Ted Nugent, Kate Bush and countless others have all recorded live albums in this historic venue and now Lowestofts purveyors of rock and roll debauchery The Darkness have added their catsuited mark to that list. Playing a set familiar to anyone who saw them on their most recent headline tour last year, this is the brothers Hawkins, Frankie Poullain and Rufus Taylor in full glam rock splendour in front of a baying crowd. Kicking off the show with the explosive Open Fire we're off and running with chugging dual guitar riffs, a swaggering rhythm section and Justin's still amazing vocal gymnastics. Funded through Pledgemusic Live At Hammersmith has an old school touch, sounding like it was recorded on The Rolling Stones Mobile Studio in the height of the 70's there is a crackle and an echo to the record that is pure 70's magic.
Open Fire moves into the big hitter Love Is Only A Feeling which highlights Rufus' more delicate drumming and also gives the crowd a chance to belt out the memorable chorus with aplomb. Justin's between song banter is still bonkers, baiting photographers but he sounds like a man loving every minute of his time on stage. The rampaging Southern Trains is followed by the crunchy Black Shuck (that dog still don't give a...), One Way Ticket is a cowbell fuelled AC/DC rocker (cowbell supplied by Frankie), riffs supplied Dan Hawkins who locks down the show on every song especially on this heavier start to the show keeping the pace high with Givin' Up (cue more singing), All The Pretty Girls and the chest beating Barbarian.
With tracks from Permission To Land all the way to Pinewood Smile along with some deep cuts the fire is lit and burning bright the entire set but obviously towards the end of the set Get Your Hands Off My Woman, Growing On Me, Christmas Time (it was in December after all) and I Believe In A Thing Called Love get the loudest reactions of the evening but Live At The Apollo perfectly captures the raging fire that is a The Darkness live show, if you missed it in December pick up this record, turn it up loud and dance in your pants (shiny or not)! 9/10
Zeal & Ardor: Stranger Fruit (MKVA)
Swiss/American Manuel Gagneu has expertly led Avant Garde metal act Zeal & Ardor through 2 full length albums. It's rare these days that metal really takes you by surprise by being totally different to anything else around but this is totally at the end of the spectrum. It's a fusion that shouldn't work but the mix of black metal fury and African American spiritual music sounds like it shouldn't work but it not only works it's bewitching to hear, thumping gospel tinged blues mixes with furious extreme metal shredding on Don't You Dare it's like Gary Clark Jr fronting Immortal (which I'd pay to see) and singing about Lovecraftian horrors, Servants is a bit more clean but Fire Of Motion is just pure Satanic fury featuring a sample from Aleister Crowley.
At 16 tracks it may seem long but four of those tracks are instrumentals that build on the already established dark atmosphere but Row Row is infused by Motown handclaps but adds frenetic heavy guitars and is followed by it's sequel the chanting Ship On Fire. There is a concept running through the album is complicated and bittersweet but it revolves around death and insignificance with the message hidden in the sometimes indecipherable lyrics. Stranger Fruit is a dark and unsettling record with blast beats and screams sitting as comfortable bedfellows with gospel, soul and blues, it's arresting and begs for repeated lessons to really open up it's magic, it's an impressive follow up to a brilliant debut which will peg Manuel as a world beater in the coming year. 9/10
Null'O'Zero: Instructions To Dominate (Rock Of Angels Records)
From Athens Greece Null'O'Zero bring their second album Instructions To Dominate to Rock Of Angels Records and it's a heavy record based in the later Megadeth style but with some Symphony X virtuoso flourishes and especially vocally with Geo Sinner having the melodic viciousness of Russell Allen. The sound of this record is massive, production wise everything is in overdrive you can hear every slap of the bass, pound of drum skin and impressive technical guitar riff can be heard from the groove of My Last Disguise, through the widdling Imprisoned In The Dark, the slow burning Until The End Of Life and the thrashy The Last One. It's well performed aggressive metal but it fails to leave a lasting impression and after one listen you'd be reluctant to give it a repeated spin. 6/10
Satan's Empire: Rising (3Ms Music)
Coming out of Dundee Scotland it's the return of NWOBHM band Satan's Empire after 30 years, those who were around the first time may remember Soldiers Of War on the Neat Records released Leadweight compilation album. So after 30 years they have brought some old and new songs (including Soldiers Of War) and finally released their debut album which is full of gritty NWOBHM could have been anthems. The current membership is a reunion of their 'London' line up and as Slaves Of Satan opens with a distorted NWOBHM gallop and a vocal uncannily similar to Biff Byford, it isn't Biff (he's busy lets be honest) but close your eyes and Derek Lyons embodies his style perfectly.
Elsewhere Wayne Hudson brings the distorted bass with the singular titled Magpie behind the skins (who's the bands newest member), the dual guitars (which there has to be by law on any classic British metal record) here are Paul Lewis and Sandy McRitchie who play their best on the progressive Soldier Of War and Dragonslayer which pinches from Diamond Head. It's formulaic yes but for NWOBHM fans the return of Satan's Empire will prick up a few ears. 7/10
Thursday, 21 June 2018
Reviews: Yob, Lizzy Borden, Black Fast, Thunder Horse (Reviews By Paul Scoble)
Yob: Our Raw Heart (Relapse)
Our Raw Heart is Yobs 8th studio album, and follow up 2014’s Clearing The Path To Ascend. So, how do you follow up one of the best doom albums ever made? An album that has insanely heavy and aggressive parts, but was featured in Rolling Stones top 50 albums of 2014? An album so good that the world outside of heavy metal sat up and took notice? Yob have always had an enigmatic, impenetrable, quality to them. They are almost the definition of an acquired taste. Their dense, demanding riffing style took effort and time to properly appreciate. If you gave the songs the chance to get into your psyche, to allow them a few listens, they would unravel themselves, and you could properly appreciate them.
Thunder Horse: Thunder Horse (Self Released)
This is the first album from San Antonian 4 piece Thunder Horse. So, what do we have on offer from these Texan hooligans? On offer is 6 tracks of huge sleazy doom, with a touch of psych and blues. The main sound here is doom, massive riffs that drip with sleazy swagger, with a lovely dose of blues and rock and roll. Black Sabbath are an obvious influence here, the opening of the track Demon Speak has a definite Children Of The Grave feel to it. The sleazy rock and roll side of this band brings to mind Orange Goblin, and Goatsnake, with maybe a little Eyehategod in there for good measure. This is clearly a band who are open to lots of different influences, and are happy to incorporate many different styles into a sound that, although references a lot of different bands, is unique and their own.
Our Raw Heart is Yobs 8th studio album, and follow up 2014’s Clearing The Path To Ascend. So, how do you follow up one of the best doom albums ever made? An album that has insanely heavy and aggressive parts, but was featured in Rolling Stones top 50 albums of 2014? An album so good that the world outside of heavy metal sat up and took notice? Yob have always had an enigmatic, impenetrable, quality to them. They are almost the definition of an acquired taste. Their dense, demanding riffing style took effort and time to properly appreciate. If you gave the songs the chance to get into your psyche, to allow them a few listens, they would unravel themselves, and you could properly appreciate them.
This slight difficulty, this lack of accessibility, has led to their being loved passionately by their fans, and bemusing everyone else. I gave them a bit of time, and am happy to admit to being a fan. 2014’s Clearing The Path To Ascend showed a new direction, with the song Marrow. The first 3 tracks on the album, fit broadly into the style of doom that was characteristic of Yob, although the songs were getting softer, and more meditative as the album progressed. But with Marrow the 18 minute closer to the album, Yob seemed to be taking a new direction. The song features riffing that is more open and expansive than Yobs previous style. Less jarring rhythms, more of a flow to the structure. Mike Scheidt’s singing style was much softer and melodic that before, lyrically the song was less angry, more contemplative. Don’t get me wrong, Marrow isn’t a ballad, it’s still heavy, but it’s a different kind of heaviness. After the anger and pain of the first 3 songs of the album, Marrow feels like healing.
Now 4 years later, how have Mike Scheidt, Aaron Rieseberg and Travis Foster followed Clearing The Path To Ascend? The 73 minute album is a bit of a juxtaposition. It’s broadly in two halves (although this is a bit of a simplification), the first coming from Yob’s more traditional dense, impenetrable style, the second half is in a more Marrow style direction. The first 3 tracks leave you in no doubt that Yob are still heavy and aggressive when they want to be. Second track The Screen is driven by one of the angriest, nastiest riffs Yob have ever used. The riff’s rhythm is slightly off kilter, giving it a lurching, staggering feel. In some ways it sounds a little like the main riff to Pantera’s Shedding Skin, but without the syncopation. This strange, urgent rhythm makes this just about the angriest thing I’ve heard from Yob. The song does have a few more tuneful, looser moments, but as soon as they arrive, they’re gone again as that angriest of all riffs, comes crashing back.
The song Lungs Reach feels like a median point in the album, between the older style, angry, dense Yob, and the newer Marrow style material. The first half is quiet and delicate, but has a noisy, heavy ending. After Lungs Reach we come to the more meditative, expansive, sweeping style of material (although the track Original Face is quite a fast, aggressive version of this style). The second half of the album contains what I feel are the best 2 tracks on the album; Beauty In Falling Leaves and the amazing closing, title track Our Raw Heart. Beauty In Falling Leaves starts slowly, the relaxed pace at the beginning gives the song a reflective quality, that is answered by a heavier passage, that although heavy, is warm and musing, rather than angry. The song going between these moods, feels like the song is searching for answers, rather than feeling rage that all is lost.
The final track Our Raw Heart is a fitting closer for what is one of the best albums I have ever heard. Its a blissful acceptance of life with all it’s faults. Mike Scheidt nearly died after contracting Diverticulitis, and then again from a post operative e-coli infection last year. Coming so close to death seems to have given Mike a different view of the world. He seems to be more aware of the positive, affirming aspects of life, he’s still angry, and depressed at the state of the world, but seems to have gained an insight into not missing the beauty and love. Hence we have Anger and Acceptance, Rage and Understanding, Depression and Joy. And Our Raw Heart is a perfect reflection of this. Yob have followed up one of the best doom albums ever made, with a doom album that is even better. 9/10
Lizzy Borden: My Midnight Things (Metal Blade Records)
Lizzy Borden has been making music since 1983, so has been doing this for 35 years. During the 80’s he was at the forefront of the shock rock/metal scene, making several successful albums before grunge came along to stop people having fun. Although Lizzy was successful, and made some fine albums, he was always a little overshadowed by W.A.S.P. and was sometimes (unfairly, I’ve always thought) considered to be a bit of a novelty act. As someone who was around, and into metal in the 80’s, I thought Lizzy was a little harder than W.A.S.P., basically more metal, I thought he was unjustly lumped in with the glam rock that was big at the time.
So, 35 years later, and 11 years since his last album (Appointment With Death), what has Lizzy Borden served up for us in 2018? We get 11 tracks that are on the cusp between hard rock and heavy metal. It’s a softer sound than a lot of his 80’s output, the production is very slick, with a little more keyboards. The songs themselves are really good, title track My Midnight Things is a thumping rocker, with great riffs and a monster chorus. In fact all the way through this album the choruses are HUGE, they’ve clearly worked on making sure every chorus is an enormous singalong. The track Long May They Haunt Us is as good as anything from David Lee Roth's 80’s output (you know the 2 great albums I’m talking about), with a chorus about the same size as Jupiter. Run Away With Me is another huge track, every bit as good as anything that was around in the 80’s, with a melody that gets into your head, and has you humming it to distraction.
The album does feel like it sags a little in the last third. I don’t think the reprise of the title track is needed. Doing it softly with keyboards and piano, doesn’t add anything to the album, maybe a softer section to the original song might have been more effective. However, this does feel a little like quibbling. My Midnight Things is a great, fun album. If your still listening to bands from the eighties (Guns N Roses are headlining Download as I write this), then you should definitely give this a go. If you are an existing Lizzy Borden fan, then this is essential. 7 / 10
Black Fast: Spectre Of Ruin (Entertainment One)
The publicity blurb that comes with this album proudly proclaims: “There isn’t a single clean passage, moody interlude, orchestral intro, or shoegazing break on Black Fast’s unapologetically destructive third album, Spectre Of Ruin.” And it’s not wrong, from the word go this album is a blast of crossover thrash. The St Louis quartet go for the throat from the first track, the incendiary Cloak Of Lies opener to the pounding, relentless closer Husk this album doesn’t let up once. The style is kind of a cross between Power Trip and Municipal Waste with a bit of a blackened edge to it (Famine Angel is a little reminiscent to early Skeletonwitch).
Lizzy Borden: My Midnight Things (Metal Blade Records)
Lizzy Borden has been making music since 1983, so has been doing this for 35 years. During the 80’s he was at the forefront of the shock rock/metal scene, making several successful albums before grunge came along to stop people having fun. Although Lizzy was successful, and made some fine albums, he was always a little overshadowed by W.A.S.P. and was sometimes (unfairly, I’ve always thought) considered to be a bit of a novelty act. As someone who was around, and into metal in the 80’s, I thought Lizzy was a little harder than W.A.S.P., basically more metal, I thought he was unjustly lumped in with the glam rock that was big at the time.
So, 35 years later, and 11 years since his last album (Appointment With Death), what has Lizzy Borden served up for us in 2018? We get 11 tracks that are on the cusp between hard rock and heavy metal. It’s a softer sound than a lot of his 80’s output, the production is very slick, with a little more keyboards. The songs themselves are really good, title track My Midnight Things is a thumping rocker, with great riffs and a monster chorus. In fact all the way through this album the choruses are HUGE, they’ve clearly worked on making sure every chorus is an enormous singalong. The track Long May They Haunt Us is as good as anything from David Lee Roth's 80’s output (you know the 2 great albums I’m talking about), with a chorus about the same size as Jupiter. Run Away With Me is another huge track, every bit as good as anything that was around in the 80’s, with a melody that gets into your head, and has you humming it to distraction.
The album does feel like it sags a little in the last third. I don’t think the reprise of the title track is needed. Doing it softly with keyboards and piano, doesn’t add anything to the album, maybe a softer section to the original song might have been more effective. However, this does feel a little like quibbling. My Midnight Things is a great, fun album. If your still listening to bands from the eighties (Guns N Roses are headlining Download as I write this), then you should definitely give this a go. If you are an existing Lizzy Borden fan, then this is essential. 7 / 10
Black Fast: Spectre Of Ruin (Entertainment One)
The publicity blurb that comes with this album proudly proclaims: “There isn’t a single clean passage, moody interlude, orchestral intro, or shoegazing break on Black Fast’s unapologetically destructive third album, Spectre Of Ruin.” And it’s not wrong, from the word go this album is a blast of crossover thrash. The St Louis quartet go for the throat from the first track, the incendiary Cloak Of Lies opener to the pounding, relentless closer Husk this album doesn’t let up once. The style is kind of a cross between Power Trip and Municipal Waste with a bit of a blackened edge to it (Famine Angel is a little reminiscent to early Skeletonwitch).
The riffs are fast, and rip along at a neck wrecking pace, everything about this album feels energised, and alive. The solo’s fit the songs nicely, they’re fast and tuneful and never outstay their welcome. The vocals are fairly harsh, from the Bobby Blitz Ellsworth, Steve Souza, Tony Foresta school. The rhythm section do exactly what you want a thrash rhythm section to do, and beat the living crap out of you, it’s full on attack from start to finish. The album is produced by Hate Eternal main man and producer Erik Rutan, who does a sterling job, as this sounds fantastic, heavy as anything, but is still crisp and punchy. This is a great thrash album. Keeps your head banging throughout, and when its over you just want to go strait back to the beginning and start again. Great fun. 8/10
Thunder Horse: Thunder Horse (Self Released)
This is the first album from San Antonian 4 piece Thunder Horse. So, what do we have on offer from these Texan hooligans? On offer is 6 tracks of huge sleazy doom, with a touch of psych and blues. The main sound here is doom, massive riffs that drip with sleazy swagger, with a lovely dose of blues and rock and roll. Black Sabbath are an obvious influence here, the opening of the track Demon Speak has a definite Children Of The Grave feel to it. The sleazy rock and roll side of this band brings to mind Orange Goblin, and Goatsnake, with maybe a little Eyehategod in there for good measure. This is clearly a band who are open to lots of different influences, and are happy to incorporate many different styles into a sound that, although references a lot of different bands, is unique and their own.
There is even a touch of early nineties alternative rock in this album, the vocals occasionally seem to be channeling Jane's Addiction. What this album has is great songs, all the tracks on this album feel complete and well rounded, I get the impression the band has lived with this material for a while, and spent time developing them. The beautiful, bluesy guitar solos are a case in point. They fit perfectly with the songs. This isn’t one member of the band showing off, each solo is an integral part of the song, the songs would be poorer without them. So, huge riffs, great grooves, massive swagger, brilliant solo’s, all handled with composure and grace. The album comes to a close with the track Pray For Rain, a mellow, blissed out blues workout, which acts as a very satisfying end to the album. Really great album, highly recommended. 8/10
Wednesday, 20 June 2018
Bloodstock Metal 2 The Masses Final 2018 (Live Review By Paul H )
Metal To The Masses – South Wales Final, Fuel Rock Club, Cardiff
What a night. What an incredible night. There was tension, there was drama, there was tears and there was laughter but most of all there was the fabulous sight of a rammed, and I mean rammed Fuel Rock Club supporting the South Wales Metal Scene in the most passionate way I’ve ever seen. An incredible turnout meant that Fuel was pushing capacity by mid-way through the evening and when the announcement of the winners hit after Malum Sky’s set it was hard to get through the door.
Rob Bannister from Bloodstock was on judging duty, and impartiality was assured. Most of you will know Rob from his stage announcements on the RJD stage at BOA, and a nicer and more highly qualified guy you couldn’t meet. He was straight talking and knows his metal inside out. With the bands loaded in, the draw was made and the running order for the evening saw Blind Divide take the opening slot, followed by Incursion, then Cranial Separation and Democratus closing out the competition before Malum Sky delivered their guest slot.
Backed by the most vociferous and lively support of the evening, Blind Divide (8) hit the stage with similar power and drive to their semi-final when they were streets ahead of their rivals. The band’s Lamb of god style groove metal combined with the screaming vocals of James Birkett impressed me in the semi-final and did so again. Tight, competent and full of passion, the band went full bore from the off, with tracks from their debut EP including the thunderous Scourge Of Humanity inciting ferocity in the pit. The band has been around from some time, but in recent months has really upped its game, focusing more on the polishing of songs which usually hit all the right spots. Overcoming an early problem with the bass pedal on the drums the band worked hard through their set. If there was one criticism from their show, it would be that a couple of the tracks failed to really hit the jugular, and with their style focused on one area, this could improve.
What a night. What an incredible night. There was tension, there was drama, there was tears and there was laughter but most of all there was the fabulous sight of a rammed, and I mean rammed Fuel Rock Club supporting the South Wales Metal Scene in the most passionate way I’ve ever seen. An incredible turnout meant that Fuel was pushing capacity by mid-way through the evening and when the announcement of the winners hit after Malum Sky’s set it was hard to get through the door.
Rob Bannister from Bloodstock was on judging duty, and impartiality was assured. Most of you will know Rob from his stage announcements on the RJD stage at BOA, and a nicer and more highly qualified guy you couldn’t meet. He was straight talking and knows his metal inside out. With the bands loaded in, the draw was made and the running order for the evening saw Blind Divide take the opening slot, followed by Incursion, then Cranial Separation and Democratus closing out the competition before Malum Sky delivered their guest slot.
Backed by the most vociferous and lively support of the evening, Blind Divide (8) hit the stage with similar power and drive to their semi-final when they were streets ahead of their rivals. The band’s Lamb of god style groove metal combined with the screaming vocals of James Birkett impressed me in the semi-final and did so again. Tight, competent and full of passion, the band went full bore from the off, with tracks from their debut EP including the thunderous Scourge Of Humanity inciting ferocity in the pit. The band has been around from some time, but in recent months has really upped its game, focusing more on the polishing of songs which usually hit all the right spots. Overcoming an early problem with the bass pedal on the drums the band worked hard through their set. If there was one criticism from their show, it would be that a couple of the tracks failed to really hit the jugular, and with their style focused on one area, this could improve.
Saying that, the rabid crowd was howling their approval and you couldn’t fault the band for real effort and determination. A hugely impressive start to the evening and Blind Divide will go from strength to strength. They support Sodomised Cadaver on 14th July and if you are not throwing dad shapes with Danny Bowes and Thunder at Caerphilly Castle you should really be in Womanby Street to catch a band that has masses of potential.
A breathless start and the pace was maintained by the hard thrashing trio who form Incursion (7). The Rhondda boys had battled hard to reach a place in the final, and with their effort levels set to destroy, Jonny, Adam and Robbie set about their set with intent. Huge thrashing tracks got the place moving, with Jonny and Adam constantly shifting and urging a response. The audience which was now crammed into the room roared their approval. However, and I’ve said this before, a couple of negatives slightly took the gloss off an overall solid performance. We noted in the past that Jonny’s clean vocals don’t work, in comparison to his rasping guttural delivery and once again, during the clean passages the tone was off. There was also a couple of loose sections which detracted from the overall performance and maybe with nerves putting pressure on Jonny’s delivery the early favourites were clearly Blind Divide.
In the semi-final we struggled before putting Cranial Separation (9) through, with the lads just edging out And The Sky Darkened on the night. Tonight, the death metal trio were just astonishing. On their game from the opening riff, the band powered through their set with an intensity that even the headliners at Eradication Festival failed to display. The ever-crazy antics of guitarist and vocalist Ray Packer captivate, his indecipherable guttural delivery perfect alongside Chris Machin’s wild bass lines and drummer Sam Heffernan’s bludgeoning full throttle drumming.
A breathless start and the pace was maintained by the hard thrashing trio who form Incursion (7). The Rhondda boys had battled hard to reach a place in the final, and with their effort levels set to destroy, Jonny, Adam and Robbie set about their set with intent. Huge thrashing tracks got the place moving, with Jonny and Adam constantly shifting and urging a response. The audience which was now crammed into the room roared their approval. However, and I’ve said this before, a couple of negatives slightly took the gloss off an overall solid performance. We noted in the past that Jonny’s clean vocals don’t work, in comparison to his rasping guttural delivery and once again, during the clean passages the tone was off. There was also a couple of loose sections which detracted from the overall performance and maybe with nerves putting pressure on Jonny’s delivery the early favourites were clearly Blind Divide.
In the semi-final we struggled before putting Cranial Separation (9) through, with the lads just edging out And The Sky Darkened on the night. Tonight, the death metal trio were just astonishing. On their game from the opening riff, the band powered through their set with an intensity that even the headliners at Eradication Festival failed to display. The ever-crazy antics of guitarist and vocalist Ray Packer captivate, his indecipherable guttural delivery perfect alongside Chris Machin’s wild bass lines and drummer Sam Heffernan’s bludgeoning full throttle drumming.
With improvised ZZ Top style choreography adding to the chaos, the band’s humour was infectious but take nothing away from these guys, their power and delivery nothing other than professional. The piece de resistance was the distribution of some penis shaped water pistols which provided several moments of deep enjoyment in the pit during the love song Fucked By A JackHammer. An awesome set, and one that set up a dramatic conclusion to the evening.
What can you say about Democratus? (8) This band just get better and better. Their tunes are well crafted, they change style mixing up their delivery and learn from every show. Once again Joey Watkins defied the pain barrier to deliver an assured and confident performance, Zac Skane’s assured drumming anchoring everything and allowing frontman and main focal point Steve Jenkins to do what he does best; command the front of stage. I couldn’t think of anyone who wanted the victory more than Steve and he put in hell of a shift in his attempts to keep the crowd moving and engaged.
What can you say about Democratus? (8) This band just get better and better. Their tunes are well crafted, they change style mixing up their delivery and learn from every show. Once again Joey Watkins defied the pain barrier to deliver an assured and confident performance, Zac Skane’s assured drumming anchoring everything and allowing frontman and main focal point Steve Jenkins to do what he does best; command the front of stage. I couldn’t think of anyone who wanted the victory more than Steve and he put in hell of a shift in his attempts to keep the crowd moving and engaged.
Hell, he even survived an attempt by bassist Stu ‘Spoon’ Rake to embed his bass in Steve’s head. With a much-changed set list freshening up their set list (top marks for mixing it up), and maintaining interest, it was a performance that caught the eye and ear once again (although the Semi-Final show was even tighter). A few stage props made things visually interesting, although the already been done party popper segment before the killer closer Life For A Life was a bit flat and needs to be dropped. Like all the bands on the bill, Democratus received a huge audience response and it was over to Rob to think through the options and choices.
After Malum Sky had delivered their set, it was over to Rob to announce the winners. First, a few well deserved rounds of applause were afforded to Tim and Alyn who organised the whole competition, Tim on the sound who maintained a stunning level of sound in the room throughout and to Fuel for hosting the competition. A packed room demonstrated that the South Wales scene is vibrant and there was much to celebrate. However, the announcements were what everyone was waiting for and first up, the surprise announcement that there was a second spot on the Jagermeister Stage. This was deservedly awarded to Cranial Separation who were stunned. The boys will cause a sensation on the small stage close to the main stage in August and it was a just reward for a performance that on the night was probably the best out of the four. Make sure you don’t miss them. Yeah Man!
After Malum Sky had delivered their set, it was over to Rob to announce the winners. First, a few well deserved rounds of applause were afforded to Tim and Alyn who organised the whole competition, Tim on the sound who maintained a stunning level of sound in the room throughout and to Fuel for hosting the competition. A packed room demonstrated that the South Wales scene is vibrant and there was much to celebrate. However, the announcements were what everyone was waiting for and first up, the surprise announcement that there was a second spot on the Jagermeister Stage. This was deservedly awarded to Cranial Separation who were stunned. The boys will cause a sensation on the small stage close to the main stage in August and it was a just reward for a performance that on the night was probably the best out of the four. Make sure you don’t miss them. Yeah Man!
The final announcement was for the coveted place on the New Blood Stage; having missed out to Malum Sky last year, there was unbridled joy when this was awarded to Democratus. The tears flowed, both from joy and upset; much disappointment for Blind Divide and Incursion. In some ways, the disappointment was reassuring, as both bands have the potential to return stronger and fitter and their understandable upset only demonstrated how much these guys want to win. Whilst music, heavy metal music was the winner, it was totally understandable how gutting it was for them. Metal To The Masses – South Wales was a huge success and it will return in 2019 bigger, stronger and even more competitive. I can’t wait.
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