HYVMINE: Fight Or Flight (Seek The Strike)
Yay HYVMINE are back! Not long after their debut full length the Los Angeles trio return with three perfectly formed tracks pieces of virtuoso but radio-friendly songs. Led by Al Joseph the band play technically impressive music (AJ is a revered six stringer) but with the more commercial sound in the background Al sees this EP as a chance to shred and it' Epicoustic that holds the record together a real track that uses complex electric, acoustic, classical playing from Joseph, second guitarist Alon Mei-Tai and Al's brother Chris the thumping bottom end, however Feather Bed closes the album as a sprawling progressive near masterpiece with ferocious technicality but tuneful guitar playing and Al having more expression in his vocals than hear previously, not that they weren't great before it's just here he's experimenting with his range. Fight Or Flight seems to be HYVMINE discovering more facets to their sound as they continue their journey as a band. If this is a precursor to their next chapter I say Vive La Evolution! 8/10
Line Of Fire: Nothing In My Way (Self Released)
Nottingham/Derby groove band Line Of Fire have been knocking around the live scene for a good while now, they played BOA all the way back in 2013 but Nothing In My Way is their debut album. They style themselves as blues based biker metal groove band, they have a lot of Clutch about them however that’s about where the comparison can be drawn to a close. Lyrically they are far less equal, Clutch are probably the best lyric writers around Line Of Fire are not, all of their songs filled with clichéd couplets and macho mentality, it’s songwriting at GCSE level and profanity for profanity’s sake, Fuck Me a prime example. Yes it’s angry and grizzled but it doesn’t leave a lasting impression especially when musically they haven’t quite found a way to trim tracks to avoid lazy repetitive riffs, it means their first four songs are too long. This meant that after song four I was bored. Maybe they’re better live with a beer in hand, having not seen them I can’t be the judge, however on record they’re not even that great as background music due to the grating vocals. 5/10
Vulgore: Bliss (Self Released)
When Vulgore got in touch with me, I must admit I made a inaccurate assumption. With a name like that I was expecting some kind of filthy death/grindcore mix with songs about diseases and having sex with painful objects. However upon receiving their EPK (industry speak folks) I found out that they are melodic death metal band with groove elements. On record that translates to Gothenburg styled, metalcore influenced tracks that have big stomping riffs, growled verses and soaring choruses. Vocally they are lot like Howard fronted Killswitch Engage due to Ian Bennett’s excellent clean delivery.
You can hear why Vulgore won the Stoke On Trent Metal To The Masses 2018 and will now get a chance to play Bloodstock as their songs have really deep groove due to the rhythm section of Hayden Ball (drums), Sam Williams (bass) and Andy Lovatt (rhythm guitar) which is ominous, down tuned and heavy on Bathed In The Fading Light they maintain this level of head bashing allowing David Jones to get a little expressive on lead guitar without sacrificing the wall crushing grooves. If you ever had a house to demolish and big enough speakers you could play Bliss and it would do the job for you. Don’t live in ignorance check out Vulgore and get down the front at BOA! 7/10
Tales Of Autumn: In Madness We Trust (Self Released)
The for piece Brighton band Tales Of Madness live life on the darker side of the street, Stefanos Karantonis (vocals/guitar), Tom Kiggins (guitar), Jordan Dann (drums) and Nick Horton (bass) play music that’s miserable, depressing and enthralling, it means they’re the perfect remedy for all this bloody sunshine we’re having. Slightly progressive heavily influenced by bands such as Paradise Lost, Katatonia and Amorphis, the gruffer tones of Stefanos’ vocals are easily met by the gothic and melodic music of the band, occasionally veering into screams his morose lyrics that deal with mental health issues and resonant vocals are impressive adding the cream to this well iced if a little bitter cake.
It’s not all slow and lumbering though Clash picks up the pace with a bit adding excellent lead playing to the galloping riffs, they are in their element though with the more dramatic, leisurely paced tracks that peel away the layers to reveal more and more raw emotion eventually leading to stunning guitar playing Separated is the track I’m referring to hear. Darkly intriguing, lyrically harrowing and musically impressive Tales Of Autumn have captured the bleakness of the dying season perfectly, if the flaming orb in the sky is too much, my advice is stay indoors and listen to this. 7/10
Sunday, 8 July 2018
Reviews: The Record Company, Theia, Voodoo Diamond, Craft (Reviews By Paul H)
The Record Company: All Of This Life (Concord Records)
Over two years has passed since the debut album by Los Angeles power trio The Record Company, Give It Back To You arrived. As Matt said in his review in April 2016, we were alerted to this talented outfit when they supported Blackberry Smoke at The Forum in 2015. Last year I caught them at The Fleece in Bristol where they excelled in front of a sparse audience. Undeterred, the band have now released their second album, All Of This Life and it is another 45 minutes of quality blues orientated rock. The line up remains Chris Vos, lead vocals and smooth guitar; drummer Marc Cazorla and bassist Alex Stiff. Plenty of John Lee Hooker style blues, great use of the slide guitar and simple yet perfectly formed tunes make this an album that is well worth getting hold of. Foot stomping songs like Life To Fix and Make It Happen are balanced by the more measured The Movie Song and Goodbye To The Hard Life. All in all another quality release from a band who get better with age. 8/10
Theia: Ghost Light (WDFD Records)
This is the third release from Burton-On-Trent’s Theia, a three-piece who bring a blend of hard rock n’ roll. At times muscular (Mask Of The Day, No Crisis), at times gentle with a calmer blues soaked approach (The Revelator), Ghost Light is a solid slab of crashing guitars, soaring vocals and at times give the impression that they are much more than a three-piece. The band comprises Kyle Lamley on vocals and guitar, Paul Edwards on bass and vocals and drummer Jake Dalton who joined the band in 2016. On tour throughout the UK this summer, certainly a band worth checking out if you happen to be at a festival. Their brand of rock n’ roll is certainly pleasing enough. 6/10
Voodoo Diamond: Darkness Becomes It (Musicarchy Media)
Another three-piece, Voodoo Diamond are a London based outfit whose colours are nailed to the mast early on in opening track Black Ice. This is a band whose mix of influences include Killswitch Engage, Alter Bridge and Sevendust. There is plenty of chunky riffage here, tight and fast-paced drumming and clean rising vocals that interchange with rougher growls, and enough melody to attract those who may otherwise be put off. At times the band stray into Bullet For My Valentine territory, something that is never a good move in my book.
As the album progresses, tracks such as Deny move closer to the KSE blueprint and it becomes less interesting. That maybe because I’ve never been a fan of this style of metal, and While She Sleeps doesn’t make me like it any more with its cross over to FFDP and Disturbed country. I’m sure if you like that harmonised vocal then you may well enjoy this, and it certainly is well crafted, but I got bored half way through and unfortunately for Voodoo Diamond, turned it off. 5/10
Craft: White Noise And Black Metal (Season Of Mist)
One of many black metal bands to come from Sweden in the 1990s, Craft formed in 1994 and operated as Nocta until 1998 when they changed their name. Apparently, the band didn’t perform live until 2014, so legend built around them. White Noise And Black Metal is their first release since 2011’s Void, so it’s a bit of a welcome back. The Cosmic Sphere Falls opens the album in typically dramatic style, plenty of intense riffing and down tuned guitar work; this continues into Again, a soaring atmospheric piece which follows a steadier pace, the sheer size of the track compensating for the slower speed at times.
And so, it continues. Hauntingly evil, the duel guitar picking of John Sjölin and Joakim Karlsson, the demonic vocals of Nox and the driving bass of Alex Purkis all combine to make this a superb black metal release. From the opener, through Tragedy Of Pointless Games through to the huge closing White Noise, there isn’t a track on here which is anything short of excellent. In a year of some astonishingly good black metal releases, Craft has ensured that they remain in the premier league. 8/10
Over two years has passed since the debut album by Los Angeles power trio The Record Company, Give It Back To You arrived. As Matt said in his review in April 2016, we were alerted to this talented outfit when they supported Blackberry Smoke at The Forum in 2015. Last year I caught them at The Fleece in Bristol where they excelled in front of a sparse audience. Undeterred, the band have now released their second album, All Of This Life and it is another 45 minutes of quality blues orientated rock. The line up remains Chris Vos, lead vocals and smooth guitar; drummer Marc Cazorla and bassist Alex Stiff. Plenty of John Lee Hooker style blues, great use of the slide guitar and simple yet perfectly formed tunes make this an album that is well worth getting hold of. Foot stomping songs like Life To Fix and Make It Happen are balanced by the more measured The Movie Song and Goodbye To The Hard Life. All in all another quality release from a band who get better with age. 8/10
Theia: Ghost Light (WDFD Records)
This is the third release from Burton-On-Trent’s Theia, a three-piece who bring a blend of hard rock n’ roll. At times muscular (Mask Of The Day, No Crisis), at times gentle with a calmer blues soaked approach (The Revelator), Ghost Light is a solid slab of crashing guitars, soaring vocals and at times give the impression that they are much more than a three-piece. The band comprises Kyle Lamley on vocals and guitar, Paul Edwards on bass and vocals and drummer Jake Dalton who joined the band in 2016. On tour throughout the UK this summer, certainly a band worth checking out if you happen to be at a festival. Their brand of rock n’ roll is certainly pleasing enough. 6/10
Voodoo Diamond: Darkness Becomes It (Musicarchy Media)
Another three-piece, Voodoo Diamond are a London based outfit whose colours are nailed to the mast early on in opening track Black Ice. This is a band whose mix of influences include Killswitch Engage, Alter Bridge and Sevendust. There is plenty of chunky riffage here, tight and fast-paced drumming and clean rising vocals that interchange with rougher growls, and enough melody to attract those who may otherwise be put off. At times the band stray into Bullet For My Valentine territory, something that is never a good move in my book.
As the album progresses, tracks such as Deny move closer to the KSE blueprint and it becomes less interesting. That maybe because I’ve never been a fan of this style of metal, and While She Sleeps doesn’t make me like it any more with its cross over to FFDP and Disturbed country. I’m sure if you like that harmonised vocal then you may well enjoy this, and it certainly is well crafted, but I got bored half way through and unfortunately for Voodoo Diamond, turned it off. 5/10
Craft: White Noise And Black Metal (Season Of Mist)
One of many black metal bands to come from Sweden in the 1990s, Craft formed in 1994 and operated as Nocta until 1998 when they changed their name. Apparently, the band didn’t perform live until 2014, so legend built around them. White Noise And Black Metal is their first release since 2011’s Void, so it’s a bit of a welcome back. The Cosmic Sphere Falls opens the album in typically dramatic style, plenty of intense riffing and down tuned guitar work; this continues into Again, a soaring atmospheric piece which follows a steadier pace, the sheer size of the track compensating for the slower speed at times.
And so, it continues. Hauntingly evil, the duel guitar picking of John Sjölin and Joakim Karlsson, the demonic vocals of Nox and the driving bass of Alex Purkis all combine to make this a superb black metal release. From the opener, through Tragedy Of Pointless Games through to the huge closing White Noise, there isn’t a track on here which is anything short of excellent. In a year of some astonishingly good black metal releases, Craft has ensured that they remain in the premier league. 8/10
Saturday, 7 July 2018
Reviews: Marduk, Tenebra Arcana, Impending Doom (Reviews By Sean)
Marduk: Viktoria (Century Media Records)
Ah, Marduk. Marduk FUCKING Marduk. What more can there be said about the stalwart Swedes? They love Satan, WW2, they don’t make bad albums and they’re absolutely unyielding in their quest to blast beat all into oblivion. With his brutal battalion in tow, Morgan Hakansson and company have been forging black metal artillery for more than 20 years. Opener Werwolf leads the charge with it’s punkish Bathory gallop, transitioning into prime Marduk territory with June 44 with their trademark blasting propelling them onward. Viktoria bellows war cry after war cry, briefly slowing down with Tiger 1 and it’s intermittent volley of blasting.
Ah, Marduk. Marduk FUCKING Marduk. What more can there be said about the stalwart Swedes? They love Satan, WW2, they don’t make bad albums and they’re absolutely unyielding in their quest to blast beat all into oblivion. With his brutal battalion in tow, Morgan Hakansson and company have been forging black metal artillery for more than 20 years. Opener Werwolf leads the charge with it’s punkish Bathory gallop, transitioning into prime Marduk territory with June 44 with their trademark blasting propelling them onward. Viktoria bellows war cry after war cry, briefly slowing down with Tiger 1 and it’s intermittent volley of blasting.
Ever on fine form is vocalist Morutus, vomiting forth blasphemous war commands and reaffirming that his shredded rasps are amongst the mightiest in black metal. Narva continues the assault and Viktoria never relents, with The Last Fallen displaying what a beast Frederik Widigs is behind the kit. Title track Viktoria and The Devils Song continues the onslaught, culminating in the funereal dirge of Silent Night. I exhale and reflect.
Tenebra Arcana: Luna (Self Released)
Symphonic black metal is deceptively hard to pull off. Striking a fine line between the metallic and orchestral takes a deft hand, lest it descend into schlocky silliness. A fine line to tread indeed, given how easy it is to have one overpower the other. So on this, their debut EP, do the young Italian quintet successfully navigate their way to glory?
Sweeping intro Darkness Fall conjures enough atmosphere before The Fall breaks the sombre reverie. Aside form the slightly wonky usage of the synths and dragging its feet towards the end, it’s a solid opener though there are hints of greater things to follow. Tenebre Arcana begins with such a strong lead, it undermines the rest of the song until some ferocious traditional riffing brings it back again. Solid once more, yet not quite achieving the epic heights the band have set their sights on. Once again, traces of something….powerful lurks in the deep. I begin to feel a touch frustrated at this point. It’s competent, yet slightly unremarkable and I can’t help but feel the Tenebre Arcana are holding something back. And then Luna blows me away.
Title/4th track Luna, the strongest track on this EP, showcases a sudden compositional maturity absent on the previous tracks. Downplaying the gothic elements of previous excursions, Tenebre Arcana finally take flight. Every element seamlessly fused into a muscular display of blackened symphonic power. The riffs are searing and icy, (reminiscent of DAWN) elevated to greater power by synths as neither buckles under the others weight. Synergy is achieved, the final form attained! Outro Ecater Mater Nocte finishes the epic journey, bringing a promising prologue to a close. It may have been a rocky beginning but Luna displays what the band are truly capable of, what they can achieve if they tap into their latent might. With a little time and finesse, who knows how much mightier they will become. 7/10
Impending Doom: The Sin And Doom Vol. II (eOne Records)
Ah, deathcore. death metals younger sibling. A much maligned genre, sneered as inferior by the trve and the old school. A genre that I thought had faded into obscurity, turning out to be very much still in existence. Fuck, I sound jaded. I must confess that I’ve never been keen on it, ever. So, will Californian Christian deathcore troupe Impending Doom usher in a new era of genre enlightenment? Let us begin, let us delve into their latest offering The Sin And Doom Vol II.As I reflect upon my experience with Impending Doom, I am left with a sense of emptiness. The band, whom are comfortable in their own style, wish to bludgeon and write a decent ditty in veneration of their beliefs. Regardless of their intention, I am left with that hallow feeling deathcore bequeathed unto me all those years ago. Emptiness at it’s vapidity and restraint. Emptiness at the bands bread and butter, as its neither nourishing or tantalising to a death metaller like me. Too often do Impending Doom rely on worn out deathcore tropes, never really fully brandishing that raw killer instinct other extreme genres do with such ease.
Is it flawlessly executed? Absolutley, the production making things tighter then a nuns nether regions. But for all their roaring and religious zeal, it all feels…..soulless and lacking. This will never be for me but then again, maybe it never was. More power to you. Me? I will never see their light or “gorship”, worshipping the lord with gory lyrics, as they would describe it. I remain bound to the Left Hand Path, forever worshipping at the Altar Of Madness. After all, the devil has the best tunes. 4/10
Look, I like Marduk and Viktoria is in no way a bad album. Far from it in fact, Marduk just don’t make bad albums. Serpent Sermon’s ferocity and Rom 5:12’s versatility perfectly showcase some their finest attributes. But this time around? It feels ever so slightly……flat, never fully grabbing as it should despite the savagery on display. Compared to previous excursions, Viktoria is content to blast away and exhibit the stripped down basics of a well honed sound. Whilst it is not as memorable as previous efforts it is neither their worst, if anything Viktoria is a solid reminder of what made Marduk great in the first place. You know exactly where you are with Marduk, which is quite a comfort in a genre that is constantly shifting and reshaping itself.
At album number 14, Marduk aren’t going alter their formula too much and they’ve never really had to. Why should they? It has served them well over the years, ensuring that I and many more will forever be loyal to their cause. Whilst it doesn’t surprise, it never bores and there’s enough here to satisfy even the most fanatic of Marduk's already rabid fanbase. For me? Not their strongest effort, but a solid album nonetheless. With the Swedish war-machine showing no signs of relenting anytime soon, with Viktoria displaying that the grizzled old panzer has plenty of firepower to spare. Long live
Marduk. 7/10
Marduk. 7/10
Tenebra Arcana: Luna (Self Released)
Symphonic black metal is deceptively hard to pull off. Striking a fine line between the metallic and orchestral takes a deft hand, lest it descend into schlocky silliness. A fine line to tread indeed, given how easy it is to have one overpower the other. So on this, their debut EP, do the young Italian quintet successfully navigate their way to glory?
Sweeping intro Darkness Fall conjures enough atmosphere before The Fall breaks the sombre reverie. Aside form the slightly wonky usage of the synths and dragging its feet towards the end, it’s a solid opener though there are hints of greater things to follow. Tenebre Arcana begins with such a strong lead, it undermines the rest of the song until some ferocious traditional riffing brings it back again. Solid once more, yet not quite achieving the epic heights the band have set their sights on. Once again, traces of something….powerful lurks in the deep. I begin to feel a touch frustrated at this point. It’s competent, yet slightly unremarkable and I can’t help but feel the Tenebre Arcana are holding something back. And then Luna blows me away.
Title/4th track Luna, the strongest track on this EP, showcases a sudden compositional maturity absent on the previous tracks. Downplaying the gothic elements of previous excursions, Tenebre Arcana finally take flight. Every element seamlessly fused into a muscular display of blackened symphonic power. The riffs are searing and icy, (reminiscent of DAWN) elevated to greater power by synths as neither buckles under the others weight. Synergy is achieved, the final form attained! Outro Ecater Mater Nocte finishes the epic journey, bringing a promising prologue to a close. It may have been a rocky beginning but Luna displays what the band are truly capable of, what they can achieve if they tap into their latent might. With a little time and finesse, who knows how much mightier they will become. 7/10
Impending Doom: The Sin And Doom Vol. II (eOne Records)
Ah, deathcore. death metals younger sibling. A much maligned genre, sneered as inferior by the trve and the old school. A genre that I thought had faded into obscurity, turning out to be very much still in existence. Fuck, I sound jaded. I must confess that I’ve never been keen on it, ever. So, will Californian Christian deathcore troupe Impending Doom usher in a new era of genre enlightenment? Let us begin, let us delve into their latest offering The Sin And Doom Vol II.As I reflect upon my experience with Impending Doom, I am left with a sense of emptiness. The band, whom are comfortable in their own style, wish to bludgeon and write a decent ditty in veneration of their beliefs. Regardless of their intention, I am left with that hallow feeling deathcore bequeathed unto me all those years ago. Emptiness at it’s vapidity and restraint. Emptiness at the bands bread and butter, as its neither nourishing or tantalising to a death metaller like me. Too often do Impending Doom rely on worn out deathcore tropes, never really fully brandishing that raw killer instinct other extreme genres do with such ease.
Is it flawlessly executed? Absolutley, the production making things tighter then a nuns nether regions. But for all their roaring and religious zeal, it all feels…..soulless and lacking. This will never be for me but then again, maybe it never was. More power to you. Me? I will never see their light or “gorship”, worshipping the lord with gory lyrics, as they would describe it. I remain bound to the Left Hand Path, forever worshipping at the Altar Of Madness. After all, the devil has the best tunes. 4/10
Friday, 6 July 2018
Reviews: Madball, Agathos, Blacklab, Fragments Of Despair (Reviews By Paul Scoble)
Madball: For The Cause (Nuclear Blast)
For The Cause Is Madball’s first album since 2014’s Hardcore Lives. So, what do we have on Madball’s 9th studio album? Well, we get 13 tracks of pissed off, up tempo metallic hardcore. Madball were always the most ‘Metal’ of all the NYHC bands, but this new album is probably the most strait down the line Hardcore album the band have produced. Closer to Sick Of It All style HC style, more punky. This moving of their sound towards a more traditional hardcore direction, could be due to anger. This is a MASSIVELY angry album (considering the political situation in America, and the rest of the world, if you’re not angry, you’re not paying attention). The album bristles with rage, at the direction the world is moving in. It contains 13 tracks, 9 of which are less than 3 minutes, and they are all raging. From the opener Smile Now Pay Later to closer Confessions the album doesn’t let up once. The lyrics, although very angry, are intelligent and well written. This isn’t directionless wrath, Freddy Cricien is a well informed, he knows how evil the world is, and is reacting to it with reason and understanding.
For The Cause has a couple of guest appearances to add to the fun. Tim Timebomb (Tim Armstrong from Rancid) guests on the track The Fog, which is about the American Military Industrial Complex. The album also has a guest appearance from Ice T on the track Evil Ways, probably the strongest track on the album (if you’re going to ask Ice T to guest on you’re album, you’re going to offer him the best track), Ice’s incredibly distinctive, angry vocals fit the song perfectly. This is a slight departure from how Madball usually sound, but it feels fresh and exciting. This is a very angry album, a beautifully pissed off rage at a world that feels like it’s spiralling out of control. Beautifully of it’s time, incandescently angry. 8/10
Agathos: Nihil Est (Art Gates Records)
Agathos are a 4 piece Black Metal band from Valencia, Nihil Est is the bands first release. So, what do we have as a first taste from these Nihilistic Black Metalers? We get 5 tracks of tremolo picked black metal, 5 really great tracks. The quality on offer is surprisingly high, considering that this is a first EP. The fact that all members of the band are active members of other extreme metal bands (IN MUTE, Aethyr, Pestkraft, Noctem), isn’t surprising, considering how good this EP is. Stylistically, Agathos sound a little like MGLA, or possibly like the more savage, tremolo picked parts of Wiegedood’s style of black metal.
Although there is a fast, aggressive sections, they are also good at nuanced, atmospheric parts, the beginning of first track Void has an interestingly menacing strummed acoustic intro. The final track Thantos feels a little like Lawless Darkness era Watain. Although I’ve mentioned a few other bands, in trying to describe Agathos’s sound, the band do have their own sound. This is an original Piece of work, Agathos are not bandwagon jumpers! To be honest, the only problem with this EP, is the fact that it is an EP. It’s over too soon! I’ve really enjoyed listening to this EP, and I hope a full length album is on it’s way soon! Fantastic piece of work! 8/10
Blacklab: Under A Strawberry Moon 2.0 (New Heavy Sounds)
Blacklab describe themselves as : “The dark witch, doom duo from Osaka, Japan”. Which is pretty much bang on, I’m not going to argue with them. The 2 piece (Chia Shiraishi - Drums, and Yuko Morino - Guitar and vocals) have delivered a slice of enormous, detuned, thunderous Doom. The guitar sound on this album is immense, just HUGE, Dopethrone era Electric Wizard style tone. The vocals are in a much higher register, which helps them to cut through the huge amount of fuzz. The vocals are a mix of clean singing and harsh vocals, both are very effective. The clean singing is tuneful and engaging. The harsh vocals are viscous and feral, and fit with the music perfectly. The riffs are Huge, massive lurching monsters, there is a similarity to some Black Sabbath (which the band play on with the short instrumental track Symptom Of The Blacklab), but there is also a touch of fellow Japanese band Boris or Ty Segall. This album isn’t just about being heavy, there are some huge grooves on this album. The track His name is is every bit as bouncy as Carnival Bizzare era Cathedral, and I would imagine it is a great live track.
The only problem with this album is the final track Big Muff. This is a nearly 10 minute track of, well, nothing much really. It’s just bass noise, not riffs, just random notes and feedback with no purpose, direction or point, other than to waste time and fill up space. It’s such a shame as, other than this track, the rest of the album is excellent. If I’d have payed for this album, rather than having a free review copy, I’d be feeling rather ripped off about now. I’m going to dock the album a mark for it, this would have been a 9/10 album, but it’s getting 8 due to Big Muff . This is a really great doom album, if your buying it digitally, just don’t waste your money on the last track. 8/10
Fragments Of Despair: Broken Lost Mistakes (Self Released)
This is the first full length album from Greek melodic death metal band Fragments Of Despair. The band have released a self titled EP in 2015. This debut album features 8 tracks, 7 of Bloodshot Dawn style melodic death metal, and 1 soft acoustic track. Broken Lost Mistakes has a lot of positives; fast tuneful riffs, great solos and interesting structures. The album features great hummable tunes, that get into your head. The (nearly) title track Broken Lost And Mistaken, Unholy Soldier and Slaves Of Our Youth are the standout tracks on the album, featuring lots of melody and choruses that you can’t help humming. It isn’t all good news though. Some of the production isn’t quite there, although the individual instruments sound great, sometimes the mix lets it down. There are places where there doesn’t feel like there is any separation of the instruments, so the mix feels muddy in places.
The harsh vocals aren’t always that good, in places it feels like this is more shouting, rather than vocalising. The album does have clean singing as well; the soft acoustic track Ocean Of Tears has clean singing on it, and the clean vocals are very good, far superior to the harsh voice. A couple of the tracks feel a little lacklustre, like the band wasn’t sure which direction to take the songs. Although, I feel I’m being a little disingenuous in my criticisms. What this album sounds like, is exactly what it is; It’s a first album. They’ve got a huge amount of promise, they’re just not quite there yet. But watch this space, Fragments Of Despair feel like they could be on the verge of something very special. The next album could be a really great piece of work. 7/10
For The Cause Is Madball’s first album since 2014’s Hardcore Lives. So, what do we have on Madball’s 9th studio album? Well, we get 13 tracks of pissed off, up tempo metallic hardcore. Madball were always the most ‘Metal’ of all the NYHC bands, but this new album is probably the most strait down the line Hardcore album the band have produced. Closer to Sick Of It All style HC style, more punky. This moving of their sound towards a more traditional hardcore direction, could be due to anger. This is a MASSIVELY angry album (considering the political situation in America, and the rest of the world, if you’re not angry, you’re not paying attention). The album bristles with rage, at the direction the world is moving in. It contains 13 tracks, 9 of which are less than 3 minutes, and they are all raging. From the opener Smile Now Pay Later to closer Confessions the album doesn’t let up once. The lyrics, although very angry, are intelligent and well written. This isn’t directionless wrath, Freddy Cricien is a well informed, he knows how evil the world is, and is reacting to it with reason and understanding.
For The Cause has a couple of guest appearances to add to the fun. Tim Timebomb (Tim Armstrong from Rancid) guests on the track The Fog, which is about the American Military Industrial Complex. The album also has a guest appearance from Ice T on the track Evil Ways, probably the strongest track on the album (if you’re going to ask Ice T to guest on you’re album, you’re going to offer him the best track), Ice’s incredibly distinctive, angry vocals fit the song perfectly. This is a slight departure from how Madball usually sound, but it feels fresh and exciting. This is a very angry album, a beautifully pissed off rage at a world that feels like it’s spiralling out of control. Beautifully of it’s time, incandescently angry. 8/10
Agathos: Nihil Est (Art Gates Records)
Agathos are a 4 piece Black Metal band from Valencia, Nihil Est is the bands first release. So, what do we have as a first taste from these Nihilistic Black Metalers? We get 5 tracks of tremolo picked black metal, 5 really great tracks. The quality on offer is surprisingly high, considering that this is a first EP. The fact that all members of the band are active members of other extreme metal bands (IN MUTE, Aethyr, Pestkraft, Noctem), isn’t surprising, considering how good this EP is. Stylistically, Agathos sound a little like MGLA, or possibly like the more savage, tremolo picked parts of Wiegedood’s style of black metal.
Although there is a fast, aggressive sections, they are also good at nuanced, atmospheric parts, the beginning of first track Void has an interestingly menacing strummed acoustic intro. The final track Thantos feels a little like Lawless Darkness era Watain. Although I’ve mentioned a few other bands, in trying to describe Agathos’s sound, the band do have their own sound. This is an original Piece of work, Agathos are not bandwagon jumpers! To be honest, the only problem with this EP, is the fact that it is an EP. It’s over too soon! I’ve really enjoyed listening to this EP, and I hope a full length album is on it’s way soon! Fantastic piece of work! 8/10
Blacklab: Under A Strawberry Moon 2.0 (New Heavy Sounds)
Blacklab describe themselves as : “The dark witch, doom duo from Osaka, Japan”. Which is pretty much bang on, I’m not going to argue with them. The 2 piece (Chia Shiraishi - Drums, and Yuko Morino - Guitar and vocals) have delivered a slice of enormous, detuned, thunderous Doom. The guitar sound on this album is immense, just HUGE, Dopethrone era Electric Wizard style tone. The vocals are in a much higher register, which helps them to cut through the huge amount of fuzz. The vocals are a mix of clean singing and harsh vocals, both are very effective. The clean singing is tuneful and engaging. The harsh vocals are viscous and feral, and fit with the music perfectly. The riffs are Huge, massive lurching monsters, there is a similarity to some Black Sabbath (which the band play on with the short instrumental track Symptom Of The Blacklab), but there is also a touch of fellow Japanese band Boris or Ty Segall. This album isn’t just about being heavy, there are some huge grooves on this album. The track His name is is every bit as bouncy as Carnival Bizzare era Cathedral, and I would imagine it is a great live track.
The only problem with this album is the final track Big Muff. This is a nearly 10 minute track of, well, nothing much really. It’s just bass noise, not riffs, just random notes and feedback with no purpose, direction or point, other than to waste time and fill up space. It’s such a shame as, other than this track, the rest of the album is excellent. If I’d have payed for this album, rather than having a free review copy, I’d be feeling rather ripped off about now. I’m going to dock the album a mark for it, this would have been a 9/10 album, but it’s getting 8 due to Big Muff . This is a really great doom album, if your buying it digitally, just don’t waste your money on the last track. 8/10
Fragments Of Despair: Broken Lost Mistakes (Self Released)
This is the first full length album from Greek melodic death metal band Fragments Of Despair. The band have released a self titled EP in 2015. This debut album features 8 tracks, 7 of Bloodshot Dawn style melodic death metal, and 1 soft acoustic track. Broken Lost Mistakes has a lot of positives; fast tuneful riffs, great solos and interesting structures. The album features great hummable tunes, that get into your head. The (nearly) title track Broken Lost And Mistaken, Unholy Soldier and Slaves Of Our Youth are the standout tracks on the album, featuring lots of melody and choruses that you can’t help humming. It isn’t all good news though. Some of the production isn’t quite there, although the individual instruments sound great, sometimes the mix lets it down. There are places where there doesn’t feel like there is any separation of the instruments, so the mix feels muddy in places.
The harsh vocals aren’t always that good, in places it feels like this is more shouting, rather than vocalising. The album does have clean singing as well; the soft acoustic track Ocean Of Tears has clean singing on it, and the clean vocals are very good, far superior to the harsh voice. A couple of the tracks feel a little lacklustre, like the band wasn’t sure which direction to take the songs. Although, I feel I’m being a little disingenuous in my criticisms. What this album sounds like, is exactly what it is; It’s a first album. They’ve got a huge amount of promise, they’re just not quite there yet. But watch this space, Fragments Of Despair feel like they could be on the verge of something very special. The next album could be a really great piece of work. 7/10
Reviews: Bullet For My Valentine, The Sea Within, High Priestess, Incursion
Bullet For My Valentine: Gravity (Spinefarm)
To say Welsh band Bullet For My Valentine have had ups and downs, members have left, they’ve been equally revered and reviled in the press and their musical output ranges from stellar (The Poison) to absolute crap (Temper Temper). They’ve never full decided on what sort of band they wanted to be veering wildly from thrash/metalcore to almost pop it seemed that with their most recent album Venom they’d discovered their bite and lust for fast aggressive music however their new album Gravity sees them returning to a lighter more radio-friendly approach. I’m not saying it’s lightweight, the heaviness is still there, as is the angst from The Poison but here BFMV have done a BMTH, adding electronics, slower more emotive parts to repetitive breakdowns and arena-baiting choruses.
It’s worked for BMTH taking them from their deathcore roots onto Radio 1 etc but I feel that Bullet don’t need this leap, they are already bonafide arena headliners and often take special guest slots at festivals, so it’s clearly a creative decision by the band rather than one to increase their listenership. This is the first BFMV record not to feature Moose behind the drumkit and is the official recorded debut of Jamie Matthias and it’s also their debut for Spinefarm records but I wanted a continuation of the rediscovered heaviness of Venom occasionally it comes trough on Don’t Need You but mostly I did fine this record a little uninspired, their hardcore fan base will lap it up and I’m sure in concert later this year they’ll be great but Gravity does bring be down to earth with bump. 4/10
The Sea Within: S/T (InsideOut)
The Sea Within are an art rock/prog rock collective formed by Roine Stolt (Transatlantic, The Flower Kings), Daniel Gildenlöw (Pain Of Salvation), Jonas Reingold (The Flower Kings, Karmakanic, The Tangent), Tom Brislin (Renaissance) and Marco Minnemann (The Aristocrats, Steven Wilson). With the membership established they decamped to London and started writing music together while also socialising outside of the studio which Stolt says was important to the project. The Sea Within is prog unashamed gloriously artistic, emotional at times ethereal progressive music, but you see I say music not rock as The Hiding Of Truth is more ambient than rock, the pulsing synergy of all involved taking as many risks as possible. It's a record that's a sum of its parts drawing from The Flower Kings, Pain Of Salvation (Gildenlöw's voice is so distinctive).
Yes also is a influence with the British stalwarts pastoral prog creeping up on The Roaring Silence, outside of prog though the parping sax on Ashes Of Dawn brings jazz and Broken Chord is drenched in hazy Beatlemania but evolves into a sprawling progressive beast. Ronie's guitar playing is majestic throughout soaring to the the stratosphere so many times he must be racking up hundreds of air miles. Minneran's is in his element behind the kit laying down the rhythms with Reingold as Brislin's keys are awash with melody. The band use The Flower King's penchant for multiple vocalists as Gildenlöw gives over the mic to Flying Colors' Casey McPherson for a couple numbers, his lighter touch adds a different perspective too the songs he contributes too. With over 70 minutes of music it's not for the faint of heart but as the Denise has the strength sapping pathos of Pain Of Salvation you have to breathe a sigh and jump back in again, every subsequent play opens up something you didn't hear before. A progressive near masterpiece! 9/10
High Priestess: S/T (Ripple Music)
LA psychedelic doom band High Priestess let the music do the talking, the slow burning jangly start of Firefly builds into waves of distortion and finally the revereb treated vocals chant the lyrics as the sludgy riffs drag you into the Priestess' cosmic void. The membership of the band are Katie Gilchrest (guitars, vocals, organ), Mariana Fiel (bass, vocals) and Megan Mullins (drums, percussion) and they drag the waters of brain melting doom with 6 elongated slabs of kaleidoscopic fuzz. I said at the beginning that they let the music do the talking as many of these tracks have long winding instrumental passages that bring acoustic segues, down tuned riffs, expressive percussion and hypnotic bassline this self titled debut will mess with your mind especially on Despise which brings the gloom and growls of My Dying Bride, as Take The Blame and Mother Forgive Me ramps up the heavy Sabbath fuzz. Ritualistic proto-metal is what the High Priestess is about so kneel at her altar and feel the fuzz. 7/10
Incursion: Scourge (Self Released)
Welsh metal band Incursion have been featured on this blog a fair few times, however we have only ever listened to the band live (usually in the doldrums of Fuel Rock Club) so the chance to review their recently released EP wasn't going to be overlooked (although maybe it's a little late!). So what is their EP like, pitching themselves as a post-apocalyptic metal band, Monument To All Your Sins builds from some cinematics into some heavy riffage that increases in volume and pace as the 2 minutes of the track progresses and the spoken words come back just before Gravemind explodes with an industrial fury, Adam and Robbie obliterating everything with the rhythm section as Jonny provides riffs and screams.
It's a dense wall of sound with biting synths that is influenced by SYL, The Defiled and has the brutality of Devildriver, the electronics that cut through Scourge are well welcomed and it sees Jonny using his entire vocal range from growls and roars to cleans (which are much better on record), it's followed by the atmospheric Tortuous Mentor which has a thick aggressive groove and the EP is rounded out by the The Times And Trials Of Hans Zoller which just screams circle pit. Scourge is a pretty immediate how do you do from these Rhondda ragers, throw down! 7/10
It’s worked for BMTH taking them from their deathcore roots onto Radio 1 etc but I feel that Bullet don’t need this leap, they are already bonafide arena headliners and often take special guest slots at festivals, so it’s clearly a creative decision by the band rather than one to increase their listenership. This is the first BFMV record not to feature Moose behind the drumkit and is the official recorded debut of Jamie Matthias and it’s also their debut for Spinefarm records but I wanted a continuation of the rediscovered heaviness of Venom occasionally it comes trough on Don’t Need You but mostly I did fine this record a little uninspired, their hardcore fan base will lap it up and I’m sure in concert later this year they’ll be great but Gravity does bring be down to earth with bump. 4/10
The Sea Within: S/T (InsideOut)
The Sea Within are an art rock/prog rock collective formed by Roine Stolt (Transatlantic, The Flower Kings), Daniel Gildenlöw (Pain Of Salvation), Jonas Reingold (The Flower Kings, Karmakanic, The Tangent), Tom Brislin (Renaissance) and Marco Minnemann (The Aristocrats, Steven Wilson). With the membership established they decamped to London and started writing music together while also socialising outside of the studio which Stolt says was important to the project. The Sea Within is prog unashamed gloriously artistic, emotional at times ethereal progressive music, but you see I say music not rock as The Hiding Of Truth is more ambient than rock, the pulsing synergy of all involved taking as many risks as possible. It's a record that's a sum of its parts drawing from The Flower Kings, Pain Of Salvation (Gildenlöw's voice is so distinctive).
Yes also is a influence with the British stalwarts pastoral prog creeping up on The Roaring Silence, outside of prog though the parping sax on Ashes Of Dawn brings jazz and Broken Chord is drenched in hazy Beatlemania but evolves into a sprawling progressive beast. Ronie's guitar playing is majestic throughout soaring to the the stratosphere so many times he must be racking up hundreds of air miles. Minneran's is in his element behind the kit laying down the rhythms with Reingold as Brislin's keys are awash with melody. The band use The Flower King's penchant for multiple vocalists as Gildenlöw gives over the mic to Flying Colors' Casey McPherson for a couple numbers, his lighter touch adds a different perspective too the songs he contributes too. With over 70 minutes of music it's not for the faint of heart but as the Denise has the strength sapping pathos of Pain Of Salvation you have to breathe a sigh and jump back in again, every subsequent play opens up something you didn't hear before. A progressive near masterpiece! 9/10
High Priestess: S/T (Ripple Music)
LA psychedelic doom band High Priestess let the music do the talking, the slow burning jangly start of Firefly builds into waves of distortion and finally the revereb treated vocals chant the lyrics as the sludgy riffs drag you into the Priestess' cosmic void. The membership of the band are Katie Gilchrest (guitars, vocals, organ), Mariana Fiel (bass, vocals) and Megan Mullins (drums, percussion) and they drag the waters of brain melting doom with 6 elongated slabs of kaleidoscopic fuzz. I said at the beginning that they let the music do the talking as many of these tracks have long winding instrumental passages that bring acoustic segues, down tuned riffs, expressive percussion and hypnotic bassline this self titled debut will mess with your mind especially on Despise which brings the gloom and growls of My Dying Bride, as Take The Blame and Mother Forgive Me ramps up the heavy Sabbath fuzz. Ritualistic proto-metal is what the High Priestess is about so kneel at her altar and feel the fuzz. 7/10
Incursion: Scourge (Self Released)
Welsh metal band Incursion have been featured on this blog a fair few times, however we have only ever listened to the band live (usually in the doldrums of Fuel Rock Club) so the chance to review their recently released EP wasn't going to be overlooked (although maybe it's a little late!). So what is their EP like, pitching themselves as a post-apocalyptic metal band, Monument To All Your Sins builds from some cinematics into some heavy riffage that increases in volume and pace as the 2 minutes of the track progresses and the spoken words come back just before Gravemind explodes with an industrial fury, Adam and Robbie obliterating everything with the rhythm section as Jonny provides riffs and screams.
It's a dense wall of sound with biting synths that is influenced by SYL, The Defiled and has the brutality of Devildriver, the electronics that cut through Scourge are well welcomed and it sees Jonny using his entire vocal range from growls and roars to cleans (which are much better on record), it's followed by the atmospheric Tortuous Mentor which has a thick aggressive groove and the EP is rounded out by the The Times And Trials Of Hans Zoller which just screams circle pit. Scourge is a pretty immediate how do you do from these Rhondda ragers, throw down! 7/10
Thursday, 5 July 2018
A View From The Back Of The Room: Thomas Wynn & The Believers (Live Review By Paul H)
Thomas Wynn And The Believers, Clwb Ifor Bach, Cardiff
A few months ago, when the thought of searing relentless sun seemed an impossibility, we witnessed a superb set from Orlando six-piece Thomas Wynn And The Believers in front of a packed house at the O2 Academy in Bristol. A mere week or so after Ed Sheeran sold out four nights at the Principality Stadium, a paltry 16 people turned out for a night which oozed quality in every way. We arrived just as opening act Pat Dam Smyth was finishing his solo set but in plenty of time to see Darren Eedens & The Slim Pickin's (7) deliver a cracking main support. This was country rock with more emphasis on the country, the fiddle and banjo whisking you away to the good ol’ US of A for a 30 minute slice of the deep South. The four-piece had an interesting style with lead singer Eedens vocal style very much in the old school Buddy Holly vein. His banjo picking is something else mind, and the blue grass, blues and folk tunes were a delight. Ironically, Eedens is a Canadian who now lives in Cardiff, so at least he could walk home after the gig. Backed by Dave Grubb’s excellent fiddle and the simple but effective rhythm section of Rhys Morgan and Edd Clemas, this made a cracking change to our usual diet of thrashing guitars.
The main reason we attended though was for the headline band and Thomas Wynn And The Believers (9) were every bit as good as they were on that February night with their soul drenched Southern rock and blues sound to over an hour, we were treated to some superb music once again. Lead singer and guitarist Thomas Wynn demonstrated his quality with some superb guitar work, slide and lead whilst sister Olivia’s stunning vocals were crystal clear and captivating. The band took us on a journey through many tracks from their latest Wade Waist Deep release, with Chris "Bell" Antemesaris (Harmonica),
Dave Wagner (Bass), Ryan Miranda (drums) and Colin Fei (keys) all contributing to the entertainment. Antemesaris playa a mean harmonica and at times it was hard to break the spell of focusing on anyone else. Fei’s chunky Hammond sound underpinned the overall musical compositions and it was not a surprise when chatting to various members of the band afterwards to confirm that they had received a great reception at Ramblin’ Man Fair just a few days earlier. With one final date on their tour, at The Black Hart in London, the band were collectively on fire and this was demonstrated by a version of Springsteen’s Atlantic City, which for several our party was just fantastic. The band’s country sound was again enhanced by the intertwined synchronicity of the vocals whilst the rocker edge was also in evidence. As we welcomed the cooling night air at the end of another very hot gig, the only disappointment was how few punters had made the effort. How a band of this calibre draws so few when the bland mainstream fills stadiums remains a mystery to me.
A few months ago, when the thought of searing relentless sun seemed an impossibility, we witnessed a superb set from Orlando six-piece Thomas Wynn And The Believers in front of a packed house at the O2 Academy in Bristol. A mere week or so after Ed Sheeran sold out four nights at the Principality Stadium, a paltry 16 people turned out for a night which oozed quality in every way. We arrived just as opening act Pat Dam Smyth was finishing his solo set but in plenty of time to see Darren Eedens & The Slim Pickin's (7) deliver a cracking main support. This was country rock with more emphasis on the country, the fiddle and banjo whisking you away to the good ol’ US of A for a 30 minute slice of the deep South. The four-piece had an interesting style with lead singer Eedens vocal style very much in the old school Buddy Holly vein. His banjo picking is something else mind, and the blue grass, blues and folk tunes were a delight. Ironically, Eedens is a Canadian who now lives in Cardiff, so at least he could walk home after the gig. Backed by Dave Grubb’s excellent fiddle and the simple but effective rhythm section of Rhys Morgan and Edd Clemas, this made a cracking change to our usual diet of thrashing guitars.
The main reason we attended though was for the headline band and Thomas Wynn And The Believers (9) were every bit as good as they were on that February night with their soul drenched Southern rock and blues sound to over an hour, we were treated to some superb music once again. Lead singer and guitarist Thomas Wynn demonstrated his quality with some superb guitar work, slide and lead whilst sister Olivia’s stunning vocals were crystal clear and captivating. The band took us on a journey through many tracks from their latest Wade Waist Deep release, with Chris "Bell" Antemesaris (Harmonica),
Dave Wagner (Bass), Ryan Miranda (drums) and Colin Fei (keys) all contributing to the entertainment. Antemesaris playa a mean harmonica and at times it was hard to break the spell of focusing on anyone else. Fei’s chunky Hammond sound underpinned the overall musical compositions and it was not a surprise when chatting to various members of the band afterwards to confirm that they had received a great reception at Ramblin’ Man Fair just a few days earlier. With one final date on their tour, at The Black Hart in London, the band were collectively on fire and this was demonstrated by a version of Springsteen’s Atlantic City, which for several our party was just fantastic. The band’s country sound was again enhanced by the intertwined synchronicity of the vocals whilst the rocker edge was also in evidence. As we welcomed the cooling night air at the end of another very hot gig, the only disappointment was how few punters had made the effort. How a band of this calibre draws so few when the bland mainstream fills stadiums remains a mystery to me.
Review: Beggars, Building Chaos, Under The Sun
Beggars: The Day I Lost My Head (ROAR Records)
This is Athenian outfit Beggars' fifth full length album, why I haven't heard from them before I don't know but as soon as the stomping riff of Book Of Days started playing I wished I'd heard of them earlier. They follow up Book Of Days with the sweary title track which has some real Wyndorf stomp to it, they're a band that skillfully balance stoner, garage and even some punk stylings on frenetic instrumental Intersolar Traveller but they also bring some echoed sludge on the final track Genesis. Beggars are a three piece, Yannis, Chili and Petros combine to produce some killer noise which has been honed on a stage and jilts you between the spiraling psych of Medusa, the thick doom of You Break Me and everything in between. It's the sort of rock music that Greek bands do really well and as such you should check it out. 7/10
Building Chaos: Bourbon Times (Someone Shaved My Ass Productions)
Building Chaos' debut album begins with some twanging lap steel and as the album progresses there are country picking acoustics (Heavy Chains), frantic banjos, a bit of talkbox (Snakefang), gritty whiskey drenched vocals and most of all riffs, like a Mack Truck full of riffs. As you can probably tell Bourbon Times is southern metal album, evoking the chug of BLS but with the stoner haziness of Clutch, it's NOLA thousands of miles from America. Building Chaos are a Greek band from Athens but they have sound born on the bayou in the Mississippi Delta and my it's good. Perfect for these hot summer days Building Chaos lay on the heaviness with a shovel, dense thick riffs give way to explosive Zakky solo, as both six stringing Alex's trade off with some classic metal touches.
There's rarely a track that doesn't have a massive stomping rhythm provided by Peter & Nick in the boiler room but it's the addition of the acoustics, lap steel etc that keeps you listening all the way through Southern metal is a genre difficult to get wrong but also it doesn't travel well outside of the States, Building Chaos do it with flair and swagger worthy of John Wayne himself. They get bonus points for doing a cover of Tupac's California Love in their style of music turning it into a Anthrax song! For any self respecting Southern metal fan Bourbon Times is tasty tipple! 8/10
Under The Sun: Vol 1 (Self Released)
Staying with NOLA scene and it's another band who worship the ground messers Iommi, Windstein and Keenan walk on, they call themselves sludgerotic stoner and you can clearly hear that this EP has been conceived over some strong mash spirits and prime hashish, it's full of fuzzy, long dragging riffs which will induce slow head nodding and transport you into their psychedelic fug. The expressive drumming from Panagiotis Trlms and thundering basslines of John Schoinas dictate the pace of the record for Thano Nano and Νίκος Χεταίος to chug away with groove-laden riffs, Heavy Blues has a bit of everything on it's creeping 4 minute run time even picking up the pace at the end. Break It showcases the vocals of Vangelis Kastaniotis who has that Anselmo huskiness on top of the syrup of thick riffs. At five tracks long Vol 1 shows the talent on offer from Under The Sun, it oozes with a heady brew of stoner/doom/sludge, it's an ode to Iommi and all his works, worship the riff! 8/10
This is Athenian outfit Beggars' fifth full length album, why I haven't heard from them before I don't know but as soon as the stomping riff of Book Of Days started playing I wished I'd heard of them earlier. They follow up Book Of Days with the sweary title track which has some real Wyndorf stomp to it, they're a band that skillfully balance stoner, garage and even some punk stylings on frenetic instrumental Intersolar Traveller but they also bring some echoed sludge on the final track Genesis. Beggars are a three piece, Yannis, Chili and Petros combine to produce some killer noise which has been honed on a stage and jilts you between the spiraling psych of Medusa, the thick doom of You Break Me and everything in between. It's the sort of rock music that Greek bands do really well and as such you should check it out. 7/10
Building Chaos: Bourbon Times (Someone Shaved My Ass Productions)
Building Chaos' debut album begins with some twanging lap steel and as the album progresses there are country picking acoustics (Heavy Chains), frantic banjos, a bit of talkbox (Snakefang), gritty whiskey drenched vocals and most of all riffs, like a Mack Truck full of riffs. As you can probably tell Bourbon Times is southern metal album, evoking the chug of BLS but with the stoner haziness of Clutch, it's NOLA thousands of miles from America. Building Chaos are a Greek band from Athens but they have sound born on the bayou in the Mississippi Delta and my it's good. Perfect for these hot summer days Building Chaos lay on the heaviness with a shovel, dense thick riffs give way to explosive Zakky solo, as both six stringing Alex's trade off with some classic metal touches.
There's rarely a track that doesn't have a massive stomping rhythm provided by Peter & Nick in the boiler room but it's the addition of the acoustics, lap steel etc that keeps you listening all the way through Southern metal is a genre difficult to get wrong but also it doesn't travel well outside of the States, Building Chaos do it with flair and swagger worthy of John Wayne himself. They get bonus points for doing a cover of Tupac's California Love in their style of music turning it into a Anthrax song! For any self respecting Southern metal fan Bourbon Times is tasty tipple! 8/10
Under The Sun: Vol 1 (Self Released)
Staying with NOLA scene and it's another band who worship the ground messers Iommi, Windstein and Keenan walk on, they call themselves sludgerotic stoner and you can clearly hear that this EP has been conceived over some strong mash spirits and prime hashish, it's full of fuzzy, long dragging riffs which will induce slow head nodding and transport you into their psychedelic fug. The expressive drumming from Panagiotis Trlms and thundering basslines of John Schoinas dictate the pace of the record for Thano Nano and Νίκος Χεταίος to chug away with groove-laden riffs, Heavy Blues has a bit of everything on it's creeping 4 minute run time even picking up the pace at the end. Break It showcases the vocals of Vangelis Kastaniotis who has that Anselmo huskiness on top of the syrup of thick riffs. At five tracks long Vol 1 shows the talent on offer from Under The Sun, it oozes with a heady brew of stoner/doom/sludge, it's an ode to Iommi and all his works, worship the riff! 8/10
Wednesday, 4 July 2018
A View From The Back Of The Room: Valis Ablaze
Valis Ablaze, Unprocessed, BOE, Endeavour, Decapod, Exchange, Bristol
After a 12 hour shift on a baking hot Sunday what better way to spend the evening than inside one of Bristol's smaller venues as five heavy bands beat your face until the late night? In what I'd consider to be a mini showcase of local(ish) talent this show was Bristol based band Valis Ablaze's hometown return show and they brought a clutch of local supports along with label mates Unprocessed. It was looking to be a long eclectic night as even though all the bands fell under the 'prog metal' banner they all had different styles. So it was time for an ice cold beverage (bliss) and in for the first band Bristol quirk metal act Decapod (7) made up of 5 members (10 legs see) the band purvey angular prog metal that beats with an alternative heart, touches of Faith No More, Tool and Stone Temple Pilots, Decapod kicked off the musical performances with heavy as lead bass work and the non-linear guitar playing. Add to this a vocalist with schizophrenic performance style that's ideal out fronting what is an odd sounding band, he switches between almost spoken word, crooning and angry roars. Well received by those braving the heat from early on Decapod made sure that the opening to this night started as it meant to go on.
Now I have to admit I'd never seen Endeavour (6) but I have seen frontman Chris' other band One Machine, they are a thrash band however Endeavour are a more traditional, classic metal influence prog metal act in the style of Nevermore fusing melody with extremity. Now here's the problem I'm not a fan of Chris when he sings cleanly, his harsh vocals far better suit him, you can't fault his effort, he's animated, working the crowd well, the band two are solo happy and play with passion but it's vocally where he falls down their cover of Them Bones highlighted this, Layne Staley he ain't! Still a warm enough reception for the local act who continued to ride the wave of the evening. Next another local act as BOE (6) who are a band with two vocalists however unlike the duality of bands with clean/harsh singers both Liam and Colt did both just trading off as the band played almost nu-metal grooves, they remind me a little of Raging Speedhorn (but with more grooves) and because of that I headed outside for a cold soft drink and a sit down, however they had a small but dedicated hardcore following going mental.
Drink finished and it was back in for Germanic djent Unprocessed (9) had more strings on stage than a darning machine but they played thick heavy grooves, punctuated by harsh vocals and electronic atmospherics. As tight as a pair of Speedos what differentiated them from the other bands and their labelmates was that their sound features intricate overlapping melodic leads that are both a counterpoint to each other but simultaneously weave an intense sound, although they just as quickly and effortlessly break into thunderous thrashing, hints of Gojira, Monuments were present as they stormed through a well paced set that got the crowd moving in unison especially on their closing instrumental that just chugged on and on. A very impressive discovery of a band on their second ever UK show (their first being the previous night in Nottingham), everyone now suitably warmed up, both with anticipation and oppressive heat it was time for the headliners and hometown boys to take to the stage and with the night showing the diversity in progressive metal, we were about to take another turn as the headliners could easily be lumped into the Djent category but their music is a bit more esoteric than that.
They had the cleanest vocals of the evening, Phil Owen soaring high above the dense yet melodic music that has continuing technically that had been on the display throughout the evening but paired it with emotive songwriting and a lot of ambience that translated well on stage. Actually only the ominous Evade featured any screams. It was on anthemic numbers such as Lumen and Frequency that really showcased the class of Valis Ablaze (9) as both builds and builds from a raw dramatic starts into massive final grooves as George Demmer (bass) and Rich New (drums) hammered it home for Ash Cook and Tom Moore's guitar prowess. Showcasing tracks from their EP and their recently released debut full length (Singularity and Boundless respectively) this home town show belonged to them and the crowd lapped up every moment, bouncing, windmilling, headbanging in unison with the band themselves. While it might be too late to see them on this current tour make sure to catch them next time round as they are at the forefront in the next wave of UK tech metal.
After a 12 hour shift on a baking hot Sunday what better way to spend the evening than inside one of Bristol's smaller venues as five heavy bands beat your face until the late night? In what I'd consider to be a mini showcase of local(ish) talent this show was Bristol based band Valis Ablaze's hometown return show and they brought a clutch of local supports along with label mates Unprocessed. It was looking to be a long eclectic night as even though all the bands fell under the 'prog metal' banner they all had different styles. So it was time for an ice cold beverage (bliss) and in for the first band Bristol quirk metal act Decapod (7) made up of 5 members (10 legs see) the band purvey angular prog metal that beats with an alternative heart, touches of Faith No More, Tool and Stone Temple Pilots, Decapod kicked off the musical performances with heavy as lead bass work and the non-linear guitar playing. Add to this a vocalist with schizophrenic performance style that's ideal out fronting what is an odd sounding band, he switches between almost spoken word, crooning and angry roars. Well received by those braving the heat from early on Decapod made sure that the opening to this night started as it meant to go on.
Now I have to admit I'd never seen Endeavour (6) but I have seen frontman Chris' other band One Machine, they are a thrash band however Endeavour are a more traditional, classic metal influence prog metal act in the style of Nevermore fusing melody with extremity. Now here's the problem I'm not a fan of Chris when he sings cleanly, his harsh vocals far better suit him, you can't fault his effort, he's animated, working the crowd well, the band two are solo happy and play with passion but it's vocally where he falls down their cover of Them Bones highlighted this, Layne Staley he ain't! Still a warm enough reception for the local act who continued to ride the wave of the evening. Next another local act as BOE (6) who are a band with two vocalists however unlike the duality of bands with clean/harsh singers both Liam and Colt did both just trading off as the band played almost nu-metal grooves, they remind me a little of Raging Speedhorn (but with more grooves) and because of that I headed outside for a cold soft drink and a sit down, however they had a small but dedicated hardcore following going mental.
Drink finished and it was back in for Germanic djent Unprocessed (9) had more strings on stage than a darning machine but they played thick heavy grooves, punctuated by harsh vocals and electronic atmospherics. As tight as a pair of Speedos what differentiated them from the other bands and their labelmates was that their sound features intricate overlapping melodic leads that are both a counterpoint to each other but simultaneously weave an intense sound, although they just as quickly and effortlessly break into thunderous thrashing, hints of Gojira, Monuments were present as they stormed through a well paced set that got the crowd moving in unison especially on their closing instrumental that just chugged on and on. A very impressive discovery of a band on their second ever UK show (their first being the previous night in Nottingham), everyone now suitably warmed up, both with anticipation and oppressive heat it was time for the headliners and hometown boys to take to the stage and with the night showing the diversity in progressive metal, we were about to take another turn as the headliners could easily be lumped into the Djent category but their music is a bit more esoteric than that.
They had the cleanest vocals of the evening, Phil Owen soaring high above the dense yet melodic music that has continuing technically that had been on the display throughout the evening but paired it with emotive songwriting and a lot of ambience that translated well on stage. Actually only the ominous Evade featured any screams. It was on anthemic numbers such as Lumen and Frequency that really showcased the class of Valis Ablaze (9) as both builds and builds from a raw dramatic starts into massive final grooves as George Demmer (bass) and Rich New (drums) hammered it home for Ash Cook and Tom Moore's guitar prowess. Showcasing tracks from their EP and their recently released debut full length (Singularity and Boundless respectively) this home town show belonged to them and the crowd lapped up every moment, bouncing, windmilling, headbanging in unison with the band themselves. While it might be too late to see them on this current tour make sure to catch them next time round as they are at the forefront in the next wave of UK tech metal.
Tuesday, 3 July 2018
A View From The Back Of The Room: Wolves In The Throne Room (Review By Paul H)
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.
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.
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.
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