Reviews: Clutch, The Pineapple Thief, Seasick Steve, Dream Child (Reviews By Paul H & Matt)

Clutch: Book Of Bad Decisions (Weathermaker Music) [Paul H]

It’s becoming a challenge to find superlatives for the Maryland four-piece whose long awaited 12th album fulfils all expectations. Neil Fallon, Tim Sult, Dan Maines and Jean Paul Gaster continue to follow their own destiny, creating songs which fit with their own passion and vision. They don’t follow trends, they simply produce quality music. It is something you can only admire them for. After the success of 2013’s Earth Rocker and 2015’s Psychic Warfare, both albums that one could call more accessible than the previous releases, Clutch have not retreated one step but instead have expanded their repertoire once more.

Book Of Bad Decisions certainly offers variety. At times the band are harking back to the ferocity of their early punk-edged almost hardcore sound, Gimme The Keys, or maintaining their cutting-edge narrative on the aggressive politically astute How To Shake Hands and pushing the boundaries with a huge brass section on the magnificent In Walks Barbarella. Fallon’s lyrical genius has never been questioned, but he excels on this tune: “Defcon Tractor Beams, Weaponised Funk, In Walks Barbarella, Set To Stun”. Weaponised funk! Brilliant stuff. The arrangement here is superb, and alongside Lionize’s Chris Brooks who adds sultry thick Hammond B3 organ, we find percussion from Mike Dillon, the tenor and baritone saxophone of Kevin Gatzke, Vinnie Ciesielski’s trumpet and trombone from Roy Agee, all sweetly arranged by Gatzke. Brooks adds keys on four tracks, suitable weight and heft on Emily Dickinson, as well as the title track, Sonic Counselor and of course In Walks Barbarella as well as subtler piano on Vision Quest and Wurlitzer on Hot Bottom Feeder.

Emily Dickinson offers delight in its variation, the chunky riffs at the start giving way to a mellow conclusion. Of course, as always, with Clutch it’s the sum of the parts. Gaster’s freestyle drumming has a sound big enough to remind you of Bonham, describing Maines steady bass lines as reliable is about as big a compliment as you can pay and Sult’s guitar work mesmerises and hypnotises once more, textured layers disguised underneath his laid-back style yet his work is also crucially vibrant. Meanwhile Fallon remains the ultimate rock wordsmith, his oratory flowing like a raging preacher on a street corner but with a much more important message. Take A Good Fire: “I remember hearing Sabbath for the first time, When I was thirteen years old, A large field outside Damascus, in the grip of October’s cold, Alder birch cedar boxwood pine, who among us can deny? We love a good fire”. 

At 56 minutes and 15 songs you could argue that Book Of Bad Decisions is maybe a song or two too long but tracks like H.B. Is In Control (The H.B. standing for Hieronymus Bosch) and Hot Bottom Feeder retain all the groove and fire of classic Clutch. Book Of Bad Decisions is an album that deserves multiple plays to appreciate. It is pacey, laden with groove, clever changes and astute lyrics. It’s been three years. It has been worth the wait. Clutch is synonymous with quality and consistency. A fine album to add to an already amazing body of work. 10/10

The Pineapple Thief: Dissolution (Kscope) [Paul H]

For a band now on its 12th album, The Pineapple Thief show absolutely no signs of stagnation. 2016’s Your Wilderness was a fabulous release, as crisp and delicate as freshly fallen snow. Dissolution moves the bar forward once more, with the songwriting of Bruce Soord creative and fresh, allowing the band to demonstrate both subtle gentility as well as the harder elements which runs through the spine of this release. Dissolution is 43 minutes of sheer brilliance, with a fusion of rock, jazz, electronica scattered liberally amongst the inevitable progressive style which is synonymous with their name. Crashing riffs on Far Below and Threatening War nestle comfortably alongside the harmonies of Soord and long-standing members Jon Sykes and Steve Kitch. With Gavin Harrison returning to the drum stool for the second time, the rhythm section is assured throughout, and the musicianship is as one would expect, stunning. 

The masterpiece of this magnificent release is White Mist, a quite astonishing penultimate track that is sheer perfection. With legendary American guitarist David Torn adding guitar, the 11 minutes weave and move organically; part Floyd, part Porcupine Tree but most definitely The Pineapple Thief. The acoustically beautiful intro to final song Shed A Light provides the perfect antidote to the stirred emotions of White Mist, before an electric outburst spikes the middle section, acoustic and electric sections then duel to close the album flawlessly. I’ve listened to this album continuously since it was released, and it continues to provide delicious moments of almost insatiable quality; much like that first drink after a thirsty hike, soaking up Dissolution is a moment that leaves you desperate for the same again. I didn’t think that the band could improve on Your Wilderness. Dissolution might just be their finest hour. 10/10

Seasick Steve: Can U Cook? (BMG) [Matt]

Something of a phenomenon this is Steve Wold's ninth full length album, the man known as Seasick Steve is something of an enigma with very D.I.Y aesthetic to his 'hobo blues' his guitars are homemade, his voice is weathered by years of travelling and his songs are usually tales of his colourful life. Since he was 'discovered' by his performance on Jools Holland's Hootenanny show, his career has been on an upward trajectory because his honest and irreverent homegrown blues. Opening with Hate Da Winter it's a self explanatory title about hating the winter (I would too if I had to live on the streets as Steve did during his youth) it's a marked difference from the early record which was just him his collection of odd stringed instruments and his Mississippi Drum Machine stomp box.

Here he has his now long term drummer Dan Magnusson a.k.a. Crazy Dan on drums and former Black Crowes slide guitar ace Luther Dickinson, it's the title track that show Dickinson's slide prowess adding a country funk to the fuzzy riff. As with all Seasick Steve records there's a melting pot of the USA's musical styles here with blues, soul, boogie, folk and Americana all catered for, his Dylanesque lament of the modern world Last Rodeo is a harmonica infused piece of folk, things get a sparse and moody for Chewin On Da Blues however Shady Tree is a bit more traditional, on the other hand Lay has a bit of drum and bass to it. Numerous styles on offer but all definitely Seasick Steve, look out for him on tour later this year, Steve's doing the cooking you bring the wine. 8/10

Dream Child: Until Death We Do Meet Again (Frontiers Records) [Matt]

Dream Child is a band formed Dio, Dio Disciples and Resurrection Kings guitarist Craig Goldy, (it was the nickname Ronnie have him) he was apparently discussing Rainbow's first two albums and how no one makes music like that any more when he was asked by Serafino to see if he could do it. Drawing on his time touring with the great man you can hear that the Dio influence comes through from the first track to the last, much if this is due to Goldy's guitar playing/arrangements and the vocals of Diego Valdez who sounds an awful lot like the RJD, his soulful snarl would sound perfect screaming Neon Knights or Holy Diver.

It's a bit of reunion this record Goldy has managed to get Rudy Sarzo (Dio, Ozzy, Whitesnake) on bass, former MSG man Wayne Findlay on guitar/keys and behind the kit is Simon Wright (Dio, ex-AC/DC) so three of the five members of this band have performed with Dio which is probably why the record harks back to those classic Dio days. You Can't Take Me Down has thumping Rainbow-like groove with Valdez giving his all, Under The Wire does pinch the keyboard riff from Tubular Bells but it's snorting opener setting the tone for some classic metal. The record is essentially a celebration of the career of RJD with the songs working from Rainbow, through Sabbath to his solo career, lovingly crafted by those who have actually played with him, it's better than Last In Line or Resurrection Kings (mainly due to the vocals) making it a very good listen if you're a fan of Dio in anyway! 8/10 

Reviews: Vodun, The Skull, Gods Army, Ink

Vodun: Ascend (New Heavy Sounds)

The trio of Ogoun (Zel Kaute-drums), The Marassa (Linz Hamilton-guitars) and Oya (Chantal Brown-voice) return with the follow up to their rip roaring debut Possession since then the world has turned and the spirits and omens have become darker, the world is worse that it has been for a while and the music on Ascend reflects these seismic shifts in what is now seen as the norm, drawing on the lessons of history to be clarion call for action. Opening with the percussive power of Spirits Past the album kicks off with is a pro-feminism, anti-racist/fascist etc battle cry to stand up to those that oppress you (a theme repeated on this very aware record).

Ogoun's drumming is what gets this song kicking ass from the get go as Oya's incredible vocal howl evokes the spirits of ancestry to get you involved, before turning into a proto-thrash end as The Marassa riffs like a unleashed demon. A killer start that gives you what Vodun do best however what can hear here is progression, the record is more sophisticated than their debut, with broader brush strokes making wider musical palette, the trio bring in heavier riffs on the driving Started From, they pair these heavy riffs with the African beats and sax parps on Ogun's Fight. With Time Honoured a slower, sludgy, stoner, Sabbath sound that gives you a refreshing change of pace and a chance for some soulful sounds from Oya.

A difficult second album is not the case with Vodun their sophomore effort is not just better than their great debut it's got a wholly different edge to it, the African sounds are still here in abundance but everything's a lot tighter, more mature and angrier, a track like New Doom (featuring Turbowolf's Chris Georgiadis) which has everything tribal beats, the dual sneer and holler of the vocals and the shimmering/groove-driven guitars coming together as much bigger than the sum of their parts. A band shaped by their ideological/political history and their defiance of the current forms of oppression Vodun have taken their sound to more primal style of rage that I can't wait to see be unleashed on stage! 9/10

The Skull: The Endless Road Turns Dark (Tee Pee Records)

If you know doom then you'll know who Eric Wagner is, the vocalist of seminal Sabbath worshippers Trouble, he formed The Skull back in 2012 with Trouble bass player Ron Holzner, naming the band after Trouble's second album. Four years on from their debut album they've released their follow up and it's not a record that's going to be a surprise. What we have here is 45 minutes of bone crushing doom from the opening riff of the title track to the closing sustain of  Thy Will Be Done it's fuzzy doom riffs right from the get-go and they don't really let up, Holzner's low four string in devilish union with Brian Dixon's punishing drums as the dual riff machines of Lothar Kelley and Rob Wrong play it like it's pulled pork, low and slow.

It's straightforward doom metal from two men who have done this kind of music their entire careers, what I always find fascinating though about Wagner's vocals are that they are certainly more Ozzy than Scott Weinrich (singer of Saint Vitus in case you don't doom), actually this record has many more melodic elements than a lot of doom bands, yes it's maudlin and gloomy but there are flashes of psychedelic light, like on The Longing which has great soaring lead playing or the jazzy From Myself Depart. The Endless Road Turns Dark is a record steeped in traditional doom, noted Trouble fanboy Dave Grohl is going to love it, but I'm sure you will too. Crank it up loud and get that head banging! 8/10

God's Army: Demonocracy (Rock Of Angels Records)

No! Wait! Come back! It's not a Christian band, there's no God bothering here in the vein of Stryper or our perennial favourite Enzo And The Glory Ensemble, I promise! The religion here is a simple one with no edict at all, the only thing to worship here is good old fashioned rock n roll. Formed by Gallows Pole singer and Scanner bassist John A.B.C. Smith and drummer Mark Cross (Tainted Nation, Tower Of Babel, ex Firewind, Helloween) who came together to record some muscular heavy rock that balances between melodic power metal and radio loving heavy rock.

They have big fist in the air moments such as The Replicant which is beast of track clocking in at over 13 minutes which works into a steady groove with some shredding solos from Ian O’Sullivan and Eddie Van Dahl who trade off in the instrumental middle which has to be homage to Maiden due to the gallops and twin harmonies. It's not an album with no substance though as good as music is, there's political message on this album which has soundbites from Orwell, Malala and Regan all fitting with their commentary on the current political climate.

Whether you want to get that deep is up to you but tracks like Games Without Frontiers, Final Destination and Free Your Mind (which I swear has nicked a Motley Crue riff) all rock hard, unfortunately they nearly ruin everything with a 'rock' cover of Old Blue Eye's My Way which is probably worse than the Sid Vicious version (which was at least ironic). Still ignoring this (you really must) Demonocracy is a pretty strong melodic metal album from this group of seasoned metal musicians. 7/10    

Ink: Whispers Of Calliope (Wormholedeath Records)

It's a brave choice to open with a Tool cover but Greek alt/prog metal band do it well stripping Sober back to dark fear-laden acoustic version of the famed prog metal heroes. It's the first of a few choice slightly outside the norm covers. The other brave choice is a cover of NIN's Hurt a song that has taken on new life due to the definitive cover from Johnny Cash, here it's once again a good cover but will never have the gravitas and pain of the Cash cover. Every song here though is from a band that seem to have an influence on Ink, there's a lot of alt, grunge, prog, electronica and general dark weirdness on this record from Leonard Cohen, to Billy Idol, Smashing Pumpkins to Massive Attack it's a jukebox of miserablism that Ink do very well with their own songs. 

The majority of the record is built on bleak, robotic synths and intense acoustic work outs, it works best on Rebel Yell which gets sparse and more anthemic Chris' vocals are passionate and distinctive as Kostas ushers in a clean electric guitar solo. As I've said the covers here are all good with a real mix of artists however it's the emotional finale of Temple Of The Dogs' Hunger Strike that is the most resonant in the memory as it serves as a fitting tribute to Chris Cornell's genius. I will admit it brought it year to the eye as clearly Cornell is big part of Ink's sound. Covers records can be something of a cash-in often relying on the big hits and shameless rip offs but on Whispers Of Calliope Ink have released an honest, inspired record. 8/10

Reviews: Lord, Panegyrist, Penance Stare, Druglord (Reviews By Paul S & Sean)

Lord: Desperation Finds The Hunger In All Men (Heavy Hounds Records) [Paul S]

Desperation Finds Hunger In All Men is Lord’s final album. I’m not aware if they made the decision to disband before, during or after recording this album, but I am aware that this is it for this band. So, what have Lord produced for their swan-song? Desperation Finds Hunger In All Men is a complex beast, and it is a beast of an album. The album comes in at an hour and five minutes, and is mainly doom; I say mainly as there are a lot of other things going on as well as the really rather heavy doom. A lot of the songs have fast, hardcorey style sections in them to mix things up.

The vocals are interesting as well, there are 3 main voices on this album, 2 harsh and one clean. 1 of the harsh voices is huge and deep, death metal style vocal, the second is high register, almost shrill in quality. This high register shriek could be problematic to some listeners, it feels like the band is challenging the audience, if you give it time you get used to it and it stops being a problem. The clean voice makes me wonder why the band have used harsh vocals at all. Vocalist, Steven Kerchner has a huge voice, deep and gravelly, but incredibly soulful. It reminds me a little of Chris Cornell, or maybe a lower register John Bush, and is fantastic. At times it feels like the 3 voices are combative, fighting for dominance in a fairly full mix. This isn’t a problem, in fact, I think it’s exactly the effect the band were going for. This is a band that was happy to experiment and take risks, and I think this has worked.

The track Nature Knows No Kings is a case in point. The track is very complex, doomy parts that give way to hardcore, all three voices are used, some of which are spoken, and this track has that combative feel I mentioned earlier. La Fleur De Cobalt is another standout track, again a mix of doom and hardcore, although maybe a little less unhinged, the clean voice feels like it has dominance on this track, and by god it sounds great. The album is brought to a end by the track This Lonesome Linger, a beautiful acoustic track that also features female vocals, which in some parts are exquisite harmonies, and brings the album to a close in a very satisfying way.

Desperation Finds Hunger In All Men is a difficult album. It takes a while to get your head around it, and some effort. But if you allow it, this album will get into your head, and you will find it satisfying. All you need is a little time and an open mind, and you’ll get a lot out of it. I don’t suppose I can convince the band to try getting back together. 8/10

Panegyrist: Hierurgy (I, Voidhanger Records) [Sean]

A bell breaks the silence, bright as it is sonorous before diminishing into night. Eerie plainchant fills the empty void, uttered by hooded figures obscured in the thick, cloying incense emanating from an open brazier. A single voice continues the canticle, giving praise to something ancient and unknowable. Esoteric whispers slither and twist their way into the recital, with more malevolent energies inviting themselves amongst the unsuspecting congregation. Or something envisioned to that effect. So begins the opening track Hymn Of Inversion off Hierurgy, debut album of American avante-garde black metallers Panegyrist.

Idylls Of The Cave erupts with harrowing power, both the vocals and guitars swirling seamlessly in a controlled yet chaotic fashion. Panegyrist heap layer upon layer of sound, yet never losing themselves and create a fine balance amongst the dense cacophony with neither element encumbering the other. The complexity on offer is almost dizzying and devoid of meaningless self indulgence, the riffs continuously shifting but not until they have wormed their way into my subconsciousness. As the ritual continues on To Quicken Stone, the clean introduction briefly allows me a quick gasp for air before being plunged into it’s unfathomable depths. Slightly more straightforward than it’s predecessor, To Quicken Stone embraces the discordant but providing enough hooks to provide some sense of tangibility amid the maelstrom.

The Void Is The Heart Of The Flame substitutes the fury of the two former song for an eerie dreamscape, ushering in a greater sense of dynamics and once again showing the impressive capability of the band. The mental image conjured is one of a soul separated from it’s fleshy vessel, aimlessly wandering the dark aether. Pretentious musing aside, Panegyrist have me utterly transfixed in this dark pilgrimage of theirs. Ophidian Crucifix utilises the established elements of earlier songs, reintroducing the melody from Hymn Of Inversion to great effect. Bolstered by haunting solos and weeping keys, it's the most varied track on the album, perfectly encapsulating the essence and sheer diverse nature that is Panegyrist.

The end to this occultic exodus bring us to closer Hierurgy, a 12 minute bombastic excursion recounting Panegyrists otherworldly creativity. Although it’s a touch congested and slightly meandering in places, Hierurgy is a fitting closer to a thrilling and exhausting voyage. I gather my thoughts, or what is left of them. Hierurgy is wonderfully crafted debut of haunting peculiarity, forged by individuals with a deep understanding of their craft.

It’s sonically dense yet varied, daunting but not impenetrable. Coupled with the bands transcendental vision and musical daring, it effortlessly dances on the edge of complete and utter sensual (and spiritual) collapse. Armed with a bright production and prodigious talent, Panegyrist offer 6 sprawling psalms steeped in mystery and dread. Abandon your flesh, surrender your spirit and step into the dark. A bell breaks the silence, right as it is sonorous before diminishing into night. The ceremony begins anew. 9/10

Penance Stare: Scrying (Self Released)

Penance Stare is a blackened darkwave project based in Gateshead. This is a 1 person project, all instruments and vocals are performed by a woman known as Eln. The main sound here is electronic/industrial, with dissonant, dark guitar riffs, and vocals that are shimmering and ethereal. I can hear influences from Lycia, Cocteau Twins and Xastur, even a little bit of The Cure as well. The other artist that this bring to mind for me is Blut Aus Nord. Now, I am aware that B.A.N. have several different sounds, so I’d better be a bit more exact. Blut Aus Nord’s 2003 masterpiece The Work Which Transforms God contains 2 different types of song. Insanely fast, industrial black metal, and instrumental, dissonant soundscapes like Metamorphosis, Our Blessed Frozen Cells and Procession Of The Dead Clowns. Penance Stare’s sound is close to these instrumental tracks.

The vocals on Scrying are very interesting. The sound is quite reverb heavy, giving them an ethereal, almost hypnotic quality. The vocals are also quite low in the mix, definitely lower than most bands would do (maybe as the vocalist is also the person who plays all the instruments, there’s no petulant member insisting their contribution is to the fore). The style of the vocals give the tracks a floaty, ethereal quality, but the level they are at in the mix means they have the same importance as all the other instruments, so the vocals are just one of the instruments, not more or less important. The music on offer here is very dark in feel, but the vocals give a little light. This feels cathartic, it isn’t all darkness, there is a balance to the emotions on offer here. This is a darkwave album that has a lot more depth than a lot of Penance Stare’s contemporaries.

Scrying is a great piece of Darkwave/blackened ambient. The album is available on Bandcamp, you pay what you want, this deserves a decent amount of money. This is an album that is dark and dissonant, whilst being beautiful and ethereal at the same time. That is a pretty neat trick to pull off, and Penance Stare do it brilliantly! 8/10

Druglord: New Day Dying (Sludgelord Records)

This is Druglord’s second album, coming four years after their first album Enter Venus. The 3 piece from Richmond, Virginia, play a very heavy brand of doom/sludge, with maybe a little stoner influence thrown in for good measure. The sound on this album is massive; massive riffs, massive guitar sound, huge lurching rhythms, and vocals that cut through all the bass. The vocals are reminiscent of Yob’s Mike Scheidt, with a little of Lee Dorian as well. In some ways the sound of the music is a little like Dorians new project With The Dead. It isn’t all about heaviness though, the track Walk With God has an organ on it that gives the song depth, and makes it sound a little psychedelic as well. There are also some cracking Wah Wah infused, bluesy solo’s on offer here, which are very pleasing.

Although, all this is very good, there isn’t much in the way of variation. All the tracks have a similar feel to them, just small variations, there isn’t any massive experimentation, or mixing of styles. But having said that, what they do is a really great take on doom/stoner, so maybe variation isn’t needed. I get the feeling this material would go over really well live, I can imagine entire dance floors bouncing in time to these massive tunes. Thunderingly huge doom! 7/10

A View From The Back Of The Room: Shiraz Lane (Live Review By Rhod Davies)

Shiraz Lane, Who Knows Didley, Excursia, Fuel Rock Club Cardiff

It has been a while since yours truly has done a live review on a concert. However when MOM headquarters offered me a chance to go to Fuel for this show as a birthday present, we weren’t going to pass up the chance.So with that myself and Sharon the wife head into the heaviest club on Womanby Street for another night of hard rock and metal.

Being a school night it’s never easy to get crowds out but Excursia (8) from Blackwood starting out tonight’s proceedings with a very strong set. With Black Lakes drummer, Dafydd filling in with a weeks notice after their previous drummer quit, he pounds the skins courageously and with such charisma on the Songs with the occasional joke about “hoping he doesn’t fuck up.” Powering through a 5 song set, one being a cover This Corrosion by The Sisters of Mercy and the others from debut EP Rise, opening with the title track Rise the next 20 minutes are all off their 90’s groove sounding record with the exception of the Sisters Of Mercy cover, they end with their nearly complete new song Hand Of God. A very strong performance from this band and they will be returning to Fuel on the 24th of November, I hope I get to see these guys again soon. Callum, A’Dan, Sam and Lewis, I hope you find the drummer you're looking for.

Who Knows Didley (7) take the stage next, coming all the way down from Neath, after a quick sound check and welcoming their audience before starting up their blend of hard rock, reminding me of the likes of Warrant, Extreme and even a hint of early Aerosmith. The band have a very confident 80’s hard rock sound (and have earned themselves the spot of supporting cover band Wrong Jovi in Swansea next February). To members Paul Mathews, (vocals), Gareth Alford (guitar), David Mckenzie (bass) and Craig James (drums) I have to confess and speak openly, I regret that owing to a couple of sound issues I wasn't  quite able to make out the names of the song titles within the first half of the set, however the second half was a lot more enjoyable and a lot more engaging and I would like to give these gentlemen another go in the near future on the live circuit, I think (and I would like to be corrected if I’m wrong) that one of your songs was called All Your Wishing which I did thoroughly enjoy, and would like to see you upon your return to Fuel

Lastly, as the crowd now begins to gather round the front and extending as far as the bar, the world's most 80’s song blares over the speaker We Built This City by Starship you have an idea as to how the end of your night was going to be. You would forgive Shiraz Lane (9) for being a typical Motley Crue, Poison or any type of 80’s glam- revival from their look, however this is not the case. They don’t take anytime I’m getting proceedings started by starting their UK tour with new song Carnival Days off the album of the same name with such energy and exuberance. The Finnish 5 piece promote a feel good rock band about promoting peace for all who enjoy rock music (a bit like Stryper but without the God Squad morals). The solos come flying thick and fast from lead axeman Jani Laine (not that one - Ed) on songs Wake Up, keeping the shows momentum and lead vocalist Hannes Kett encouraging the audience to get closer and closer until even the ones at the back are at least as far as the bar.

A brief reminiscing on how far the band have come they break into Story To Tell from their debut EP Be The Slave Or Be The Change, a poppy rock number that does get the head moving with enthusiasm. With the main focus on recent release Carnival Days, with the exception of House Of Cards and Mental Slavery from previous release For Crying Out Loud, the band end with songs Harder To Breathe and People Like Us, gave us a chance to be introduced to members Miki Kalske on rhythm guitar, Joel Alex on the bass and Ana Willman (apologies for any of your spellings) and with Jani and Hannes as well together with your peace and good will messages prove that you there is a place for “feel good” 80s hard rock and glam without either preachy or mentioning sex/drugs lifestyle. A very enthusiastic and left us coming out with a smile on our faces, this kind of rock n roll the world needs sometimes, and I would love to see these guys again in the near future.

Reviews: VOLA, Beyond The Black, Satan, Moths

VOLA: Applause Of A Distant Crowd (Mascot Records)

Danish progressive, genre bending four piece Vola have managed to work their charms over all manner of music fans with their amazing musical talent and knack for songwriting. Their previous debut record Inmazes saw them expanding on the djent/modern prog metal blueprint with some atmospheric melodic meandering, it was weighty piece and one that slow burned Vola to the precipice of the progressive rock fraternity with as much love for them as the is for Brits Haken who they have similarities to.

It was a hard album lyrically based on internal struggles however here on the follow up the focus is shifted outward. Asger Mygind (vocals/guitar), is in happier place here and title is a metaphor derived from our relationship with social media, how we can appear close but be miles apart. Mygind elaborates: "We spend a lot of time trying to present ourselves in a flattering light in the pursuit of continuous applause, even if it’s a distant applause from those you may not connect with away from the screens."

They've taken a slightly more loose approach for this one, you can hear this in the first two tracks Mellow and Ghosts they are mellow pieces that float on the air drifting with ambience that reminds me of Anathema or Steven Wilson, much of this is due to the clean guitar lines from Mygind and the propulsive drumming of Adam Janzi. The album was mastered by Andy VanDette (Porcupine Tree, Steven Wilson, Devin Townsend, David Bowie) and it ebbs and flows the first glimpse of heaviness coming with the chunky Smartfriend, it's probably one of the most straightforward songs on the record but it's needed to bring in the heavy.

It means that tracks such as Ruby Pool are just as likely to have keys and jazz bass (Martin Werner & Nicolai Mogensen) as they are buzzing electronica (Alien Shivers) or Tool-like sound on Still with beauty on Green Screen Mother and Vertigo. Ambitious and spine-tingling at times Applause Of A Distant Crowd deserves all the plaudits it's going to receive, play it repeatedly to really hear it and you won't want to listen anything else for a while. 9/10 

Beyond The Black: Heart Of A Hurricane (Napalm)

Fronted by the majestic voice of Jennifer Haben, German metal act Beyond The Black are heading into the hurricane with their arms and their minds wide open, having always toyed with a fusion of sounds this third record takes everything a step further to being truly fantastic. They could be, unfairly, compared to Delain, Within Temptation or Nightwish and if you were only listening to Million Lightyears then you'd forgiven for thinking that they were another symphonic metal clone but Beyond The Black are no so much a clone but a distillation of those influences with a new edge.

They marry their affinity with Medieval cinematics (Song For The Godless), with catchy pop sensibilities  and also heavy blastbeating metal (Beneath A Blackened Sky/Fairytale Of Doom), all handled with class by Haben who has one of my favourite voices in music at the moment, her voice is fragile yet powerful breathily whispering one minute then belting like a Eurovision diva the next. The catchiness of Through The Mirror is a thing to behold especially as it features on a gothic doomy track, however then they've got elecro-pop for Escape From The Earth which could have come from Sharon Den Adel's My Indigo record.

It seems that at the Heart Of A Hurricane there is a swirling maelstrom of talent on offer with, bombastic keys, a sturdy rhythm section, crisp fret melting guitars, a hint of orchestral swelling and a chanteuse of a singer all creating a record that I've played numerous times already (even at 15 tracks). On the last Beyond The Black record we predicted big things for the band, well they're here to collect! 9/10  

Satan: Cruel Magic (Metal Blade Records)

As writers we tend to throw the term 'legend' around alot but I'd say there was enough of an argument to call Newcastle Upon Tyne NWOBHM standard bearers Satan legends in the UK metal scene. Having released ’83’s seminal Court In the Act and ’87’s Suspended Sentence the band like so many took a break before returning in 2012 as a fierce touring and recording force they have produced two albums since then with both Life Sentence and Atom By Atom drawing from their heritage but modernising it with a tasty mix of proto-thrash, classic British metal and even lumbering doom, they have successfully crafted themselves into a vital proponent of post-millennial metal.

They approached their fifth album as the antithesis of the modern metal as guitarist Russ Tippins who said "I'm no longer as impressed as I used to be by speed, technique, control, heaviness, tone, flawless production and excessive bottom end!" they have been influenced by the re-release of their fan favourite debut Court In The Act which they see as naive but endearing due to it's D.I.Y nature, it means that Cruel Magic is trying to re-capture that sound making an effort to record every song in one take.

It's a risk that works as this record is possibly Satan's finest, the progressive cinematic Mortality ends the record in the same magisterial style as it opens with the galloping Into The Mouth Of Eternity then into the frenzied madness of The Doomsday Clock which sees Tippins (guitar), Steve Ramsey (guitar), Graeme English (bass) riff like Hell (a band who have gone through a similar reinvention) and the percussive My Prophetic Soul driven by Sean Taylor's drumming. Cruel Magic is another worthy addition to the Satan collection, it's proper heavy metal with Brian Ross a perfect master of ceremonies working the titular magic. 9/10

Moths: Moths EP (Self Released)

With such majesty previously featured in this edition of the blog it was probably time things got a little dirty, thankfully Puerto Rican stoners Moths are here for all your Mastodon styled progressive fuzz needs. This debut EP has thick syrupy licks, proggy time changes and some stirling vocal work that has growls, droning mids and even some Dickinson wailing, Lepidoptera has it all in one song (it's even got a jazz odyssey) and it's only the opener, but at 6 minutes of twists you're ready for the psychedelic Adhara & Rey which is a little Rush meets Jane's Addiction and the more direct heavy riffs of Desires which is the last original track on the EP.

The fourth cut here is a cover and when a band have such a progressive tendency it would be remiss if they didn't cover a prog classic so with that classic riff powering out of your speakers they have a pretty traditional take on 21st Century Schizoid Man. Moth have pretty unique thing going on, very progressive but with stoner grime rubbed all over it, I like and I'm sure you will too. 8/10

Reviews: Black Swamp Water, Yylva, Mountain Tamer, The Stone Angels (Reviews By Paul H)

Black Swamp Water: Distant Thunder (Mighty Music)

On first play I was convinced that Black Swamp Water were another hard rocking band from the States. Oh no. This five-piece hail from Denmark. Distant Thunder follows their 2016 debut album and opens with a sweet piece of Southern style acoustic slide on Badlands. As the thunder crashes in the distance, a banjo then threads together the crashing riffs as Bitter Harvest slowly hits top gear. Vocalist Bjorn Bolling Nyholm has a Hetfield style, but one that isn’t attempting to imitate the Metallica main man. Black Swamp Water are very much in the Black Label Society meets Lynyrd Skynyrd arena. Hard rock intertwined with the Southern rock but add in a large serving of Corrosion Of Conformity. Each track builds to huge choruses, the guitar work of Jan Geert and Martin Lykke Hansen sublime. Rebellion thunders along with huge hooks enticing the listener and by half way through this album it’s impossible to stop tapping the foot. Rise and Down For Good close the release, both tub thumping beasts which demonstrate that sometimes it doesn’t have to be complicated to be bloody good. 8/10

Yylva: The Wood Beyond The World (Self Released)

For those fortunate enough to have been at Fuel early on 9th June, you’d have caught the live set from Yylva. Anticipation about the debut album from this enigmatic outfit has been high and now it has finally arrived, well, what a beauty. The atmospheric ethereal black metal swirls around your throat, whispering delicately before blistering blast beats and demonic riffs tighten their grasp, whilst the haunting vocals of Clare Webster soar above the maelstrom. The intricate opening of A Foreshadowing, with the deft harp work taking centre stage, before the first real masterpiece appears as A Sidhe In Throes, all nine minutes of it, develops and spreads like a virus, weaving its way from peaceful intricacy to evil mutations.

Nepenthe, not the Opeth track from Heritage, maintains the combination of pagan doom and black metal superbly, a memorable riff holding pace with the elaborate and enchanting harp work which spreads over the whole album like a spider’s web in a darkened cave. Tears Of Awakening combines harp, ghostly vocals, death growls and thundering riffs in a way that should not work but does surprisingly well. At 55 minutes for just seven tracks, this album will take some listening to really appreciate but on the first few listens it is most impressive. Chillingly heavy, intoxicatingly light and woven together in magnificent style, this is a truly special album which should cast shivers up and down the spine. 9/10

Mountain Tamer: Godfortune/Dark Matters (Magnetic Eye Records)

Hailing from Los Angeles, California, Mountain Tamer are about as far away from the traditional LA sound as you could get. Heavy, throbbing psychedelic doom, massive reverb and space rock are all present as the band deliver a ball crushing release. For a trio, the band make an impressive noise; fuzzy, dirty guitar work of Andru Hall who also handles lead vocals combines with the aching bass lines of Dave Tegat and the rampant thunder of Casey Garcia on drums.

Listen to the meandering Funeral Of A Dog, envelops you with a swirling heady mix before an abrupt stop saps your head back into position. The crashing Primitive Control careers out of the speakers with no controls in place, distortion and down tuned guitar mixing with distant echoing vocals. It’s sweet stuff alright and sufficiently challenging to stand above many of the Swedish bands of similar style. 7/10

The Stone Angels: The Stone Angels EP (Self Released)

I don’t know what I did to deserve this to review but I don’t want to get anything like it again. The Stone Angels are apparently a three-piece from Torbay and have kicked around since 2009 with a debut album Spirit, Love & Higher Meanings released in 2016. This five-track EP contains three average rock tracks, one particularly unremarkable cover of The Human League’s Don’t You Want Me and a lounge room style track called Set Me Free which fuses a bit of jazz, synth and indie style guitar into the mix, horribly. I’m sure they may be the ‘South West’s Best Kept Secret’. On this showing, let’s hope it remains that way. About as exciting as a bowl of two-day old porridge. 4/10

Reviews: Cauldron, The Radio Sun, Internal Conflict, Villainous

Cauldron: New Gods (Dissonance Productions)

Canadian's Cauldron return with their 5th album and there is no dramatic differences between this and their previous four albums, they still have an overwhelmingly NWOBHM influenced sound, as Jason Decay's bass riffs lead the charge through pumping Prisoner Of The Past, add a melodic groove to more Save The Truth - Syracuse and carries the heaviness of Never Be Found working in unison with Myles Deck's percussion for the gallops that are present here. As I said at the beginning of the review nothing much has changed here it's the same old sound that Cauldron have always done however Together As None does make it a little more AOR influenced with what sounds a little like a love song.

The problem I have is not that it's repetitive, the entire NWOBHM revival is based upon riffs that have already happened it's just that this particular entry is boring nothing stands out or gets your pulse racing, your fist pumping or your head banging, where as they're first couple of records sounded vital and alive Cauldron's most recent offerings have sounded stayed and a bit beige. As the new wave of traditional metal has progressed, much like the first time around, certain bands have been left behind and unfortunately Cauldron seem to be one of those bands. 6/10

The Radio Sun: Beautiful Strange (Pride & Joy Music)

I think you can safely call Aussie AOR act The Radio Sun a much machine. Long time readers of this blog will know the name as this is the bands fifth album in five years, it's a ridiculous work rate by any stretch of the imagination only really matched by Messrs Bonamassa, Wilson and Sinner (and even they've slowed down). The key reason why The Radio Sun have been able to produce this many albums is probably due to their genre of choice AOR practically writes itself, full of breezy summer shimmer (Believe In Me), driving rockers (Should Have Listened To My Heart) and ballads wrought with more emotion than a Big Brother contestant (Miss Wonderful).

It's not rocket science but this kind of highly stylised melodic rock appeals to the pleasure receptors in your brain bringing a goofy smile to your face. Yes AOR is easy to produce but difficult to master an this is where The Radio Sun really reveal their ace, at a time where consistency is underrated I don't think they have ever produced anything below par and Beautiful Strange doesn't break the cycle. Slick, confident music with sauntering synths, strutting guitars and perfect vocals, these Aussies have done it again. 8/10

Internal Conflict: Nothing Is Lost (Self Released)

Nothing Is Lost is brutal slice of modern metal from the Leicester band who have previously released a debut album in 2015 and won Metal 2 The Masses in 2013 After their debut there was a period of unrest the band switching members and facing family illnesses however they are now in a period of stability with former Beholder drummer Chris Bentley who murders the throughout this five track EP which draws influence from all realms of metal but mainly it's groovy metalcore, with emotion-filled vocals, huge hooks and massive breakdowns. 

It's the sound of a band with renewed vigour and they sound as if they're ready to take on the world again with a limitless aggression, excellent production bolsters their music further with a track like Your Bones Will Fail you understand what exactly makes Internal Conflict such a interesting prospect, bookended by fuzzing electronic intro and outro Nothing Is Lost sets the scene for the triumphant return of Internal Conflict. 7/10

Villainous: Villainous (Self Released)

Brighton's Villainous seem to have recruited Phil Anselmo for their three track EP, the vocals are uncanny although the music isn't quite the same, yes there's technical ability and big grooves but this EP switches so fluidly between styles it's tough to nail them down to one, there's NOLA groove on Obsolete, but Ephemeral has the organic experimentation of Tool or Deftones. There's much to enjoy here, the songwriting is mature but overall it's a bit rough around the edges and stylistically person I'd do without the harsh vocals as the cleans work better that can all be refined at later date, promising. 7/10

Reviews: Brainstorm, Ace Mafia, Pyrexia, Paul Ferguson (Reviews By Paul H)

Brainstorm: Midnight Ghost (AFM)

German power metal is often the benchmark for the genre. Brainstorm are yet another of those bands who’ve been around for many years, delivering consistent quality. Midnight Ghost is the band’s 12th album, and with a stable line-up for over ten years it’s no wonder that it is another polished release. Andy B Franck has been the band’s vocalist since 1999, with original members Torsten Ihlenfeld (guitars), Milan Loncaric (guitars) and Dieter Bernert (drums) alongside most recent member Antonio Ieva (bass) completing the line-up. Recorded at Sebastian ‘Seeb’ Levermann’s (Orden Ogan) Greenman Studios.

The album isn’t a concept album but contains a thread which focuses on the fear of ghosts and monsters under the bed; the bogeyman in the wardrobe. Fears that form in childhood. Jeanne Boulet 1764 for example, is about the strange events that took place in Gévaudan in Southern France 250 years ago when around 100 children, adolescents and women were killed by a wild animal. Typically flamboyant and operatic in parts, Midnight Ghosts opens with the anthemic Devil’s Eye, and tears through 51 minutes of high quality melodic power metal; When Pain Becomes Real and Ravenous Minds stand out amongst a wealth of strong songs. 7/10

Ace Mafia: Ace Mafia (Rock N Growl Records)

Ace Mafia is a UK based metal outfit, formed in 2007 and featuring Richie Faulkner, now guitarist of metal legends Judas Priest. The band released their debut album Vicious Circles in 2009 independently but due to various commitments, mainly Faulkner’s touring schedule with Lauren Harris before touring the UK in 2010. When Faulkner landed the gig with the Priest, Ace Mafia went on hiatus. However, in February 2018 the band decided to reform and Ace Mafia, a four-track EP which features Faulkner is the first offering. It’s a solid release, merging the grunge of Alice In Chains with the girth of Black Label Society; Ben Lundy adds impressive lead guitar alongside Faulkner, whilst K Ghibli’s vocals sit in the Sully Erna/Zakk Wylde ball park, fitting in neatly for the sound of the band. With Jerry Sadowski on drums and Geos Letona on bass and backing vocals, there is promise in this EP. 7/10

Pyrexia: Unholy Requiem (Unique Leader Records)

New York death metal veterans Pyreixa have been around since the early 1990s. With several albums under their belt, the last being Feast Of Iniquity in 2013, the band has, from what I understand, been relatively inactive in recent years. Unholy Requiem changes all that in a flash. It’s about as brutal an old school death record as you can get, immediately drawing comparisons with the likes of Suffocation and Internal Bleeding. With a return to the rawest sound you can achieve, these eight tracks pulverise over 25 minutes. It’s punishingly dirty. The groove remains, the guttural vocal delivery is immense whilst the speed that the band play at is incredible. Filthy in every aspect, tracks such as Angels Of Gomorrah and Wrath, which bookend the album, demonstrate why Unholy Requiem is an essential release for any self-respecting death metal head this year. 8/10

Paul Ferguson: Remote Viewing EP (Dead Radio Station)

You may well be asking who Paul Ferguson is. Well, to give him his correct title, Big Paul Ferguson is a multi-talented drummer and percussionist bet known as the engine room of gothic industrial masters Killing Joke. He left Joke in 1987 but re-joined the classic line up on their reformation in 2008, playing on all their releases since, including 2015’s superb Pylon. Now aged 60, yes, 60, the big man has finally released his debut EP, Remote Viewing, a seven track 30-minute release that combines many of his influences from his musical career. Much of the vocal on Remote Viewing is spoken word, as Ferguson targets a range of subjects. Ably supported by underground guitar veteran Mark Gemini Thwaite (The Mission, Tricky amongst others), Ferguson’s drumming and percussion is intricate and thoughtful throughout, without being centre stage at any time. The Great Motivator and XBOX are amongst the stand out tracks, questioning the consumerism of society and the way in which we are all cogs in the capitalist machine. Industrial without question, this is a thought-provoking release which impresses throughout. 8/10

A View From The Back Of The Room: Electric Six (Live Review By Paul)

Electric Six, Jacs, Aberdare and The Fleece, Bristol

It was only March when Detroit’s magnificent Electric Six (9) last played the UK and we were on hand at The Globe to witness another masterclass. A further UK tour which spans the tail end of August and early September has included some of the more interesting locations across the country and that must include the gig at Jacs, Aberdare. I rarely go North of the Wall, so a trip into the centre of bandit country was always going to be a challenge. Deciding to arrive at we thought was a reasonably late time, we were instead forced to endure the closing moments of first support band Head Noise followed by all local support John Mouse, who were dreadful. Disappointingly, we were stuck quite far back, and as a result struggled to hear and see Electric Six due to the constant chatter around us from the many people who had clearly no intention of watching the band. Oh, until Gay Bar arrived, at which point out came the camera phone, the jumping and the singing started and then promptly finished once the song concluded. With the chatter starting up once again, and safe in the knowledge that we’d have a far better time at The Fleece, we cut our losses early and headed home.

Three days later and a much better experience in Bristol, where a knowledgeable and much more engaged crowd witnessed another stunning show from Dick Valentine and co. We’d played it safer and got a position stage right which allowed us space in the sold-out venue but also a much better vantage point. We endured the ironic 80s offerings of Pretty Little Enemy, who one friend described as “utter shit” before it was time for the main event. Opening with Rock ‘n’ Roll Evacuation, Electric Six powered through a set list that relied heavily on their 2003 debut Fire, but liberally sprinkled a selection of songs from other albums, including a trio from their most recent release How Dare You!

It’s a challenge to continually review Electric Six in the live but not to watch them, such is their quality and consistency. With Valentine’s delivery deliciously dry, laced with humour and with the band such perfect musicians, the set flew by with clockwork precision. As we rolled into Dance Epidemic and I Buy The Drugs, the venue was rocking ferociously, with some small but full-on mosh pitting taking place at the front of the stage. Dance Commander and the traditional Show Stopper, where all the band change places, concluded a fabulous evening that more than made up for the disappointment a few days earlier (nothing to do with the band). If you’ve not seen Electric Six, then make sure you get to their inevitable next UK tour. But, please, listen to more than just Gay Bar, because this band has much more to offer than a song which really isn’t representative of their sound.

Reviews: Electric Six, Tokyo Blade, Ravens Creed, Halcyon Way (Reviews By Paul H)

Electric Six: Bride Of The Devil (Metropolis Records)

This is the 14th album from the Detroit powerhouse that is Electric Six. Track one, The Opener is possibly the heaviest track the band has ever delivered; a thunderous tune that sees Dick Valentine in superb form, whilst the crushing riffs and electro beat form an alliance that is unbeatable. Daddy’s Boy maintains the high tempo, with Tait Nucleus? keyboards taking centre stage. It’s Americana time on (It Gets) (A Little) Jumpy, with Valentine delivering his vocal wizardry, and more crunching riffs adding heft to the choruses. You’re Toast has shades of Clutch and a distinctly southern hook (That Smell anyone?) whilst the homage to 1980s disco Hades Ladies contains one of my favourite lines of all time: “When a disco nap is more fun than a disco”. Valentine is certainly the star but as I’ve said in many reviews of this fabulous band, the sum of the parts makes Electric Six such a tour de force.

After their deliberate experimental sounds of previous releases, including their 2017 How Dare You? Bride Of The Devil is an instantly more accessible release, the songs memorable and catchy. The title track is immense, a guitar driven sing-a-long in the classic Electric Six tradition. Full Moon Over The Internet is reminiscent of Valentine’s solo work before yet more crashing guitar fleshes it out whilst the disco flavour that Electric Six always bring to the party explodes into action on Grey Areas. A change of style and pace on The Worm In The Wood closes off another spectacular release from a band who remain as versatile as ever. 9/10

Tokyo Blade: Unbroken (3Ms Music)

Anohter band that emerged in the early 1980s under the NWOBHM banner, Tokyo Blade were, at one point, big enough to headline 2-3000 arenas in Europe. Originally called Killer and then Genghis Khan, the band finally settled on Tokyo Blade and released two well regarded albums, their self-titled debut and sophomore album Night Of The Blade. Having split in 1984/5, the band reformed in 2008, with vocalist Nicolaj Ruhnov, and released Burn Down The Night in 2011. Now the Mark II line up is back together, with Alan Marsh on vocals alongside guitarists John Wiggins and Andy Boulton, bassist Andy Wrighton and drummer Steve Pierce. Unbroken contains 11 tracks of compact heavy metal. It’s all competently played and at times rather enjoyable.

Boulton and Wiggins can certainly play their guitars, and Marsh’s vocals are clean and strong, at times incredibly reminiscent of James Hetfield [Bad Blood, Burn Down The Night and The Man In Black are all Metallica heavy] but also switching to elements of Robert Plant and even Trucker Diablo’s Tom Harte. It’s a decent range alright. The songs themselves are solid heavy metal played tracks, proficiently performed. I like the Maiden stomp of Black Water, which allows Wrighton to thunder along on his bass ala Steve Harris. NWOBHM seems to have woken up many bands who would have been better to have remained in a permanent state of hibernation. Not so Tokyo Blade, who prove with Unbroken that they have the quality that is worth making that return. 7/10

Ravens Creed: Get Killed Or Try Dying (Xtreem Music)

Dirty, sleazy old school death metal from London based Ravens Creed, a band who’ve been around since 2006 and for whom this is album number four. Rod Boston, Jay Graham, Steve Watson and Al Osta have created a rather tasty beast with murderous riffs and thunderous bass lines in the best Venom, Hellhammer, Master and Discharge tradition. Its fast and furious, with all the tracks over within two and a half minutes. It may only be 28 minutes in length but there is groove and stomp as well as pig bludgeoning speed.

An absolute wrecking ball of a release, and with titles such as Rats Beneath Our Feet, Hymns And Hearse and The Trauma Of Being Hunted, and the Devildriver style Remember The Hammer, you know that this isn’t going to have a ballad or slow section. With riffs that even Power Trip would kill for, Get Killed Or Try Dying may well be one of the hidden behemoths of 2018. What is for certain is that this bastard shouldn’t be allowed on the car stereo … that concrete motorway bridge would be getting a visit very quickly with the brutality contained within. Listen loud … but with caution. 8/10

Halcyon Way: Bloody But Unbowed (Agonia Records)

This is a curious mixture of an album. The band, from Atlanta, Georgia have been around since 2001 delivering several albums including 2014’s Conquer. Bloody But Unbowed doesn’t fit easily into any category, with a mixture of styles that times change through the duration of each song. Clean power metal style vocals from singer Steve Braun mix with death metal growls from guitarist Jon Bodan and bassist Skyler Moore, whilst the music varies from progressive complexity to heads down thrash. Consequently, it becomes a bit of a challenge at times. The obvious influences are Dream Theater, as demonstrated on tracks like Burning The Summit and Ten Thousand Ways. Technically excellent, it proves that metal doesn’t need to be labelled but that schizophrenic style may also be to the band’s detriment; it’s hard at times to see quite who this will appeal to. 7/10