The Crawling
MoM: You come across as a right miserable bunch. I’ve been to Lisburn many times and I think I’d be miserable too if that was where I came from. Are there any cities in Northern Ireland where so much concrete has been used?
Andy: Ach, i grew up in Lisburn so I’ll probably always have a bit of a soft (concrete) spot for it; I’ve a lot of fond memories of prowling the streets as a teenager under the influence of cheap cider! That said, no, probably not too many cities with less concrete.
MoM: I’ve drunk in the Tuesday Bell which is a Wetherspoons pub in Lisburn. God, that was depressing. Where do you guys hang out?
Andy: Wouldn’t entertain Wetherspoons at the best of times … as for Lisburn? … not a chance. We tend to hit Belfast for a night out, as that’s where most of the metal happens. Every Saturday The Distortion Project runs RocKD, which features at least 3 local bands, and often touring acts. It’s held in a great venue, and always gets a good crowd. Aside from that we play as many free weekends as we get, and we always make a weekend of it where we can; so that’s our fav place to hang out - gigs!
MoM: Okay, enough of the Lisburn discussion. Let’s get some background about The Crawling. You’ve been together since 2014. How did the band form?
Andy: All down to Stuart on that one. I’ve known Stu since i was 15 years old, and we’ve always kept in touch on and off over the years. He messaged me out of the blue and basically asked did I fancy playing a bit of guitar and jamming out a few death metal covers with some mates. I figured it would be cool as I hadn’t played in band for 3 years. We had a few jams and it was sounding pretty good, I then decided to write a couple of tunes and see how that went. It started to sound strong, with great potential, so i figured ‘fuck it’ - let’s do this. We altered the line up a bit and it started from there. It’s been a great ride so far.
MoM: I can hear everything from My Dying Bride to Behemoth in your music. Who are your main influences?
Andy: My Dying Bride are my favourite band, and my first experience of “doom” metal as I recognise it. They totally changed my life and set me on a path of discovery into bands in that genre. My biggest influences are Peaceville bands; MDB, Anathema, Paradise Lost, Katatonia and 90’s death metal bands like Entombed, Bolt Thrower and Morbid Angel. That said I listen to a fair bit of black metal too, Forgotten Tomb, Marduk, Satyricon, Behemoth, Tribulation, Dark Throne. I guess it all filters through into the stuff I write.
MoM: Anything you grew up listening to that you really wouldn’t want us to reveal? Which one of you has a Beyonce album?
Andy: I don’t think so actually. My early listening was pretty respectable - Status Quo, Motley Crue, Iron Maiden etc. No Beyonce fans that I know of anyway! ha, ha!
MoM: I must admit I wasn’t over enthused about Anatomy Of Loss when I reviewed it last year but on further listens it is a solid debut. What was the response like to it?
Andy: That’s cool. I guess it’s not exactly a party album that instantly grabs everyone; but I appreciate you coming back to it. The response to Anatomy Of Loss overall was very good, i was quite taken aback if I’m honest - it certainly got our name out there and gave us a solid foundation for getting more shows. The media seemed into it, which was much appreciated and very helpful. The most important thing is that it worked well live. We have been using predominantly AOL material on stage, and people seem to dig it, plus the album and merch still sells well at shows. Totally thrilled reflecting back on that album actually.
MoM: The new album, Wolves And The Hideous White is a natural progression and is an impressive second release. Congratulations on a fine piece of work. You’ve turned it out quite quickly after the debut. Why was this?
Andy: Thank you - pleased you enjoyed it, that’s our first media feedback so far! Yeah, it was a quick enough turn around, and whilst mostly organic, there was part of me that was very focused on getting another album out. The debut was about 14 months old, we had done a reasonable amount of shows, fests and trips outside Northern Ireland, plus we released 5 videos to go with it. It’s not lost on me that the music industry moves very quickly, and while we were doing great things with the debut, I felt we needed to capitalise on its success and get some more music out there. We had the tracks written, so I got to work and finalised the album. In this day in age, as an underground band, you have to keep releasing content, either by touring like fuck, or through new music, videos etc. We don’t really have the option to tour as much as we’d like, so we opted for more music.
MoM: Your vocals seem more guttural than on Anatomy. I’d say that there is more focus on the death growl, whilst still enunciating to the extent that the lyrics can be understood. Is that fair?
Andy: When it came to sorting the vocals for the album I knew it had to be an evolution from the debut. It can be very hard to differentiate a death metal vocal, melody isn’t really an option, so i looked hard into what I could change. I worked hard on word choice, elocution, and structure to maximise the impact of the lyrics. Focusing on all of that perhaps accentuated the guttural, and yes - i’m a big fan of enunciating as much as possible, again, not as easy as said in death metal style. I listen to loads of bands that have a pure guttural that’s practically incomprehensible, Tomb Of The Mutilated is one of my fav DM albums, but i really dig bands that get the words out.
MoM: Tell us about the recording process for Wolves in comparison to Anatomy. What did you learn from the first recording which you were able to change this time around?
Andy: It was easier that’s for sure, but still had it’s challenges. We record everything ourselves in my portable/home studio, which always presents problems as concentration levels can falter and it’s easy to get caught up in small details that ultimately don’t matter; i suffered from that during Anatomy on more than one occasion. When it came to recording Wolves i made a point of making big decisions quite early on, and preventing myself from fucking about later. For one, i didn’t re-amp the bass this time. We used the dark glass pedal, and that was it. I didn’t even take a DI (which was perhaps a bit mental), but it made me really listen to what i doing and think about what we were trying to achieve, rather than recording a heap of stuff and building something from there. I applied that to the whole process, and ended up using less guitar tracks than usual as well. It streamlined the experience, made it more enjoyable and i got to the final destination more quickly.
MoM: The artwork is interesting. What can you tell us about it?
Andy: The art came out GREAT! It was created by Travis Smith, he’s done album artwork for a ton of Peaceville bands and more, and I’ve always enthused over his work. It was a goal of mine to have him do one of my albums, and now he’s done two! It’s such a cool thing to have! It’s so easy working with Travis. I sent him an email, explaining we wanted him to do the art again for the next album, gave him a synopsis of what it was about, along with a few demo tracks so he could get a feel for it.
It works so well, the ‘couple’ on front thinking they hold the key to each others happiness, the tongues like daggers, the keys of previous attempts scattered beneath in a pool of blood; time and energy down the drain. The man is a genius. It looks great on the disc, and even better on a shirt!
MoM: I’ve read the press release for album. An evolution of misery into disgust. Elaborate on this a bit for us.
Andy: The debut was written pretty much about sorrow and loss, concentrated on the misery held within people; the inability to move on, despite many efforts. All the songs are sad tales of lost hope. By the time Wolves came into play I noticed a lot of people (after time) cannot be around those that spend their lives dwelling in misery, and whilst initially empathetic and compassionate; it wears off, and often becomes an entirely different emotion. It’s not deliberate, or vindicate, but simply an evolution.
MoM: Do you hold out any hope for humanity?
Andy: I think the world is in a process of re-setting itself. I don’t think it’ll explode, or everyone will die, but I think changes are coming. I touched on the topic on the track ‘Still No Sun.’
MoM: The scene in Northern Ireland seems to be improving. The Oracle were great at Bloodstock this year. How would you assess the scene now?
Andy: The scene over is really good, Oracle are a particular highlight - and yes, they played a stormer at Bloodstock. Overall I think it’s really strong. I mean, we get a weekly showcase via The Distortion Project of at least 3 NI metal bands on a Saturday, plus whatever is going on elsewhere. Not to mention we are getting more and more touring bands playing Northern Ireland, and on occasion have a NI band as main support. Good time for metal over here.
MoM: Apart from the great expanse of water between you and the rest of the UK, which presents a huge challenge, what other difficulties do you face in getting your music out and heard?
Andy: Ultimately, there are a lot more bands out there, that now have a voice when they previously didn’t, and it’s heavily linked to the improvements in technology and communication. I mean, there have always been bands in garages that no one ever heard, because they weren’t able to organise a gig, or even complete a line up. Other bands weren’t able to afford studio, or tape/cd duplication. That’s been steadily changing. It began 10 years ago with the introduction of CD-RW in computers, that was a real game changer for underground bands as anyone with a recording could put a release out.
Nowadays you don’t even need to have a drummer, bassist or second guitar, as backing tracks have become widely accepted, which wasn’t really the case, or an option, when i first started. You don’t need to worry about pressing records or CD’s - you can stream on the major platforms without it. All these factors allow more bands to put their music out there. More competition just makes it harder to get heard, get shows, get noticed. Bands are being forced to be more creative and find ways to get out there. It’s not easy, but i don’t think it ever was.
MoM: You played at Bloodstock but also at several festivals across Europe. Did you get to go swimming at Metal Days?
Andy: Bloodstock was awesome, and yeah we’ve got to play some cracking fests over the last year or so. We’re heading off to Germany to play Full Metal Mensa Nov 17, alongside Napalm Death which should be a cracker. I had kinda planned to go swimming, or least paddle, but I’ll be honest - the water was fucking freezing. So no, I didn’t. My bad.
MoM: How was Bloodstock in 2016? Tell us a bit about the day and your experiences of the festival. Have you been back since?
Andy: It was a phenomenal experience. The fest itself is always great, playing the big stage was fantastic, all that kinda thing - but ultimately, it showed me the inside workings of being in a professional band. I got to see the top bands at work, how they operated, and how to use such exposure to help the band move forwards. I guess it made me appreciate the music ‘industry’ a lot more, and encouraged me to work harder, and not squander the amazing opportunity given to us.
I go to Bloodstock every year. I first went in 2007, and it improves so much every time I go back. It’s a great festival, and i’ve made a lot of friends as a result of it.
MoM: The New album is out in November. What are your plans for its promotion and for your world domination?
Andy: We’re working closely with Enso management for this one. We’ve constructed a very strict timeline for getting stuff out in an organised fashion, backed up with strong content and support from online mags/radios/blogs that have worked with the band before. We’re still an underground band, so we’ve limited finances to work with, but we have weekly ‘making of vlogs’ on our YouTube channel released every Friday up until the release, we just had a radio premiere of the upcoming single last night via Metal Messiah Radio, another mag will be streaming the single, and a music video for “Wolves and the Hideous White” will follow. We plan to release another video or two around the release date. We have a big release show planned for Belfast - 15th November in The EMPIRE with Conjuring Fate, Neahmni and Disconnect; it should be excellent! We’re planning more shows in Cork, Dublin, and heading over to the UK in 2019 to support the album, plus a whole new line of rather fancy merch to go with it.
Now for the random ones.
MoM: Game of Thrones? Are you fans?
Andy: Me? No. Stuart and Gary - very much so.
MoM: Which is the best Star Wars movie?
Andy: Empire. (Correct Answer -Ed)
MoM: Who would win in a fight between a bear and the singer of Trucker Diablo?
Andy: Tom. He’d talk his way out of it.
MoM: Which is the better Airport? Aldergrove or George Best?
Andy: George Best - closer.
MoM: Duncan Goodhew or Adrian Moorhouse?
Andy: Duncan. Always liked him
MoM: Batman or Superman?
Andy: Batman. Superman can’t be real
MoM: Do you carry a water bottle?
Andy: Yes. Environmental reasons.
MoM: Cheetah or leopard?
Andy: Cheetah - they’re faster right? (Correct - Wildlife Ed)
MoM: I’ve got a glut of crops on my allotment. Which is the more versatile? Courgette or Cucumber?
Andy: Cucumber - not fussed on courgette.
MoM: Are Tayto crisps as good as the advertising states?
Andy: Nah. I’m a ‘Space Raiders” fan.
MoM: Chips, baked potato, roast, new, mashed or boiled. You can have only one option with your dinner. Which one?
Andy: Chips. Grew up being force fed shitty boiled potatoes (sorry mum!), so can’t have them at all now.
MoM: What was the last album you bought – either CD or vinyl?
Andy: Marduk - Viktoria. Belter of an album
MoM: Thank you so much for putting up with this shit. I wish you the very best with the album and check our page for the review. Hit us up if you are in South Wales or Bristol anytime. Cheers. Paul
Andy: Thank you so much for taking time to speak with me, review the album and help spread the word - we really appreciate it. We’re playing Eradication Fest in Wales May 2019 - but my geography is shit, so not sure how South it is. If you’re about we’ll get you a beer!
Thanks again, Andy
Friday, 28 September 2018
Reviews: Revocation, Leah, Helion Prime, Hank Erix (Reviews By Paul H & Stief)
Revocation: The Outer Ones (Seasons Of Mist) [Paul H]
It’s always pleasing to get to grips with a meaty, heavy bastard and the latest album from the four-piece extreme metal outfit out of Boston, Massachusetts is exactly that. Building impressively on 2016’s Great Is Our Sin, the technicality remains as detailed and intense as before with the polyrhythmic interplay between David Davidson and Dan Gargiulo superb. Davidson’s angry snarl remains full of vitriolic hate but once more you can hear the words as he spits them out. Whilst Great Is Our Sin was largely based on historic themes, Davidson has now moved away from that, and based the title track on H.P. Lovecraft’s cosmic horror in his self-created universe. Opening track Of Unworldly Origin throws pleasing melody and harmonies which doesn’t often appear in the world of extremis but retains an abrasive heaviness that could still crush you with ease.
Fathomless Catacombs is a lesson in perfect melodic death metal, and with a clean production none of the intricate guitar work is lost. But it’s not all about the guitar work, and drummer Ash Pearson’s performance suggests he must have eight arms at times, such is the dexterity and power he displays. His opening salvo on the title track for example, is incredible. With Brett Bamberger comfortably in situ since 2012, the devil’s bass lines are assured, and he links with Pearson to anchor the album with military precision. With time changes aplenty, progressive passages and textures adding to the complexity of the band’s sound, The Outer Ones is an organic progression for a band who have continued to develop and experiment since that debut release Empire Of The Obscene in 2008. This release propels the band forward and with the unit now totally in synch, there is not a reason in the world why Revocation cannot make massive strides with this stunning release. If you happen to catch them on their brief visit to the UK in December, then you are in for a treat that Santa won’t get anywhere near. 9/10
Leah: The Quest (Inner Wound Recordings) [Stief]
With a backing group consisting of members of Nightwish, Blind Guardian, Delain and Orphaned Land, with production by Oliver Philipps, who produced for Delain and Serenity, along with mixing by Jacob Hansen, who has worked with bands such as Volbeat, Amaranthe and Evergrey, it’s obvious that Leah’s pulling out all the stops for her third full album. Before I even start on a lineup that can only be described as a symphonic metal fan’s wet dream, I should focus on the lady herself. Leah’s vocals have retained that wonderful, borderline-ethereal sound from 3 years ago and she shows a wide range from start to finish. This shows especially well when listening to songs such as Labyrinth and the beautiful album closer, The Water Is Wide, an almost otherworldly piece that lifts you with Enya-like serenity.
The mixture of instruments from around the world add to this otherworldly feeling, with Nightwish’s Troy Donockley playing the pipes and flutes alongside Orphaned Land’s Chen Balbus on the Saz and Oud. I could write all I want about what each member brings to the album as a whole, but personally, I feel this is definitely an album people have to experience themselves. Leah is definitely making a strong steady path to the top of the symphonic metal food chain, and if she keeps it going like this, there won’t be any stopping her. 9/10
Helion Prime: Terror Of The Cybernetic Space Monster (AFM Records) [Stief]
Opening with Failed Hypothesis, a hauntingly beautiful techno/new wave feeling song laced with a wonderful piano track which builds up into a bombastic organ piece replete with heavy guitars, Helion Prime then rip into A King Is Born, which boasts some pretty decent breakdowns throughout. The band seem to play around with their tempos from song to song. There are the slower, heavy songs, such as the aforementioned A King Is Born, along with most of Atlas Obscura and Spectrum. Then you get the fast paced Dragonforce-esque songs, which fire a salvo of guitars and drums directly into your ears. Both styles equally as good and neither lacking in regards to the attention given by the band.
Top marks go to the band for the album closer, which gives a mixture of all the styles, and clocks in at an impressive 17 minutes and 16 seconds! Having replaced vocalist Kayla Dixon, who herself replaced the debut album’s Heather Smith, it’s pretty obvious to anyone who had listened to their debut that Sozos Michael’s voice differs from the previous members. Sozos seems born for this role, his voice fitting perfectly with the frenetic sounds the rest of the band pump out. Other newcomers include guitarist Chad Anderson and drummer Alex Bosson. Great power metal from start to finish, with a little bit of extra heaviness sprinkled throughout. 8/10
Hank Erix: Nothing But Trouble (Livewire/Cargo Records UK) [Stief]
Having reviewed Hank Erix's band Houston just under a year ago, I was looking forward to another slice of delicious AOR pie, and boy I wasn’t disappointed. Right from the outset, Erix's first foray into solo work is a tunnel straight to the 80’s; the guitars, the synth, the emotional vocals. Erix's vocals are perfect for AOR, never pushing beyond his limits, and hitting all the emotional marks. QFT’s Linnea Vikström lends her voice to Affair Of The Heart, and works great with Erix's. Although overall, the whole band sound great, major props have to go to Michael Palace for his guitar work, with excellent riffage and solos, and also to Micke Jansson’s keyboard and synth work, giving the whole album that brilliantly cheesy AOR feel, which in places sounds like it wouldn’t sound out of place in an 80’s film soundtrack. I have to give a special shoutout to my standout lyrics of the album, taken from Electricity: "Her hair is soft and it's curly/It makes me think of sunlight and the beach." Just great AOR cheese from start to finish. 9/10
It’s always pleasing to get to grips with a meaty, heavy bastard and the latest album from the four-piece extreme metal outfit out of Boston, Massachusetts is exactly that. Building impressively on 2016’s Great Is Our Sin, the technicality remains as detailed and intense as before with the polyrhythmic interplay between David Davidson and Dan Gargiulo superb. Davidson’s angry snarl remains full of vitriolic hate but once more you can hear the words as he spits them out. Whilst Great Is Our Sin was largely based on historic themes, Davidson has now moved away from that, and based the title track on H.P. Lovecraft’s cosmic horror in his self-created universe. Opening track Of Unworldly Origin throws pleasing melody and harmonies which doesn’t often appear in the world of extremis but retains an abrasive heaviness that could still crush you with ease.
Fathomless Catacombs is a lesson in perfect melodic death metal, and with a clean production none of the intricate guitar work is lost. But it’s not all about the guitar work, and drummer Ash Pearson’s performance suggests he must have eight arms at times, such is the dexterity and power he displays. His opening salvo on the title track for example, is incredible. With Brett Bamberger comfortably in situ since 2012, the devil’s bass lines are assured, and he links with Pearson to anchor the album with military precision. With time changes aplenty, progressive passages and textures adding to the complexity of the band’s sound, The Outer Ones is an organic progression for a band who have continued to develop and experiment since that debut release Empire Of The Obscene in 2008. This release propels the band forward and with the unit now totally in synch, there is not a reason in the world why Revocation cannot make massive strides with this stunning release. If you happen to catch them on their brief visit to the UK in December, then you are in for a treat that Santa won’t get anywhere near. 9/10
Leah: The Quest (Inner Wound Recordings) [Stief]
With a backing group consisting of members of Nightwish, Blind Guardian, Delain and Orphaned Land, with production by Oliver Philipps, who produced for Delain and Serenity, along with mixing by Jacob Hansen, who has worked with bands such as Volbeat, Amaranthe and Evergrey, it’s obvious that Leah’s pulling out all the stops for her third full album. Before I even start on a lineup that can only be described as a symphonic metal fan’s wet dream, I should focus on the lady herself. Leah’s vocals have retained that wonderful, borderline-ethereal sound from 3 years ago and she shows a wide range from start to finish. This shows especially well when listening to songs such as Labyrinth and the beautiful album closer, The Water Is Wide, an almost otherworldly piece that lifts you with Enya-like serenity.
The mixture of instruments from around the world add to this otherworldly feeling, with Nightwish’s Troy Donockley playing the pipes and flutes alongside Orphaned Land’s Chen Balbus on the Saz and Oud. I could write all I want about what each member brings to the album as a whole, but personally, I feel this is definitely an album people have to experience themselves. Leah is definitely making a strong steady path to the top of the symphonic metal food chain, and if she keeps it going like this, there won’t be any stopping her. 9/10
Helion Prime: Terror Of The Cybernetic Space Monster (AFM Records) [Stief]
Opening with Failed Hypothesis, a hauntingly beautiful techno/new wave feeling song laced with a wonderful piano track which builds up into a bombastic organ piece replete with heavy guitars, Helion Prime then rip into A King Is Born, which boasts some pretty decent breakdowns throughout. The band seem to play around with their tempos from song to song. There are the slower, heavy songs, such as the aforementioned A King Is Born, along with most of Atlas Obscura and Spectrum. Then you get the fast paced Dragonforce-esque songs, which fire a salvo of guitars and drums directly into your ears. Both styles equally as good and neither lacking in regards to the attention given by the band.
Top marks go to the band for the album closer, which gives a mixture of all the styles, and clocks in at an impressive 17 minutes and 16 seconds! Having replaced vocalist Kayla Dixon, who herself replaced the debut album’s Heather Smith, it’s pretty obvious to anyone who had listened to their debut that Sozos Michael’s voice differs from the previous members. Sozos seems born for this role, his voice fitting perfectly with the frenetic sounds the rest of the band pump out. Other newcomers include guitarist Chad Anderson and drummer Alex Bosson. Great power metal from start to finish, with a little bit of extra heaviness sprinkled throughout. 8/10
Hank Erix: Nothing But Trouble (Livewire/Cargo Records UK) [Stief]
Having reviewed Hank Erix's band Houston just under a year ago, I was looking forward to another slice of delicious AOR pie, and boy I wasn’t disappointed. Right from the outset, Erix's first foray into solo work is a tunnel straight to the 80’s; the guitars, the synth, the emotional vocals. Erix's vocals are perfect for AOR, never pushing beyond his limits, and hitting all the emotional marks. QFT’s Linnea Vikström lends her voice to Affair Of The Heart, and works great with Erix's. Although overall, the whole band sound great, major props have to go to Michael Palace for his guitar work, with excellent riffage and solos, and also to Micke Jansson’s keyboard and synth work, giving the whole album that brilliantly cheesy AOR feel, which in places sounds like it wouldn’t sound out of place in an 80’s film soundtrack. I have to give a special shoutout to my standout lyrics of the album, taken from Electricity: "Her hair is soft and it's curly/It makes me think of sunlight and the beach." Just great AOR cheese from start to finish. 9/10
Thursday, 27 September 2018
Reviews: Joe Bonamassa, Andrew Stockdale, MaYan, Electric Citizen
Joe Bonamassa: Redemption (J&R Adventures/Mascot)
Redemption is probably Joe Bonamassa's masterpiece, I mean it really is. He's finally managed to incorporate all the sounds he's played with throughout his now lengthy career. With the drum fill from Zep's Rock N Roll kicking off Evil Mama hard rock is expected but blues licks and brass parps is what you get from this strutting opening number, then it's time for some boogie on the frothy King Bee Shakedown and like that the tide changes again with Molly O bringing the Celtic influenced heavy rock of Ballad Of John Henry as Deep In The Blues Again brings to mind his lesser know second and third records which married blues and early 2000's.
So far four songs in an it's a run through of Joey Bones career and it doesn't stop there, he's gets atmospheric for Self-Inflicted Wounds has him bearing his soul in the vein of Gary Moore continuing the theme of redemption that is at the core of this record and comes back on Just Cos You Can Don't Mean You Should. As the man himself puts it “I’m going through some other stuff in my life I didn’t expect to be going through.
It’s a rising, it’s contrition, it’s acceptance, it’s everything. It’s painful, but knowing that there’s a rising coming,”you can hear that as on what his 13th album overall, and his third with no covers he is really upping his game in what he wants to sound like and what he wants to present to others. Pick Up The Pieces has a soulful New Orleans slide ala Tom Waits, he strips things back to their bare minimum for Stronger Now In Broken Places using the talents of drummer Anton Fig, bassist Michael Rhodes, and keyboardist Reese Wynans.
Added to this there are horn players Lee Thornburg and Paulie Cerra, some extra vocalists such as harmony vocalist Gary Pinto and background singers Mahalia Barnes, Jade McRae, Juanita Tippins. As an extra for this record super-producer extraordinaire Kevin Shirley introduced two additional guitar players, Kenny Greenberg and Doug Lancio who give the record it's more expressive tone. With guests including country singer Jamey Johnson on Ghost Of Macon Jones and Midnight Oil’s Jim Moginie providing soundscapes on Stronger Now In Broken Places.
Kevin Shirley has said that there are at least two tracks missing from this album as they filled with recording right up to the last second, you can hear that it's a man who has been in the limelight for some time having a sort of creative catharsis and it's produced the best record of his career. I was losing faith a couple of albums ago but it's lucky (album) number 13 for Mr Bonamassa. Buy it! 9/10
Andrew Stockdale: Slipstream (Middle Man)
The second solo album from Wolfmother frontman Andrew Stockdale is not a Wolfmother album, his first was written while his main band was on hiatus so it was always going to have songs written for the his day job. This second album comes while Wolfmother are still showing concern so it means that Stockdale can experiment a bit more with the sounds that influence him away from the colossal slabs of heavy rock, there's proto-metal on Of The Dark, hazy Beatles psychedelia (Sunshine), Mott/Bowie glam stomping (Lazy & Remember) and folky pieces like Dreamy Afternoon.
It's the sort of songs that wouldn't sit on Wolfmother records too comfortably but show the incredible versatility of Stockdale. That's not to say he hasn't got rock on here as the title track is a pretty heavy prog rocker with some bluesy slide guitar that has the classic Stockdale finesse. Vocally unique as always and able to turn his hand to anything Slipstream is a rocking affair that sits as a side to his main band. 7/10
MaYan: Dhyana (Nuclear Blast)
The third album from Epica mastermind Mark Jansen and Ex-After Forever Jack Driessen once again is a cinematic, death metal record which puts various vocals styles, death metal and orchestrals together for a seriously epic music. This album goes one step further than previous efforts by recruiting a full live orchestra for this third album, they have managed to secure the participation of The City Of Prague Philharmonic Orchestra (who recently appeared on the latest Dimmu album), who do add another dimension to the cinematic metal of MaYan. it's almost operatic in tone the full orchestra bringing depth to the multiple vocal lines that has four sets of harsh vocals two female voices and one male clean vocal, see the title track for the purest form of opera on the record, but it's quickly back to thundering symphonic death metal on Rebirth From Despair.
They have also brought yet more musicians into the band with the addition of the grunts of George Oosthoek, the intense playing of Merel Bechtold (Delain) and Frank Schiphorst is relentless aided by the 6 -String bass playing of Roel Käller, while Adam Denlinger handles all the clean male vocals in the place of Henning Basse who is now a part of Firewind. The female vocals are Laura Macri (soprano) and Marcela Bovio (clean) letting Jansen, drummer Ariën van Weesenbeek and keyboardist Jack Driessen. It's a lot to take in (as usual) so take a breath and put aside an afternoon to fully experience this record, if you've always thought the Dutch metal scene was a little rinse-and-repeat MaYan turns everything up to it's maximum pomp. 8/10
Electric Citizen: Helltown (Riding Easy Records)
The third album from Cincinnati rockers Electric Citizen is somewhat of an ode to the past. Named after the part of Cincy they hail from it got it's name from the rowdy bars of the 1800's now though it's called Northside and is much more sanitary. This idea can also be used to describe Electric Citizen's new record on their previous effort they experimented a little adding cleaver riffs and more drawn out passages but found they didn't enjoy every aspect of this so Helltown is then reverting back to the form of their debut with gritty Sabbath-styled fuzz riffage and short 3 minute rockers driven by Ross Dolan's mean guitar licks (Ripper) and dramatic almost ghostly vocals of Laura Dolan, see Heart Attack. The album also welcomed back original bassist Nick Vogelpohl who forms a sturdy rhythm section with Nate Wagner for the groovier offerings like the atmospheric Father Time. Nine tracks of dirty Sabbath worship is what you get from Electric Citizen there's not a lot else I can say, if you worship the riff then go on down to Helltown. 7/10
Redemption is probably Joe Bonamassa's masterpiece, I mean it really is. He's finally managed to incorporate all the sounds he's played with throughout his now lengthy career. With the drum fill from Zep's Rock N Roll kicking off Evil Mama hard rock is expected but blues licks and brass parps is what you get from this strutting opening number, then it's time for some boogie on the frothy King Bee Shakedown and like that the tide changes again with Molly O bringing the Celtic influenced heavy rock of Ballad Of John Henry as Deep In The Blues Again brings to mind his lesser know second and third records which married blues and early 2000's.
So far four songs in an it's a run through of Joey Bones career and it doesn't stop there, he's gets atmospheric for Self-Inflicted Wounds has him bearing his soul in the vein of Gary Moore continuing the theme of redemption that is at the core of this record and comes back on Just Cos You Can Don't Mean You Should. As the man himself puts it “I’m going through some other stuff in my life I didn’t expect to be going through.
It’s a rising, it’s contrition, it’s acceptance, it’s everything. It’s painful, but knowing that there’s a rising coming,”you can hear that as on what his 13th album overall, and his third with no covers he is really upping his game in what he wants to sound like and what he wants to present to others. Pick Up The Pieces has a soulful New Orleans slide ala Tom Waits, he strips things back to their bare minimum for Stronger Now In Broken Places using the talents of drummer Anton Fig, bassist Michael Rhodes, and keyboardist Reese Wynans.
Added to this there are horn players Lee Thornburg and Paulie Cerra, some extra vocalists such as harmony vocalist Gary Pinto and background singers Mahalia Barnes, Jade McRae, Juanita Tippins. As an extra for this record super-producer extraordinaire Kevin Shirley introduced two additional guitar players, Kenny Greenberg and Doug Lancio who give the record it's more expressive tone. With guests including country singer Jamey Johnson on Ghost Of Macon Jones and Midnight Oil’s Jim Moginie providing soundscapes on Stronger Now In Broken Places.
Kevin Shirley has said that there are at least two tracks missing from this album as they filled with recording right up to the last second, you can hear that it's a man who has been in the limelight for some time having a sort of creative catharsis and it's produced the best record of his career. I was losing faith a couple of albums ago but it's lucky (album) number 13 for Mr Bonamassa. Buy it! 9/10
Andrew Stockdale: Slipstream (Middle Man)
The second solo album from Wolfmother frontman Andrew Stockdale is not a Wolfmother album, his first was written while his main band was on hiatus so it was always going to have songs written for the his day job. This second album comes while Wolfmother are still showing concern so it means that Stockdale can experiment a bit more with the sounds that influence him away from the colossal slabs of heavy rock, there's proto-metal on Of The Dark, hazy Beatles psychedelia (Sunshine), Mott/Bowie glam stomping (Lazy & Remember) and folky pieces like Dreamy Afternoon.
It's the sort of songs that wouldn't sit on Wolfmother records too comfortably but show the incredible versatility of Stockdale. That's not to say he hasn't got rock on here as the title track is a pretty heavy prog rocker with some bluesy slide guitar that has the classic Stockdale finesse. Vocally unique as always and able to turn his hand to anything Slipstream is a rocking affair that sits as a side to his main band. 7/10
MaYan: Dhyana (Nuclear Blast)
The third album from Epica mastermind Mark Jansen and Ex-After Forever Jack Driessen once again is a cinematic, death metal record which puts various vocals styles, death metal and orchestrals together for a seriously epic music. This album goes one step further than previous efforts by recruiting a full live orchestra for this third album, they have managed to secure the participation of The City Of Prague Philharmonic Orchestra (who recently appeared on the latest Dimmu album), who do add another dimension to the cinematic metal of MaYan. it's almost operatic in tone the full orchestra bringing depth to the multiple vocal lines that has four sets of harsh vocals two female voices and one male clean vocal, see the title track for the purest form of opera on the record, but it's quickly back to thundering symphonic death metal on Rebirth From Despair.
They have also brought yet more musicians into the band with the addition of the grunts of George Oosthoek, the intense playing of Merel Bechtold (Delain) and Frank Schiphorst is relentless aided by the 6 -String bass playing of Roel Käller, while Adam Denlinger handles all the clean male vocals in the place of Henning Basse who is now a part of Firewind. The female vocals are Laura Macri (soprano) and Marcela Bovio (clean) letting Jansen, drummer Ariën van Weesenbeek and keyboardist Jack Driessen. It's a lot to take in (as usual) so take a breath and put aside an afternoon to fully experience this record, if you've always thought the Dutch metal scene was a little rinse-and-repeat MaYan turns everything up to it's maximum pomp. 8/10
Electric Citizen: Helltown (Riding Easy Records)
The third album from Cincinnati rockers Electric Citizen is somewhat of an ode to the past. Named after the part of Cincy they hail from it got it's name from the rowdy bars of the 1800's now though it's called Northside and is much more sanitary. This idea can also be used to describe Electric Citizen's new record on their previous effort they experimented a little adding cleaver riffs and more drawn out passages but found they didn't enjoy every aspect of this so Helltown is then reverting back to the form of their debut with gritty Sabbath-styled fuzz riffage and short 3 minute rockers driven by Ross Dolan's mean guitar licks (Ripper) and dramatic almost ghostly vocals of Laura Dolan, see Heart Attack. The album also welcomed back original bassist Nick Vogelpohl who forms a sturdy rhythm section with Nate Wagner for the groovier offerings like the atmospheric Father Time. Nine tracks of dirty Sabbath worship is what you get from Electric Citizen there's not a lot else I can say, if you worship the riff then go on down to Helltown. 7/10
A View From The Back Of The Room: Winterfylleth (Live Review By Paul H)
Winterfylleth, Meus, Wolcensmen, The Canal Bar, Nottingham
Following the release of one of 2018’s best albums, The Hallowing Of Heirdom, Mancunian atmospheric black metallers Winterfylleth decided to take the acoustic album out on the road. Selecting a few choice venues which suited the neo-folk style of the album, the band took in Glasgow, Leeds, Manchester, Nottingham and London before heading to Belgium and Holland. The Dublin date fell to the weather, proving once again that the glamour of a touring band is non-existent. Travelling to Ireland and back by ferry when you have gigs book-ending the trip is challenging at any time.
Heading to Nottingham for the Sunday night gig on the tour, on first impressions the Canal Bar seemed to be an ideal venue. The function room about the main pub which stocks about a billion ales from all over the world was decked out with low lighting, many tealight candles and a couple of magnificent candle sticks which added to the ambiance and slow burning atmosphere. A seated gig, with a capacity of around 100, this was about as intimate an evening as you could get. Disappointingly, as the evening progressed, the behaviour of a few members of the audience soured what was a magical event; their constant chatter during key elements of the three sets was both infuriating and disrespectful to their fellow fans. Seeing these arseholes giving Winterfylleth a standing ovation was mighty irritating, given that they had talked loudly through most of the set.
Last year guitarist Dan Capp released a long-time piece of work, the debut album by his neofolk side project Wolcensmen (8). Songs From The Fyregen, described as epic heathen English folk, was amongst my top albums of the year. With Capp having provided most of the work on the album, he called upon his brothers in Winterfylleth to help live and the band and additional touring musicians were happy to oblige. A 30-minute set allowed Capp to showcase tracks from the album such as The Bekens Are Aliht, Hoofes Upon The Shymmeringe Path and The Fyre-Bough to an enchanted audience. Humble and unassuming, Capp led the band superbly through this acoustic set and whilst it was challenging to see the stage due to the layout of the room, the music was perfect. Transported away to a different time and place, it was easy to close one’s eyes and just relax. Maybe a bit too easy!
Next up was Meus (7), an English instrumental black metal folk band which consists of Tom Snelgrove and supporting musician. Meus played relaxing acoustic numbers which really encouraged you to sit back, close the eyes and allow the music to drift over and around. Despite the idiot quota rapidly increasing, the 40 minutes were enjoyable and perfectly in keeping with the atmosphere of the event. A solid choice of support.
The Hallowing Of Heirdom offered reprieve from the usual onslaught of black metal that Winterfylleth produce so well. Intimate and warm, melancholic and gentle, this is an album that you can get lost in for hours. The challenge was to deliver this perfect piece of music in the live setting. Well, I can assure you that this challenge was accepted and successfully met. The five members of the Winterfylleth (10), Dan Capp, Chris Naughton, Nick Wallwork, Simon Lucas and Mark Deeks joined by the beautiful strings of Ele Leckie on Cello and Bianca Blezard on violin produced one of the most fabulous evenings of music I’ve ever attended. Opening with The Shepherd, most of the audience was spellbound from the opening chords. Naughton, Capp and Deeks harmonised singing was fantastic, whilst there was rarely a note out of tune, some challenge in an acoustic show.
Following the release of one of 2018’s best albums, The Hallowing Of Heirdom, Mancunian atmospheric black metallers Winterfylleth decided to take the acoustic album out on the road. Selecting a few choice venues which suited the neo-folk style of the album, the band took in Glasgow, Leeds, Manchester, Nottingham and London before heading to Belgium and Holland. The Dublin date fell to the weather, proving once again that the glamour of a touring band is non-existent. Travelling to Ireland and back by ferry when you have gigs book-ending the trip is challenging at any time.
Heading to Nottingham for the Sunday night gig on the tour, on first impressions the Canal Bar seemed to be an ideal venue. The function room about the main pub which stocks about a billion ales from all over the world was decked out with low lighting, many tealight candles and a couple of magnificent candle sticks which added to the ambiance and slow burning atmosphere. A seated gig, with a capacity of around 100, this was about as intimate an evening as you could get. Disappointingly, as the evening progressed, the behaviour of a few members of the audience soured what was a magical event; their constant chatter during key elements of the three sets was both infuriating and disrespectful to their fellow fans. Seeing these arseholes giving Winterfylleth a standing ovation was mighty irritating, given that they had talked loudly through most of the set.
Last year guitarist Dan Capp released a long-time piece of work, the debut album by his neofolk side project Wolcensmen (8). Songs From The Fyregen, described as epic heathen English folk, was amongst my top albums of the year. With Capp having provided most of the work on the album, he called upon his brothers in Winterfylleth to help live and the band and additional touring musicians were happy to oblige. A 30-minute set allowed Capp to showcase tracks from the album such as The Bekens Are Aliht, Hoofes Upon The Shymmeringe Path and The Fyre-Bough to an enchanted audience. Humble and unassuming, Capp led the band superbly through this acoustic set and whilst it was challenging to see the stage due to the layout of the room, the music was perfect. Transported away to a different time and place, it was easy to close one’s eyes and just relax. Maybe a bit too easy!
Next up was Meus (7), an English instrumental black metal folk band which consists of Tom Snelgrove and supporting musician. Meus played relaxing acoustic numbers which really encouraged you to sit back, close the eyes and allow the music to drift over and around. Despite the idiot quota rapidly increasing, the 40 minutes were enjoyable and perfectly in keeping with the atmosphere of the event. A solid choice of support.
The Hallowing Of Heirdom offered reprieve from the usual onslaught of black metal that Winterfylleth produce so well. Intimate and warm, melancholic and gentle, this is an album that you can get lost in for hours. The challenge was to deliver this perfect piece of music in the live setting. Well, I can assure you that this challenge was accepted and successfully met. The five members of the Winterfylleth (10), Dan Capp, Chris Naughton, Nick Wallwork, Simon Lucas and Mark Deeks joined by the beautiful strings of Ele Leckie on Cello and Bianca Blezard on violin produced one of the most fabulous evenings of music I’ve ever attended. Opening with The Shepherd, most of the audience was spellbound from the opening chords. Naughton, Capp and Deeks harmonised singing was fantastic, whilst there was rarely a note out of tune, some challenge in an acoustic show.
Chris Naughton’s explanations of the meanings behind songs such as Acerbot and Elder Mother were enlightening, whilst the enchantment of The Nymph and Latch To A Grave performed flawlessly. Mark Deeks’ sympathetic synths added layered warmth with Simon Lucas’ simple and delicate percussion complimenting the three guitars of Capp, Naughton and Wallwork. It wasn’t just The Hallowing Of Heirdom though, with the beautiful and delicate Children Of The Stones from The Mercian Sphere and The World Ahead from The Divination Of Antiquity fitting into the set with ease.
Moving position for the last couple of songs also afforded a better view of the band on the small stage and allowed me to experience the title track without the constant chatter from those at the bar. It was worth the move as the band concluded this special evening with the hairs on my neck standing up. Atmospheric, haunting, inspirational and exceptional. This was an evening to remember and for most of those present, one that will live long in the memory.
Moving position for the last couple of songs also afforded a better view of the band on the small stage and allowed me to experience the title track without the constant chatter from those at the bar. It was worth the move as the band concluded this special evening with the hairs on my neck standing up. Atmospheric, haunting, inspirational and exceptional. This was an evening to remember and for most of those present, one that will live long in the memory.
Wednesday, 26 September 2018
Reviews: Ann Wilson, Hawkwind, Nashville Pussy, Tantara (Reviews By Paul)
Ann Wilson: Immortal (BMG)
For someone who once professed to hate cover albums Immortal is a radical turnaround. Of course, the voice of Heart, Ann Wilson, has already released a covers album in 2007, Hope & Glory, with tracks focusing on war the plight of refugees. With Immortal she focuses on more obscure covers of musicians who are no longer with us, with at least one eye on the world as it exists around us today. With Warren Haynes and Ben Mink amongst the musicians on board, this is a beautifully crafted album which allows one of rock’s most powerful and recognisable voices to once again reach out.
With Heart on indefinite hiatus following their well-publicised bust up in 2016, it’s certainly good to hear that the 68-year-old remains on good form. Immortal tackles those fewer lesser known tracks, making this release even more essential. The smoky paced, Parisian themed cover of Tom Petty’s Luna is haunting. I Am The Highway, originally performed by Audioslave and Wilson’s acknowledgement of Chris Cornell produces a lump in the throat. Probably the most well-known tracks here are the Eagles’ Life In The Fast Lane, and the Gerry Rafferty track Baker Street, both of which are delivered with Wilson’s typical panache. With a heart breaking Back To Black (Amy Winehouse) and the album opener George Michael’s A Different Corner, it’s clear that Wilson has carefully chosen these songs not only honour those no longer with us but also because of their resonance on the world around us.
As Wilson stated in Classic Rock recently, “I tried to choose songs from artists who cried out about the world”. With Bowie’s I’m Afraid Of Americans, Cream’s Politician also included, and a performance from Wilson that is fabulous, this is an album very much worth taking the time to listen to. 9/10
Hawkwind: Road To Utopia (Cherry Red Records)
Forever associated with space rock and sacking Lemmy, there is so much more to Hawkwind. Half a century and counting, their 30 studio albums have assembled a back catalogue of magical music, along with some right dross. It’s inevitable. A chance meeting between Dave Brock and songwriter and conductor Mike Batt in the queue at the US embassy for a visa has led to this unlikely collaboration on album 31, and it’s a bit of a marmite release. Reworked versions of some of Hawkwind’s classic songs, with big brass and string quartets has left some of Dave Brock’s guitar hidden in the mix. Opener Quark Strangeness And Charm may lack Bob Calvert’s original vocal but there’s something quite appealing to the brass section that dominates. The Watcher, from 1972’s Doremi Fasol Latido, written and sung by Lemmy on his first Hawkwind album, has a guest appearance from old Slow Hand Eric Clapton whose laid-back blues style combined with Dave Brock’s harmonica gives the song a complete overhaul, but you still feel the heart of the song.
Brock takes lead vocals on We Took The Wrong Turn Years Ago, from 1971’s In Search Of Space, and it’s a joy to hear the Hawkwind main man singing again; something he will do more of on the forthcoming tour with Mr Dibs having recently departed the band. Another departure since Road To Utopia was recorded of course is bassist Haz Wheaton, who has taken up position in Electric Wizard. The acoustic approach to Psychic Power lacks the gravitas of the 1978 original and Calvert’s vocal genius but it’s still a decent version, even with the school brass band feel. Batt’s influence is recognisable throughout, and at times I’m not convinced that the songs are enhanced by his approach.
The drawn-out string section on The Age Of The Micro Man along with an overblown saxophone adds an additional two minutes to the original with little benefit and the less said about the album cover the better from a band who once captivated me with their artwork (Sonic Attack, Chronicles Of The Black Sword etc.) I love Hawkwind and have tickets to two of their forthcoming dates. This isn’t a bad release, and at times it soars high. It just could have been better. 7/10
Nashville Pussy: Pleased To Eat You (EarMusic)
Strap yourselves in for the latest instalment from the psycho billy hard rock of Nashville Pussy, all the way from Atlanta, Georgia. Over 20 years since their formation, the band, whose line up is currently Blaine Cartwright, Ruyter Suys, Bonnie Buitrago and Ben Thomas. The good time hard rocking no shit given band have established a cult following over the years and seventh long player Pleased To Eat You is another slice of their groove ridden pie. Possibly not one to play for the mother, tracks such as Testify, with it’s chunky Hammond sound, the snarling One Bad Mother and the closing Motörhead like thunder of Tired Of Pretending That I Give A Shit (aren’t we all?) all demonstrate that there is plenty of life in the Pussy yet. 7/10
Tantara: Sum Of Forces (Indie Recordings)
Sometimes a good old bit of Bay Area thrash works wonders. Tantara fit that bill perfectly. Album number two, following 2012’s Based On Evil is unashamedly Bay Area all the way, with early Metallica, Exodus, Heathen and Vio-lence all influences evident on first listening. The chugging bass of Emil Sigstad Moen links sweetly with Stian Sannerud’s frantic drumming whilst there is no shortage of heavy riffage from lead guitarist Per Semb and Fredrik Bjerko. In fact, there is little to dislike about this 35-minute release providing you can deal with the rather high-pitched screeching of Bjerko’s somewhat disconcerting vocal delivery.
For someone who once professed to hate cover albums Immortal is a radical turnaround. Of course, the voice of Heart, Ann Wilson, has already released a covers album in 2007, Hope & Glory, with tracks focusing on war the plight of refugees. With Immortal she focuses on more obscure covers of musicians who are no longer with us, with at least one eye on the world as it exists around us today. With Warren Haynes and Ben Mink amongst the musicians on board, this is a beautifully crafted album which allows one of rock’s most powerful and recognisable voices to once again reach out.
With Heart on indefinite hiatus following their well-publicised bust up in 2016, it’s certainly good to hear that the 68-year-old remains on good form. Immortal tackles those fewer lesser known tracks, making this release even more essential. The smoky paced, Parisian themed cover of Tom Petty’s Luna is haunting. I Am The Highway, originally performed by Audioslave and Wilson’s acknowledgement of Chris Cornell produces a lump in the throat. Probably the most well-known tracks here are the Eagles’ Life In The Fast Lane, and the Gerry Rafferty track Baker Street, both of which are delivered with Wilson’s typical panache. With a heart breaking Back To Black (Amy Winehouse) and the album opener George Michael’s A Different Corner, it’s clear that Wilson has carefully chosen these songs not only honour those no longer with us but also because of their resonance on the world around us.
As Wilson stated in Classic Rock recently, “I tried to choose songs from artists who cried out about the world”. With Bowie’s I’m Afraid Of Americans, Cream’s Politician also included, and a performance from Wilson that is fabulous, this is an album very much worth taking the time to listen to. 9/10
Hawkwind: Road To Utopia (Cherry Red Records)
Forever associated with space rock and sacking Lemmy, there is so much more to Hawkwind. Half a century and counting, their 30 studio albums have assembled a back catalogue of magical music, along with some right dross. It’s inevitable. A chance meeting between Dave Brock and songwriter and conductor Mike Batt in the queue at the US embassy for a visa has led to this unlikely collaboration on album 31, and it’s a bit of a marmite release. Reworked versions of some of Hawkwind’s classic songs, with big brass and string quartets has left some of Dave Brock’s guitar hidden in the mix. Opener Quark Strangeness And Charm may lack Bob Calvert’s original vocal but there’s something quite appealing to the brass section that dominates. The Watcher, from 1972’s Doremi Fasol Latido, written and sung by Lemmy on his first Hawkwind album, has a guest appearance from old Slow Hand Eric Clapton whose laid-back blues style combined with Dave Brock’s harmonica gives the song a complete overhaul, but you still feel the heart of the song.
Brock takes lead vocals on We Took The Wrong Turn Years Ago, from 1971’s In Search Of Space, and it’s a joy to hear the Hawkwind main man singing again; something he will do more of on the forthcoming tour with Mr Dibs having recently departed the band. Another departure since Road To Utopia was recorded of course is bassist Haz Wheaton, who has taken up position in Electric Wizard. The acoustic approach to Psychic Power lacks the gravitas of the 1978 original and Calvert’s vocal genius but it’s still a decent version, even with the school brass band feel. Batt’s influence is recognisable throughout, and at times I’m not convinced that the songs are enhanced by his approach.
The drawn-out string section on The Age Of The Micro Man along with an overblown saxophone adds an additional two minutes to the original with little benefit and the less said about the album cover the better from a band who once captivated me with their artwork (Sonic Attack, Chronicles Of The Black Sword etc.) I love Hawkwind and have tickets to two of their forthcoming dates. This isn’t a bad release, and at times it soars high. It just could have been better. 7/10
Nashville Pussy: Pleased To Eat You (EarMusic)
Strap yourselves in for the latest instalment from the psycho billy hard rock of Nashville Pussy, all the way from Atlanta, Georgia. Over 20 years since their formation, the band, whose line up is currently Blaine Cartwright, Ruyter Suys, Bonnie Buitrago and Ben Thomas. The good time hard rocking no shit given band have established a cult following over the years and seventh long player Pleased To Eat You is another slice of their groove ridden pie. Possibly not one to play for the mother, tracks such as Testify, with it’s chunky Hammond sound, the snarling One Bad Mother and the closing Motörhead like thunder of Tired Of Pretending That I Give A Shit (aren’t we all?) all demonstrate that there is plenty of life in the Pussy yet. 7/10
Tantara: Sum Of Forces (Indie Recordings)
Sometimes a good old bit of Bay Area thrash works wonders. Tantara fit that bill perfectly. Album number two, following 2012’s Based On Evil is unashamedly Bay Area all the way, with early Metallica, Exodus, Heathen and Vio-lence all influences evident on first listening. The chugging bass of Emil Sigstad Moen links sweetly with Stian Sannerud’s frantic drumming whilst there is no shortage of heavy riffage from lead guitarist Per Semb and Fredrik Bjerko. In fact, there is little to dislike about this 35-minute release providing you can deal with the rather high-pitched screeching of Bjerko’s somewhat disconcerting vocal delivery.
If you can tolerate it, then the Norwegian thrashers deliver some meaty high paced tracks, all of which are eclipsed by the instrumental final track White Noise, which at over ten minutes long allows the band to let rip, paying homage to Metallica in fine style, although it does drag a little by the eight-minute mark. Minor quibble aside, it may not be original, but sometimes you need something a little less challenging without letting standards slip. Sum Of Forces does exactly what is required. 7/10
A View From The Back Of The Room: Vodun (Live Review By Paul H)
Vodun, Made Of Teeth, Kong Lives, Le Pub, Newport
The community run space known as Le Pub is a cracking venue. A large bar area, with the pub serving a range of different beers, stacks of alternatives for the non-drinker and even the option for tea and coffee, a vegan and vegetarian menu that is all delivered in biodegradable packaging, decent background music and an alternative feel, it’s a place where all can feel comfortable in their own skin. All prejudices left at the door thank you very much. Swing first right through the front door and you enter the live venue, which is a decent size which would accommodate 150 people at a push but comfortably hold up to about 100. Dog-leg to the left and you see the stage, low and small but certainly on a par with that of Fuel Rock Bar in Cardiff.
A fabulous evening’s entertainment was marred only by the fact that so few people were present. I counted 25 punters at the end of Vodun’s set, which is a travesty for a band who are just astonishing live. It’s a huge round of applause for Jamie of Pity My Brain Productions for having the guts to stick this event on; I only wish you had been rewarded with a better turnout.
For those who did venture out, this was glorious. First up was the stoner/doom and post metal four-piece Kong Lives (8) whose thunderous set got the evening off to a crushingly heavy start. The Newport band, who’ve been together since 2016 crashed through a storming 30-minute set of tracks from their first release, Kong Saves. Dai, Dibble, Luke and Kane certainly hit the right spot with their intense stoner drive proving captivating viewing. Kong Saves is available on Bandcamp and tracks such as the paint stripping Dimitri and the sludgy groove of McMaggot are well worth checking out.
Next up was the punk rock driven MC5 rawness of Made Of Teeth (7), a three-piece who certainly weren’t going to let the paltry audience affect their performance. Formed by former Taint member Chris West and Steve Jones (The Witches Drum, Oblong), who also perform in Spider Kitten, and joined by bassist Tom Cole (also of local band Lacertilla), Made Of Teeth produced an infernal racket which was to everyone’s liking, with plenty of heads nodding as the band blasted their way through tracks from their eponymous debut release. With West and Cole sharing vocal duties there was plenty of action to watch and with West earning bonus points for an excellent Celtic Frost shirt, Made of Teeth are another local band well worth a listen.
Of course, the main reason we were at Le Pub was to witness the sheer live experience of Vodun (9), the London based three-piece who’s recently released second album Ascend was being promoted. The band, Ogoun, The Marassa and Oya, were scintillating when they supported Church Of The Cosmic Skull in Bristol in 2016 and once again they proved to be absolutely astonishing. With Oya channelling the spirit with her powerful vocals, percussion and sheer presence, Ogun battling with her kit as if in combat with the devil himself and The Marassa laying down unspeakable riffage, Vodun delivered a 50-minute set crammed full of tunes from the new release and Possession, their debut album.
There is something deeply spiritual about this band and their performance, and the minutes flew by as the crowd was enchanted by their swirling, mysterious music. By the end of the set the audience, who had participated in some enthusiastic percussion were as exhausted as the band. Taking time to talk to all as we left the venue, Vodun and their two supports deserve to have a much bigger audience next time they hit South Wales.
The community run space known as Le Pub is a cracking venue. A large bar area, with the pub serving a range of different beers, stacks of alternatives for the non-drinker and even the option for tea and coffee, a vegan and vegetarian menu that is all delivered in biodegradable packaging, decent background music and an alternative feel, it’s a place where all can feel comfortable in their own skin. All prejudices left at the door thank you very much. Swing first right through the front door and you enter the live venue, which is a decent size which would accommodate 150 people at a push but comfortably hold up to about 100. Dog-leg to the left and you see the stage, low and small but certainly on a par with that of Fuel Rock Bar in Cardiff.
A fabulous evening’s entertainment was marred only by the fact that so few people were present. I counted 25 punters at the end of Vodun’s set, which is a travesty for a band who are just astonishing live. It’s a huge round of applause for Jamie of Pity My Brain Productions for having the guts to stick this event on; I only wish you had been rewarded with a better turnout.
For those who did venture out, this was glorious. First up was the stoner/doom and post metal four-piece Kong Lives (8) whose thunderous set got the evening off to a crushingly heavy start. The Newport band, who’ve been together since 2016 crashed through a storming 30-minute set of tracks from their first release, Kong Saves. Dai, Dibble, Luke and Kane certainly hit the right spot with their intense stoner drive proving captivating viewing. Kong Saves is available on Bandcamp and tracks such as the paint stripping Dimitri and the sludgy groove of McMaggot are well worth checking out.
Next up was the punk rock driven MC5 rawness of Made Of Teeth (7), a three-piece who certainly weren’t going to let the paltry audience affect their performance. Formed by former Taint member Chris West and Steve Jones (The Witches Drum, Oblong), who also perform in Spider Kitten, and joined by bassist Tom Cole (also of local band Lacertilla), Made Of Teeth produced an infernal racket which was to everyone’s liking, with plenty of heads nodding as the band blasted their way through tracks from their eponymous debut release. With West and Cole sharing vocal duties there was plenty of action to watch and with West earning bonus points for an excellent Celtic Frost shirt, Made of Teeth are another local band well worth a listen.
Of course, the main reason we were at Le Pub was to witness the sheer live experience of Vodun (9), the London based three-piece who’s recently released second album Ascend was being promoted. The band, Ogoun, The Marassa and Oya, were scintillating when they supported Church Of The Cosmic Skull in Bristol in 2016 and once again they proved to be absolutely astonishing. With Oya channelling the spirit with her powerful vocals, percussion and sheer presence, Ogun battling with her kit as if in combat with the devil himself and The Marassa laying down unspeakable riffage, Vodun delivered a 50-minute set crammed full of tunes from the new release and Possession, their debut album.
There is something deeply spiritual about this band and their performance, and the minutes flew by as the crowd was enchanted by their swirling, mysterious music. By the end of the set the audience, who had participated in some enthusiastic percussion were as exhausted as the band. Taking time to talk to all as we left the venue, Vodun and their two supports deserve to have a much bigger audience next time they hit South Wales.
Tuesday, 25 September 2018
Reviews: Ultha, Iamthemorning, Snakes In Paradise, Junkyard Drive, Into Eternity (Reviews By Paul H)
Ultha: The Inextricable Wandering (Century Media)
Black metal huh? A massively wide-ranging genre which encourages the elitists amongst the metal community to exercise their ‘superior’ knowledge of Bathory, Behemoth and Belphegor whilst mere mortals merely dabble. There are so many black metal outfits around these days that it’s nigh on impossible to keep tabs on them all if you also want to listen to any other genre. Hailing from Koln in Germany, Ultha’s melancholic yet ear splitting dark art peaks interest from the opening bars of The Avarist (Eyes Of A Tragedy). Although reminiscent of the atmospheric power of Wiegedood, Fen, Wode and Wolves In The Throne Room, Ultha instead insist they are focused towards the thicker end off grunge (Alice In Chains), noise rock (Helmet) and the gothic style of The Sisters Of Mercy and this certainly plays out.
Whatever they insist, the Germans third full length is a superb collaboration. Consisting of only six songs, it manages to clock in at over 65 minutes in length. With Knives To The Throat continues in the frenzied technical blur of the opening track before There Is No Love, High Up In The Gallows changes direction completely. Opening with haunting bird calls, this is six and a half minutes of electronic tone, individual notes held for the duration whilst an eerie symphonic concerto reminiscent of the music from the opera in The Phantom Menace plays out.
Cyanide Lips opens with ugly down tuned guitars, the beat of a lonely drum merely a precursor to the hell that follows, the track building incrementally on a single guitar riff before exploding into chaos. Use of repetition has long been a favoured tactic for the black metal musician and Ralph Schmidt and colleagues employ it to great effect throughout this descent into melancholia. We Only Speak In Darkness is mesmeric, the slow beat, darkened lyrics and echoing tone transport the listener into The Fields Of Nephilim territory before the quite magnificent 18 minute I’m Afraid To Follow You There, with its opening coldness enveloping the listener and draws you in. Whilst Ultha start this album in a true black metal style, there are many more elements in this complex machine. The Inextricable Wandering is an album that demands attention, commitment and repeated plays. The rewards for committing to this endeavour are massive with one of the most richly crafted releases of 2018. 9/10
Iamthemorning: Ocean Sounds (Kscope)
Russian duo Gleb Kolyadin and Marjana Semkina, known as Iamthemorning, have already released three albums, with their last two Belighted and Lighthouse highly-praised. Ocean Sounds is a new intimate studio film shot and named after a remote recording studio on Giske, a Norwegian Island. As well as the film, there is an accompanying CD with a setlist from the three albums along with an unplugged recording of Blue Sea, from their forthcoming fourth album (only on the Blu-Ray release unfortunately). With Lighthouse winning the 2016 Progressive Music Award for Album of the Year and Semkina also winning female vocalist of the Year in Prog Magazine in the same year, the band has clearly laid strong foundations on which to build.
Ocean Sounds is certainly a delicate and delicious release. Semkina’s vocals are a delight, crystal clear, ranging from ethereal to full out rock chick, whilst the beautiful compositions of Kolyadin and the additional musicians provides an almost spiritual experience. Unlike many of their peers, the tracks are not unduly long, with only three of the 12 tracks lasting over four minutes. Ocean Sounds is at times totally captivating. There is the dramatic Scotland with its spiralling string section. Or the thought provoking Os Lunatum with its wild solo piano accompaniment joined towards the end by additional strings and drums. Although there is no doubt that chamber prog rock is not a taste shared by all, Ocean Sounds is an album that is well worth a listen, even if just for a change from the norm. 8/10
Snakes In Paradise: Step Into The Light (Frontiers Records)
Another Frontiers band to cross our paths, Snakes In Paradise are from Stockholm, Sweden. Step Into The Light is the band’s fourth album, but their first since 2002’s Dangerous Love. Having released their debut album way back in 1994, you kind of wonder why it’s taken until now to get album number four out. Heavy on the 1980s melodic rock style, rich synthesisers merging with dual guitar work, smooth bluesy vocals and soaring harmonies as 12 tracks of pulsating melodic rock cascade over you. With a huge nod to the late 80s Whitesnake present throughout, it’s nothing new but AOR is always a bit of fun when done well. Will You Remember Me is super ghastly, but like a rabid earworm the bastard is also hauntingly catchy, much like an STD. Think Asia’s most stomach-turning tunes and this is roughly where we are.
There are elements of Europe, Eclipse and the like all over this album. A couple of ballads, such as After The Fire Is Gone, ensure the full AOR album blueprint is followed. “From a distance, I can see those broken lips, that used to be full”, Wow! Things ensures that at least one anthem is on board, and yes, the lyrics are spectacular here too: “remember the summer nights, when we were making love”. It’s so bad it’s great. Liza encapsulates everything about AOR in under four minutes. Catchy high-pitched harmonies in the chorus, awful lyrics, (“let me be the one to take you through the night”), thumping rhythm section and jumping keyboards all combine to hideous effect. If you love your AOR you’ll no doubt be familiar with Snakes In Paradise and so you should be. Melodic rock at its worst and its best. 7/10
Junkyard Drive: Black Coffee (Mighty Music)
Apparently, if you are into straight forward honest rock and roll, Denmark’s Junkyard Drive are the answer to your prayers. I assume that’s if you ignore the thousands of other bands who deliver the same type of generic rock today. Black Coffee is the follow up to the band’s 2017 debut Sin & Tonic (aha. See what they did there?) and it is a reasonable piece of work. Southern swagger mixed with melodic hard rock, there is a touch of Guns n’ Roses and Aerosmith about them. Sweet Little Dreamer offers some neat guitar work, and you can’t fault the smokey roar of vocalist Kris. The problem I have with Junkyard Drive, is that they offer absolutely nothing new.
So, in a similar vein to Those Damn Crows, Ginn Annie and the myriad of other bands who churn this stuff out, they are enthusiastic, powerful and create decent music; it’s just so bloody generic. I have no doubt that in the burgeoning world which is the new wave of classic rock Junkyard Drive will go down a storm. Black Coffee is perfectly listenable, and the band are tight. Good luck to them. However, I like my coffee hot and this just leaves me cold. 6/10
Into Eternity: The Sirens (M-Theory Audio)
A sweeping orchestral introduction momentarily disorientated the listener before the battery of blast beats and power metal scales crashes in. A brief pause allows you to catch your breath before The Sirens really opens out into a rather schizophrenic cacophony which combines progressive rock with death and black metal in a somewhat uncomfortable merger. It’s fast, to the point of Dragonforce pace, and just about controlled in the same way that a race horse may push the limits. Into Psychosis follows, in much the same vein, although we do get the first vocals from Amanda Kieran, who provides clean vocals alongside the growls and screams of guitarist Tim Roth and bassist Troy Bleich.
It’s frenetic stuff, with frequent time changes and movement of styles. At times it feels more a showcase of how fast the band can play. Which isn’t particularly exciting. Add in elements of classical to the mix, as well as acoustic moments, such as the opening to Sandstorm which is quickly consumed by a viciously heavy riff and it all appears a little uncoordinated. The Canadian outfit has been together since 1997 and have released several albums, experiencing several line-up changes since their formation. Whilst the band are technically superb, The Sirens feels as if the very soul of the band has been sucked out and replaced by ludicrously complex and unnecessarily overblown lengthy pieces. It’s all rather unsatisfactory. 5/10
Black metal huh? A massively wide-ranging genre which encourages the elitists amongst the metal community to exercise their ‘superior’ knowledge of Bathory, Behemoth and Belphegor whilst mere mortals merely dabble. There are so many black metal outfits around these days that it’s nigh on impossible to keep tabs on them all if you also want to listen to any other genre. Hailing from Koln in Germany, Ultha’s melancholic yet ear splitting dark art peaks interest from the opening bars of The Avarist (Eyes Of A Tragedy). Although reminiscent of the atmospheric power of Wiegedood, Fen, Wode and Wolves In The Throne Room, Ultha instead insist they are focused towards the thicker end off grunge (Alice In Chains), noise rock (Helmet) and the gothic style of The Sisters Of Mercy and this certainly plays out.
Whatever they insist, the Germans third full length is a superb collaboration. Consisting of only six songs, it manages to clock in at over 65 minutes in length. With Knives To The Throat continues in the frenzied technical blur of the opening track before There Is No Love, High Up In The Gallows changes direction completely. Opening with haunting bird calls, this is six and a half minutes of electronic tone, individual notes held for the duration whilst an eerie symphonic concerto reminiscent of the music from the opera in The Phantom Menace plays out.
Cyanide Lips opens with ugly down tuned guitars, the beat of a lonely drum merely a precursor to the hell that follows, the track building incrementally on a single guitar riff before exploding into chaos. Use of repetition has long been a favoured tactic for the black metal musician and Ralph Schmidt and colleagues employ it to great effect throughout this descent into melancholia. We Only Speak In Darkness is mesmeric, the slow beat, darkened lyrics and echoing tone transport the listener into The Fields Of Nephilim territory before the quite magnificent 18 minute I’m Afraid To Follow You There, with its opening coldness enveloping the listener and draws you in. Whilst Ultha start this album in a true black metal style, there are many more elements in this complex machine. The Inextricable Wandering is an album that demands attention, commitment and repeated plays. The rewards for committing to this endeavour are massive with one of the most richly crafted releases of 2018. 9/10
Iamthemorning: Ocean Sounds (Kscope)
Russian duo Gleb Kolyadin and Marjana Semkina, known as Iamthemorning, have already released three albums, with their last two Belighted and Lighthouse highly-praised. Ocean Sounds is a new intimate studio film shot and named after a remote recording studio on Giske, a Norwegian Island. As well as the film, there is an accompanying CD with a setlist from the three albums along with an unplugged recording of Blue Sea, from their forthcoming fourth album (only on the Blu-Ray release unfortunately). With Lighthouse winning the 2016 Progressive Music Award for Album of the Year and Semkina also winning female vocalist of the Year in Prog Magazine in the same year, the band has clearly laid strong foundations on which to build.
Ocean Sounds is certainly a delicate and delicious release. Semkina’s vocals are a delight, crystal clear, ranging from ethereal to full out rock chick, whilst the beautiful compositions of Kolyadin and the additional musicians provides an almost spiritual experience. Unlike many of their peers, the tracks are not unduly long, with only three of the 12 tracks lasting over four minutes. Ocean Sounds is at times totally captivating. There is the dramatic Scotland with its spiralling string section. Or the thought provoking Os Lunatum with its wild solo piano accompaniment joined towards the end by additional strings and drums. Although there is no doubt that chamber prog rock is not a taste shared by all, Ocean Sounds is an album that is well worth a listen, even if just for a change from the norm. 8/10
Snakes In Paradise: Step Into The Light (Frontiers Records)
Another Frontiers band to cross our paths, Snakes In Paradise are from Stockholm, Sweden. Step Into The Light is the band’s fourth album, but their first since 2002’s Dangerous Love. Having released their debut album way back in 1994, you kind of wonder why it’s taken until now to get album number four out. Heavy on the 1980s melodic rock style, rich synthesisers merging with dual guitar work, smooth bluesy vocals and soaring harmonies as 12 tracks of pulsating melodic rock cascade over you. With a huge nod to the late 80s Whitesnake present throughout, it’s nothing new but AOR is always a bit of fun when done well. Will You Remember Me is super ghastly, but like a rabid earworm the bastard is also hauntingly catchy, much like an STD. Think Asia’s most stomach-turning tunes and this is roughly where we are.
There are elements of Europe, Eclipse and the like all over this album. A couple of ballads, such as After The Fire Is Gone, ensure the full AOR album blueprint is followed. “From a distance, I can see those broken lips, that used to be full”, Wow! Things ensures that at least one anthem is on board, and yes, the lyrics are spectacular here too: “remember the summer nights, when we were making love”. It’s so bad it’s great. Liza encapsulates everything about AOR in under four minutes. Catchy high-pitched harmonies in the chorus, awful lyrics, (“let me be the one to take you through the night”), thumping rhythm section and jumping keyboards all combine to hideous effect. If you love your AOR you’ll no doubt be familiar with Snakes In Paradise and so you should be. Melodic rock at its worst and its best. 7/10
Junkyard Drive: Black Coffee (Mighty Music)
Apparently, if you are into straight forward honest rock and roll, Denmark’s Junkyard Drive are the answer to your prayers. I assume that’s if you ignore the thousands of other bands who deliver the same type of generic rock today. Black Coffee is the follow up to the band’s 2017 debut Sin & Tonic (aha. See what they did there?) and it is a reasonable piece of work. Southern swagger mixed with melodic hard rock, there is a touch of Guns n’ Roses and Aerosmith about them. Sweet Little Dreamer offers some neat guitar work, and you can’t fault the smokey roar of vocalist Kris. The problem I have with Junkyard Drive, is that they offer absolutely nothing new.
So, in a similar vein to Those Damn Crows, Ginn Annie and the myriad of other bands who churn this stuff out, they are enthusiastic, powerful and create decent music; it’s just so bloody generic. I have no doubt that in the burgeoning world which is the new wave of classic rock Junkyard Drive will go down a storm. Black Coffee is perfectly listenable, and the band are tight. Good luck to them. However, I like my coffee hot and this just leaves me cold. 6/10
Into Eternity: The Sirens (M-Theory Audio)
A sweeping orchestral introduction momentarily disorientated the listener before the battery of blast beats and power metal scales crashes in. A brief pause allows you to catch your breath before The Sirens really opens out into a rather schizophrenic cacophony which combines progressive rock with death and black metal in a somewhat uncomfortable merger. It’s fast, to the point of Dragonforce pace, and just about controlled in the same way that a race horse may push the limits. Into Psychosis follows, in much the same vein, although we do get the first vocals from Amanda Kieran, who provides clean vocals alongside the growls and screams of guitarist Tim Roth and bassist Troy Bleich.
It’s frenetic stuff, with frequent time changes and movement of styles. At times it feels more a showcase of how fast the band can play. Which isn’t particularly exciting. Add in elements of classical to the mix, as well as acoustic moments, such as the opening to Sandstorm which is quickly consumed by a viciously heavy riff and it all appears a little uncoordinated. The Canadian outfit has been together since 1997 and have released several albums, experiencing several line-up changes since their formation. Whilst the band are technically superb, The Sirens feels as if the very soul of the band has been sucked out and replaced by ludicrously complex and unnecessarily overblown lengthy pieces. It’s all rather unsatisfactory. 5/10
A View From The Back Of The Room: MAN
Man & Glas, The Globe Cardiff
So when a band is on their 50th anniversary tour it would be remiss of us not to attend, when that band is from Wales and something of a legendary act round these parts then it would be positively criminal. Playing just three dates in Wales I went down to the show in The Glob and as the room filled with a mature fan base, sprinkled with the odd younger psych fan like myself, there were stories of the band Padget Rooms Penarth gigs. their early tours and multiple member changes.
First up though decked out in the best shirts of the night was Blackwood trio Glas (8) opening with Blackwood Boogie this three piece then proceeded to get the crowd going with classic R&B that brings in country, rock n roll and blues for a very loud noise, Dai John on vocals and bass, works it playing some groovy finger-style rhythms that could have been coming from a stand up bass rather than the electric, he's got the tick-tock drums of Sam Andrews behind him adding the shuffle to every track. On lead guitar James Oliver peels off lick after bluesy lick bobbing his head like Wilco Johnson as he plays surf slides and staccato jagged riffs. A rollicking opening band who were forced into an encore by the crowd taking full advantage of The Globe's drinks offers, a neat country number later and they managed to leave the stage.
So with the crowd now filling the room the Welsh psychedelic rockers Man (8) took to the stage with longest serving member Martin Ace (bass/vocals) leading from the middle of the stage. He's flanked by Josh Ace on guitars/vocals/keys, James Beck on guitar either side of him, Malcolm Morley on keys and acoustic guitar (who was member of Man between 1974 & 1976) with over 423 releases, on 75 labels they had a lot songs to choose from so to take a risk on two new unreleased songs called Manor Farm and The Holy Flame Of Freedom but they mixed it with classics like Romain which had James Beck playing some mean slide. Long psych jams turned to short blues driven rockers in an instance Martin is a warm, mild mannered frontman cracking jokes with his Welsh humour striking a chord with the audience. Backed by the young(er) band the performance was infused with energy as Martin and Josh traded vocals replicating the sound of the early material well. With a new album on the way there seems to be no signs of slowing down so here's to another 10 years of Man!
So when a band is on their 50th anniversary tour it would be remiss of us not to attend, when that band is from Wales and something of a legendary act round these parts then it would be positively criminal. Playing just three dates in Wales I went down to the show in The Glob and as the room filled with a mature fan base, sprinkled with the odd younger psych fan like myself, there were stories of the band Padget Rooms Penarth gigs. their early tours and multiple member changes.
First up though decked out in the best shirts of the night was Blackwood trio Glas (8) opening with Blackwood Boogie this three piece then proceeded to get the crowd going with classic R&B that brings in country, rock n roll and blues for a very loud noise, Dai John on vocals and bass, works it playing some groovy finger-style rhythms that could have been coming from a stand up bass rather than the electric, he's got the tick-tock drums of Sam Andrews behind him adding the shuffle to every track. On lead guitar James Oliver peels off lick after bluesy lick bobbing his head like Wilco Johnson as he plays surf slides and staccato jagged riffs. A rollicking opening band who were forced into an encore by the crowd taking full advantage of The Globe's drinks offers, a neat country number later and they managed to leave the stage.
So with the crowd now filling the room the Welsh psychedelic rockers Man (8) took to the stage with longest serving member Martin Ace (bass/vocals) leading from the middle of the stage. He's flanked by Josh Ace on guitars/vocals/keys, James Beck on guitar either side of him, Malcolm Morley on keys and acoustic guitar (who was member of Man between 1974 & 1976) with over 423 releases, on 75 labels they had a lot songs to choose from so to take a risk on two new unreleased songs called Manor Farm and The Holy Flame Of Freedom but they mixed it with classics like Romain which had James Beck playing some mean slide. Long psych jams turned to short blues driven rockers in an instance Martin is a warm, mild mannered frontman cracking jokes with his Welsh humour striking a chord with the audience. Backed by the young(er) band the performance was infused with energy as Martin and Josh traded vocals replicating the sound of the early material well. With a new album on the way there seems to be no signs of slowing down so here's to another 10 years of Man!
Monday, 24 September 2018
Reviews: The Bleeding, Allegiance, Deathhammer, Leatherjacks (Reviews By Paul S & Rich)
The Bleeding: Rites Of Absolution (UKEM) [Paul S]
The Bleeding are a four piece based in London, they have been going since 2010 and have released one EP in 2013, this is their first album. The band play a combination of death metal and thrash. The feel of the material is fairly old school in both areas rather than the more modern sound of the other bands playing this combination of genres (Revocation and Reprisal).
After a short intro, the album blasts off with the thundering Consumed Existence, which sounds like great old school death metal, reminds me of Asphyx’s track Deathhamer. Second track Dreams Of Hatred has a bit more of a thrash feel to it, tight fast riffs, crashing drums, just great thrash. The album carries on like this, always surfing that knife-edge between thrash and death metal, so some songs move from one sound to the other in a way that is really effective.
Crook And Flail is a slower, heavier, more powerful track that just crushes the listener. Rights Of Absolution feels a little like early Slayer, do I need to say more about it than that? The album is brought to an end with a cracking cover of Death’s Open Casket which is fantastic. If I was going to criticise this album, it would be that it isn’t long enough, but that isn’t really a criticism, I wanted more! Really great album, full of energy and creativity. Highly recommended. 8/10
Allegiance: Beyond The Black Wave (Self Released) [Paul S]
Allegiance are a black metal band from Toulouse, France. They have had as many as 5 members, according to the bumf that I got with the album, but by the time of writing this they may be down to 3 or as few as 2 (the bumf is a little confused). Although there is a much bigger problem with the press release than a little confusion about how many members this band has. The PR refers to the band as being ‘Emperial’ black metal, the band has tied their whole sound to the Norwegian black metal band Emperor. Those are big shoes to fill, and they haven’t done a very good job. This album is a massive rip off of Emperor. This isn’t an homage, it’s simple copying.
First song The Fall Of The Black Heroes is Ye Entranceemperium, pretty much note for note (yes including that really distinctive riff). And it’s like that all the way through, it’s all made up of bits and pieces of Emperor’s career. The song I Wrath I Death has the spoken word bit from The Loss And Curse Of Reverence in it. Sorceress Queen is I Am The Black Wizards. You’ll find one track that is Beyond The Pantheon, up to about halfway through when the strings from In The Wordless Chamber come in and really confuse things.
The Bleeding are a four piece based in London, they have been going since 2010 and have released one EP in 2013, this is their first album. The band play a combination of death metal and thrash. The feel of the material is fairly old school in both areas rather than the more modern sound of the other bands playing this combination of genres (Revocation and Reprisal).
After a short intro, the album blasts off with the thundering Consumed Existence, which sounds like great old school death metal, reminds me of Asphyx’s track Deathhamer. Second track Dreams Of Hatred has a bit more of a thrash feel to it, tight fast riffs, crashing drums, just great thrash. The album carries on like this, always surfing that knife-edge between thrash and death metal, so some songs move from one sound to the other in a way that is really effective.
Crook And Flail is a slower, heavier, more powerful track that just crushes the listener. Rights Of Absolution feels a little like early Slayer, do I need to say more about it than that? The album is brought to an end with a cracking cover of Death’s Open Casket which is fantastic. If I was going to criticise this album, it would be that it isn’t long enough, but that isn’t really a criticism, I wanted more! Really great album, full of energy and creativity. Highly recommended. 8/10
Allegiance: Beyond The Black Wave (Self Released) [Paul S]
Allegiance are a black metal band from Toulouse, France. They have had as many as 5 members, according to the bumf that I got with the album, but by the time of writing this they may be down to 3 or as few as 2 (the bumf is a little confused). Although there is a much bigger problem with the press release than a little confusion about how many members this band has. The PR refers to the band as being ‘Emperial’ black metal, the band has tied their whole sound to the Norwegian black metal band Emperor. Those are big shoes to fill, and they haven’t done a very good job. This album is a massive rip off of Emperor. This isn’t an homage, it’s simple copying.
First song The Fall Of The Black Heroes is Ye Entranceemperium, pretty much note for note (yes including that really distinctive riff). And it’s like that all the way through, it’s all made up of bits and pieces of Emperor’s career. The song I Wrath I Death has the spoken word bit from The Loss And Curse Of Reverence in it. Sorceress Queen is I Am The Black Wizards. You’ll find one track that is Beyond The Pantheon, up to about halfway through when the strings from In The Wordless Chamber come in and really confuse things.
There's bits of Curse You All Men, An Eulogy Of Icarus, there's even an outro to one song that is Opus A Satana. Ok I’ll admit it, these guys have got some balls to rip off one of the biggest and best black metal bands of all time, and to tell people they are doing it (Emperial Black Metal) takes even more bare faced cheek. But I can’t see the point of this album. The few bits that aren’t nicked are lack lustre and lacking in imagination. The only good thing about this album is that it has reminded me of what a great band Emperor were. Just listen to the originals, they are so much better! 6/10
Deathhammer: Chained To Hell (Hells Headbangers) [Paul S]
Deathhammer are a duo from Oslo, they have been going since 2005 and this is their 4th album. The 2 piece play black trash / early eighties style thrash. The album kicks off with the track Rabid Maniac Force, a song that kicks you in the bollocks, nicks your wallet, and spends the money in it on cheap speed. Just total blasting fast thrash, in an early Sodom, Slayer or Kill ‘Em All era Metallica mould. Fast simple riffs, screamed vocals that do that slightly weird early eighties thing where the last word of each line is sung in FALSETTO. I think Tom Araya used to do this on Slayers first 2 albums. Pretty much all the album is in this style. More modern bands to compare this to would be Toxic Holocaust, Necromantheon or Nifelheim.
Deathhammer are a duo from Oslo, they have been going since 2005 and this is their 4th album. The 2 piece play black trash / early eighties style thrash. The album kicks off with the track Rabid Maniac Force, a song that kicks you in the bollocks, nicks your wallet, and spends the money in it on cheap speed. Just total blasting fast thrash, in an early Sodom, Slayer or Kill ‘Em All era Metallica mould. Fast simple riffs, screamed vocals that do that slightly weird early eighties thing where the last word of each line is sung in FALSETTO. I think Tom Araya used to do this on Slayers first 2 albums. Pretty much all the album is in this style. More modern bands to compare this to would be Toxic Holocaust, Necromantheon or Nifelheim.
There is a small amount of progression on this album with the song Into The Burning Pentagram, which is a little slower and has some more complex riffs and a bit more of a structure (most of the other songs don’t really have a structure, insanely fast all the way through, isn’t a structure). The album doesn’t have many solos, but in the few places they are used, you can see why they don’t do many solos as they are crap! But that just fits into the early eighties/ black thrash style. The album cover is also very eighties; it’s awful. Looks like a still from a Commodore 64 game, absolutely, goppingly awful, but again that's very eighties thrash; remember Artillery’s Terror Squad, or Anthrax’s Fistful Of Metal covers? This isn’t in any way groundbreaking. It isn’t big or clever, but my god it’s a lot of fun. If you want to be reminded why thrash was so exiting when it first appeared, buy this album! 7/10
Leatherjacks: Leatherjacks (Self Released) [Rich]
Leatherjacks is a self titled EP by the Brazilian hard rock band which works as a preview for the upcoming album Songs For The Strangest Ones which is due to be released later this year. This EP is the first release under the bands new line up with the previous album The Lost Arks Of Rock And Roll all written and performed by Mauro Cordeiro. The EP is made up of four songs one of which (I Hate To Fall In Love) has previously been released as a digital single. The EP is pretty bog standard hard rock with a few influences from old school heavy metal and AOR. The playing throughout is pretty good but the vocals are very weak and quite strained. This is a pretty average release with no songs being particularly memorable and the poor vocals standing out particularly. 5/10
Leatherjacks: Leatherjacks (Self Released) [Rich]
Leatherjacks is a self titled EP by the Brazilian hard rock band which works as a preview for the upcoming album Songs For The Strangest Ones which is due to be released later this year. This EP is the first release under the bands new line up with the previous album The Lost Arks Of Rock And Roll all written and performed by Mauro Cordeiro. The EP is made up of four songs one of which (I Hate To Fall In Love) has previously been released as a digital single. The EP is pretty bog standard hard rock with a few influences from old school heavy metal and AOR. The playing throughout is pretty good but the vocals are very weak and quite strained. This is a pretty average release with no songs being particularly memorable and the poor vocals standing out particularly. 5/10
Reviews: Stoned Jesus, Be The Wolf, Groundbreaker, Enterfire (Reviews By Rich & Paul H)
Stoned Jesus: Pilgrims (Napalm Records) [Paul H]
Formed in Kiev, 2009, Stoned Jesus play a blisteringly heavy style of stoner and doom rock which is guaranteed to trip you out. The band’s doom-soaked occult sound incorporates a range of styles which include the likes of Mastodon, Tool, Neurosis as well as the riff heaviness of Sabbath and Zeppelin. Most of the tracks on this 50-minute album are lengthy animals, winding and meandering through several musical territories whilst always bringing the heavy.
It starts with the pulsating Excited, all bristling energy and spunky groove. Then you have the Mastodon feel of the trippy Hands Resist Him which contrasts with the thundering journey on the nine minutes plus Water Me, with its soaring space rock style. Stoned Jesus won’t meet the requirements of all, as some of their direction takes a more indirect path. With several albums already under their belt, Pilgrims is a solid addition to a catalogue of high-quality music. 8/10
Be The Wolf: Empress (Scarlett Records) [Rich]
Empress is the third album by Italian hard rockers Be The Wolf which is due out on Scarlet Records. Be The Wolf play melodic hard rock with a number of different influences from classic rock to modern hard rock to traditional heavy metal resulting in a variety in the songs from the heavy metal driven Burn Me Out to the hair metal swagger of You’re My Demon Tonight and the groovy hard rocking of Trigger Discipline. The only song which sticks out like a sore thumb is the pop and electronic inspired Action which is a truly dreadful song. Empress is a solid hard rocking album played with love and passion which whilst not groundbreaking by any means is an album I would recommend to hard rock fans. 7/10
London based Enterfire’s debut album, Slave Of Time is an average affair. Melodic thrash in the vein of Bullet For My Valentine and Trivium, the songs are well constructed and performed. Driven by vocalist/lead guitarist Niki B, a Greek born musician, the opening salvo work well, with the title track a driving thrash tune. Open Sky follows and it’s from here on in that interest in the album starts to wane. Throw away tracks which last seconds in the memory. Weapon Of Broken Dreams starts like a BFMV track but morphs into a Maiden-style romp before fading. Unfortunately, most of the 29 minutes here are rather mundane and the album fades from the memory shortly after it finishes. 5/10
Formed in Kiev, 2009, Stoned Jesus play a blisteringly heavy style of stoner and doom rock which is guaranteed to trip you out. The band’s doom-soaked occult sound incorporates a range of styles which include the likes of Mastodon, Tool, Neurosis as well as the riff heaviness of Sabbath and Zeppelin. Most of the tracks on this 50-minute album are lengthy animals, winding and meandering through several musical territories whilst always bringing the heavy.
It starts with the pulsating Excited, all bristling energy and spunky groove. Then you have the Mastodon feel of the trippy Hands Resist Him which contrasts with the thundering journey on the nine minutes plus Water Me, with its soaring space rock style. Stoned Jesus won’t meet the requirements of all, as some of their direction takes a more indirect path. With several albums already under their belt, Pilgrims is a solid addition to a catalogue of high-quality music. 8/10
Be The Wolf: Empress (Scarlett Records) [Rich]
Empress is the third album by Italian hard rockers Be The Wolf which is due out on Scarlet Records. Be The Wolf play melodic hard rock with a number of different influences from classic rock to modern hard rock to traditional heavy metal resulting in a variety in the songs from the heavy metal driven Burn Me Out to the hair metal swagger of You’re My Demon Tonight and the groovy hard rocking of Trigger Discipline. The only song which sticks out like a sore thumb is the pop and electronic inspired Action which is a truly dreadful song. Empress is a solid hard rocking album played with love and passion which whilst not groundbreaking by any means is an album I would recommend to hard rock fans. 7/10
Groundbreaker: Groundbreaker (Frontiers Records) [Rich]
Groundbreaker is the self titled debut album of the new project featuring FM singer Steve Overland where he is collaborating with Robert Sall of Swedish melodic rockers Work Of Art. With these two collaborating the style of this album is as you guessed is melodic hard rock. This is very saccharine coated melodic hard rock with soaring melodies and hook laden songs. It’s a decent album for those that love this style but it’s very much by the numbers with very little variation throughout the album and so the songs do seem to all blur into one.
There are one or two which stand out a bit more such as the ultra saccharine Eighteen Til I Die. All the staples of the genre are in place here - super sweet vocals, melodic lead guitar playing and retro sounding synths but there’s very little to differentiate between the countless other melodic hard rock bands out there. If you are a big fan of the genre you will love this. Groundbreaker is out now on Frontiers Records. 6/10
Groundbreaker is the self titled debut album of the new project featuring FM singer Steve Overland where he is collaborating with Robert Sall of Swedish melodic rockers Work Of Art. With these two collaborating the style of this album is as you guessed is melodic hard rock. This is very saccharine coated melodic hard rock with soaring melodies and hook laden songs. It’s a decent album for those that love this style but it’s very much by the numbers with very little variation throughout the album and so the songs do seem to all blur into one.
There are one or two which stand out a bit more such as the ultra saccharine Eighteen Til I Die. All the staples of the genre are in place here - super sweet vocals, melodic lead guitar playing and retro sounding synths but there’s very little to differentiate between the countless other melodic hard rock bands out there. If you are a big fan of the genre you will love this. Groundbreaker is out now on Frontiers Records. 6/10
Enterfire: Slave Of Time (Self Released) [Paul H]
London based Enterfire’s debut album, Slave Of Time is an average affair. Melodic thrash in the vein of Bullet For My Valentine and Trivium, the songs are well constructed and performed. Driven by vocalist/lead guitarist Niki B, a Greek born musician, the opening salvo work well, with the title track a driving thrash tune. Open Sky follows and it’s from here on in that interest in the album starts to wane. Throw away tracks which last seconds in the memory. Weapon Of Broken Dreams starts like a BFMV track but morphs into a Maiden-style romp before fading. Unfortunately, most of the 29 minutes here are rather mundane and the album fades from the memory shortly after it finishes. 5/10
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