Since leaving Mostly Autumn in 2010, Heather Findlay has been relatively quiet. Live appearances have been sporadic, but when they come around they really hit the spot. January saw the release of her full length album of original material since leaving Mostly Autumn. Titled The Illusion's Reckoning the album was a collaboration with American songwriter Dave Kerzner and released under the name Mantra Vega. Those eagerly awaiting some new material from Findlay lapped it up, as the album is excellent. To support the album, Findlay has assembled a new version of 'The Heather Findlay Band' (which there have already been a few!) to take the album on tour around the UK (with a date in the Netherlands to kick everything off). Joining Findlay this time around are: John Mitchell (vocals/guitar) from It Bites and Arena; long-time collaborator Chris Johnson (guitar/keyboards/vocals); Stuart Fletcher (bass guitar); Alex Cromarty (vocals/drums/harmonium); and Findlay's long-time friend Angela Gordon (keyboards/flute/whistles/recorder/vocals). With four of the six main Mantra Vega musicians forming part of Findlay's touring band, this current tour is as close to a Mantra Vega tour as you are likely to get. The show, the first of the UK tour, was also a reason for me to go back to Leicester for the first time in nearly two years. It was good to go back, even if some really late trains curtailed by time there somewhat. I will hopefully not leave it as long next time! I saw a few shows at The Musician while I was living in the city and, in fact, it was the last place I saw Findlay play a full-length show back in 2012. I saw her in acoustic mode at 2014's Trinity charity show in Leamington, but it had been four years since seeing her in her full glory!
Opening the show was harpist Sarah Dean, who played a handful of songs to the small crowd who had got to the venue early. This was the first time I had heard any harp played live, and she really brought the instrument to life. She sung beautifully too, and the harp and vocal combination worked really well. The solo singer/songwriter thing usually is not my thing but Dean brought something new to the genre (if you can call it that). She only played four songs, but the growing crowd seemed to warm to her, and she was well-received.
Johnson's alternative rock band Halo Blind were the evening's main support, which made sense considering three of the band (Johnson, Fletcher, and Cromarty) are also currently playing with Findlay. I last saw the band (under their former name of Parade) supporting Bryan Josh in Bedford, but that was quite a few years ago and Johnson is the only musician to still be in the band now. Johnson, despite sharing lead vocals with Andy Knights (vocals/guitar/keyboards), is the band's focal point as the songs have his unique approach to songwriting all over them. I struggle with the band's latest album Occupying Forces, but hearing some of the songs live (their debut album The Fabric did not feature at all) has improved my opinion of it somewhat. That is not to say that I do not like the album or think that it is bad, I just struggle to get into it. The band's 45 minute set was very enjoyable however, and the songs work well live despite their complex and atmospheric arrangements. Chris Farrell (guitar) stood out too, with lots of excellent ebow work and some strange, off-kilter soloing. I will see the band again at the Cambridge Rock Festival, so I shall make sure to give Occupying Forces some more spins in the meantime.
It was Findlay that everyone was here to see however, and her set was the perfect mix of old and new. As promised, she played the entire of The Illusion's Reckoning album first, before delving into her back catalogue afterwards. Dean joined Findlay and her band onstage for the show singing backing vocals and adding percussion, recorder, and harp occasionally when required. The new album came across really well live, with the large band able to replicate the warm, atmospheric sound of the album on stage. Lead single Island got things going, and was a perfect way to start the show with it's simple melodies and fluid Mitchell solo. Cromarty sung Kerzner's vocal parts from behind the drum kit, which worked well, and his voice really suited the haunting and dark Veil of Ghosts perfectly. The spiky, gothic chorus with the three voices of Findlay, Gordon, and Dean was extremely rousing, and one of the highlights of the night. Lake Sunday, Mountain Spring, and the album's soaring title track were also highlights of the early part of the set. The latter is a real prog epic, with plenty of chance for Mitchell to solo. The Illusion's Reckoning is one of my favourite albums released so far this year, so getting the chance to hear it live in full was a real treat. Another standout moment during the first part of the show was the acoustic I've Seen Your Star which featured some lovely harp playing from Dean. The second half of the show featured material from Findlay's past. It started with a powerful version of the Mostly Autumn classic Carpe Diem with Johnson seated at the piano and Gordon playing the flute. Mitchell really nailed the lengthy outro solo, and the whole band had really hit their stride by this point. Two Odin Dragonfly numbers also featured, newly arranged to suit a big band. Magpie really rocked, with Gordon's flute melodies at the song's centre, the epic Magnolia Half-Moon sounded like it was always supposed to be played by a large rock band. In between the two was Mona Lisa the sole offering from Findlay's solo EP The Phoenix Suite. Caught in a Fold was another highlight. Previous Heather Findlay Band line-ups have changed the arrangement of this song, but with Gordon and her flute present, the band played a version close to Mostly Autumn's original. Safe to say, the song rocked the house! There was a little surprise thrown in near the end, when the band played Why Do We Stay? a song Mitchell wrote for his Lonely Robot project. Findlay sung guest vocals on the song originally, so the song felt at home in the set. Closing the show was a stunning version of the old Mostly Autumn classic Shrinking Violet. I had not heard the song live since Findlay's last show with Mostly Autumn in 2010, so to hear it again was a real treat. It was easily the highlight of the whole show, and her band did a stunning rendition of it. The setlist was:
Every Corner [Mantra Vega material]
Island [Mantra Vega material]
Veil of Ghosts [Mantra Vega material]
Lake Sunday [Mantra Vega material]
Mountain Spring [Mantra Vega material]
In a Dream [Mantra Vega material]
Learning to be Light [Mantra Vega material]
I've Seen Your Star [Mantra Vega material]
Island (Reprise) [Mantra Vega material]
The Illusion's Reckoning [Mantra Vega material]
Carpe Diem [Mostly Autumn material]
Magpie [Odin Dragonfly material]
Mona Lisa
Magnolia Half-Moon [Odin Dragonfly material]
Caught in a Fold [Mostly Autumn material]
Why Do We Stay? [Lonely Robot cover]
Shrinking Violet [Mostly Autumn material]
Overall this was a stunning gig from Findlay, and easily the best I have seen her do since leaving Mostly Autumn. The current band she has assembled really bring her songs to life, and the current setlist is the perfect balance of old and new. I got her, Fletcher, and Cromarty to sign my copy of The Illusion's Reckoning after the show too, which was awesome.
Monday, 11 April 2016
Thursday, 7 April 2016
Killswitch Engage's 'Incarnate' - Album Review
Reunions with old band members can go one of two ways. Either the reunion creates plenty of new sparks, and the band rises to even greater heights than previously; or the reunion fails to live up the hype, and everyone (including the band, maybe) are left disappointed. Luckily for Killswitch Engage the former scenario occurred when they reunited with original frontman Jesse Leach in 2012. Many fans had been calling for his return for years, even as the band continued to grow and strengthen with Howard Jones at the helm, so there were lots of happy fans out there when the announcement came. I was apprehensive, as I had always been a Jones fan. The man has an insane voice, and the band had reached new heights in the ten years he fronted Killswitch Engage. Upon hearing 2013's Disarm the Descent (which I reviewed here), the band's sixth album, and I heard the new Leach, I was instantly sold. I finally understood what the fans had meant about him. His improvement since 2002's Alive or Just Breathing was remarkable, and he showed why he is the singer for Killswitch Engage. The album was in my Top 10 Albums of 2013 list, and Leach's vocal display was a big factor in that accolade. Three years on, and plenty of touring later, Killswitch Engage are back with another album. Incarnate, the band's seventh album, was released last month and has already become a popular release with the fans. Disarm the Descent was written fairly quickly after Leach rejoined the band, and stuck fairly rigidly to the recognisable sound the band had established and honed during the Jones-era. While it is a great album, and probably my favourite from the band, it did not really do anything new (not that every new album has to!). Incarnate, having been written and performed by five people who have now spent more time together, does attempt to mix things up a little here and there. The established Killswitch Engage metalcore sound is still very much present, helped of course by founding member and guitarist Adam Dutkiewicz's stellar production job, there is a feeling throughout that the band had wanted to change things up little. The album has a much heavier feel overall, with more focus on the heavier riffs and the harsher side of Leach's voice. Drummer Justin Foley shines throughout, as the heavier songs bring out the best in his playing. The soaring, emotional choruses that fill the band's back catalogue are still very much a big part of the band's sound (as is melody generally), but they are now just one part of the song, rather than the sole focus. As a result, the album does not instantly hit you like much of the band's previous work. It is the archetypal 'grower' and requires a few listens before all the layers of melody and all the intricacies of the songwriting are revealed.
A build up of distortion opens the album, and the strident spoken word intro of first number Alone I Stand leads into a heavy verse with some of Leach's trademark harsh vocals. The thrashy feel of the piece is accentuated by some deep growled vocals, and Foley's fast footwork. A slower, emotional chorus brings the classic Killswitch Engage sound to the fore, with Dutkiewicz and co-guitarist Joel Stroetzel wave snaking leads around Leach's vocals, and the strong melodies are extremely captivating. The song remains heavy throughout, with even a blast beat used in the second verse. A heavy bridge section is used too, and this riff-based heavy sound is a snapshot of what is to come throughout the album. Hate by Design, one of the album's singles, again opens with some deep growls, but the verse soon mixes clean and harsh vocals to good effect with some excellent bouncy guitar riffs and triplet drumming. This song has quite an old-school metalcore vibe, and has one of the album's best choruses. Leach is a very versatile vocalist, and the ease which he switches between vocal styles is always impressive. This song is very immediate, and will no doubt be a highlight of the band's live sets in the future. There is a good, old-school metal solo too (presumably played by Dutkiewicz) that uses plenty of fluid shredding and sounds a little like something recorded during the NWOBHM period. Cut me Loose with it's slightly discordant opening guitar melody, is a slightly haunting piece that focuses on Leach's clean vocals and the band's stranger side. Lots of clean guitar sounds are used throughout, which often act as a great contrast to the crunchy rhythm guitars that form the song's backbone. It does get heavier later in the song however, with a thrashy riff and some strong harsh vocals from Leach. Strength of the Mind, another single, has been available to listen to online for quite some time. It is another classic-sounding Killswitch Engage song, with heavy verses and a big, soaring chorus with more than a hint of melodrama. There is some excellent riffing throughout, as Dutkiewicz and Stroetzel lock in together with some melodic bursts of lead work. The dynamics throughout are excellent, with bursts of speed mixing well with more mid-paced sections to great effect. It is another very memorable song. Just Let Go has the uplifting feel that the band is known for, and from the clean intro to the slow chorus, the song is full of the band's trademark sounds. The rawer, heavier sound that characterises the album is present however, with some bursts of really fast riffing. This is a song that is continually changing, and not content to follow a basic song structure. As a result, there is a lot of different ideas packed into this song, which makes is very interested to listen to. Opening with a strange bass guitar riff from Mike D'Antonio, Embrace the Journey...Upraised has a big groove metal vibe, with southern-sounding riffs and a good mid-paced feel. There are faster sections too, including a rather extreme (by the band's standards) verse, but the rest of the song has plenty of strong grooves throughout.
Quiet Distress opens with a subtle acoustic guitar pattern, but this does not last long before another machine gun riff comes in. Leach's vocals seamlessly transition between clean and harsh styles in the fast verses; and the strong chorus is another album standout. This one is a real sing-a-long number, and the chorus has a really melodic feel with some excellent vocal harmonies and some growl vocals mixed just into the background. The sound of this song is huge, and a bit of a dark horse on the album. Until the Day is similar too, with a very old-school 1980s riffing style that again raids the NWOBHM sound bank, and a pacey chorus that mixes screams and soaring cleans with ease. This is a very short song (under three minutes in length) but it still manages to pack quite a punch. After a couple of faster songs, the mid-paced crunch of It Falls on Me is a welcome change of pace. In many ways however, this is heavier than most of what has come before on the album, with the raw guitar tone and the simple chugging rhythms providing excellent headbanging material. The song throws a curve ball part-way through however, with a bona fide gentle section with ringing clean guitars and some really touching vocals from Leach that lead into a strange wall-of-guitars section that has something of Anathema's recent sound to it, even if only for a short time. It is sections like this that make this album stand out from what the band have done before. The Great Deceit is another fast number, and the pace barely lets up throughout. Leach, screaming his lungs out throughout, is a man possessed throughout this song. Even his cleans during the fast chorus have serious grit to them, something that you cannot usually say about his clean vocals. While the song is not as strong as some of the others, the pure energy that is gives off makes it an enjoyable. We Carry On is one of the band's extremely earnest slower numbers (a bit like Always from Disarm the Descent) which has an over-the-top vocal performance, and some atmospheric guitar playing that works to make the song stand out. The heavy Ascension is the album's final song, and sticks closely to the band's established formula to make the album close on a familiar feel. It is quite a heavy song, with a big muscular riff, and it ensures the album ends on a pretty strong footing. Leach's chorus delivery has a certain heroic quality to it that makes this song perfect for an album-closer. Overall, Incarnate is another strong album from one of the founders of the metalcore genre. While it is not vastly different from what has come before from them, there are little additions to the band's established sound here and there that ensure this album sounds fresh.
The album was released on 11th March 2016 via Roadrunner Records. Below is the band's promotional video for Hate by Design.
A build up of distortion opens the album, and the strident spoken word intro of first number Alone I Stand leads into a heavy verse with some of Leach's trademark harsh vocals. The thrashy feel of the piece is accentuated by some deep growled vocals, and Foley's fast footwork. A slower, emotional chorus brings the classic Killswitch Engage sound to the fore, with Dutkiewicz and co-guitarist Joel Stroetzel wave snaking leads around Leach's vocals, and the strong melodies are extremely captivating. The song remains heavy throughout, with even a blast beat used in the second verse. A heavy bridge section is used too, and this riff-based heavy sound is a snapshot of what is to come throughout the album. Hate by Design, one of the album's singles, again opens with some deep growls, but the verse soon mixes clean and harsh vocals to good effect with some excellent bouncy guitar riffs and triplet drumming. This song has quite an old-school metalcore vibe, and has one of the album's best choruses. Leach is a very versatile vocalist, and the ease which he switches between vocal styles is always impressive. This song is very immediate, and will no doubt be a highlight of the band's live sets in the future. There is a good, old-school metal solo too (presumably played by Dutkiewicz) that uses plenty of fluid shredding and sounds a little like something recorded during the NWOBHM period. Cut me Loose with it's slightly discordant opening guitar melody, is a slightly haunting piece that focuses on Leach's clean vocals and the band's stranger side. Lots of clean guitar sounds are used throughout, which often act as a great contrast to the crunchy rhythm guitars that form the song's backbone. It does get heavier later in the song however, with a thrashy riff and some strong harsh vocals from Leach. Strength of the Mind, another single, has been available to listen to online for quite some time. It is another classic-sounding Killswitch Engage song, with heavy verses and a big, soaring chorus with more than a hint of melodrama. There is some excellent riffing throughout, as Dutkiewicz and Stroetzel lock in together with some melodic bursts of lead work. The dynamics throughout are excellent, with bursts of speed mixing well with more mid-paced sections to great effect. It is another very memorable song. Just Let Go has the uplifting feel that the band is known for, and from the clean intro to the slow chorus, the song is full of the band's trademark sounds. The rawer, heavier sound that characterises the album is present however, with some bursts of really fast riffing. This is a song that is continually changing, and not content to follow a basic song structure. As a result, there is a lot of different ideas packed into this song, which makes is very interested to listen to. Opening with a strange bass guitar riff from Mike D'Antonio, Embrace the Journey...Upraised has a big groove metal vibe, with southern-sounding riffs and a good mid-paced feel. There are faster sections too, including a rather extreme (by the band's standards) verse, but the rest of the song has plenty of strong grooves throughout.
Quiet Distress opens with a subtle acoustic guitar pattern, but this does not last long before another machine gun riff comes in. Leach's vocals seamlessly transition between clean and harsh styles in the fast verses; and the strong chorus is another album standout. This one is a real sing-a-long number, and the chorus has a really melodic feel with some excellent vocal harmonies and some growl vocals mixed just into the background. The sound of this song is huge, and a bit of a dark horse on the album. Until the Day is similar too, with a very old-school 1980s riffing style that again raids the NWOBHM sound bank, and a pacey chorus that mixes screams and soaring cleans with ease. This is a very short song (under three minutes in length) but it still manages to pack quite a punch. After a couple of faster songs, the mid-paced crunch of It Falls on Me is a welcome change of pace. In many ways however, this is heavier than most of what has come before on the album, with the raw guitar tone and the simple chugging rhythms providing excellent headbanging material. The song throws a curve ball part-way through however, with a bona fide gentle section with ringing clean guitars and some really touching vocals from Leach that lead into a strange wall-of-guitars section that has something of Anathema's recent sound to it, even if only for a short time. It is sections like this that make this album stand out from what the band have done before. The Great Deceit is another fast number, and the pace barely lets up throughout. Leach, screaming his lungs out throughout, is a man possessed throughout this song. Even his cleans during the fast chorus have serious grit to them, something that you cannot usually say about his clean vocals. While the song is not as strong as some of the others, the pure energy that is gives off makes it an enjoyable. We Carry On is one of the band's extremely earnest slower numbers (a bit like Always from Disarm the Descent) which has an over-the-top vocal performance, and some atmospheric guitar playing that works to make the song stand out. The heavy Ascension is the album's final song, and sticks closely to the band's established formula to make the album close on a familiar feel. It is quite a heavy song, with a big muscular riff, and it ensures the album ends on a pretty strong footing. Leach's chorus delivery has a certain heroic quality to it that makes this song perfect for an album-closer. Overall, Incarnate is another strong album from one of the founders of the metalcore genre. While it is not vastly different from what has come before from them, there are little additions to the band's established sound here and there that ensure this album sounds fresh.
The album was released on 11th March 2016 via Roadrunner Records. Below is the band's promotional video for Hate by Design.
Sunday, 3 April 2016
Reckless Love's 'InVader' - Album Review
The Scandinavian glam/sleaze metal revival is
still in full swing and, with Crashdïet seemingly on hiatus,
Finland's Reckless Love are leading the pack. While there are plenty of heavier, grittier glam bands around, Reckless Love's love of poppy melodies, synthesisers, and dancy beats has made them very popular since 2010 when they released their self-titled debut album. Plenty of touring around the world had followed ever since, plus the released of two more studio albums. 2011's Animal Attraction was almost as good as the first album, although the band's love for modern pop music was starting to shine through in a big way. 2013's Spirit was a mixed bag (I reviewed it here). While there were some very strong songs on the album, overall it felt uninspired. The riff-led rock sections failed to excite as the previous two albums had, and the poppy/dancy songs felt contrived and unoriginal. While a couple of recent listens to Spirit showed me that time had been kind to the album, I did not hear enough to think of the album as anything more than 'average'. I mused at the time that the band could consider working with a different producer to shake things up for their fourth album, and that has not happened. Ilkka Wirtanen has again worked with Reckless Love to write and record their fourth album, InVader, three years on from Spirit. Saying I was apprehensive when putting InVader (I did not understand the capitalisation until I realised the capitals made 'IV' - the Roman number 4) on for the first time was a fair description of my feelings. I was worried that they had made another Spirit, but I was surprised to find Reckless Love had written and recorded another really good album! On the whole, InVader is on a par with Animal Attraction in my opinion, and the songs excite like they used to! When the band rock out, the songs feel genuine and full of energy again, with Pepe leading the charge with his solid guitar riffing and melodic soloing skills. When the band want to be poppy, the songs are well-crafted with excellent synth sounds and pulsing clubland beats. Both sides of the band's sound have been refined since Spirit, and the band seem to have their songwriting mojo back with the majority of what is on offer here being very memorable and catchy. Frontman Olli Herman has really upped his game vocally too. Nearly all of the vocal melodies on this album are hugely catchy, even if his lyrics are still pretty awful in places! With InVader, we find Reckless Love rejuvenated after the lacklustre Spirit. The fun element of the band's sound is back in full force, and that makes InVader a very enjoyable album to put on at any time!
InVader opens with a bang, as the anthemic rock of We are the Weekend fills the speakers with Pepe's big guitar stabs and Hessu Maxx's booming drum sound. Herman owns the song however, with a powerful verse vocal, and a sugary sweet pre-chorus that sounds like something from your average Top 40 pop tune. The 1980s rock chorus is what seals the deal however, and shows that the band have rediscovered their writing chops again. It is instantly catchy, and designed to be heard live. The song gets a little heavier as it moves on, with a short guitar solo and some big riffing that is a contrast to the party feel of the rest of the song. Those who like the harder rock end of the band's sound will like the next number Hands. This is one of the rawer songs on the album, without too many prominent electronic elements. Pepe's guitar riffing leads the way here, and he often breaks into a lead section that shows off his skills. The song's big chorus, with plenty of gang vocal sections, is a standout moment as Herman races through the lyrics at a break-neck speed that recalls some of the band's early material. Pepe's shredding guitar solo also stands out, and really is a throwback to the 1980s. Lead single Monster, with it's Lady GaGa inspired video, is up next. Despite some hilariously bad lyrics, the song is so hugely catchy that it does not matter. Herman's voice sounds strange throughout the song, almost a growl, which sounds different to his usual style. It gives the song some grit that it would otherwise lack, which is also helped by Pepe's really groovy guitar playing. While the electronics dominate, his guitar (and Jalle Verne's bass), help to provide the dancy rhythm the song has. Those who love some serious cheese will enjoy Child of the Sun, and the it is some cheese of the smelliest variety! I must be honest and say that this side of Reckless Love's sound mostly leaves me cold, but the song still has some extremely catchy melodies. The song is a wall of big synth sounds, and Varne's bass dances around them with a tight groove. The chorus, full of all it's autotune glory, is the sugariest thing on the album but it still manages to stick in your head! There is actually a surprising amount of good guitar work on this song too, and Pepe unleashes his inner Nile Rodgers with some tasteful and subtle funky playing throughout. Just when the album needs a kick, the hard rock of Bullettime comes on with a driving riff and a raw-sounding drum beat to act as the antidote to the synths of the previous song. It is one of my favourite songs on the album, because the 1980s hard rock sound is perfectly captured here, with a massive chorus and some excellent vocals from Herman.
With a big keyboard intro, Scandinavian Girls is another very poppy song - although this one has a bigger dose of 'rock' than Child of the Sun. Pepe's guitar still plays a big part driving the song, with some great overdriven riffing, but Herman's vocals are the song's lead instrument with the band supporting him. That is, until we get to a strange, slow guitar solo that comes in to cut through the mix unexpectedly. This is another song with rather awful lyrics, but the catchy melodies make up for this. Herman does not write great poetry, but then I think I would be disappointed if he did. Pretty Boy Swagger, which is collaboration with Finnish producer/musician Jurek, is another pop number. The opening vocals have an almost rap feel to them, which sounds a little forced, but when Herman starts singing properly, the song really becomes enjoyable. Again, Pepe makes his force felt with some excellent riffing and lead playing, as the electronics and the rhythm section provide more clubland beats. After an electronic explosion, Pepe lets rip into one of his best ever guitar solos, which is a feast of shredded goodness. Rock It is a tale of two songs, one good and one bad. The verses of this song really are not very good at all, with Herman almost talking his way through them with an uninspired musical backing, but the song contains a really strong chorus that is extremely memorable. It is just a shame that the rest of the song is so poor, because the chorus really is a winner. Destiny fuses the band's rock and pop sounds together perfectly, and actually ends up sounding like something Def Leppard might have come up with in the 1980s. The verses are quite low key, with a bouncy guitar riff and a rumbling bassline, before the chorus comes in with a feast of harmony vocals and big melodies. While the band have stronger songs elsewhere on the album, this sort of song is meat and potatoes for the band and showcases all of their strengths. The album's final song Let's Get Cracking (TWHP) is another excellent fast rock number with a really good guitar riff and a dynamic vocal performance from Herman. This song sounds like something Poison forgot to write, and really sounds like the best of the 1980s Sunset Strip sound. There is more excellent shredding throughout the song, and it works well as an album closer. There is even a hidden acoustic ending which sounds like how Reckless Love would sound sitting around a campfire at night, which is nice! Some versions of the album come with the bonus track Keep it Up All Night, which is another strong song. Overall, InVader is a strong return to form from a band who looked like they may have run out of ideas. Luckily this was not the case however, and this album of mostly excellent songs will no doubt be a big success for them.
The album was released on 4th March 2016 via Spinefarm Records. Below is the band's promotional video for Monster.
InVader opens with a bang, as the anthemic rock of We are the Weekend fills the speakers with Pepe's big guitar stabs and Hessu Maxx's booming drum sound. Herman owns the song however, with a powerful verse vocal, and a sugary sweet pre-chorus that sounds like something from your average Top 40 pop tune. The 1980s rock chorus is what seals the deal however, and shows that the band have rediscovered their writing chops again. It is instantly catchy, and designed to be heard live. The song gets a little heavier as it moves on, with a short guitar solo and some big riffing that is a contrast to the party feel of the rest of the song. Those who like the harder rock end of the band's sound will like the next number Hands. This is one of the rawer songs on the album, without too many prominent electronic elements. Pepe's guitar riffing leads the way here, and he often breaks into a lead section that shows off his skills. The song's big chorus, with plenty of gang vocal sections, is a standout moment as Herman races through the lyrics at a break-neck speed that recalls some of the band's early material. Pepe's shredding guitar solo also stands out, and really is a throwback to the 1980s. Lead single Monster, with it's Lady GaGa inspired video, is up next. Despite some hilariously bad lyrics, the song is so hugely catchy that it does not matter. Herman's voice sounds strange throughout the song, almost a growl, which sounds different to his usual style. It gives the song some grit that it would otherwise lack, which is also helped by Pepe's really groovy guitar playing. While the electronics dominate, his guitar (and Jalle Verne's bass), help to provide the dancy rhythm the song has. Those who love some serious cheese will enjoy Child of the Sun, and the it is some cheese of the smelliest variety! I must be honest and say that this side of Reckless Love's sound mostly leaves me cold, but the song still has some extremely catchy melodies. The song is a wall of big synth sounds, and Varne's bass dances around them with a tight groove. The chorus, full of all it's autotune glory, is the sugariest thing on the album but it still manages to stick in your head! There is actually a surprising amount of good guitar work on this song too, and Pepe unleashes his inner Nile Rodgers with some tasteful and subtle funky playing throughout. Just when the album needs a kick, the hard rock of Bullettime comes on with a driving riff and a raw-sounding drum beat to act as the antidote to the synths of the previous song. It is one of my favourite songs on the album, because the 1980s hard rock sound is perfectly captured here, with a massive chorus and some excellent vocals from Herman.
With a big keyboard intro, Scandinavian Girls is another very poppy song - although this one has a bigger dose of 'rock' than Child of the Sun. Pepe's guitar still plays a big part driving the song, with some great overdriven riffing, but Herman's vocals are the song's lead instrument with the band supporting him. That is, until we get to a strange, slow guitar solo that comes in to cut through the mix unexpectedly. This is another song with rather awful lyrics, but the catchy melodies make up for this. Herman does not write great poetry, but then I think I would be disappointed if he did. Pretty Boy Swagger, which is collaboration with Finnish producer/musician Jurek, is another pop number. The opening vocals have an almost rap feel to them, which sounds a little forced, but when Herman starts singing properly, the song really becomes enjoyable. Again, Pepe makes his force felt with some excellent riffing and lead playing, as the electronics and the rhythm section provide more clubland beats. After an electronic explosion, Pepe lets rip into one of his best ever guitar solos, which is a feast of shredded goodness. Rock It is a tale of two songs, one good and one bad. The verses of this song really are not very good at all, with Herman almost talking his way through them with an uninspired musical backing, but the song contains a really strong chorus that is extremely memorable. It is just a shame that the rest of the song is so poor, because the chorus really is a winner. Destiny fuses the band's rock and pop sounds together perfectly, and actually ends up sounding like something Def Leppard might have come up with in the 1980s. The verses are quite low key, with a bouncy guitar riff and a rumbling bassline, before the chorus comes in with a feast of harmony vocals and big melodies. While the band have stronger songs elsewhere on the album, this sort of song is meat and potatoes for the band and showcases all of their strengths. The album's final song Let's Get Cracking (TWHP) is another excellent fast rock number with a really good guitar riff and a dynamic vocal performance from Herman. This song sounds like something Poison forgot to write, and really sounds like the best of the 1980s Sunset Strip sound. There is more excellent shredding throughout the song, and it works well as an album closer. There is even a hidden acoustic ending which sounds like how Reckless Love would sound sitting around a campfire at night, which is nice! Some versions of the album come with the bonus track Keep it Up All Night, which is another strong song. Overall, InVader is a strong return to form from a band who looked like they may have run out of ideas. Luckily this was not the case however, and this album of mostly excellent songs will no doubt be a big success for them.
The album was released on 4th March 2016 via Spinefarm Records. Below is the band's promotional video for Monster.
Monday, 28 March 2016
Anthrax's 'For all Kings' - Album Review
Despite a period of change and uncertainty in the Anthrax camp during the late 2000s; which saw classic frontman Joey Belladonna return to the band, leave again two years later, and finally return for good a further three years later; Anthrax managed to keep going. Being the most varied musically of the heralded Big 4 of Thrash, Anthrax spent most of the 1990s toying with an sound that fused their thrash roots with alternative rock with varying degrees of success. Then-frontman John Bush's charisma certainly helped the band keep going through the 1990s, but reuniting with Belladonna was probably always on the cards. This reunion eventually happened for good in 2010, and a year later Worship Music, the band's tenth album, was released. It was the first to feature Belladonna since 1990's Persistence of Time, and the reviews were almost all universally excellent. Worship Music was definitely a return to Anthrax's classic sound and, with Belladonna's melodic but powerful voice still as strong as it was in the 1980s, Anthrax regained a lot of their thrash credentials. Work on a follow-up album to Worship Music has been on-going ever since, with little snippets of news being released every so often, but Anthrax mostly kept a lid on any news of their progress. The departure of then-lead guitarist (and producer) Rob Caggiano must have hindered their progress. Caggiano had been an integral part of the band since 2001, and had produced the band's last two studio albums. A replacement was found in the form of Jon Donais (Aftershock; Shadows Fall), an already-respected guitarist who was noted for his excellent guitar playing skills - particularly as a founding member and songwriter of the melodic death metal outfit Shadows Fall. With Donais on board, work started on a new album in earnest, but it would take three more years before the eventual result, For all Kings, was released. If Worship Music was a return to the band's classic sound, then For all Kings is an improvement on the band's classic sound. Worship Music definitely had a lot of old school thrash trappings throughout, while For all Kings seems to have a greater focus on melody. This album is just as heavy and as fast as it's predecessor, but Belladonna's penchant for AOR shines through in his infectious vocal melodies. Anthrax have never had such catchy choruses, and that makes this album extremely easy to listen to. Founding members guitarist Scott Ian and drummer Charlie Benante, the band's main songwriters, have created an album that sounds like the Anthrax of old, but with a huge melodic injection. Jay Ruston's excellent production job helps too, with each instrument sounding huge and clear, but the result still feels really heavy and has that classic thrash vibe.
After the brooding instrumental intro Impaled, the album kicks into gear with the classic Anthrax thrash of You Gotta Believe. Scott Ian's rhythm guitar playing is unique to him, and you can recognise one of his riffs anywhere. Belladonna introduced himself with an excellent verse performance that sits over some stop-start double bass drumming from Benante. The verses are simple rockers, but the choruses are fast and thrashy, making good use of the song's intro riff. There is plenty of great melodies however, with an infectious Belladonna showing and some excellent drumming. I assume that Donais plays the majority of the guitar solos, and bursts of shredding are heard throughout the song. Frank Bello's bass guitar takes the lead for an atmospheric mid section however, with some effects-heavy prog guitar playing. Moments like this show that Anthrax are more than just thrashers, and can write interesting songs too. The song is a great intro to the album, and one of the best tunes on display here. With a more methodical pace, Monster at the End has a real 1980s NWOBHM vibe to it, with huge, purveying melodies and serious crunch to the guitars. The song is not really thrash at all, but it is still great. The chorus is massive, with a real sing-a-long feel to it, and some excellent riffing throughout. There is a great guitar solo here too, that speeds up as it progresses. The album's title track picks up the pace and injects a little more thrash energy into the album. Bello's bass guitar growls throughout the song, giving the whole thing a deep, and powerful sound. There is another really strong chorus in this song, which sees Belladonna hitting some pretty high notes, showing he has an impressive range. All to often, the singers in thrash bands just shout and snarl away but Belladonna really is a proper singer, and he is what makes Anthrax special. The first real moment of shredding is found here too, with an explosive guitar solo. Breathing Lightning is one of the songs that was released online prior to the album's release. It is another melodic number, with a really catchy main riff that is probably one of the band's best in a while. The intro and verses of this song have a very old school vibe, and sound like something that could have been on one of the band's early albums. The chorus is massive though, and definitely sounds the band's more modern approach. I can see this song going down well live, because of the potential for singing along during the chorus, and the main riff is sure to get heads banging. In contrast, the heads-down thrash of Suzerain is heavy and relentless, which works well to add some attitude to proceedings. There is still plenty melodies to be found, but the overall dark feeling that this song purveys works well in the context of the album. Benante is a very underrated drummer I feel, and his performance here is excellent. There is lots of fast footwork to be found, but also some strange little jazzy drum fills to further expand the musical pallete of the song. There is a great extended guitar solo in the song too, which further shows the skills of Donais, and what he brings to Anthrax.
Evil Twin, another song that was released online prior to the album's release, is another excellent slab of old-school thrash. Ian's huge riff that drives the song is one of this best, and the energy built throughout the song is probably the most intense on the album. Belladonna uses lots of vocal styles throughout, including a slightly growled section in the song's pre-chorus which is very different from his usual style. His air raid siren vocals are present and correct elsewhere however, especially during the anthemic, fast chorus. There is a very fast guitar solo too, that uses some evil-sounding note combinations to make it standout. The epic Blood Eagle Wings is one of the album's standout tracks, and there is something about the mighty Ronnie James Dio encompassing the whole song. There is not much thrash here, but plenty of good old-fashioned heavy metal with fantastic singing from Belladonna. The song's slow, heavy riff sets the tone for the rest of the song, and the snaking, grooving guitar work in the verses is fantastic. The Dio influence comes, for me, in the chorus and it sounds like something the great man would have written. It is just shy of eight minutes long, so the song moves through a few different sections. It does speed up at one point, and that section concludes with another shredding guitar solo. This is one of my favourite songs on the album, probably because of the sheer epic-ness of it. This shows a side of Anthrax that is not often on display, and shows that they are more than just a thrash band. After the majesty of the previous song, it is good to have some more basic fist-pumping in the form of Defend/Avenge. The thrashy riffs are back in the picture somewhat, the chorus, with plenty of gang vocals, is very memorable. Bello's basslines here are very prominent and help to drive the song. Sometimes in metal, the bass gets buried in the mix so it is good that Anthrax often push it to the front to help propel the song with that low-end assault. This song has a very modern sound, with the gang vocals and the strange-sounding guitar solo, but it fits nicely in the Anthrax canon. The next couple of songs pale in comparison to what else is on offer here, and definitely feel like filler. All of Them Thieves just feels a little too chest-beating to really appeal to me. All the melodic goodness of the rest of the album is largely eschewed here for an almost nu-metal feel that is jarring, especially when compared to the song's chorus which is a little more like the rest of the album - although certainly weaker. This Battle Chose Us! is easily the album's least memorable song, despite song strong bass playing in the song's intro. It is rather plodding, and without any of the standout melodies that fill the rest of the album. There is not much else to say about the song, as it really fails to make any sort of impression. Luckily, the album's final song, Zero Tolerance is a strong number and helps to round the album out in style. Shorter in comparison to much of the material here, the thrashy energy of the song helps to remove the memories of the previous two songs from your mind. It is a no-nonsense fast number, and that is just what the album needs to close it out. Overall, For all Kings is another strong album from Anthrax. The vast majority of the material here is very good, and a couple of the songs are probably destined to become future classics. I hope this album will be a big success for them, as they deserve it.
The album was released on 26th February 2016 via Nuclear Blast Records. Below is the band's promotional video for Blood Eagle Wings.
After the brooding instrumental intro Impaled, the album kicks into gear with the classic Anthrax thrash of You Gotta Believe. Scott Ian's rhythm guitar playing is unique to him, and you can recognise one of his riffs anywhere. Belladonna introduced himself with an excellent verse performance that sits over some stop-start double bass drumming from Benante. The verses are simple rockers, but the choruses are fast and thrashy, making good use of the song's intro riff. There is plenty of great melodies however, with an infectious Belladonna showing and some excellent drumming. I assume that Donais plays the majority of the guitar solos, and bursts of shredding are heard throughout the song. Frank Bello's bass guitar takes the lead for an atmospheric mid section however, with some effects-heavy prog guitar playing. Moments like this show that Anthrax are more than just thrashers, and can write interesting songs too. The song is a great intro to the album, and one of the best tunes on display here. With a more methodical pace, Monster at the End has a real 1980s NWOBHM vibe to it, with huge, purveying melodies and serious crunch to the guitars. The song is not really thrash at all, but it is still great. The chorus is massive, with a real sing-a-long feel to it, and some excellent riffing throughout. There is a great guitar solo here too, that speeds up as it progresses. The album's title track picks up the pace and injects a little more thrash energy into the album. Bello's bass guitar growls throughout the song, giving the whole thing a deep, and powerful sound. There is another really strong chorus in this song, which sees Belladonna hitting some pretty high notes, showing he has an impressive range. All to often, the singers in thrash bands just shout and snarl away but Belladonna really is a proper singer, and he is what makes Anthrax special. The first real moment of shredding is found here too, with an explosive guitar solo. Breathing Lightning is one of the songs that was released online prior to the album's release. It is another melodic number, with a really catchy main riff that is probably one of the band's best in a while. The intro and verses of this song have a very old school vibe, and sound like something that could have been on one of the band's early albums. The chorus is massive though, and definitely sounds the band's more modern approach. I can see this song going down well live, because of the potential for singing along during the chorus, and the main riff is sure to get heads banging. In contrast, the heads-down thrash of Suzerain is heavy and relentless, which works well to add some attitude to proceedings. There is still plenty melodies to be found, but the overall dark feeling that this song purveys works well in the context of the album. Benante is a very underrated drummer I feel, and his performance here is excellent. There is lots of fast footwork to be found, but also some strange little jazzy drum fills to further expand the musical pallete of the song. There is a great extended guitar solo in the song too, which further shows the skills of Donais, and what he brings to Anthrax.
Evil Twin, another song that was released online prior to the album's release, is another excellent slab of old-school thrash. Ian's huge riff that drives the song is one of this best, and the energy built throughout the song is probably the most intense on the album. Belladonna uses lots of vocal styles throughout, including a slightly growled section in the song's pre-chorus which is very different from his usual style. His air raid siren vocals are present and correct elsewhere however, especially during the anthemic, fast chorus. There is a very fast guitar solo too, that uses some evil-sounding note combinations to make it standout. The epic Blood Eagle Wings is one of the album's standout tracks, and there is something about the mighty Ronnie James Dio encompassing the whole song. There is not much thrash here, but plenty of good old-fashioned heavy metal with fantastic singing from Belladonna. The song's slow, heavy riff sets the tone for the rest of the song, and the snaking, grooving guitar work in the verses is fantastic. The Dio influence comes, for me, in the chorus and it sounds like something the great man would have written. It is just shy of eight minutes long, so the song moves through a few different sections. It does speed up at one point, and that section concludes with another shredding guitar solo. This is one of my favourite songs on the album, probably because of the sheer epic-ness of it. This shows a side of Anthrax that is not often on display, and shows that they are more than just a thrash band. After the majesty of the previous song, it is good to have some more basic fist-pumping in the form of Defend/Avenge. The thrashy riffs are back in the picture somewhat, the chorus, with plenty of gang vocals, is very memorable. Bello's basslines here are very prominent and help to drive the song. Sometimes in metal, the bass gets buried in the mix so it is good that Anthrax often push it to the front to help propel the song with that low-end assault. This song has a very modern sound, with the gang vocals and the strange-sounding guitar solo, but it fits nicely in the Anthrax canon. The next couple of songs pale in comparison to what else is on offer here, and definitely feel like filler. All of Them Thieves just feels a little too chest-beating to really appeal to me. All the melodic goodness of the rest of the album is largely eschewed here for an almost nu-metal feel that is jarring, especially when compared to the song's chorus which is a little more like the rest of the album - although certainly weaker. This Battle Chose Us! is easily the album's least memorable song, despite song strong bass playing in the song's intro. It is rather plodding, and without any of the standout melodies that fill the rest of the album. There is not much else to say about the song, as it really fails to make any sort of impression. Luckily, the album's final song, Zero Tolerance is a strong number and helps to round the album out in style. Shorter in comparison to much of the material here, the thrashy energy of the song helps to remove the memories of the previous two songs from your mind. It is a no-nonsense fast number, and that is just what the album needs to close it out. Overall, For all Kings is another strong album from Anthrax. The vast majority of the material here is very good, and a couple of the songs are probably destined to become future classics. I hope this album will be a big success for them, as they deserve it.
The album was released on 26th February 2016 via Nuclear Blast Records. Below is the band's promotional video for Blood Eagle Wings.
Saturday, 26 March 2016
Purson - Plymouth Review
Despite a few friends of mine banging on about Purson since their 2013 debut album, The Circle and the Blue Door, was released, it took me quite a while to actually give them a listen. There is so much good music around these days, that it is impossible to keep up with everything. It is hard enough to keep up with the new albums from bands I am already a fan of! I am not sure exactly what made me finally take the plunge with Purson, but seeing that they had included a Plymouth date as part of their latest UK tour must have been a factor. While Plymouth is always gradually improving as a city to see live music, it is nowhere near as good as other places. Despite only having lived in Plymouth itself for a matter of months, I have been going to gigs in Plymouth from Cornwall for quite a few years. Before Purson's gig there however, I had never been to see live music at The Junction on Mutley Plain. I live within 10 minutes walk from the venue now however, so the convenience made this gig even more appealing. I did not realise just how small the venue is however. It is basically just a pub, but the stage area and sound was surprisingly good for a venue of this size. Being fairly new to the band, I am not sure how big Purson are, but there was a decent-sized crowd in attendance by the time the band hit the stage. There was a good atmosphere created throughout the evening too.
Before Purson played, there were two support bands - although neither played for very long. First up were Cybernetic Witch Cult, from Cornwall, who played a handful of songs that fused classic 1970s rock with doom to create an atmospheric sound that sounded much bigger than the simple guitar/bass/drums combination that was onstage. The band used the bass guitar to good effect, often as a lead instrument, as the guitar laid down some heavy riffs. There was obviously a lot of early Black Sabbath about their sound, and the sludgy riffs and howling vocals really added to that vibe. There also projected clips from various films on the wall behind the stage, and used the dialogue from these clips to enhance or introduce their songs. That worked really well, and added another dimension to their live show. Their set was only short, but I enjoyed what I heard.
White Room followed and their rather dreary psychedelic rock failed to grab me after the previous band's heavy riffs left a decent impression. The five-piece rock band had an interesting sound, which initially sounded promising, but each song rolled into the next without a great deal of variation. The swirling guitars lacked any real melodies, and the vocals never really stood out. Again, they had quite a retro sound, and the keyboards they used during some songs helped to liven things up but, for me, their set never really came to life.
Purson were the band everyone was here to see however, and from the first song Rosalie Cunningham (vocals/guitar/kazoo) and band had the whole crowd eating out of the palms of their hands. The area in front of the stage was packed with fans, and the raised bit by the bar also had quite a few people stood watching. This is the tour in support of the band's second album Desire's Magic Theatre and, although the album is not out until next month, a fair chunk of it was played in Plymouth. Opening with the dramatic title track and the sparkling The Window Cleaner, the band got of to a great start. Cunningham said throughout that the band were having trouble with their on-stage sound, but what the audience could hear sounded great! A few older numbers were played next, with the dark Rocking Horse and the extremely catchy Spiderwood Farm being early highlights. Cunningham plays the majority of the band's guitar solos as well as singing, but George Hudson (guitar/vocals) also contributed atmospheric leads; with the two often playing in tandem. Samuel Robinson's keyboards were just the right level in the mix, and really added to the band's late 1960s, early 1970s sound. While being a retro band in sound and appearance, nothing about Purson feels like a throwback. The band sound fresh and exciting, and shows that bands can be retro without being pastiche. Of the new material, the hard rocking Electric Landlady (an obviously Jimi Hendrix tribute, both in name and sound) stood out with a powerful chorus and a great riff, as did the playful Mr. Howard. The set came to and end with the semi-acoustic rock of Tragic Catastrophe that is packed full of beautiful melodies. The layout of the venue makes it hard for bands to leave the stage, and easily return for an encore, so the band played a lengthy version of Wanted Man straight after instead of leaving and coming back. The jam elements of the song are expanded live, with lots of atmospheric soloing. The setlist was:
Desire's Magic Theatre
The Window Cleaner
Danse Macabre
Rocking Horse
Spiderwood Farm
Leaning on a Bear
Electric Landlady
Dead Dodo Down
Well Spoiled Machine
Mr. Howard
The Sky Parade
Tragic Catastrophe
-
Wanted Man
Overall, Purson really delivered and their powerful set makes me look forward to their set at the Cambridge Rock Festival in August even more. I bought a copy of the EP In the Meantime at the show too, and it was signed (along with my copy of The Circle and the Blue Door) by the majority of the band after the show, which was nice!
Before Purson played, there were two support bands - although neither played for very long. First up were Cybernetic Witch Cult, from Cornwall, who played a handful of songs that fused classic 1970s rock with doom to create an atmospheric sound that sounded much bigger than the simple guitar/bass/drums combination that was onstage. The band used the bass guitar to good effect, often as a lead instrument, as the guitar laid down some heavy riffs. There was obviously a lot of early Black Sabbath about their sound, and the sludgy riffs and howling vocals really added to that vibe. There also projected clips from various films on the wall behind the stage, and used the dialogue from these clips to enhance or introduce their songs. That worked really well, and added another dimension to their live show. Their set was only short, but I enjoyed what I heard.
White Room followed and their rather dreary psychedelic rock failed to grab me after the previous band's heavy riffs left a decent impression. The five-piece rock band had an interesting sound, which initially sounded promising, but each song rolled into the next without a great deal of variation. The swirling guitars lacked any real melodies, and the vocals never really stood out. Again, they had quite a retro sound, and the keyboards they used during some songs helped to liven things up but, for me, their set never really came to life.
Purson were the band everyone was here to see however, and from the first song Rosalie Cunningham (vocals/guitar/kazoo) and band had the whole crowd eating out of the palms of their hands. The area in front of the stage was packed with fans, and the raised bit by the bar also had quite a few people stood watching. This is the tour in support of the band's second album Desire's Magic Theatre and, although the album is not out until next month, a fair chunk of it was played in Plymouth. Opening with the dramatic title track and the sparkling The Window Cleaner, the band got of to a great start. Cunningham said throughout that the band were having trouble with their on-stage sound, but what the audience could hear sounded great! A few older numbers were played next, with the dark Rocking Horse and the extremely catchy Spiderwood Farm being early highlights. Cunningham plays the majority of the band's guitar solos as well as singing, but George Hudson (guitar/vocals) also contributed atmospheric leads; with the two often playing in tandem. Samuel Robinson's keyboards were just the right level in the mix, and really added to the band's late 1960s, early 1970s sound. While being a retro band in sound and appearance, nothing about Purson feels like a throwback. The band sound fresh and exciting, and shows that bands can be retro without being pastiche. Of the new material, the hard rocking Electric Landlady (an obviously Jimi Hendrix tribute, both in name and sound) stood out with a powerful chorus and a great riff, as did the playful Mr. Howard. The set came to and end with the semi-acoustic rock of Tragic Catastrophe that is packed full of beautiful melodies. The layout of the venue makes it hard for bands to leave the stage, and easily return for an encore, so the band played a lengthy version of Wanted Man straight after instead of leaving and coming back. The jam elements of the song are expanded live, with lots of atmospheric soloing. The setlist was:
Desire's Magic Theatre
The Window Cleaner
Danse Macabre
Rocking Horse
Spiderwood Farm
Leaning on a Bear
Electric Landlady
Dead Dodo Down
Well Spoiled Machine
Mr. Howard
The Sky Parade
Tragic Catastrophe
-
Wanted Man
Overall, Purson really delivered and their powerful set makes me look forward to their set at the Cambridge Rock Festival in August even more. I bought a copy of the EP In the Meantime at the show too, and it was signed (along with my copy of The Circle and the Blue Door) by the majority of the band after the show, which was nice!
Friday, 25 March 2016
Magnum's 'Sacred Blood "Divine" Lies' - Album Review
England's Magnum are one of the most reliable and consistent of the veteran rock bands that are still out there recording new music and touring. Founding member and guitarist Tony Clarkin must spend his entire life devoted to the band, as there always seems to be a new Magnum album and tour on the horizon. Two years have passed since Escape from the Shadow Garden (which I reviewed here) and, like clockwork, the Magnum machine have hit us with their latest release Sacred Blood "Divine" Lies (I am not sure what purpose the double quotation marks serve..), which is their eighth album since reforming in 2001. The fact that Sacred Blood "Divine" Lies is the band's nineteenth studio album overall shows that the band have an expansive and plentiful discography to their name. While nothing released since their 2001 reformation has been as good or as successful as anything released during their 1980s heyday, Magnum still release enjoyable pieces of work. Since the reunion, the quality of their work has been, largely, very strong. 2007's Princess Alice and the Broken Arrow and 2012's On the 13th Day are the two albums that instantly stand out as being the pick of the bunch however, and these watermarks are what I compare other new Magnum releases to. While Scared Blood "Divine" Lies does not quite reach these heights, it is definitely a step-up from Escape from the Shadow Garden - an album I enjoyed at the time of release but have reached for very little since. For starters, this new album is much more instantly melodic than the previous work, using more overt melodies that, at times, bring back memories of 1986's Vigilante which is one of the band's best works. The mix of British-style pomp rock with sprinklings of American-style AOR that the band use to their advantage was at it's strongest on Vigilante and Sacred Bood "Divine" Lies does emulate that style to some extent. Mark Stanway's keyboards play a greater role this time around, after sitting more in the background on Escape from the Shadow Garden. In my opinion, Magnum are at their best when Stanway has a greater role, as his striking keyboard leads and thoughtful piano lines are part of what makes the band so special. After all, Clarkin has never been an explosive guitarist (he is an amazing songwriter though!) and it is Stanway's playing that usually brings the band to life. The rest of the band do their bit too. Legendary frontman Bob Catley still sounds fantastic, and delivers another effortless vocal display throughout. I recently saw him hold his own with a handful of metal frontmen on the Avantasia tour, which reaffirmed my belief that he is one of the best rock singers out there. Bassist Al Barrow and drummer Harry James are as solid as ever on this album, but definitely remain the background compared to the other three musicians.
The album opens with the anthemic title track. A simple, classic Clarkin riff forms the basis of the song, as Catley's aging, but still powerful, voice croons over the top. This song is easily one of the best songs on the album, and by the time the huge chorus arrives, the album is in full swing. The previous album lacked many real stand-out choruses, so to be hit with a strong one right away is a great thing. The melodies used throughout this song definitely have that classic Magnum feel, and the piano-led bridge section later in the song has the majesty of the band's early work. Clarkin's guitar solos are never as interesting as many of his peers, but his effort in this song is very memorable, and fits with the rest of the melodies perfectly. The next song, Crazy Old Mothers, has an accompanying video. Stanway's keyboards drive the song initially, with pomp-inspired keyboard run, and his piano during the gentle verses is trademark Magnum. The chorus has some real crunch to it, as both Clarkin's guitar and Barrow's bass lock in nicely for a rhythmic chug. The keyboards are forever present however, and really bring out the best in Catley's vocals. This song is very typical of the band's modern sound, but the amount of keyboards used does hark back to the band's classic period. There is even a bit of a keyboard solo! Gypsy Queen opens very subtly, with delicate keyboards and Catley's vocals leading the verse on their own. Passages like this highlight what a great singer Catley still is, and how much emotion he can put into his delivery. The rest of the band join in for the crunchy chorus, led by some loose drumming from James. The contrast between the low-key verses and the heavier chorus works well, and there is another enjoyable guitar solo from Clarkin. The slight symphonic edge to the chorus really adds something to the album too. Princess in Rags (The Cult) is more upbeat, and really brings back memories of the band's glory days with a bouncy, keyboard-led intro. Stanway really shows what he brings to the band here, with plenty of different playing styles. His washes of atmosphere in the verses give the song real depth, and elsewhere his melodic leads help to liven up the crunch of Clarkin's guitar chugs. That being said, Clarkin's effects-heavy playing in the pre-chorus is excellent, and something different from the norm for Magnum. This is one of the album's best songs, and I hope the band play it live on their upcoming tour. With a ballad feel, Your Dreams Won't Die is another song that really sums up the band's modern sound. Stanway's subtle organ playing, and the steady beat laid by James for the basis of the song. The verses are very stripped back, but things pick up during the chorus. The subtle orchestral arrangement provides a grand backing, and the layers of backing vocals make the song seem much bigger than it is.
Those who are a fan of Magnum's more pomp-rock sound will love Afraid of the Night. Stanway's stark keyboard runs add stabs of overt melody, and Barrow's rumbling bass guitar throughout provides a really strong rhythm. Speaking of rhythm, the overall feel of the song changes throughout. The intro and choruses are quite dramatic, with lots of crashing drum rolls and Stanway's keyboards. The rest of the song is quite laid back, with plenty of atmosphere and excellent vocals. Another real highlight comes in the form of A Forgotten Conversation which builds up slowly over time with Stanway's keyboards always taking the lead. It really comes into it's own with the chorus however, with has some really powerful James drumming and some excellent wordless vocal sections that will surely go down well live. This is another song with the power and feel of the band's glory days, and is definitely one of the best songs the band have recorded since their reunion. Clarkin even outdoes himself as a guitarist, with lots of really strong and melodic lead breaks between vocal lines, something which is pretty flashy by his standards. After the majestic previous number, Magnum move back to more standard territory with Quiet Rhapsody. Modern Magnum can be described as having a crunchy sound, and this song highlights that perfectly. Clarkin's guitar work is quite prominent here, although some strange (almost African percussion) keyboard sounds during some sections spark interest. The song is still quiet strong however, with a keyboard-heavy section later in the song really standing out, before Clarkin embarks on another guitar solo. Twelve Men Wise and Just is another really memorable song. The interesting song title helps, but Catley's smooth vocal performance throughout really makes this song. Songs like this always highlight just how effortlessly grand Magnum can sound. Catley's voice is a big part of this feeling, and Stanway's piano playing throughout this song is excellent. The song does not really have any standout melodies, but it just oozes class throughout. The album comes to and end with the ballad Don't Cry Baby which is another keyboard-led number, although the song's chorus does rock out somewhat. It is certainly not the album's best moment, but the overall feeling of the piece makes it suitable for a closing number. Overall, Sacred Blood "Divine" Lies is another enjoyable album from Magnum that breaks no new ground for the band. Having said that however, no-one is expecting Magnum to break any new ground at this stage in their career, and their identity is strong enough to keep making albums in the same vein. Fans of the band will no doubt enjoy this.
The album was released on 26th February 2016 via Steamhammer/SPV GmbH. Below is the band's promotional video for Crazy Old Mothers.
The album opens with the anthemic title track. A simple, classic Clarkin riff forms the basis of the song, as Catley's aging, but still powerful, voice croons over the top. This song is easily one of the best songs on the album, and by the time the huge chorus arrives, the album is in full swing. The previous album lacked many real stand-out choruses, so to be hit with a strong one right away is a great thing. The melodies used throughout this song definitely have that classic Magnum feel, and the piano-led bridge section later in the song has the majesty of the band's early work. Clarkin's guitar solos are never as interesting as many of his peers, but his effort in this song is very memorable, and fits with the rest of the melodies perfectly. The next song, Crazy Old Mothers, has an accompanying video. Stanway's keyboards drive the song initially, with pomp-inspired keyboard run, and his piano during the gentle verses is trademark Magnum. The chorus has some real crunch to it, as both Clarkin's guitar and Barrow's bass lock in nicely for a rhythmic chug. The keyboards are forever present however, and really bring out the best in Catley's vocals. This song is very typical of the band's modern sound, but the amount of keyboards used does hark back to the band's classic period. There is even a bit of a keyboard solo! Gypsy Queen opens very subtly, with delicate keyboards and Catley's vocals leading the verse on their own. Passages like this highlight what a great singer Catley still is, and how much emotion he can put into his delivery. The rest of the band join in for the crunchy chorus, led by some loose drumming from James. The contrast between the low-key verses and the heavier chorus works well, and there is another enjoyable guitar solo from Clarkin. The slight symphonic edge to the chorus really adds something to the album too. Princess in Rags (The Cult) is more upbeat, and really brings back memories of the band's glory days with a bouncy, keyboard-led intro. Stanway really shows what he brings to the band here, with plenty of different playing styles. His washes of atmosphere in the verses give the song real depth, and elsewhere his melodic leads help to liven up the crunch of Clarkin's guitar chugs. That being said, Clarkin's effects-heavy playing in the pre-chorus is excellent, and something different from the norm for Magnum. This is one of the album's best songs, and I hope the band play it live on their upcoming tour. With a ballad feel, Your Dreams Won't Die is another song that really sums up the band's modern sound. Stanway's subtle organ playing, and the steady beat laid by James for the basis of the song. The verses are very stripped back, but things pick up during the chorus. The subtle orchestral arrangement provides a grand backing, and the layers of backing vocals make the song seem much bigger than it is.
Those who are a fan of Magnum's more pomp-rock sound will love Afraid of the Night. Stanway's stark keyboard runs add stabs of overt melody, and Barrow's rumbling bass guitar throughout provides a really strong rhythm. Speaking of rhythm, the overall feel of the song changes throughout. The intro and choruses are quite dramatic, with lots of crashing drum rolls and Stanway's keyboards. The rest of the song is quite laid back, with plenty of atmosphere and excellent vocals. Another real highlight comes in the form of A Forgotten Conversation which builds up slowly over time with Stanway's keyboards always taking the lead. It really comes into it's own with the chorus however, with has some really powerful James drumming and some excellent wordless vocal sections that will surely go down well live. This is another song with the power and feel of the band's glory days, and is definitely one of the best songs the band have recorded since their reunion. Clarkin even outdoes himself as a guitarist, with lots of really strong and melodic lead breaks between vocal lines, something which is pretty flashy by his standards. After the majestic previous number, Magnum move back to more standard territory with Quiet Rhapsody. Modern Magnum can be described as having a crunchy sound, and this song highlights that perfectly. Clarkin's guitar work is quite prominent here, although some strange (almost African percussion) keyboard sounds during some sections spark interest. The song is still quiet strong however, with a keyboard-heavy section later in the song really standing out, before Clarkin embarks on another guitar solo. Twelve Men Wise and Just is another really memorable song. The interesting song title helps, but Catley's smooth vocal performance throughout really makes this song. Songs like this always highlight just how effortlessly grand Magnum can sound. Catley's voice is a big part of this feeling, and Stanway's piano playing throughout this song is excellent. The song does not really have any standout melodies, but it just oozes class throughout. The album comes to and end with the ballad Don't Cry Baby which is another keyboard-led number, although the song's chorus does rock out somewhat. It is certainly not the album's best moment, but the overall feeling of the piece makes it suitable for a closing number. Overall, Sacred Blood "Divine" Lies is another enjoyable album from Magnum that breaks no new ground for the band. Having said that however, no-one is expecting Magnum to break any new ground at this stage in their career, and their identity is strong enough to keep making albums in the same vein. Fans of the band will no doubt enjoy this.
The album was released on 26th February 2016 via Steamhammer/SPV GmbH. Below is the band's promotional video for Crazy Old Mothers.
Tuesday, 22 March 2016
Inglorious' 'Inglorious' - Album Review
New bands released via Frontiers Records are often so contrived that they are just not worth checking out. Their want to release songs from a few of their key in-house songwriters under various different band names makes me wary of any band on their label that I am not already familiar with. Frontiers is great at releasing albums from older bands that other, bigger labels may not be that interested in any more, but their numerous projects and 'supergroups' are getting fairly tedious now. This is why, when I first heard and read about Inglorious, that my interest was piqued. I was initially disappointed however, and after watching the video for lead single Until I Die on Youtube I dismissed the band as another classic rock throwback that were lacking in the songwriting department. A few weeks later however, something made me watch the EPK for their self-titled debut album on Youtube, and the musical snippets sounded very strong. I also enjoyed hearing the band members talking about their songs, and 'their' songs is correct. This album is written by the band, and Frontiers Records' usual songwriters are not anywhere to be found. There are a few co-writes by other, more famous, musicians; but by and large the bulk of the songwriting has been done by the band. Led by frontman Nathan James, who has previously worked with Trans-Siberian Orchestra and Uli Jon Roth, Inglorious have written songs based around the tried-and-tested 1970s bluesy hard rock format. James' voice is the band's secret weapon however, and he soars throughout the album. Guitarists Andreas Eriksson (Crazy Lixx) and Wil Taylor had clearly been listening to their favourite classic albums while writing and recording Inglorious. While so many modern rock bands go for the single guitar approach, Inglorious realise the power and diversity that the twin guitar attack can bring. Both riff and solo throughout, and the sound is fantastic. Bassist Colin Parkinson and drummer Phil Beaver make up the rhythm section, and they pack a punch like no other. So often, modern drums can sound a little processed (which often sounds good, this is no general criticism) but Beaver's booming assault brings back rock's heyday again. Keyboards are played by Liam Holmes on a session basis, but a permanent keyboardist may help expand the band's sound further. Holmes' playing does add plenty of colour throughout however, and shows what they could do if they expanded their use of the instrument. While Inglorious is never going to be a classic, and does not the touch the bands and albums it was clearly modeled on, it is really enjoyable piece of work from a young band just starting out on their hopefully long and successful journey.
After a roaring hammond organ intro, that actually sounds a little like Deep Purple's Highway Star in places, the muscular riff of single Until I Die comes out of the speakers to announce this album in strong fashion. After my initial dismissal of the song (and band) I have come to realise that this is a strong tune, despite the slightly generic feel of the piece. The 1970s blues rock feel is captured perfectly however, with the main riff leading the song throughout. James dominates the song though, with a good vocal performance. He has quite an impressive range, and always steals the show when he sings. Despite Until I Die being more well-known, the following few numbers are actually much better. Breakaway is a great upbeat number, with a fast riff and bursts of hammond organ. There is something about Mk. III Deep Purple here, with James sounding like a mixture of David Coverdale and Glenn Hughes. The lead guitar skills of Eriksson and Taylor are first given a real showcase on this song, with plenty of little bursts of lead riffing, and an explosive solo towards the middle of the piece that will no doubt see plenty of air guitaring a the band's live shows. The classy blues of High Flying Gypsy is up next. This mid-paced rocker, with crunching guitar rhythms and a rumbling bassline, is packed with serious attitude. Co-written with Al Pitrelli (Asia; Savatage; Trans-Siberian Orchestra; Megadeth), the song is probably the first on the album that really blows you away. It has a bit of everything that makes rock music great, and James once again nails the vocals. It has a certain epic feel about it that the rest of the album is lacking, and shows the band at their most creative. Those who love the blues will love the slow-burning Holy Water which is another stand-out song. There is a little of The Black Crowes and Free on display here, with subtle verses led by a bluesy guitar line and a soaring, gospel-inspired chorus. Rather unsurprisingly, there is a big guitar solo section in this song. It starts off slow, before the band picks up the pace and the solo speeds up accordingly. It is an explosive moment, equalled only by James' sustained high note that he belts out not long after the solo's conclusion. Opening with a percussive rhythm and some big slide guitar notes, Warning initially deceives with this blues opening before exploding into a fast rocker with some excellent high vocals from James. After two more mid-paced songs, a good in-your-face rocker is a welcome sight. It is a short song, but it certainly packs a punch and showcases the band's heavier side. Bleed for You has a bit of a ballad vibe, but it still rocks out. A 'hands in the air' chorus is the song's centre piece, but the bleeding guitar solo, that sounds a little like Slash, also stands out. The slight wah effect on the solo makes it really enjoyable to listen to, and the piano chords that cut through the mix towards the end add something a little different to the piece.
Girl Got a Gun, another Pitrelli co-write, is another song with a strong blues flavour. While the lyrics are pretty clunky, James still manages to lay down a commanding vocal performance. The song's chorus is rather anthemic too, with a big keyboard backing and some silky smooth vocal melodies. There is another fantastic guitar solo on this song too, something which is a bit of recurring theme throughout the album! You're Mine, co-written by Joel Hoekstra (Night Ranger; Trans-Siberian Orchestra; Whitesnake), is a riffy rocker with probably the heaviest riff on the album. The staccato rhythms are infectious, and the atmospheric mid-section provides a nice change of pace. Again, the song possesses a strong chorus. James hits possibly the highest notes of the album in the final run through of it, and it actually sounds a little strange. I am not sure those notes were really necessary, but he is one hell of a singer! Inglorious, the band's self-titled song, is something a little different. A slow, heavy riff makes up the song's backbone, but James' effects-heavy vocals and some strange keyboards provide the main melodies in the song's intro. When he starts to sing properly, the song get going, although it always maintains a rather strange vibe. I am not sure if I like the song or not, and either way it stands out like a sore thumb. There is a nice neo-classical guitar instrumental section mid-way through that then leads into an atmospheric, bass-led section. This slight prog feel is not in keeping with the rest of the album, but it does seem to work somewhat. Wake is the album's only true ballad, and it is a good one. Delicate acoustic guitar melodies form the basis of the song, and the ringing chords mixed with James' powerful voice is a good combination. James does not really tone it down at all here, although his verse deliver uses his lower register a lot more. He really lets rip in the chorus however, and actually manages to overpower everything else. I like the song however, and a great bluesy guitar solo is the icing on the cake. It has a slight country tinge to it too, and something of Guns N' Roses ballad solos, but it works really well. There is a beautiful, but lengthy, piano outro on the song too, which sets things up perfectly for the next number. The dark rock of Unaware is the album's final song. John Mitchell (Arena; Kino; Frost*; It Bites), who also mixed the album, co-wrote this riff-heavy rocker, and it is perfect as a closing number. The main riff is one of the album's best, and the big verse drumming really ramps up the power considerably. There is time for one more strong chorus on this album, and this song delivers with a slight howl of an offering, but it works within the darker context of the song. There is some shredding guitar soloing here too, something not used that much elsewhere in the album. Overall, Inglorious is a strong debut album from the new rock band. There is definite room for improvement, but the results so far are impressive. I really want to see the band live to see what they are like on stage, as I think that they would be excellent!
The album was released on 19th February 2016 via Frontiers Records. Below is the band's promotional video for Until I Die.
After a roaring hammond organ intro, that actually sounds a little like Deep Purple's Highway Star in places, the muscular riff of single Until I Die comes out of the speakers to announce this album in strong fashion. After my initial dismissal of the song (and band) I have come to realise that this is a strong tune, despite the slightly generic feel of the piece. The 1970s blues rock feel is captured perfectly however, with the main riff leading the song throughout. James dominates the song though, with a good vocal performance. He has quite an impressive range, and always steals the show when he sings. Despite Until I Die being more well-known, the following few numbers are actually much better. Breakaway is a great upbeat number, with a fast riff and bursts of hammond organ. There is something about Mk. III Deep Purple here, with James sounding like a mixture of David Coverdale and Glenn Hughes. The lead guitar skills of Eriksson and Taylor are first given a real showcase on this song, with plenty of little bursts of lead riffing, and an explosive solo towards the middle of the piece that will no doubt see plenty of air guitaring a the band's live shows. The classy blues of High Flying Gypsy is up next. This mid-paced rocker, with crunching guitar rhythms and a rumbling bassline, is packed with serious attitude. Co-written with Al Pitrelli (Asia; Savatage; Trans-Siberian Orchestra; Megadeth), the song is probably the first on the album that really blows you away. It has a bit of everything that makes rock music great, and James once again nails the vocals. It has a certain epic feel about it that the rest of the album is lacking, and shows the band at their most creative. Those who love the blues will love the slow-burning Holy Water which is another stand-out song. There is a little of The Black Crowes and Free on display here, with subtle verses led by a bluesy guitar line and a soaring, gospel-inspired chorus. Rather unsurprisingly, there is a big guitar solo section in this song. It starts off slow, before the band picks up the pace and the solo speeds up accordingly. It is an explosive moment, equalled only by James' sustained high note that he belts out not long after the solo's conclusion. Opening with a percussive rhythm and some big slide guitar notes, Warning initially deceives with this blues opening before exploding into a fast rocker with some excellent high vocals from James. After two more mid-paced songs, a good in-your-face rocker is a welcome sight. It is a short song, but it certainly packs a punch and showcases the band's heavier side. Bleed for You has a bit of a ballad vibe, but it still rocks out. A 'hands in the air' chorus is the song's centre piece, but the bleeding guitar solo, that sounds a little like Slash, also stands out. The slight wah effect on the solo makes it really enjoyable to listen to, and the piano chords that cut through the mix towards the end add something a little different to the piece.
Girl Got a Gun, another Pitrelli co-write, is another song with a strong blues flavour. While the lyrics are pretty clunky, James still manages to lay down a commanding vocal performance. The song's chorus is rather anthemic too, with a big keyboard backing and some silky smooth vocal melodies. There is another fantastic guitar solo on this song too, something which is a bit of recurring theme throughout the album! You're Mine, co-written by Joel Hoekstra (Night Ranger; Trans-Siberian Orchestra; Whitesnake), is a riffy rocker with probably the heaviest riff on the album. The staccato rhythms are infectious, and the atmospheric mid-section provides a nice change of pace. Again, the song possesses a strong chorus. James hits possibly the highest notes of the album in the final run through of it, and it actually sounds a little strange. I am not sure those notes were really necessary, but he is one hell of a singer! Inglorious, the band's self-titled song, is something a little different. A slow, heavy riff makes up the song's backbone, but James' effects-heavy vocals and some strange keyboards provide the main melodies in the song's intro. When he starts to sing properly, the song get going, although it always maintains a rather strange vibe. I am not sure if I like the song or not, and either way it stands out like a sore thumb. There is a nice neo-classical guitar instrumental section mid-way through that then leads into an atmospheric, bass-led section. This slight prog feel is not in keeping with the rest of the album, but it does seem to work somewhat. Wake is the album's only true ballad, and it is a good one. Delicate acoustic guitar melodies form the basis of the song, and the ringing chords mixed with James' powerful voice is a good combination. James does not really tone it down at all here, although his verse deliver uses his lower register a lot more. He really lets rip in the chorus however, and actually manages to overpower everything else. I like the song however, and a great bluesy guitar solo is the icing on the cake. It has a slight country tinge to it too, and something of Guns N' Roses ballad solos, but it works really well. There is a beautiful, but lengthy, piano outro on the song too, which sets things up perfectly for the next number. The dark rock of Unaware is the album's final song. John Mitchell (Arena; Kino; Frost*; It Bites), who also mixed the album, co-wrote this riff-heavy rocker, and it is perfect as a closing number. The main riff is one of the album's best, and the big verse drumming really ramps up the power considerably. There is time for one more strong chorus on this album, and this song delivers with a slight howl of an offering, but it works within the darker context of the song. There is some shredding guitar soloing here too, something not used that much elsewhere in the album. Overall, Inglorious is a strong debut album from the new rock band. There is definite room for improvement, but the results so far are impressive. I really want to see the band live to see what they are like on stage, as I think that they would be excellent!
The album was released on 19th February 2016 via Frontiers Records. Below is the band's promotional video for Until I Die.
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