Musipedia Of Metal

David Bowie: Blackstar (RCA)

*DISCLAIMER: This review has a certain new poignancy to it now after the events of the 11/01/16 with the untimely passing of David Bowie. Now the listening sessions took place before his death shortly after the albums release on Mr Bowie's birthday. All the opinions formed are based solely on the records merits, any sentiment has been added after the fact.*

David Bowie has always been one of musics great chameleons, be it his look, style, sound, he seems to be able to adapt and indeed improve any genre he cares to dip into, his twenty fifth album The Next Day was released out of the blue in March 2013 and was somewhat of an homage to his successful and creative Berlin years. The album saw Bowie team up once again with Tony Visconti and it took the world by storm, every Bowie album is seen as an event so when Blackstar was dropped on 8th January 2016 it shook up the music scene coming without warning and supplying more Bowie quirkiness and musical genius. Once again Blackstar has Visconti producing along with Bowie, as well as a great team of musicians aiding him to create this avant-guard, jazz like album, the key addition to the band is Donny McCaslin whose saxophone, woodwind and flutes are the real keys to this album. The album opens with the then title track which features a repeating drum machine underneath the dreamy keys and Bowie's otherworldly vocals before the orchestrations stir in the background and the sax kicks in. So far so Bowie with madness meeting majesty on an understated slow burn of an opener, that owes as much to trip-hop as it does to jazz. The electronic discord makes way for plucking strings which sees Bowie croon on the smooth middle section, before the darkness creeps back in.

With a seven minute opener we go back to the percussive driven sheen of Tis A Pity She Was A Whore which once again relies upon the brass and the drums to move it into a cacophony as Bowie laces it with brief interludes of erudite verbal passages adding to the shimmying jazz shuffle "Man she punched me like a dude" is a great way to start a song in anyone book. With two tracks gone and there is no sign of any kind of cohesiveness on the album which spans several genres and sounds throughout, all taken in the long tall stride of the master of musical magic. Lazarus is a more guitar driven affair that slowly slinks along as Bowie talks of death and rebirth backed by some great synths and yes more sax it is one of the best tracks on the album in it's complexity masking as simplicity, something that Mr Bowie has always revelled in (In light of current events this is clearly a dying man's parting gift). The middle part of the album has much more guitars with the frantic Sue (Or In A Season Of Crime) and the bass heavy creep of Girl Loves Me both take the rock back a bit while remaining delightfully weird in a Peter Gabriel like way. With twenty five albums under his belt some could ask what more could Bowie do musically? Well on Blackstar he has once again re jigged his sound meaning that it is quirky, odd, beguiling and most importantly pure Bowie magic. 9/10

A fitting tribute to the legacy of such an important part of British Music history

Anthrax: For All Kings (Nuclear Blast)

The eleventh album by Anthrax is one that shows the band revitalized, it is the first since the departure of long time lead guitarist Rob Caggiano (although he himself only played on two Anthrax albums in eight years) and on that front alone former Shadows Fall man John Donais has really taken up the baton in the shredder role. This album is guitar heavy, more so than ever before, with each song strewn with solos that rip, tear and bite at the leash as Donais manically slides up and down the fretboard. These guitar histrionics have added positively to the record as it has matured Anthrax's sound away from the thrash blueprint they have always been known for, yes the stomp is still there on tracks like Breathing Lightning but there is more modernity on the songs coming from the NWOAHM style of bands like Shadows Fall with tracks like Monster At The End and the brutal Suzerain having a bit more aggression to them. There is also some progression on the 7 minute opener You Gotta Believe and the superb Blood Eagle Wings which is big powerful fist pumping metal track. The thrash is still there but also there is wide stroke of classic metal on the title track on which frontman Joey Belladonna does his best Dio impression. Where as Worship Music saw the band trying to break away from their past by embracing that which came before it and looking forward to the future. I've mentioned Donais a lot (he really is very good) but he can only shine because of Scott Ian's trademark effortless riffs, bolstered by Frank Bello's furious bass playing and Charlie Benate's superb drumming see first single Evil Twin (which is about the massacre at Charlie Hebdo in Paris) which has Benate playing up a storm. Anthrax have really upped their game on For All Kings after a what has been a great 'live' period for the band finally their maturity has been reflected in their recorded output. 8/10

Fleshgod Apocalypse: King (Nuclear Blast)

Speaking of advancement it's time for the Italian masters of cinematic orchestral metal to once again arrive and blow away any previous effort with their latest album King. My initial thought upon my first listen was and I quote "Holy Fucking Shit!!" As Marche Royale builds with it's string led and choral vocals into the explosive opener In Aeternum which sees them on familiar territory, all incredible classical backing the insane drums of Francesco Paoli (who also plays guitar and supplies backing vocals) driving the wall-of-sound style of the band. The guitars of Cristiano Trionfera are there to riff furiously and supply the searing solos, underpinned by the piano and synths of Francesco Ferrini who adds a larger scope to the bands' sound than ever before, even on the pounding heaviness of Healing Through War he jars the listener with the orchestrations (aided by Trionfera) fleshing out (no pun intended) the songs giving Fleshgod their unique sound.

This like the previous record, is once again a concept album, built around the rise and fall of monarchy (I think), the vocal interplay between Tommaso Riccardi (harsh), bassist Paolo Rossi (clean) and the operatic vocals of guest soprano Veronica Bordacchini is perfect when used in unison on tracks such as the dramatic performance piece Cold As Perfection. Bordacchini is also brilliant on her own on Paramour which is straight opera that lingers momentarily before being washed away with the light speed assault of And The Vulture Beholds. The band are all top flight musicians playing every track with the right level of intensity and technical ability, Fleshgod Apocalypse have always been a band in their own league and on this record they have once again proved their immense talent and ability adding yet more layers to their sound with every release they have improved themselves fleshing out their sound, Labyrinth was damn near perfect but this release is coming close to being their magnum opus. Incredible roll on seeing them live in March!! 9/10

Stone Cold Dead: Lava Flows (Volcanic Music)

Stone Cold Dead is a collaborative project between a few Greek musicians, the idea is a conceptual album that merges the extreme sides of metal with progressive and more mainstream sub-genres. The main contributors are Ex Rotting Christ and Nightfall man George Bokos who handles vocals, guitars and production and Charis Pazaroulas who adds bass and contrabass (this is what gives the album it's gut punching bottom end). These two are the only ones that play on every track, they have recruited Dimitrios Dorian, Yannis Stavropoulos and most notably Nile man George Kollias as the drummers on this record each one drumming for of the albums three 'parts' (labelled Stone, Cold and Dead). Opening track Climbing The Cage thunders ion with blast beats and Gojira-like groove full of fret slides and low level punching bass as well as roaring vocals from Bokos, the band continue with this no nonsense brutalism on Cyclone Speaking which will have you bouncing in your chair with it's bass-heavy down tuned power and amazing drums as everything gets a bit early LOG, the title track slows things down with a percussive intro that brings elements of Max Cavalera fronting Sabbath. Part 2 starts with the thrashy Death Drive which yet again sounds bit like Soulfly and has Pazaroulas' bass leading everything, this album is great very brutal and aggressive but with a keen ear for melody and some progressive touches throughout, tracks like Hubrisim have elements of Deftones, while Deconstructing The Architect has Maiden flavour in it's opening before the final track And The Tree Becomes A Sphere brings everything together in great finale. These Greeks can do muscular metal very well, yes it can blur into one at some points but this style of music is all about feel and Lava Flows will kick your head in and possibly rupture your spleen, which I guess is a feeling! 7/10

Chronos Zero: Hollowlands (Bakerteam)

Wel well well, what do you get if you cross Symphony X, Amaranthe and Rhapsody? The answer would be something close to the sound of Chronos Zero who hail from Italy and boast a progressive metal sound, a futuristic concept album dealing with science fiction and fact and three vocalists; two male, one female all of whom weave complex vocal melodies together. The band have added the growling vocals of Manuel and the soaring classically trained pipes of Margherita since their debut meaning that the Russell Allen-like throat of Jan Manenti (from Love.Might.Kill) now has two perfect foils to tell the complex story. Luckily he is also aided by the virtuosity of the band who rely on the tried and tested method of having the single guitarist playing with insane skill, a rhythm section that changes the time signature and pace at will fluidly adding twists and turns to the songs and a whole load of keyboards from a dedicated keyboardist as well as the from the guitarist, this means the whole thing is cinematic in scope and like I said the Symphony X looms large but not enough to overpower what the band are trying to do, they have enough individuality to separate them from the pack. As I said the album is a concept and as I haven't read the booklet, or heard the debut album, I can't really tell what it's about but it seems to be set in a futuristic world which means that the prog/power of the band is perfect fit, the album weighs in at 14 songs an none of these are short full of instrumental sections, solos as well as barrages of riffage, especially Shattered which tries to throw in as many as possible with three time changes in the song, so if you are not a fan of prog metal it may be a slog but for those that like their metal clever, vivid, huge in scope and full of technical musicianship then Hollowlands - The Tears Path: Chapter One (to give it it's full title) will be sitting somewhere near the top of your must buy list! Expressive, symphonic metal from this Italian metal mob. 8/10

Serpent: Nekromant (Transubstants)

Swedish band Serpent have a particular sound and that is spacey doom rock, with Sabbath and particularly The Sword with the same kind of chunky guitar riffs that are placed between NWOBHM and doom metal topped by the keening vocals of frontman/bassist Mattias Ottosson, who sounds very like The Swords J.D Cronise, in fact everything about Serpent sounds like The Sword Demon On Our Side could have come off any of their albums while Hey You creeps, and the swaggering chest beating of Praying For A Curse has another similarity to that of Grand Magus. Serpent are a good band but they do sound an awful lot like The Sword so if you like the Texan fuzz merchants then Serpent will be up your street however many will just slither away and seek out the originals. 5/10

The Temperance Movement: White Bear (Earache [Review By Paul]

2013 saw the emergence of one of the best British bands in absolutely ages; stunning live shows over the next two years cemented this reputation and the band’s self-titled debut contained a slab of bluesy rock of the highest quality. Three years on and the sophomore release by The Temperance Movement moves the band up a notch and surely even higher acclaim. If I had to pick five words to use within the description of this album they would be: Soulful; swagger; confident; development and polished. Following such an excellent debut release was always going to be difficult and on first listening much of White Bear is not as instantaneous as TTM. However, get into the second and third listen and you begin to pick up the areas of improvement; the guitar work of Paul Sayer and (now ex) Luke Potashnick soars and dives all around you, intricate and delicate yet aggressive and gritty too. The bass of Nick Fyffe is superb, underpinning the frantic yet controlled drumming of Damon Wilson; a fine example shown in A Pleasant Peace I Feel. The opening stomp of Three Bullets and the driving Modern Massacre show the band’s steel whilst allowing the cigarette drawl of frontman Phil Campbell to really come to the fore.

If you've seen this band live (and I've been fortunate to several times) you’ll know that Campbell is the beating heart of TTM. His energetic and dynamic delivery has moved up a level. Both Battle Lines and the title track have shades of last year’s US tour mates Blackberry Smoke, all swagger and pomp with some excellent bluesy guitar lines, although White Bear also provides opportunity for Campbell to demonstrate his softer side with some delicate vocals contrasting with his more usual rasp. Established live favourite Oh Lorraine has received substantial air time already and is a fine single, classic rock music for radio and as infectious as a dose of scabies on a Newport bus. Time to explain one of my five words; confident. Throughout White Bear there is an air of confidence which has been hewn from hard work, both in the studio but mainly on the road where these guys have really developed and honed their craft. Their sound has added an extra layer, subtle and often almost unnoticed, skillfully created to enhance TTM’s sound. Credit to Sam Miller who produced the album along with the band. White Bear isn't a long album, 35 minutes and ten tracks but there is no filler on this release.

The influences remain; The Stones, The Faces, The Black Crows and Zeppelin to name but four but all pretty damn fine. Listen to Magnify, nothing new but damn fine rock ‘n’ roll. Penultimate track, The Sun And The Moon Roll Around is a blues soaked sojourn, whilst I Hope I'm Not Losing My Mind slows the pace and closes the album perfectly. Back in 2014, after I’d seen the band for a second time at The Empire in Shepherd’s Bush, I predicted this band would be immense. I said it again later that year after a stunning show at the O2 in Bristol and I repeat it now. This band are incredible. One of the albums of 2016 – without a doubt. Hear it, see them, enjoy. 10/10

Primal Fear: Rulebreaker (Frontiers)

Come one, come all as we once again worship at the altar of The Metal Gods Judas Priest with their Germanic counterparts! Yes I'm talking about Primal Fear and they are back with a new album and a three guitarist set up welcoming founding member Tom Naumann back to the band to compliment the axe wizardry of Alex Beyrodt and Magnus Karlsson, this isn't the only change in the line up as they have brought in Francesco Jovino in behind the skins who applies his rumbling backbeat throughout. Rulebreaker has all the prerequisites of Primal Fear's sound, the supersonic speed metal with opener Angels Of Mercy and Constant Heart sounding like they could have come off Priest's Painkiller, as an antidote to the speed is the chunky grinding heavy metal of The End Is Near which shows off Ralf Scheepers' amazing vocal range. After all these years he doesn't seem to have lost a single octave still having the same snarling mid-range and ear piercing highs of Rob Halford in his glory days. There is so much Priest worship on this record it could be the follow up to Redeemer Of Souls but this is not a bad thing as Primal Fear have never shied away from sounding like the metal legends, Bullets And Tears sounds a lot like Breaking The Law with the title track jumping straight off Killing Machine they do the impression so well that they have really made the sound their own.

However the band still have the bouncy power metal blueprint that bassist Mat Sinner started all those years ago with In Metal We Trust the spiritual successor to Metal Is Forever. Now Primal Fear have never been afraid to take risks 16.6 had more of a progressive vibe and on Rulebreaker the band have gone all Blind Guardian with the albums' symphonic (added by Karlsson's keys) 10 minute plus centrepiece We Walk Without Fear which really displays the incredible musical dexterity of a band many would write off, this can also be witnessed on the ballad The Sky Is Burning which is a stirring track that emotes real passion. With a three part guitar harmonies adding a new dimension to the bands now trademark metal assault Rulebreaker is the latest in a long line of Primal Fear albums, their eleventh in fact, that just grabs you from track one and doesn't let you go until you are pumping your leather clad fist in the air. Another superb release by the German metal maniacs. 8/10

Skunk Anansie: Anarchytecture (100% Records) [Review By Paul]

Anarchytecture is the seventh release from Skunk Anansie, a formidable part of the 1990s Britrock movement, and the third since the band reformed in 2009. This release follows on from the rather average Black Traffic in 2012 but in every other sense this is a cracker of an album. Skunk Anansie are not metal, that’s for certain. However, their musical combination mixes reggae, electronica, punk and even the odd bit of hip hop whilst also laced with a vicious element of rock. This release has the aggression of Ace’s fine guitar work which melds with bass and drums of Cass and Mark Richardson respectively. Victim and Beauty Is Your Curse for example, contain a driving tempo which propels the songs along. Lead vocalist Skin needs no introduction, being one of the most inspiring and captivating female vocalists in rock. Death To The Lovers, a tender electronic tune is one example which showcases the beauty in Skin’s voice.

The main attraction of this band has always been the variation in their styles, crossing boundaries and genres, following their own style. The electropop drive of In The Back Room contrasting with the industrial-tinged Bullets, complete with anthemic chanting and marching beat. Although Skin’s voice grabs the attention, it would be wrong to write off the rest of the band and similar to the vastly underrated Killing Joke, the sum of the parts really is the key. Anarchytecture clocks in at a shade over 37 minutes, with the majority of the songs short, sharp and to the point. That Sinking Feeling, full of punky riffs and aggressive punches you in the face (and sure to be a live favourite) whilst Suckers! is a short powerhouse of an instrumental. Album closer I’ll Let You Down is perfect, highlighting the sensitive side of the band and another beautifully constructed song with a stunning performance from Skin. An excellent album that grows on you the more you listen to it. A welcome return to form from a classic British band. 9/10

Abbath: Abbath (Season of Mist)

To say that what seems to be the end of Black Metal legend Immortal was dramatic is an understatement, the split was rife with all the mud slinging of an episode of Eastenders with frontman Abbath leaving the group he founded with guitarist Demonaz in 1990. Now the band wer in a legal battle over the rights and Abbath dissolved the band to continue under his own name however Demonaz and drummer Horgh will apparently continue the band without him and are said to be recording a new album. Now what will come of this I'm not going to speculate, but what I am going to do is review Abbath's heralded debut solo album. Before the release of the solo album yet more departures have happened with album sticksman Creature and live guitarist Per Valla both leaving the group before the album was even released, but now lets get away from the comings and goings of the personnel and focus on the music contained on this disc.

Lets address the elephant in the room right away shall we, this is black metal, in fact it's the kind ov Norwegian Black Metal that Immortal were at the forefront of for many years, blending finger shredding thrash with Satanic lyrics and Abbath's croaking vocals to brooding, dark metal, just listen to the propulsive blast beats of Count The Dead and Fenrir Hunts and you can hear the band Abbath started. There is also a lot of classic and modern metal on this record with the atmospheric Root Of The Mountain sounding like it could come from Mercyful Fate and the brutal Winter Bane sitting at home on a Devildriver record. So fans of Abbath will get a lot from this records but it's not perfect it suffers from sequencing issues, the best tracks coming towards the latter part of the album, there also one or two duds with To! War sounding like it was recorded in a dustbin and Ashes Of The Damned being totally rubbish having the jarring synth horns slicing through it. For a first shot away from his previous band it's got enough to win over the doubters but there are a couple of risks that don't quite pay off, still for the most part it's fast, furious black metal fun! 7/10

Cauldron: In Ruin (The End Records)

Four albums into their career and Cauldron are showing no signs of releasing that disco-funk album we've all be waiting for but they still seem able to drop a heaving slab of bullet-belt wearing, leather clad, NWOBHM worship, so for now we'll just have to deal with the fact that this is what Cauldron do and do very well indeed. The threesome, led by founder members Ian Chains and Jason Decay, once again have every old school pastiche covered with galloping bass runs from Decay leading the charge backed by the thundering toms of new boy Myles Deck, topped with some tasty shredding from the Flying V of Chains. Yes Cauldron do stick rigidly to a formula but it's one that seems to really make them shine, from the first chords of No Return/In Ruin you are drawn in with the schlocky B- movie horror lyrics and the songs direct go for the throat riff. It's this immediacy that the Canadian three piece have repeatedly brought to their previous albums, there is no real let up as every one of these nine tracks has either a swift thrash riff case -in-point Santra Mira or as on Hold The Sky a strutting punch the sky rhythm, more melody comes in the shape of Corridors Of Dust which is possibly the albums most Maiden moment while Delusive Serenade is an instrumental that gives you time to breathe and nods to Ride The Lightning. I have to reiterate that Cauldron do what they do well, the proto-thrash, the ghostly reverb of Decay's vocals and the prerequisite admiration paid to the old school are all in abundance and hopefully Cauldron will still continue to keep the spirit of NWOBHM alive. 7/10

The Radio Sun: Heaven Or Heartbreak (Melodic Rock Records)

When you think Aussie rock the usual suspects come to mind, however The Radio Sun have about as much in common with AC/DC as Behemoth would. There are no bluesy pub rock vibes here just big slick saccharine melodic guitar rock rhythms that take you to hazy summer nights as the mist descends over the beach and that bikini clad beauty cuddles up to you to keep warm...*cough* sorry drifted away there. Starting off with Caught Between Heaven And Heartbreak we kick start with the huge riffs Stevie Janvski who plays like EVH in his heyday soloing mightily when he gets his time to shine. The groove of bassist Robbie Erdmanis and drummer Ben Wignall's is sturdier than Locktite, this powerful boiler room is the perfect foil for Janvski's guitars and the impressive but understated synths that fill the background at their poppiest on Science Fiction Make Believe which features Danger Danger frontman Paul Laine helping with vocals, as well as doing a sterling production job, ensuring everything is very glossy. This is uncomplicated, polished, accomplished melodic rock that has an ear to bands like Winger, Nelson, Night Ranger, Def Leppard and even Queen on Hanging By A Thread in places, much of these comparison can be drawn because of the soulful vocals of Jason Old who has the perfect vocal for this kind of unfussy melodic rock giving the same heartfelt performance on the rockier tracks as he does on the emotive ballad Dying Without Your Love and the radio bothering Do You Remember Me? The Radio Sun perfectly execute a mix of hard rock with a keen ear to the 80's FM radio era. Heaven Or Heartbreak is a melodic rock masterclass and The Radio Sun couldn't be more aptly named, this album is a ray of sunshine shining out of your speakers (if that's possible). 8/10

Steven Wilson: 4 1/2 (Kscope)

Is Steven Wilson the hardest working man in music? This is a question I and probably numerous music journos have posed since Porcupine Tree first came to precedence in the mid-nineties, he has gone on to have a successful career with that band and now with his solo career he is taking to new heights with his latest album Hand.Cannot.Erase breaking chart records around the world, between any of his own endeavours, recording and touring mostly, Wilson produces and mixes numerous albums for many other bands meaning that he does seem to be constantly working. So now not long after the release of his fourth album, Wilson has released a stopgap EP that collects songs that were written during the sessions for Wilson's previous two studio albums, the aforementioned Hand. Cannot. Erase. and The Raven That Refused to Sing (And Other Stories). Thus why the record is named 4 1/2.

As usual the songs are of the highest possible quality, the first song is the immediate My Book Of Regrets that has a lazy summer riff leading the opening part that moves and switches between pop and prog at the drop of a hat and then bursts into a bass led middle eight that features some superb soloing from the keyboards and guitar of Dave Kilminster before moving back into the dreamy verses again. The EP features contributions from Wilson's touring band Adam Holzman (Keyboards), Nick Beggs (Bass), Guthrie Govan (Guitar), Dave Kilminster (Guitar-Replaced Govan), Craig Blundell (Drums -Replaced Wackerman), Marco Minnemann (Drums), Chad Wackerman (Drums - Minnemann) and Theo Travis (Sax, Flute, Clarinet), with Wilson himself taking up any instrument he sees fit a well as supplying that unmistakable vocal. Year Of The Plague is a shimmering acoustic instrumental augmented by the synths that leads into the Happiness III which merges melancholic lyricism with jarring pop arrangement and Govan's trademark jazz guitars.

Another instrumental this time the swirling Sunday Rain Sets In bleeds into Vermillioncore which is darkly heavy with an electronic ambience similar to Wilson's No Man project with Tim Bowness. The haunting finale is a cover of a Porcupine Tree song Don't Hate Me which originally appeared on Stupid Dream, this remake is close to the original but the powerful chorus is taken by Ninet Tayeb who can be seen showing off her fantastic voice on both Hand.Cannot.Erase and in Wilson's live band. This is a brilliant precursor for Wilson's fifth album and is a testament that Wilson even creates magic on the songs he leaves off the album! 8/10

The Anchoress: Confessions Of A Romance Novelist (Kscope)

Catherine Anne Davies is Welsh born multi instrumentalist, songwriter and author who has performed with numerous artists, most notably Simple Minds, the London Philharmonic Orchestra, as well as Ed Hardcourt, Martha Wainwright and Emmy The Great. As well as her musical endevours she has a PhD in Literature and Queer Theory, has published a book and contributed as a writer to NME. So much like Steven Wilson (as mentioned above) Catherine AD (her abbreviated guise) is a bit of a workaholic, as well as being a workaholic she also has the same penchant for genre straddling as Mr Wilson meaning that her debut album under the pseudonym of The Anchoress has been quickly picked up Kscope who deal in all things quirky and artistic. Let me get this out of the way Confessions Of A Romance Novelist is not prog rock, far from it but it is an album that draws from art rock, electronica, indie rock and mainstream pop and throws them all together with some excellent musicianship, songcraft and a fierce feminist attitude. For The Anchoress project Catherine AD has teamed up with Mansun's Paul Draper who supplies his production, guitar and vocals to the synth powered indie of You And Only You. As I've said this album encompasses many genres and works them all perfectly to create an album of progressive pop.

From the Nick Cave meets Portishead darkness of Long Head through the jazzy What Goes Around which sounds like Kate Bush in her glorious heyday, to the off kilter attitude drenched One For Sorrow that blends seamlessly into the angry, vengeful, explicit ballad P.S Fuck You which is mid album show stopper that's followed by the jaunty Popular that brings an element of that other Welsh contemporaries Marina & The Diamonds. Catherine AD is a superb musician and one look at the liner notes, which are beautifully designed to look like a Penguin Classics book, you can see that she handles most of the instrumentation with piano being her main weapon of choice. Just listen to the solo piano piece Bury Me to hear the beauty of just a single voice, a piano and some synths for atmosphere and you will realise that Catherine has sculpted this album for a while making sure that it represents her musical vision of telling stories to music using intelligent lyrics and a broad musical palette. As the album winds up with the excellent title track and a cover of Simple Minds'Rivers Of Ice you feel as if the album has told you the story stylised by the packaging and you are all the better for it. A beautiful album from a woman that is positively brimming with talent. 9/10

Crippled Black Phoenix: Spider Island (Seasons Of Mist)

Finally CBP are back in business after a long time in the wilderness, I've noted their membership problems in the live reviews I've done but they have now put out this excellent EP that reminds you of how good they are in the recorded format. It comprises four tracks, two new songs and a cover of Pink Floyd's epic Echoes, the ominous heaviness of Spider Island starts things off with a huge slab of monolithic doom that harks back to main man Justin Greaves time in the metal underworld, the rhythm guitars of Greaves are down tunes and rhythmic with Mark Funeverall and Daisy Chapman's synths and keys leading the mind expanding as the engine room of Niall Hone and Ben Wilsker power the tracks slow, brooding beat. On both this song and the second new track New Dark Age new lead guitarist Jonas Stalhammar shows his mettle as a guitarist especially on the ethereal beginning of this 16 minute track that has all the hallmarks of Floyd from the stabs of organ to the careening, emotive lead playing, this twist and turns giving CBP yet another huge epic to add to their live show, on the record it neatly leads into the cover of both parts of Echoes which sees CBP collaborate with Belinda Kordic who Greaves collaborates more frequently with on the Se Delan project (in fact this cover has already appeared on Se Delan's Oh'Ech-oes) the cover is almost perfect for CBP as it shows Floyd at their most experimental and also their most ant-establishment something that suits CBP's take no prisoners attitude. Spider Island is an excellent little EP that sees CBP come back with style and a renewed life. 8/10

Megadeth: Dystopia (Nuclear Blast)

Dave Mustaine is one of the most enigmatic and interesting men in metal. Just look at the list: Inextricably linked with Metallica, a born again Christian, huge drug addiction in the 1990s, self-taught guitarist after nerve damage in his left arm meant he was unable to grip let alone shred and a reputation as an egotistical maniac who has split several cracking line-ups of his own band. However, what I’ve missed from this list is that Mustaine is also responsible for some of the most technically excellent thrash metal albums of all time. Tagged in as part of the ‘Big 4’, there isn’t a metal head in the world unfamiliar with the snarling of Peace Sells, the brutally sweet Hanger 18 or the tongue in cheek Sweating Bullets.

Over the years Megadeth has produced some absolute corking tunes, as well as some pretty shocking stuff as well. Risk immediately comes to mind, whilst 2013’s Supercollider was received with all the joy of a fart in a spacesuit. Despite this, the main man has continued to write and in 2014 changed his line-up again. Out went guitarist Chris Broderick and drummer Shawn Drover, and in came Angra guitarist Kiko Loureiro and Lamb Of God pounder Chris Adler. This immediately pricked up the ears of the metal fraternity, with Adler in particular noted to be one of the best stickmen around today. The band have been out on tour, with Adler notably doing double duty in Europe at the tail end of 2015. All the reports I read were extremely positive, with Megadeth holding their own with LOG; no mean feat in the live arena.

So, what about the studio results? Well, Dystopia dispels any negativity left over from the previous release. It is a ferocious slab of technical thrash metal, containing all the ingredients that you would demand of a truly top class Megadeth release. Opener The Threat Is Real sets the scene, with a killer double riff launching into a galloping thrasher. Soaring guitar work, Mustaine’s trademark snarl and Adler’s frantic yet controlled double bass underpinning the rhythm section with the reliable and solid bass lines of David Ellefson rampaging alongside. The title track follows at a similar pace, loaded with hooks and melody and some stunning guitar work from Loureiro and Mustaine. In fact, the guitar work throughout this album is just brilliant, classic Megadeth with solo after solo filling every possible space. Mustaine’s lyrics focus once more on the state of the world, his frustration with American foreign policy and the corruption of politicians.

It’s not just eleven recycled tracks though; Death From Within has a more standard Megadeth stomp, Adler hitting his form with ease, that double bass absolutely blistering whilst vicious fretwork drips from the ceiling. Bullet From The Brain has a classical guitar intro, backed by military style snare before developing slowly into a monster, with a brutal riff and meaty hook. A tale of forbidden fruit; biblical reference anyone? Regardless, some of the fretwork in this tune is stunning. Loureiro’s playing is magnificent; Mustaine has unearthed another guitar god. The pace changes with Poisonous Shadows, another classical guitar introduction leading to a symphonic powerhouse of a track. Surprisingly, there are elements of the Middle East with an orchestral arrangement and the additional vocals of Farah Siraj (also present on the opening track) and this is possibly the best track on the album. It is also the longest at over six minutes. Poisonous Shadows is a slower paced track than the majority on Dystopia but that actually enhances the quality and as it builds the backing vocals allow the composition to build before a piano led conclusion.

Conquer Or Die follows, an instrumental which is deftly split into two; opening with a classical piece of guitar before a heavy metal stomp. Any thoughts that the band are mellowing clears immediately with the full on thrash assault with Lying In State which motors along at 100mph, Mustaine’s cutting social commentary at the fore once more. However, it is the playing which once again grabs you by the throat. This track just doesn’t let up from start to finish; I was exhausted just listening to it as it arrived at a frantic finale. Onto the final two tracks of the album; The Emperor confronts the reality which afflicts so much of the Western World. A powerful driving track laced with riffs and solos that cut deep. Foreign Policy, a cover of Californian punk outfit Fear brings the album to an aggressive close, the title and the anger dovetailing seamlessly with the themes running through the album.

An aggressive return to form for Megadeth. Dystopia has enough about it to sit comfortably with much of the back catalogue. Having seen Megadeth several times over the years, it will be interesting to see how this new line-up delivers the new material in the live setting in June at Download. It certainly makes them unmissable, which is not something I’ve always said. Until then, goodnight and have a safe journey home. 9/10

Steven Wilson – Bristol Colston Hall 26 January 2016

A virtually sold out stalls only gig at the lovely Colston Hall witnessed possibly the most technically brilliant gig of 2016 (already, yes, I know). Steven Wilson and his magical band of musicians arrived with their musical mojo well honed after ten dates in Germany and with the latest release, the “interim” 4 1/2 threatening to breach the UK top ten.

We've reviewed the latest release and 2015’s stunning Hand. Cannot. Erase was one of the highlights of last year. The band arrived onstage with Wilson’s usual eye for detail in evidence. Who else could engage a theatre full of mainly middle aged men with a visual that consisted of lighting changing in a tower block? Not only that but fully grasp the audience's attention. A low key entrance, initially by long serving in keyboardist Adam Holzman who began the chords for the opening track First Regret and then by the rest of the band began the first set; the indulgence of the whole of Hand. Cannot. Erase. Thanking the audience for attending, Wilson observed that on every night of the tour he was having to comment on the seating arrangements and lamented the potential absence of energy for the band to fed off. Unfortunately, with a band of such quality, the trade off between a venue with standing and one with decent acoustics which supports such complex and intricate music is often at odds. A word with your promoters might be in order?

With that off his chest, This talented quintet delivered an absolute masterclass with the rest of the album, which included the arrival of Israeli vocalist Ninet Tayeb, who provided the haunting vocals for the depressing Routine, complete with video playing on the huge screen behind. Indeed, the screen was used to great effect all the way until the final song of the evening where it couldn't cope and froze. Tayeb was superb, her voice uplifting and powerful and it was a joy to experience her live performance in such illustrious company. Other highlights of the first set? The multitalented Nick Beggs moving from bass to eight string Chapman Stick to guitars to synth was just brilliant whilst new drummer Craig Blundell and the amazing Dave Kilminster on guitar slotted in perfectly. Their playing was sublime. Tayeb returned for a duet on Ancestral which captivated the audience and whilst I appreciated Wilson’s sentiments about the response from the audience, it was songs such as this where you really had to sit back and allow the sheer quality on display to be absorbed.

After an intermission which was appreciated by the majority of the audience (these ain't young bladders you know) the second half of the evening began with the real treat of the opening track from Wilson’s 2012 Storm Corrosion collaboration with Opeth’s Mikael Akerfeldt. Drag Ropes was quite breathtaking, with the sinister and disturbing video playing in the background.

During the evening Wilson had touched on a number of topics, including the demise of the annual release, something which he often touches on when being accused of prolific. He expressed his opinion that the norm of a band releasing an album every year allowed them to experiment with styles without the pressure from management. Now, I'm not convinced that this is fully accurate, but certainly the current style of an album every four years is not something that endears bands to me and I endorse Mr Wilson’s sentiments. He also touched on the death of musical innovation, and in a heartfelt manner paid tribute to David Bowie, citing him as an inspiration to hundreds of musicians. Dedicating Lazarus, one of five Porcupine Tree numbers, to Bowie, Wilson and the band hit just the right note. A rare and powerful Index from Grace For Drowning was preceded by the opening track on 4 ½ My Book Of Regrets, one of three which were played. The others were a blisteringly heavy Vermillioncore which followed more haunting vocals from Tayeb during Don’t Hate Me. I make no excuse for my repetition about the quality of the musicianship on display. Kilminster is an incredible guitarist who was equally at home fiercely shredding or adding subtle notes to enhance the depth of a song. Beggs meanwhile is just astonishing, adding enough grunt and rumble with his bass playing whilst his backing vocals really supported each track merging with Wilson's sublimely.

After a lengthy and fully deserved standing ovation, the audience was encouraged to remain standing for a further Bowie homage, a lovely Space Oddity before The Sound of Muzak and the harrowing yet enchanting The Raven That Refused To Sing concluded the evening to wild applause. If there is a better way to spend £22.50 then please do tell me, because I don't believe that it exists. 10/10

Nawather: Wasted Years (M & O Music)

Full of Eastern promise, Wasted Years is the debut release from Tunisian outfit Nawather. Formed in 2013, Wasted Years is full of soaring orchestral movements, thunderous drumming and crashing riffs which mold into a melting pot of excitement and intrigue. Unfortunately, all of this is severely damaged by the gruff death vocals of Raouf Jelassi which sit uncomfortably with the band’s sound. The elegant voice of Ryma Nakakch really enhances the duets whilst the fusion of musical styles is entrancing. Although I’m a long way out geographically, the obvious comparison is with Israelis Orphaned Land or Palestinian group Kalas.

After the atmospheric Portals to Edinya, opener Falling Down The Slope is followed by a solo vocal effort from Nakkach on Daret Layyem which provides a much more authentic feel. However, the male vocals cut back in and again really detract from the tune. Much like Lacuna Coil, it’s the female vocals that really grab your attention and this is a shame as the oriental metal style of the band is excellent with some exquisite guitar work from Yazid Bouafif and Nidhal Jaoua on the Qanûn (a stringed instrument rarely heard in our metal world).

And so it progresses in a similar pattern. Raped Dreams is a confused mess of thrash, oriental sweeps and intricate movements; it nearly works but just falls short. The majority of the album is sung in English which is impressive. I really hate being negative about a release that for massive parts is really fresh and exciting. Broken-Winged Bird for example, has some stunning vocals from Nakakch, chunky riffs with Jaoua’s playing adding melody to great effect. Nawather don’t sit in the one style though, and each track has some subtle differences. Unfortunately for me, the combination of gruff and clean vocals just doesn’t work and ultimately distract from the overall quality of the release. 6/10

Rhine: An Outsider (Self Released)

Badged as progressive death metal, Seattle based Rhine is the brainchild of Gabriel Tachell, who started this as a solo project in 2011 with a debut release, Duality out in the same year. Having written and performed all of the instruments apart from the drums on the album, new members have now been added and the band now comprise Alex Smolin (guitar), drummer Carlos Delgaudo and James Porter (bass) in addition to Tachell.

An Outsider is one of the most confusing albums I think I’ve ever heard. It contains possibly the most chaotic mix of styles I’ve ever heard in one place. It features the most complex and intricate time changes, multiple instrumental breaks and a multitude of vocal styles. Death growls, clean vocals, female voices all feature. The album is lengthy, clocking in at 71 minutes and features stunning musicianship. However, the schizophrenic nature of the changes throughout the release make it an album that even after repeated listens confuses the hell out of you. There are brass sections, folk and classical, white noise along with heads down death metal, thrash segments and then several progressive and complicated Dream Theater type meanderings. With several songs clocking in at over eight minutes, there is lots of scope for expansion and creative flow and this is exploited to the max.

Does it work? Well, I don’t know whether to be impressed or to dismiss it as over the top egotistical mayhem. I’ve read a couple of reviews that make reference to the masterful Blackwater Park, Opeth's ground breaking release. I wouldn’t provide any such eulogy, but it is an interesting and powerful piece of work requiring commitment and staying power for the listener to really appreciate it. If I had to recommend one piece to have a listen to, check out Paralyzed. At over 10 minutes long it’s ironically the single off the album but it is really well composed. 7/10

Widower: The Unholy Oath (Self Released)

Austin, Texas is not synonymous with brutal black metal but it soon will be if Widower get their way. The Unholy Oath is a blistering five track assault which rips your neck off early on and then continues to pummel you into a gibbering wreck. The EP contains all the mandatory requirements for a black metal release: massive blast beat drumming, unintelligible vocals delivered in a style that makes Abbath sound like Aled Jones, huge accelerated riffs which shred like a turbo charged meat counter slicer and the obligatory crass song titles (Whore Crusher?) as well as a pretty dreadful album cover. Underneath it all lies some impressive hooks and the odd ear scorching solo, as well as a bass line so deep it must have rattled Lucifer’s chandelier. If you like your thrash blackened and delivered at 110mph then you’ll probably like Widower. If you like Halestorm, steer clear. This will kill you. 8/10

Black Sabbath: The End (Self Released)

"What is this? That stands before me?" with those immortal lines heavy metal was created by the Birmingham band known as Black Sabbath, if you don't know that stop reading and listen to some music, for the rest of you you will know that where as that immortal line was the beginning we are now at the opposite side of the coin with the current Sabbath tour touted as their last, to accompany the tour Sabbath have released a special EP, funnily enough called The End. It contains four unreleased studio tracks from the 13 sessions and four live performances of song from the 13 album, recorded on the 2013-14 13 tour. If you are an avid collector of Sabbath then this will get you as excited as Panda in snowfall, however for those that have more of a casual interest The End is not much of a loss, the live tracks are all poorly recorded and badly edited, as my compatriot Paul pointed out they are akin production wise to 1973's Live At Last, which as many will know is not a good thing.

So it's not worth buying for the live tracks, then what about the unreleased material? I hear you ask (through a written word blog) well that too doesn't cut much mustard, after listening to them you immediately realise why these tracks were left off the previous record they are just a bit...meh. It's Sabbath by numbers I'm afraid, the fodder for a thousand doom metal bands formed in Sabbath's wake, for any of them a couple of these tracks would be the lead singles unfortunately when you are the band that has Paranoid, War Pigs, Snowblind, Sabbath Bloody Sabbath, N.I.B, Sweet Leaf, Fairies Wear Boots, Symptom of The Universe, Evil Woman a collection of top notch songs with their other singers and a even some excellent newer material in God Is Dead? then these four songs and this EP in general just smacks of cash in. Do yourself a favour, go and see Sabbath live on these tour dates; one it will probably be your last chance ever, two you'll get all the classics and maybe some rarely played material from the old days and finally you will see legends how they should be experienced, live with the masses gathered together for ta celebration of our favourite music. Just do one thing for me if you are a total completest then buy the The End but if your not then spend your pennies on 13 or any other album from their superb back catalogue as this is the Sabbath you'll want to watch and the songs you'll want to hear! 5/10

Lost Society: Braindead (Nuclear Blast) [Review By Paul]

Finland has more than its fair share of metal outfits, and if a recent meme is correct, about 70% of them are wandering around forests, lost in the snow after typical pouting photoshoots. Lost Society don’t really sit comfortably musically with the majority of their countrymen, who tend to favour the melancholic, but have more in common with the Bay Area of the US, such is the ferocity of their thrash assault. Indeed, the UK will get a chance to see these boys in the flesh when they open for Exodus in March. Braindead is a mature piece of work and their third full release. Opening with I Am The Antidote, a six-minute chug, Lost Society mark their line in the sand immediately. Riot comes next, edges of nu-metal mixing with a Scott Ian influenced stomp. Samy Elbanna’s vocals are pretty standard for the genre, pushing and straining whilst giving 100% The guitar work of Elbanna and Arttu Lesonen feeds off each other, with powerful riffs and some memorable hooks. A more realistic and representative track in the shape of Mad Torture follows, with shades of early Evile and other champions of the new thrash wave.

The American influence looms large, with evidence of such giants as Overkill, Exodus and the mighty Death Angel liberally sprinkled throughout the release. Indeed, Hollow Eyes could be a mixture of the three bands. It’s decent if a little routine thrash, with a solid rhythm section courtesy of Mirko Lehtinen’s bass and drummer Ossi Paananen. Rage Me Up is almost a punk track, full of aggression and adrenaline. The masterpiece of the album is most certainly the Metallica styled Only (My) Death Is Certain. It is a cracking piece, building tempo in the way that all lengthy thrash tracks do before diving into a chugging riff that will get the windmills flying. It continues to build whilst stomping along, pounding drums and duel guitars vying for centre stage. Ironically, the track contains one of the few choruses on the album, and this is almost folk metal in style which brought a raised eyebrow or two. The song segues into the traditional lull before all hell breaks loose. It’s pretty formulaic but it works well.

If there is one criticism that I’d have to level, it’s the quality of the vocals which always seem to be slightly uncontrolled and too shouty. I’ll be interested to see how the band can deliver this live, as I’ve got a sore throat just listening to it. Still, as a fervent fan of decent thrash metal, I’ll certainly be giving up a pint in the nearest hostelry in order to get a view of these guys when they roll into Cardiff on March 11. 7/10

The Slayer King: Sanatana Dharma (Finisterian Dead End) [Review By Paul]

Greek metal? Yeah, we think of Rotting Christ, Septic Flesh Firewind and Nightfall for starters but here at MOM our European contacts are now providing us with a little bit more from a burgeoning scene. The Slayer King, based in Athens and formed in 2013 are now firmly in the sights with their debut release Sanatana Dharma. Combining Doom, Progressive metal, thrash and even some industrial elements, Sanatana Dharma (the Hinduism term for eternal order) is a really interesting and complex release which demands several listens. Whilst the vocals of delivery Efthimis have a curious mix of Rammstein’s Til Lindermann, Monster Magnet’s Dave Wyndorff and Bobby Liebling of Pentagram, their sound often sits much more with the 70s sinister doom of Sabbath, Pentagram and Sleep. Opener She Is My Lazarus mixes crashing riffs with calmer moments, creating a wall of sound, fuzzed up guitar (courtesy of Kosta) solos which mix classic Iommi with Dave Murray.

Completing the line-up is drummer Anna who pounds away, combining with Efthimis’ bass to give the band a really heavy crushing sound. Black Mother Of The Lord Of The Light changes direction with a much more traditional vocal delivery, snarling guttural lyrics and more aggressive riffs, and more than a hint of reverence to their compatriots in Rotting Christ (no bad thing there). It’s good stuff. It gets even more interesting too with We Are The End merging some really different styles; along with the crushing doom I hear the industrial edge of Rammstein and some hooks which would be totally at home on King Of The Dead, the 1984 release from Californian outfit Cirith Ungol. My Lai is an atmospheric piece, almost haunting in places with a sinister undertone. The Man That Never Was contains the heaviest riff on the album, a colossally heavy piece which crushes with its weight. Album closer Southern Gate Of The New Sun builds slowly with a demonic bass line and increasing in strength and power as it develops into a brooding behemoth of a track with almost death metal vocals giving it another change of direction. The Slayer King merge a range of old influences into something quite different and fresh. This is a solid debut with real promise. 8/10

Raveneye & Reigning Days, Fuel Rock Club, Cardiff

Forgoing my usual gig buddies I headed to Fuel Rock Club in Cardiff with the musical family at Retro-Vibe Records to see rock trio Raveneye in their first headline tour. The gig was off the back of Welsh promotion agency Pity My Brain's Brain Freeze festival where the three man rock unit went down a storm heating up a cold winter's night in Wales.

So into the small rock club we marched and waited to see if Pity My Brain and Raveneye could deliver again. First up were radio darlings Reigning Days (6) who played rock with an modern independent radio bothering edge bringing to mind Biffy Clyro et al. The trio all played well but did seem to be a little underwhelmed that they were playing such a small room to only a hundred people they had a couple of technical hitches but for the most part played well albeit rather statically. The band have been featured on Kerrang radio and channel and this gave them a cocky edge but the songs didn't really reflect this praise until the latter part of their set. Still worthwhile if you like the kind of rock that would be featured heavily on Radio 1.

A switch over and the 'older' members of the audience started to fill the room, Raveneye (8) have an old school style blending blues and hard rock all brought together by the guitar wizardry of Oli Brown, who has been on the scene since he was only really a boy but after a break the former blues-rock wunderkid has finally found a suitable vehicle for his scores of tasty blues rock riffs and has also managed to move away from the limelight with a band rather than as a solo artist. As the three men came on to the stage the sound gremlins crept in a again with feedback a gogo from Oli's mic meaning that his bluesy tones were not that audible to most of us in the room, these issues stayed around for a while, the sound man seemingly not being able to fix the problem, however with a switch of mics the reverb abated and things got a lot louder and tougher. Brown's guitar playing is excellent when he's not laying down thick riffs he's ripping up and down the fretboard soloing with all the passion of a blues legend, his guitar showcases are strongly backed by the boileroom powerhouse of bassist Aaron Spiers and drummer Kev Hickman who keep things groove-laden and thumping along as Brown shows his skills, Spiers also gets bonus points for strength carrying Brown on his shoulders for a solo set while also playing the bass. The set featured some new tracks that sat perfectly with the older material from their debut EP showing everyone that when the debut full length does come out it is going to be jam packed with cracking songs on this evidence. Yet again Raveneye set the night on fire with their high-energy blues-rock power, come back soon guys, I'm sure many will agree with me

The Mute Gods: The Mute Gods (InsideOut)

Nick Beggs is probably most well known as the main writer and bassist of 80's popsters Kajagoogoo, however he is much more than that as in recent years he has been the bassist for king of prog Steven Wilson contributing to both is recorded works and on his live tours. Suprisingly you would think someone that works closely with bonafide workaholic wouln't have much in the way of free time but apparently he has and has managed to form his own band The Mute Gods and has even managed to record a debut album with them. The record doesn't stray too far from the progressive streak that Beggs has shown in this latter career albeit this album is prog with the pop sensibility of a man that started his career writing four minute pop songs, the overtly dystopian themes are set to an upbeat melodic musical backing that means that the records sounds a lot like Yes (in fact the album dedicated to departed Yes bassist Chris Squire), encompassing some Duke-era Genesis, a touch of ELP, and some more recent stuff like Arena and Frost* all due to the heavy use of keys on the record. The band are ostensibly a three piece with Beggs playing bass guitars, Chapman Stick, guitars, and doing the majority of the vocals.

He has teamed up with Steve Hackett-man Roger King on keyboards, guitars, he also gives the record it's warm rich production, finally providing the rhythm section foil for Beggs is drummer extraordinaire Marco Minnemann who has worked with Paul Gilbert, Steven Wilson, The Aristocrats (With Guthrie Govan) who handles drums guitars and sound modelling. The trio are the main contributors as a 'band' but one look at the liner notes will tell you that Beggs has recruited many of his compatriots to help him on the record these come in the shape of Ricky Wilde (Kim's Dad), Frank van Bogaert, Gary O'Toole, Spock's Beard drummer Nick D'Virgilio, Magenta keyboardist Rob Reed, Steven Wilson's ivory tinkler Adam Holzman and even Nick's own daughter Lula who sings on Father And Daughter. The songs on this album range from the quirky regret driven Night School For Idiots, the heavy Feeding The Troll (that's about the internet variety) as well as the rocking title track and almost psych-like Swimming Horses the songs have swirling synths, shimmering guitar lines, deft bass playing all combine to create some excellent songcraft. Do Nothing Till You Hear From Me is a collection of songs that have broad appeal with some truly excellent musicianship, The Mute Gods is yet another impressive string to Nick Beggs' already large bow. 9/10

Illustr8ors: Photopia (Self Released)

Ok so Photopia is the second full length album from the band formerly known as Blackwolf, now many of you will recognised the name as one of the bands that we here at the Musipedia Of Metal have touted to be very big, so as you can appreciate we were expecting their sophomore album was going to be make or break for them. Launched through Kickstarter the Bristol masters of soulful hard rock kept everyone updated about the album adding to the anticipation. Then with the release of the album to pledgers the band made the announcement that they have decided to change their name due to growing as a band on these recordings, this is where I have to criticise I'm afraid, the new name for the band is Illustr8tors, which in my opinion is a terrible name, now calling yourselves Illustrators is fine, yes you do sound a bit like indie pop darlings but the name itself is fine, unfortunately Illustr8ors makes you sound like a rap collective so it was with trepidation that I pressed play. happily their sound doesn't seem to have changed much as Something Biblical roars in with a rampaging rock riff and the excellent vocals of Scott Sharp who has a soulful weathered delivery.

Songs like the rocking Heal You the bluesy grunge bluster of Grace which sounds a lot like Soundgarden at their pomp, in fact this is also present on Citizen which has some hazy acoustics in the backing and a psychedelic lead guitar to end the album. The music on this record is as good as it was on their debut they are still plowing that hard rock groove but they've added some 90's grunge for good measure, Won't Bury Me is the perfect example of this with grunting reverb drenched riff some walking bass and punching drums leading the charge as is Steady Slow which has groove to die for. All in all Photopia is a great album nothing too much has changed from their debut which begs the question why the band felt they needed a new name, which I'm afraid is absolutely awful. Blackwolf were a favourite here they can be again, the music is still there but that name needs to go sharpish for their own good. 7/10

Jessikill: Metal Knights (Self Released)

OK so now we're talking!! Jessikill are a five -piece traditional metal band hailing from Texas in the good-ole USA. The bands name got my curiosity but when I researched and saw they had former Immortal Guardian guitarist Jyro Alejo in the band I knew that I'd probably like this album. Guess what? I do it's the kind of muscular, technical solo filled metal with furious blast beats, rumbling bass gallops, shredding guitars and glass shattering vocals. Think Armored Saint, early Queensryche and contemporaries Holy Grail you won't be far wrong, as Midnight Rush erupts from stereo it's everything you could hope for rampaging metal assault with the dual axes of Jyro and Joey V widdling like crazy trading licks and solos on every track as frontwoman Jessica yells at the top of her lungs with her incredible vocals taht would leave most metal singers in the shade. The band have written some very catchy and very metal songs that Joey DiMaio would be proud of the marching bass led The Beast would soung perfect on any modern power metal record with it's big keys (also from Jyro) head banging riff, blitzkrieg middle section and the shared vocals from Jessica and bassist Arturo that blend perfectly on the albums impressive centerpiece. With progressive touches on the excellent Give It All Jessikill show that they have an enormous amount of talent for such a young band, this EP is a real call to arms for these Metal Knights, old school metal at it's best Jessikill do indeed kill and my God is it good! 8/10

Dream Theater: The Astonishing (Roadrunner)

One of the most revered progressive rock bands of our time, Dream Theater have never shied away from following their own musical path. In the 30 or so years they’ve been cranking out albums, they have produced some stunning works. They’ve also produced some self-indulgent twaddle. Collectively, the band are probably stronger than they’ve ever been and the departure of Mike Portnoy really allowed them to progress their sound and style. Musically very few bands can get near them for their technical brilliance and their fan base is ferociously loyal. I’m pretty sure that most people either love them for their progressive nerdish leanings or dismiss them as overhyped, bloated dinosaurs peddling music which belongs in the 1970s alongside the likes of Yes. I have to admit that I sit somewhere in the middle, which is probably quite unusual.

The Astonishing is Dream Theater’s first concept album since 1999’s (somewhat legendary - Ed) Scenes From A Memory.

Ah yes, the rock concept album. A thing of beauty or egotism of the highest order? Throughout rock history, the concept album has divided opinion like few other things. Back in the 1970s it was common place for bands to craft out double or even triple albums following a story or theme. Indeed, my all-time faves Rush are as guilty as anyone, having based 2112 on The Fountainhead by Ayn Rand, and littered Hemispheres and A Farewell To Kings with the story of Cygnus X1. Of course, it hasn’t been restricted to the 1970s, with their last release, Clockwork Angels being the soundtrack to the book of the same name. Judas Priest found with Nostradamus that it isn’t always that easy to deliver exactly what you may have intended. Iron Maiden have regularly used themes for albums, with The Book Of Souls very much in the same ball park. However, what sets some of these releases apart from many others is that they contain tracks which can stand alone.

So where do we start with The Astonishing? Well, it is set in 2285 in a time where society has collapsed and has been replaced by a feudal system, with empires ruled by powerful leaders and the vast majority of ordinary people toiling for survival. Music has been replaced by artificially intelligent machines, the NOMACs who produce all the music with no need for human input. Sound familiar yet? There are a number of central characters who are pivotal to the story, including the evil Lord Nafaryus, the hero Gabriel, his brother Arhys, and the offspring of Nafaryus, his daughter Faythe and son Daryus. Gabriel becomes anointed as The Chosen One and leads the rebellion to overthrow the evil empire. Got that? Good. John Petrucci, the virtuoso guitarist of the band and driving force behind the whole concept has stated that his inspirations for the concept sit very much in the fantasy and sci-fi areas; think Game of Thrones, Star Wars and Lord of the Rings for starters.

I’m not going to go into any more detail about the concept, or the packaging, or the plans that the band have for the numerous spin-offs. Suffice to say this is a massive project which will really appeal to the diehard DT fan. So whilst the build-up has been substantial, what’s the actual music like? Well, unfortunately, to put it bluntly, its dire. Two hours of material, which in the main sounds exactly the same. Comprising 34, yes 34 fucking tracks, this is about as overblown as it gets. Sure, the musicianship is top notch, but as James LaBrie sings every character, the variation is negligible, the score repetitive and about 75% of the tracks are completely saccharine coated.

CD 1 clocks in at over 70 minutes and to be brutally honest, it just blows. The Gift Of Music, the first release from the album is about as good as it gets, and is one of the few tracks that can actually stand on its own. At least this has something resembling Dream Theater. Pace, drive and LaBrie actually letting rip without constraint. Even early on though, the choral backing and orchestral overtures are evident. It does contain a smashing solo from Petrucci as well as the typical number of expected time changes, keyboard solos and challenging bass and drum sections.

From there on in it just increasingly resembles a West End musical … and not a good one. Of particular stomach churning note; The Answer, A Better Life and the cringe worthy Brother, Can You Hear Me. These tracks, representative of the majority of the release, contain the horrible type of composition which we’d hopefully last heard on the godawful Music From The Elder, Kiss’s ill-fated concept release in 1981. A Saviour In The Square contains trumpeted fanfare, and Act Of Faythe has an orchestral opening that segues into a solo piano and LaBrie playing yet another character which prompts you to head for the sick bucket. And so it continues; Ravenskill is just abysmal and we haven’t even got to CD 2 yet.

It’s clear by now that this album is going to be loved and hated in equal measure. What I’ve struggled with (and I’ve lost several hours of my life giving this repeated plays) is the repetition and length of the album. I appreciate that the band intend to tour it as a full performance, complete with cinematic experience and maybe I’m missing something fundamental here.

CD 2 at last gets a bit more exciting with Moment Of Betrayal which follows the opening orchestral instrumental 2285 Entr’acte. Moment Of Betrayal at least has some substance, crazy keyboard action, rampant riffs and fine drumming from Mike Mangini. Unfortunately, as the story continues, the tracks blend into one again, with LaBrie vocalising every character, and the limp musical theatrical score grates. Heavy on the orchestral and choral elements, tracks such as My Last Farewell and Losing Faythe are just toe curling in their awfulness. Eventually we get to the final track, The Astonishing. After two hours, the final six minutes provides a climatic conclusion, all soaring voices, strings and piano, ridden with emotion … and yet more repetition. It is dreadful.

I’ve nailed my colours firmly to the mast on this album. Dream Theater are at a stage in their career where they won’t give a shit what anyone thinks, and they have fully earned that right with their back catalogue. Good for them. However, The Astonishing is anything but that in my opinion. In fact, it is a stinker of the highest order. If you wanted me to confess to something, put me in a seat at the London Palladium in mid-February when they play this in full. I’d cough within about 30 minutes. Sorry. 3/10

Conan: Revengeance (Napalm Records)

In 2014 we reviewed Blood Eagle, the previous release from the Liverpool three piece and noted that it was “about as heavy as you can get, huge slabs of slow riffs and chanting vocals which oozes Sabbath and Electric Wizard throughout”. We warned you that “You may not want to listen to this in a confined space as there is a strong chance that your cranium might fracture”. Since then, there has been a pretty big change in the line-up with only Jon Davis on guitar and vocals remaining from that incarnation. In comes Chris Fielding on bass and Rich Lewis on drums. Although the line-up has changed, the absolute power and immense heaviness of the band hasn’t; in fact, it’s got heavier.

Throne Of Fire opens the proceedings, an absolute skull crusher with Davis’ fuzzed up distortion pulverising. The angst ridden distant vocals remain an acquired taste but be in no doubt that Conan really don’t give a fuck about what you think. Their one aim is to stream roller the listener with the most enormous riffs known to man. It’s not the easiest of albums to listen to. 47 minutes for six tracks. Yes, three of the songs rock in at over eight minutes long with the epic Earthernguard, the final track just under 12 minutes long. My suggestion? Put the damn thing on, crank the sucker up and allow Conan to blast the doom through your entire being. But be warned; with tracks like Thunderhoof and the title track (apparently a real word although this is circa 1913 – not quite the Repentless made up word scenario) kicking a hole in your skull, it’s not an easier listener. Another solid crushing release from the masters of UK doom. 7/10

Duel: Fears Of The Dead (Heavy Psych Sounds)

Austin, Texas appears to be the place to be for new releases. Hot on the heels of our review of fellow Austin outfit Widower, we now have Fears Of The Dead by four-piece outfit Duel. The band only formed last year and contain some former Scorpion Child members. Fears Of The Dead is a really infectious, groove laden slab of rock which straddles the doom, stoner and psychedelic genres. Opening track Fears Of The Dead contains some really dirty guitar riffs and has a disgustingly addictive hook with the vocals of Tom Frank fitting the sound perfectly. The track rocks along, with a dash of the mighty Clutch mixing to the potent combination of Sabbath, Pentagram, bits of Grand Funk and the duelling style of Thin Lizzy. Add a splash of Scorpion Child, The Sword and the vitality of Monster Truck and you’ve got the main ingredients of the Duel sound.

For a band who wear the badge of doom, they move at a significantly swifter pace; This Old Crow steals the opening riff from Wolfmother’s Woman before getting the toes tapping. Solid bass lines courtesy of Shaun Avants (who also provides some vocals) form the foundation with drummer JD Shadowz (real name, obvs) whilst Frank and Derek Halfmann’s guitar work swirls and weaves. The band stick with what they do best throughout, although The Kraken provides more of psychedelic stomp, whilst tracks such as On The Edge and Electricity all surge (sorry) with hooks and groove. Penultimate tune When The Pigs Are Fed merges some classic Sabbath riffs with the more recent work of The Sword and really get you wanting to see these guys live. Whilst there is no point reinventing the wheel, Duel have forced me to add another band to the ‘must see’ list. A sweet piece of work indeed. 8/10

Exekuter: The Obscene Ones (EBM Records)

Formed in 2008 out of the ashes of Cryptic Realm, Greek thrashers Exekuter (not to be confused with Brazilian thrash outfit Executer) kick out their second full length release in the shape of The Obscene Ones; 33 minutes of unashamed old school thrash with all the trappings expected – songs about death, blasphemy, anti-religion and the devil. Combining elements of virtually every thrash outfit who have ever lived, but with heavy leanings toward the faster Kreator style thrash, this is a release that every discerning thrash fan should consider picking up. Brutal powerhouse drumming, cascading riffs and screaming solos and a vocal delivery from Tolis Mekras that combines an unusual number of styles to fit superbly. Tracks such as No Morals attack from the start with manic speed and a Pleasure To Kill type riff, whilst there are also some more balanced tracks which contain classic thrash edged stomping; see Secrets Of A Divine and Obsessed for starters. Obsessed is a blistering track, opening with a massive chug before developing into top gear to deliver thrash following the genre blueprint complete with slowed down middle section and driving blast beats which push the band towards death metal at times. If you love your 1980s thrash, then you really need to listen to this release. It’s old skool all the way. Really retro but great stuff! 8/10

Dissona: Paleopneumatic (Self Released)

USA progressive metal of the most intricate and technically proficient kind. They follow the tradition of Fate's Warning, Symphony X, Shadow Gallery along with youngsters such as Haken and Tesseract. The band are truly progressive with Totality giving the best example of this as it moves from aggressive growl filled modern death/groove metal into a chamber music middle section before coming to an end in a thumping breakdown, this 9 minute track exemplifies exactly what Dissona are about, progressive metal with classical elements, jazz leanings, oriental flourishes on Odium as well as the gamut of metal genres with death, black, thrash all catered for. Having supported Opeth, Cynic, High On Fire, Dark Tranquillity, Leprous you can see how Dissona would fit with any of these bands. The performances on this record are outstanding much of the kudos goes to vocalist David Dubenic who has an unbelievable voice with an expansive vocal range that knocks you off you feet, he can go from guttural growls to soaring highs in an instant, he sings his heart out on The Last Resistance in the melodic first part before the track speeds up into it's power metal final part. Dubenic has sublime backing as Drew Goddard and Craig Hamburger work their asses off in the back room blasting away in the metallic sections of this record and also providing a deft touch on the final track Sunderance which is laced with bongos, percussion, sparse piano and violin to make it a muted outro in direct response to the rapid, furious first song Another Sky which is driven by Matt Motto's excellent guitar work as it twist and turns moving between faster and slower sections, with a middle eight that incorporates some electronics mixing numerous riffs and genres into just one 9 minute song. Paleopneumatic is as its title suggests can be primitive and impactful but also it is a sometimes mind bendingly complicated listen but give it a few spins and it will open up into a rewarding intensely musical listen from a band who are musical maestros but can also write some impressive songs . 8/10

Reapers Riddle: The End Is Nigh (Self Released)

Perth Australia traditional Heavy Metal with gruff vocals and a nod to thrash think Iced Earth and you'll be there, particularly because they have a concept set around the apocalypse on this record and as many of you may know John Schaffer has been adding to his Set Abominae storyline over the last few albums. The scene is set in the intro with news reports telling that the Devil has arrived over Sydney, Disentergrate is the first song proper with a chunky guitar riff leading the proceedings, the first thing I notice is the superb voice of frontman Clayton Mitchell who has a gritty, muscular vocal delivery that gives the songs their chest beating traditional metal sound, added to the excellent vocals of Mitchell are some expressive soloing from Kristen Sanfead who also supplies songs like the title track with the head banging riffs with bassist Jason Edwards, with the stringers supplying the rhythms its up to drummer Andrew Burt to lead the doom-laden Rise Of The Macchina. Welcome To The Wasteland has an 80's metal edge, while Write Of Passage has it's head in thrash. The End Is Nigh is a strong debut record from these Aussies, yes the production is a bit hazy but not so much it detracts from the record itself. If you like tough, masculine metal with a sci-fi edge and great concept then Reapers Riddle will get repeated spins. 7/10

Redwest: Crimson Renegade (Bakerteam Records)

Redwest are a Spaghetti Western themed metal band hailing from the home of cowboys...Italy...(yeah I know right?) If that sounds like it might be travesty then think of it like this imagine if a band like Alestorm or Turisas sang songs about The Old West and Clint Eastwood's Man With No Name rather than about Blackbeard or Vikings. The band have evolved since their first couple of EP's as stylistically the are now more in the Steampunk/Cowpunk region visually, the music too is more grown up although it is still the same mix of distorted metal riffs, down-home harmonicas and songs about heroes, outlaws and as the title suggest renegades. The band have a standard metal set up with two guitarists, bassist and drummer providing the metal licks, while the band have two singers with the frontman singing most of the tracks with his gritty baritone and their backing singer adding some yeehaw cowgirl additions. The songs are metallic with big riffs and grooves but they also have the typical pastiches of Spaghetti Westerns with fierce acoustic guitars and rattlesnake percussion on the title track, they do vary it a little with the Rammstein-like electronics of The Dreamcatcher. As you'll notice I'm not naming the band as they go by pseudonyms with all of them have colourful names like The Lurid, The Harasser, The Foreigner (who presumably wants to know what love is), The Stray, The Shy and The Shady One (Losco). This is a very good debut with just enough rocking songs to put it above a joke, the Western elements are a little strong at times with Ballad Of Ed W and Bullet Rain both sounding like the soundtrack to a barn dance, especially Ballad... sounds a lot like Ghost Riders In The Sky, but hey that's kind of the point. Balancing the metal and the Western theme is done with flair meaning that Redwest could be the next in line to join bands such as Alestorm or Sabaton for silly, grin inducing metal! 7/10

The Cadillac Three & Whisky Myers, The Tramshed Cardiff

Cardiff was the last stop on American Country Rockers The Cadillac Three's UK wide tour, before they hitched up their britches and skedaddled back to Tennessee. Cardiff got something special though, a unique experience that saw local record store Retro-Vibe Music host an in-store acoustic session and signing with the band which mean that in the afternoon of the gig, TC3 fans packed out the record store and jammed four of their songs, starting with the steam train shuffle of Days Of Gold the three men played a sedate set that evoked memories of a juke joint in the Cajun country somewhere as Jaren sang his lungs out aided beautifully by the Cardiff choir that had gathered in the shop (who would come into their own later) as JJ country picked at his acoustic, Kelby played Dobro (Steel Resonator Guitar) which is still the most authentic country instrument ever and Neil banged out a beat on a Cajon (drumbox). The band seemed genuinely pleased that so many had turned out and were willing to brave the rain and wind to see the band, for many this would be the only time they would see TC3 in that day as their show at the Tramshed later was sold out very quickly. From Days of Gold they went into the grooving Peace, Love & Dixie the sing-along White Lightning and the closing shot of The South. As I've said the band seemed genuinely humbled that they were allowed to play in an 'old-school' record shop to their feverishly excited fans in such a intimate welcoming environment. After the set the band headed downstairs and happily signed album covers, tickets and anything else presented (within reason of course), I for one was overjoyed to see an independent record store holding such a unique fan experience rather than the larger chain record stores. Well done to Claire, Mark and the Retro Team for their organisational skill with this coup, hopefully we will see more things like this in the future, keep an eye out.

So after some lubrication in Cardiff's watering holes it was over to Cardiff's newest venue for my virgin journey to The Tramshed. What a revelation this place is, a larger venue than most of the venues in Cardiff, this is Cardiff's answer to the O2 Academy's, with an onsite pub and a bar inside the venue boasting a wide selection of beers and ciders (not much ale though) the venue is a lot to take in with it's high ceiling, balcony and raised stage meaning that the band are visible even right at the back, as a music venue it's pretty much perfect which meant that as Whiskey Myers came to the stage looking like a younger version of Lynyrd Skynyrd all cowboy hats and Southern swagger you could hear every note the band played due to the almost perfect sound. On their first UK tour Whiskey Myers impressed with their Southern Rock stylings that saw three guitars, a bass, drums and keys all work together to honk the tonk and rock the roll, as these Texans rolled through a seven song set that saw them get the crowd going perfectly and also drew from the early days of country rock with Cody Tate and John Jeffers trading instrumental jams on their guitars which brought to mind Molly Hatchet or Gov't Mule. With great vocals, playing and stage presence Whiskey Myers started the fire burning early and with the amount of people seen wearing Whiskey Myers t-shirts post gig I think they made an impression, TC3 were going to have to step up to the plate. 8/10

Thankfully the Tennessee natives came to tear the venue to the ground and as they roared on stage it was a more animated show than the seated acoustic show earlier in the day, as is only right really, here were three men in full performance mode in front of a sold out crowd baying for some Southern loving. The boastful and filthy Back It Up started the show with some gritty, country guitars and JJ's howl backed by the walking percussion and more slide guitar than Johnny Winter. The band started strong with the Tennessee Mojo creeping along as the bands heaviest song blending seamlessly with Peace, Love & Dixie, this was the beginning of a barn burner and the crowd knew it, writhing, grooving and singing along to every line, Peace, Love & Dixie was followed by the Whiskey soaked Get Your Buzz On which encouraged everyone to find their favourite buzz and ride it (for most in the crowd this was Southern rock and lashings of alcohol), then once everyone was fully buzzed on I'm Southern became an anthem as everyone shouted about their Daddy's linking with hot sauce. The set took a slower turn a Johnstone dedicated a few songs to his partner of 14 years on this the night of their anniversary, with White Lightning and Life both getting the now larger Welsh choir singing at the top of their lungs as the band indulged in their most country output showing why Johnston has written songs for some of America's biggest Country acts.

New single Graffiti debuted live with it's percussion-driven flair it went down a storm before more influence from Hank and Waylon came on Running Red Lights and the excellent Whiskey Soaked Redemption. As the set ramped up the band once again ramped up with Down To River getting a dedication to Swansea natives Buffalo Summer who have a song with the same title, then into the free-for-all that is Party Like You and the superb Days Of Gold to close the main set meaning everyone erupted as the last chord was hit. A short time off stage and then a return for the two song encore of Girls On Fire and The South and boom they were done, inviting their tourmates on stage for a group photo decked out in the flags of Tennessee and Texas, the applause lingered in the air for a long time with whoops and hollers filling the room. Despite the sold out crowd the room didn't seem oppressive in any way as some venues do which was great as it gave us a lot of room to really enjoy this masterclass in Southern music, along with Blackberry Smoke, The Cadillac Three are at the top of the pile when it comes to good old fashioned Countrified Southern rock and on this last night (and indeed afternoon) in Cardiff they showed why. 9/10

Serenity: Codex Atlanticus (Napalm Records)

When I here one of my favourite bands is releasing a new album I do get very excited and Serenity is one such band I've followed the band for a long time band seen them a few times on tour and I'm always impressed by both their recorded output and their stagecraft. Codex Atlanticus is their fifth album and sees the band revert back to their earlier days as a four piece shedding female vocalist Clémentine Delauney who joined the band on their last album War Of Ages, this is because frontman Georg Neuhauser approaches every album with the overall concept in mind and having a full time female vocalist did not fit in with their future plans. Personally I think this is to their benefit as the dual vocals saw them being lumped in with the huge amount of symphonic female fronted metal bands around and this is something Serenity have never been their style of music is the same kind of masculine, romantic symphonic metal that Kamelot have been producing since the mid 90's. Codex Atlanticus also sees a change of six stringer with longtime axe-man Thomas Buchberger departing with Delauney, meaning that he has been replaced by Cris Tian who is a killer guitarist in his own right and makes this album more guitar driven than before.

The album itself is still of the high quality Serenity are known for, they have once again based it on a concept, this time it's the twelve volume Codex Atlanticus work by Leonardo Da Vinci with the album focusing on that work and Da Vinci's life, musically the band still have the dramatic baroque progressive, symphonic power metal sound that has seen them right for most of their career albeit on the last few albums the dramatic elements have been ramped up and on Codex Atlanticus they go one better with many of the songs sounding like they could have come from the pen of Jim Steinman, this influence is most prevailing on Perfect Woman which surely is an off cut from Dead Ringer or Bat Out Of Hell and sees Georg duetting with Amanda Sommerville on the albums most radio friendly track, another , Caugtht In A Myth has a chorus that begs to be sung out loud. There are a couple of additional singers on the record with the singular named Tasha giving some female vocals in backing and the most surprising performance coming from bassist Fabio D'Amore who supplies co-lead vocals on the excellent Spirit In The Flesh and sounds exactly like Edguy's Tobias Sammet! Serenity have crafted another album of impressive symphonic metal and one that sees them return to their original set up of just having Georg's superb passionate vocals leading the band forward. 8/10

Ecliptica: Ecliptified (Mars Music Promotion)

More music from Austria but this time a band that started their career as a power metal band with the almost obligatory dual male/female vocals. I have their breakthrough album Impetus from that time and it's since been played a lot however in the interim the band have evolved with two of the contributing members to the debut leaving and being replaced again by yet another female singer and guitarist (seems to be a theme with Austrian bands) this has meant that Ecliptica stepped away from the power metal on their last album Journey Saturnine (which is a bold move considering they are named after on of the finest power metal albums ever made) and have now adopted the idea of being a self proclaimed Metal N Roll band. What this actually means is that they have a sound if you mixed GNR with Maiden or Aerosmith with Priest, so crunchy speed driven guitar riffs and furious drum patterns mixing with the whiskey soaked, scarf waving vocals of Thomas Tieber and the sultry, smoky croon of Sandra Urbanek, so yes still dual vocals but far away from the traditional male-female bands around, in fact the nearest thing I would say they sound like are Tony Clarkin and Bob Catley Magnum side project Hard Rain.

The songs have enough of a metallic fire and hard rock groove to please both camps with the twin axes of founder member Marcus Winkler and his guitar foil Van Alen both playing like Slash if he was in Saxon, the rhythm section of Roman Daucher's drums and Petra Schumayer lay down a steady but furious bottom end meaning that the songs have that punch to the guts all good rock n roll has. From brash blues of Welcome To The Show, through the electro-filled Round N Round (not a Ratt cover), to One For Rock N Roll which is prime 80's rock and bursts into Need Your Love which is a ballad of Winger proportions. Ecliptified is a triumphant slab of heavy rock and with 14 songs the band don't seem to have any lack of ambition or of course songs, Ecliptica have melded metal and rock very well evolving from the band I once new for the better. 8/10

Nordic Union: Nordic Union (Frontiers) [Review By Paul]

If you are a fan of melodic rock, then the name Ronny Atkins should be familiar to you. The front man of Danish outfit Pretty Maids, Atkins combines with Eclipse’s Eric Martensson to debut a new project, Nordic Union which is pretty fine stuff. Completing the line-up is Magnus Ulfstedt who provides the fine drumming whilst Martensson delivers all of the other instruments. Although the tracks sit firmly in the AOR department, complete with harmonies and ridiculous melodies which are the lifeblood of every song, there is also a subtle metal steel which underpins the majority. Opener The War Has Begun contains sufficient guitar work to prick up those ears.

Hypocrisy and Wide Awake sit firmly in the FM/Thunder camp; huge keyboards combine with a melodic guitar sound to create some fine arena pomp. Of course, no AOR release is complete without the ballad and Every Heartbeat ticks all the boxes. Pleading lyrics, wailing guitar and solid rhythm. When Death Is Calling is just an excellent melodic rock track with brilliant harmonies supporting Atkins rich vocals. Nordic Union would go down a storm at Hard Rock AOR; 21 Guns follows the well-worn blueprint, huge hooks, synths galore and clean honey drenched singing compliment the mean guitar work of Martensson. The remaining tracks continue in similar vein, with saccharine drenched emotion, oozing melody and quality. If you like a bit of the lighter side of the hard rock scene, laced with a rocker underbelly, then give Nordic Union a try. It’s a fine album. 8/10

Rotting Christ: Rituals (Seasons Of Mist Records)

Few bands in the metal world have been plying their trade with such consistency as Greek extremists Rotting Christ. Having formed in 1987 and released their first album in 1991, the band have demonstrated impressive staying power and total commitment to their craft. Last year’s excellent Lucifer Over Athens double live release (which is probably the definitive compilation of Rotting Christ) followed 2013’sΚατά τον δαίμονα εαυτού.

Rituals focuses very much on creating black metal atmospherics with almost mind numbing repetition. The frantic drumming of Themis Tolis doesn’t let up on any of the tracks, whilst brother Sakis’ vocals continue in the vein that one has come to expect, growling and gruesome. The inclusion of a number of vocalists helps with the impact; for example, the female cries on Elthe Kyrie enhance the demonic subject matter. Huge swathes of keyboards add to the mood. The more polished production is a double edged sword though, dampening the darkness of previous releases. Subject matter is pretty straightforward with occult and satanic themes. Les Litanies De Satan sits in the traditional Rotting Christ camp whilst Apage Satana attempts to build a much more atmospheric and broody track but just fails in its ambitions. Tou Thanatou has more of the Rotting Christ assault with chanting and keyboards adding the layers, some excellent guitar work from George Emmanuel in the middle section but it’s all a bit black mass all over again.

The inclusion of Paradise Lost’s Nick Holmes on the voice-over adds interest on For A Voice Like Thunder and the track is one of the best on the album, driving visceral riffs, roaring vocals and a slower but heavier pace. Konx Om Pax contains Candlemass style power chords, more chanting vocals and powerful build up, tolling bells and malevolence, before descending into a crushing six-minute beast with Themis’ drumming most impressive. My only complaint about this release is that it is very repetitive. Every song appears to be designed to be a huge atmospheric piece, with similar construction and composition. How many tracks need a tolling bell for example? The keyboards add to the layered sound but little return to the raw death of their earlier releases would satisfy those who don’t want every track to be a brooding monster. Don’t get me wrong, this is a decent release but a little more variation would have improved things massively. 7/10

Prong: X - (No Absolutes) (Nuclear Blast)

For a band now moving into the veteran status, Prong’s recent output is impressive. Their 11th studio album X (No Absolutes) comes hard on the heels of last year’s covers album, Songs From The Black Hole, X (No Absolutes) continues where 2014’s Ruining Lives finished. Prong keep things straightforward. Over 40 minutes of aural assault; aggressive thrash and punk infused metal, heavy as hell and the majority of it played at break neck speed. Songs such as Ultimate Authority and Sense Of Ease stomp all over the place, screaming guitars and battering drumming leaving the listener in no doubt. Victor unleashes his trademark snarling yet melodic vocal combined with some vicious cutting riffs, supported by Jason Christopher’s thunderous bass lines and backing vocals and the powerful drumming assault of Art Cruz which provide a rock solid foundation.

It’s pretty simple but effective stuff and although it’s unsophisticated if you need something to drive to at high speed (but obviously within all recognised limits kids) or some pumping work out music, you would struggle to find something better to do the job. It’s not all out thrashers and there are a couple of tracks on this release which could attract more mainstream interest; Soul Sickness with its almost nu-metal feel and Do Nothing is drenched in melody. Ice Runs Through My Veins has an industrial tinge and Christopher taking centre stage. The slower pace of With Dignity, the album closer, which at times moves to almost ballad country, provides a glimpse of the calmer side of a band who really don’t give a fuck what the mainstream thinks. 7/10

Drowning Pool: Hellelujah (eOne Music)

20 years since they first formed, and 15 since the anthem Bodies first hit our ears, Drowning Pool blast back into your consciousness with their sixth release, Hellelujah. With the core of the group constant over the years, it’s the revolving door of vocalists that has slowed their potential march to the upper echelons of the metal movement. I say potential because as we all know; the nu-metal sound doesn’t always appeal these days. I have to admit that Drowning Pool are not part of my regular listening rotation and Hellelujah is highly unlikely to change that. The aggressive drive, crashing riffs and thumping bass lines of Stevie Benton remain firmly in place, with CJ Pierce’s guitar work as solid as it has ever been. The first three tracks are real tub thumpers, Push, By The Blood and Drop all power along with Jasen Moreno’s vocals raw and angry. Hell To Pay changes the pace of the release, with a slower, grittier approach, Moreno’s vocals fitting in perfectly whilst the gutsy attack of We Are The Devil contains a couple of really decent riffs.

My only problem with all the bands that deliver this type of music is that it becomes just a little too generic. Angry but clean vocals, chunky riffs and choruses that you can join in with. So to Drowning Pool, add similar releases from Soil, FFDP, Saliva, Sevendust etc. You get the picture. At 48 minutes long, Hellelujah is a value for money release and if you like this type of stomping, aggressive yet melodic and harmony soaked metal then you are going to be stoked. Unfortunately, as the album progresses attention starts to wander and half way in, the likes of Snake Charmer begin to become less interesting to the listener. Moreno can hit a note and scream like a madman; My Own Way allows him to really explode with the combined bass and guitar work giving the track a real groove. By the time you get to Meet The Bullet a little fatigue has set in and despite the solidity of the tunes you will be pleased to have got through this. A solid but unspectacular release which won’t shake the metal world one bit. 6/10

Mantra Vega: Illusion Reckoning (Black Sand Records)

The debut full length from prog rock project Mantra Vega has been a long time in the making, mainly due to the members other projects, but finally it has arrived. The core of the band consists of former Mostly Autumn vocalist Heather Findlay and Sound Of Contact's Dave Kerzner who both supply the vocals, with Heather giving percussion whistles and acoustics while Kerzner creates the soundscapes with his keyboards. Unlike Findlay's previous band and indeed Kerzner's other band Mantra Vega is a more artistically conceptual project, the album is a cinematic performance piece with poetic, philosophical lyrics and musicianship that makes a feel rather than relies on individual songs. Findlay and Kerzner's vocals intertwine perfectly from the jazzy, Peter Gabriel-like Island and beyond they compliment each other excellently bringing to mind the Mostly Autumn in the hushed, emotive tones of the vocals. However they are not alone on this record the fluid guitar lines come from longtime Findlay collaborator Chris Johnson (Halo Blind/Mostly Autumn) and Dave Kilminster of Steven Wilson/Roger Waters' band, with these two men on the guitar parts you need a strong rhythm section and Stu Fletcher and Alex Cromarty (MA) provide the model anchor for the impeccable and creative music on offer.

With the lush arrangements on offer you get kind of lost in the music and happily that is the point as the vocals stir your senses and the instrumentation offers an enchanting miscellany of sounds. The album dips and escalates throughout leading you on a sonic journey, drawing from the acoustic folk of Fairport Convention (In A Dream) and the progressive rock explosion in it's 70's heyday Veil of Ghosts. As I've said everyone involved in this album has their own work outside of the band but so too do the guests; Troy Donockley supplies the whistles and flutes for Nightwish and is no stranger to Mostly Autumn folks, here he adds guitars and vocals along with him we have more MA alumni with Angela Gordon on vocals and recorders, Findlay's Ayreon co-conspirator Irene Jansen adding vocals and Ayreon's creator Arjen Lucassen adding some lead guitars. With a plethora of top flight musicians in tow Mantra Vega's debut is everything the preceding EP promised, it's clever, interesting and in parts beautiful, let's hope all concerned have a chance to create more music on record and indeed on stage. 8/10

Kiama: Sign Of IV (Tigermoth Productions)

Kiama are yet another progressive rock supergroup, the brainchild of Magenta's multi-instrumentalist Rob Reed he has recruited Luke Machin from the young proggers Maschine on guitar, Andy Edwards (IQ and Frost*) on drums and Dylan Thompson of Shadow Of The Sun (formerly of The Reasoning) behind the mic and on guitar. With such talent in the band you'd expect this album to sparkle and it does, this is emotive progressive rock that all the members are known for, Cold Black Heart opens things in rock style with an immediate impact showing the collective power of this foursome with Machin's sublime guitar work feeling more controlled than it does in his own band but it still has the power to cast a spell on songs such as I Will Make It Up To You which is Floydian with it's spacial keys and soaring guitar lines. Reed's keys, bass and guitars create a wide soundscape on the slower passages like Slime, while To The Edge has the funky rhythms of Gilmour's solo work replete with some soulful backing vocals and a percussive drive from Edwards.

One thing that immediately drew me to this album other than the impressive musicianship on offer was that Thompson was once again taking up the mic, he has great throaty voice that sets Kiama apart from many progressive bands who favour sweeter vocal lines and in a lot a cases (see above) female vocals, that's not to say Thompsons voice is rough in fact on the contrary on the dreamy, hopeful Beautiful World he croons with a heartfelt vocal line. Kiama's debut is firmly set in the neo-progressive genre that was started by bands such as Arena and IQ, this is not a criticism they do what they do it with a panache many progressive have spent a career striving for. Sign Of IV is a purely collaborative effort with each member adding their own skill to the songs meaning that the album as a whole bursts with style and technical mastery. 8/10

Beth Blade & The Beautiful Disasters: Sick Like This (Self Released)

Beth Blade and her band The Beautiful Disasters are possibly Cardiff's answer to Halestorm, think gutsy hard rock with the rock chick Beth leading her band of rockers in radio friendly hard rock that owes much to KISS, AC/DC, Alter Bridge, Black Stone Cherry and of course Halestorm. Sick Like This is the bands first EP and showcases the songs that many will know from their live show, the songs benefit from production as it means all aspects of them sparkle, from the heavyweight riffs, to Beth's husky vocals. At six songs long it gives you an incite into what to expect with Forbidden Hearts kicking things off on a song you can imagine Lzzy singing in an arena, the filthy title track is dirtier than a fondle on Chippy Lane with a sledgehammer riff and Beth taking charge of an unnamed lover. This is unsophisticated rock and roll that shoots from the hip melding late 80's with late naughties rock, albeit refreshingly from a female perspective on the cowbell fuelled If It Ain't Rough (It Ain't Right) and the BLS stomp of Kill You With Kisses. This is a great album that actually reminds me a lot of American cult act Hydrogyn, Beth and her Beautiful Disasters are far from a disaster, with a set of catchy, hook laden hard rock songs. 7/10

Shakra: High Noon (AFM)

Okay, hands up who can name more than a handful of Swiss metal outfits? (Apart from the encyclopedic Ed obviously). Yeah, Krokus, the much missed Celtic Frost and possibly TOAD and Gotthard at a push. Well, it may be a surprise to know that in certain parts of Europe, mainly Germany and their homeland, melodic hard rockers Shakra are pretty popular. High Noon is their tenth full studio release, with their first release as long ago as 1998. Shakra deliver melodic rock in the style of Def Leppard but with a bit more steel. Opener Hello (neither and Adele or Lionel Ritchie cover disappointingly - Ed) crashes along, almost out of control before the Leppard style harmonies and melody come home big time on the title track.

Vocalist Mark Fox, who returned to the band after a six-year absence has a voice made for this type of music whilst guitarists Thom Blunier and Thomas Muster show their chops. Classic sing-a-long choruses demand attention ala Thunder. The band has an undeniable stomp with a classic rock feel, riffs underpinned by a steady rhythm of unfortunately named bassist Dominik Pfister and drummer Roger Tanner. Into Your Heart and Is It Real motor along with gusto whilst Raise Your Hands could almost be the Bon Jovi classic combined with the cheesiness of mid 1990s Scorpions. A chunky riff, sing-a-long chorus and a melody that gets you joining in. Shakra do what they do well. This is melodic rock delivered with high quality and if you like verse, chorus, verse, chorus compositions, accompanied by clean vocals and a steady beat but with a little bit of fire in the guitar department, then this is for you. 7/10

Amoral: In Sequence (Imperial Cassette)

I have to admit that I was only vaguely aware of Finnish outfit Amoral before I picked up this release. However, Amoral is yet another band that I will now need to explore in more depth on the basis of In Sequence. It’s the band’s seventh full length and sees the return of Niko Kalliojärvi on guitar and death growls for the first time since 2008. Formed in 1997 by guitarist Ben Varon and drummer Juhana Karlsson, Amoral’s current line-up is completed by vocalist Ari Koivunen and guitarist/keyboardist Masi Hukari. In Sequence sits squarely in the technical progressive metal camp, with multiple time signatures and changes of tempo throughout their songs. Intricate in composition, they benefit massively from Koivunen’s beautifully clean vocal delivery, a marked change from some of their earlier releases which had the death metal style growl so loved by many of their countrymen. In Sequence is a weighty beast, 55 minutes for a mere eight tracks. The variation in styles is captivating, the Eastern flavours of The Betrayal which I assume feature percussionist Teho Majamäki melding into an almost death metal track with the combination of Koivunen’s classic clean pipes contrasting with the growling.

Backed by switches between full out blast beats, powerful snares and more intricate percussion work, the three pronged guitar attack allows some screaming hot fretwork to cut back and fore. In contrast, first single Rude Awakening has a classic feel, melodic whilst riff driven and plenty of underlying groove. The melodic feel of the song writing shines throughout, and this style allows the powerful clean voice of Koivunen to really make its mark. Sounds Of Home is a beautiful, melancholy filled track which contains harmonies that would sit at home on a Steven Wilson song. A lone guitar being accompanied by Koivunen and some guest vocals completed by some haunting saxophone work. The Next One To Go is a progressive piece, changing direction and pace whilst maintaining the interest and demonstrating the quality of the band as a whole whilst Helping Hands contains groove and plenty of melody. Album closer From the Beginning (The Note pt.2) ties everything together nicely, albeit in a meandering 10+ minutes, with the journey moving through a synth drenched opening, backed by riff after riff into a classical guitar section before a more mainstream power chord delivery, once again allowing Koivunen’s clean voice, supported by delightful guest vocals (Indica’s Jonsu and Amine Bentmane from Acyl) to guide the listener. This track is simply stunning, with exceptional guitar work as it moves towards the conclusion. Amoral are a band that challenge the expected stereotype for a progressive technical metal band. A stunning release. 9/10

Brimstone Coven: Black Magic (Metal Blade)

With the name Brimstone Coven and an album titled Black Magic, there was only one sound that this four piece from West Virginia was ever going to make. Yep, Black Magic is an album full of the sounds of doom and stoner occult themed hard rock, most of it filed firmly under vintage. Splashed with a bit of psychedelic era Floyd (Behold The Astral, As We Fall), most of Black Magic sits firmly in the Sabbath/Pentagram sound, although the vocals resonate much more with Texan Stoners The Sword. However, once you get into the album, it is evident that there are many more layers to this than at first hits the ear. The guitar work of Corey Roth is superb, almost casual in style yet rich in quality and warmth. The vocals of “Big John” Williams are rich and deep whilst the old school drive from Andrew D’Cagna’s bass and Justin Wood’s drumming provides a solid foundation from which the band carve out retro tinged tracks like Upon The Mountain and Forsaken. The mix of psychedelic and doom is nothing new, and Black Magic isn’t going to set the world on fire. It is however, a robust and pleasurable release which transports you back to the time of flares, dangerous colours and driving dirty riffage. Good stuff. 7/10

Tedeschi Trucks Band: Let Me Get By (Fantasy Records)

It seems Susan Tedeschi and her husband Derek Trucks are finally free, with Sony insisting that outside songwriters contribute to the bands two previous records, Let Me Get By is the first totally written by the band (and totally produced by Trucks) along with Doyle Bramhall II who is frequent collaborator for Trucks. This new creative freedom has allowed the band to express themselves a bit more on this third record, the mix of soul, funk, rock, blues and even folk and country are at their most pronounced, the album is musical soup dripping with luscious arrangements and songwriting, from the shuffling percussion, through the soulful brass, to the honeyed guitar lines and the vocal harmonies, with the leads shared for the first time between Susan and Truck's lead vocalist Matt Mattinson, the spirit of the Jacksonville swamps is evident on this record that has every member of this band play in union to craft beautiful heartfelt honest music.

The band are a 'family' with both Susan and Derek taking members of their solo bands to furnish this collaborative effort meaning that everyone involved records, travels and performs together and this shows in the music, there is a certain ease around the record that seemed to be missing on the last two albums. As the uptempo, upbeat Stax records groove of Anyhow opens with it's sparse guitar playing and sliding horns we the listener are eased into a welcoming environment, this warmth is kept up through the album meaning that you almost feel a part of the record, with the live-in-the-studio way it's recorded making it seem as if you were there for the records formation. From the wah-wah funk on Don't Know What It Means, New Orleans Jazz follows on Right On Time, then into the synth driven title track and the 8 minute plus piece of pure blues power that is Crying Over You / Swamp Raga for Hozapfel, Lefebvre, Flute and Harmonium the influences are as I said are all over the place but everything works perfectly. This is music with genuine soul that longs to be heard on lazy summer days surrounded by loved ones, it's an album where TTB have come of age throwing off the outside factors that have been seen in their work and creating something purely of their own. 9/10

Striker: Stand In The Fire (Breaking Records)

Don the Battle Jackets folks and heads down for a mosh out! Canadian trad metal pack Striker are back with the follow up to 2014's City Of Gold since then the band have dropped their record label and as any metal hipster knows the only way then is to self release which is what they have done on this their fourth record. Despite the change of foreman, the blueprint is the same old-school proto-thrash riffs, harmonic dual layer guitars, screeching vocals, finger bending guitar solos and huge fist-in-the-air choruses. This is trad metal at it's best for the most part, although Out For Blood has sax solo that throws you a little from then on its heads down for a mega mosh fest. The majority of the record is light-speed guitar lines, blazing solos galore. The band have also gone very 80's on this record with Too Late sounding like Extreme or Van Halen, with the Iron Never Lies and the instrumental Escape From Shed City having obvious nods to Priest and their ilk but also there are lots of songs that could be called thrash like the punching United, Better Times which sounds like Exodus, before the album ends with the atmospheric One Life. If you love your metal with a big side portion of denim and leather then Striker will be the soundtrack. 7/10

The Veer Union: Decade (Pavement)

Decade is The Veer Union and sees the band emerge from a set of circumstances that would destroy most bands. After their previous album in 2009 the longtime founding members of the band left, the band limped on until the founding guitarist to fled the group leaving just frontman and vocalist Crispin Earl as the sole member of the band. With no band the record company they were signed to collapsing around him, he went into the doldrums of depression but thankfully he managed to pull himself out of it and released an EP with new guitarist Ryan Ramsdell and this sparked the creative soul in Earl and he recruited another set of musicians and reactivated the band, The Veer Union MkII if you will. Decade is a bit of a special album celebrating the bands 10 year existence. It contains songs that were written at various different times of Earl's career, five of the songs were written in the early days before the band even existed, Make Believe and Watch You Lose were both written for Tommy Lee's Tommyland project.

You'd think due to this that the record would be bit of a mish-mash but seeing as many of these tracks are unrecorded they all sound fresh when delivered by the bands style of muscular alt-rock that features heavily on American FM Radio. But enough about the background what about the album itself? Well it is a celebration of triumph over adversity with 10 rocking tracks with huge hooks and metallic edge, it's thoroughly modern with a Earl and lead guitarist Dean Sittler harmonising on the vocals in a similar way to Alice In Chains' harmony vocals, with bassist Amal Wijayanayake adding the screams. There is an underlying sense of recovery on this record lyrically and musically the songs all feature electronic elements that are guaranteed to give a broad appeal see I Said which if there was justice would climb to number one, the band remind me a lot of Sevendust, Breaking Benjamin and Brits Forever Never. A modern rock album that is the sound of a reinvigorated band that hopefully can progress from here. 8/10

Reviews: David Bowie, Anthrax, Fleshgod Apocalypse

Reviews: Stone Cold Dead, Chronos Zero, Serpent (2015 Reviews Catch Up)

Reviews: The Temperance Movement, Primal Fear, Skunk Anansie (Reviews By Paul And Myself)

Reviews: Abbath, Cauldron, The Radio Sun

Reviews: Steven Wilson, The Anchoress, Crippled Black Phoenix

Reviews: Megadeth (Monster Review By Paul)

A View From The Back Of The Room: Steven Wilson (Review By Paul)

Reviews: Nawather, Rhine, Widower (Reviews By Paul)

Reviews: Black Sabbath, Lost Society, The Slayerking

A View From The Back Of The Room: Raveneye

Reviews: The Mute Gods, Illust8ors, Jessikill

Reviews: Dream Theater (Monster Review By Paul)

Reviews: Conan, Duel, Exekuter (Review By Paul)

Reviews: Dissona, Reaper's Riddle, Redwest

A View From The Back Of The Room: The Cadillac Three

Reviews: Serenity, Ecliptica, Nordic Union

Reviews: Rotting Christ, Prong, Drowning Pool (Reviews By Paul)

Reviews: Mantra Vega, Kiama, Beth Blade & The Beautiful Disasters

Reviews: Shakra, Amoral, Brimstone Coven (Reviews By Paul)

Reviews: Tedeschi Trucks Band, Striker, The Veer Union