Alter Bridge: Live at the Royal Albert Hall W/The Parallax Orchestra (Napalm Records)
Evolving from post-grunge band to theatrical metal outfit, Alter Bridge have always been unafraid to be ambitious. This live album recording just that by incorporating songs from their discography into a phenomenal set at the Royal Albert Hall, accompanied by a full Orchestra, a move which makes perfect sense considering the evolution of each album. Blackbird proved staying power with powerful anthemic choruses, and sweeping emotional moments. ABIII mastered a darker sound, with introspective lyricism. Fortress proved some of their most visceral and commanding work yet, while The Last Hero incorporated theatrical and symphonic ideas into their style. Myles Kennedy’s stunning vocal range and Mark Tremonti’s signature guitar stylings, both playing off the musical expertise of the Parallax Orchestra, only adds to the epic atmosphere that these songs embody.
None of the live ferocity which Alter Bridge bring to traditional live settings is lost. Addicted To Pain, The Writing On The Wall and Cry Of Achilles to name only a few, are performed with the same vigour as those who have seen this band live, except galloping perfectly in time with the rhythm section are is a chorus of stringed instruments, and providing atmosphere to the suspenseful moments is a company of brass instruments. We even see the band taking the opportunity to perform some live rarities, including The End Is Here and Words Darker Than Their Wings. Perhaps the instants where this interplay is played out best however, is on the ballads. Before Tomorrow Comes is transformed splendidly from a pleasant rock tune, to a joyous and euphoric anthem. Wonderful Life and Watch Over You which are played side by side in what you can only imagine must have been a particularly moving moment for the audience have their subdued beauty complemented yet not overwhelmed. Even Blackbird, one of my personal favourite songs, has its sincere emotionality and lyricism about moving on or losing a loved one, made to paint a yet more vivid picture, and flies us from through each sombre or determined moments in that songs progression.
Of course, I have no doubt that there are some moments in which the magnificence of the show is lost on the production, no live recording is going to replicate the experience of going to a concert. Yet, we have all heard it argued that metal is the closest music musically to orchestral or classical music. While that’s a debate for another day, shows like the one remembered here lend the idea some accuracy, by carrying a commanding atmosphere, and carrying emotion as well as loudness. 8/10
Alkaline Trio: Is This Thing Cursed? (Epitaph Records)
Alkaline Trio occupy a musical space also laid claim to by the Offspring or Green Day, balancing traditional, frenetic, Ramones style punk, while also embodying some of that pop-punk immaturity, enjoyed as a near-generation spanning guilty pleasure. In fact, frontman Matt Skiba, has showed his allegiance to both, collaborating with members of NOFX and BADCOP-BADCOP, for the low-budget punk musical Home Street Home, and more notably becoming a full-time member of Blink-182. ‘Trio themselves though are returning to that mid-way point after spending a few albums dabbling in darker and less carefree waters, proving a welcome decision. With thirteen songs and a running length of just over half an hour, Is This Thing Cursed? is full of short, sharp an catchy punk songs which don’t dump the personal or political lyricism of the past few records.
None of the live ferocity which Alter Bridge bring to traditional live settings is lost. Addicted To Pain, The Writing On The Wall and Cry Of Achilles to name only a few, are performed with the same vigour as those who have seen this band live, except galloping perfectly in time with the rhythm section are is a chorus of stringed instruments, and providing atmosphere to the suspenseful moments is a company of brass instruments. We even see the band taking the opportunity to perform some live rarities, including The End Is Here and Words Darker Than Their Wings. Perhaps the instants where this interplay is played out best however, is on the ballads. Before Tomorrow Comes is transformed splendidly from a pleasant rock tune, to a joyous and euphoric anthem. Wonderful Life and Watch Over You which are played side by side in what you can only imagine must have been a particularly moving moment for the audience have their subdued beauty complemented yet not overwhelmed. Even Blackbird, one of my personal favourite songs, has its sincere emotionality and lyricism about moving on or losing a loved one, made to paint a yet more vivid picture, and flies us from through each sombre or determined moments in that songs progression.
Of course, I have no doubt that there are some moments in which the magnificence of the show is lost on the production, no live recording is going to replicate the experience of going to a concert. Yet, we have all heard it argued that metal is the closest music musically to orchestral or classical music. While that’s a debate for another day, shows like the one remembered here lend the idea some accuracy, by carrying a commanding atmosphere, and carrying emotion as well as loudness. 8/10
Alkaline Trio: Is This Thing Cursed? (Epitaph Records)
Alkaline Trio occupy a musical space also laid claim to by the Offspring or Green Day, balancing traditional, frenetic, Ramones style punk, while also embodying some of that pop-punk immaturity, enjoyed as a near-generation spanning guilty pleasure. In fact, frontman Matt Skiba, has showed his allegiance to both, collaborating with members of NOFX and BADCOP-BADCOP, for the low-budget punk musical Home Street Home, and more notably becoming a full-time member of Blink-182. ‘Trio themselves though are returning to that mid-way point after spending a few albums dabbling in darker and less carefree waters, proving a welcome decision. With thirteen songs and a running length of just over half an hour, Is This Thing Cursed? is full of short, sharp an catchy punk songs which don’t dump the personal or political lyricism of the past few records.
Tricking you for a moment into thinking it might be emulating the musical direction of them, the opening title track begins with a pretty piano melody, before the familiar sound of a bouncy rhythm section, simple yet striking four chord riffing and back and forth singing exchanges kick in. "Maybe it’s some kind of spell that I’ve been living under, collecting coins found near a wishing well’" Skiba sings here, using his penchant for mythic terms of phrase to allude to his drinking problems Blackbird and Demon Division immediately follow, proving effective for making the heart race, the later declaring ‘’you’re not in love your just insane’’ humorously, yet with a large nod to the more serious topics of fear and paranoia. Little Help? and Pale Blue Ribbon are more traditional, paying homage to the strong folk tradition in their genre, seeing our frontman adopt a familiar snarl, as if playing a character.
Owing more so to Skiba's time in a musical, Goodbye Fire Island and Throw Me To The Lions use light and shade to create a sentimental feel. Indeed, Stay and Krystalline are two songs relying on a more stripped down composition, to carry emotion, proving again that you don’t need a doctorate in musical theory to be a great songwriter. I find Skiba's knack for taking seemingly tiresome concepts like romance or alcohol and transforming them into something deliciously dark intriguing, yet if we are to acknowledge how lyricism walks hand in hand with the playing, I can only admire the instrumental interplay here. No one is showing off, but are instead coming together to a sound which is crisp and warm, yet bursting with attitude. 7/10
Liar Thief Bandit: Straight Ahead (7Hard)
Liar Thief Bandit have a sound which is about as forthright and fiery as the name suggests. A rock n roll so imbued with huge choruses and distinctive guitar licks, that even a massive music snob like me, can’t help resist. Just something about the no frills work hard play hard attitude of Fire It Up, the frantic and rebellious sting of Head Down, or the cheeky boldness of Liquor And Poker embodies a charm so closely associated with a local music scenes, and traditional bluesy traits, which punks and meatheads alike can’t help but enjoy for the honesty and straightforward sound.
Liar Thief Bandit: Straight Ahead (7Hard)
Liar Thief Bandit have a sound which is about as forthright and fiery as the name suggests. A rock n roll so imbued with huge choruses and distinctive guitar licks, that even a massive music snob like me, can’t help resist. Just something about the no frills work hard play hard attitude of Fire It Up, the frantic and rebellious sting of Head Down, or the cheeky boldness of Liquor And Poker embodies a charm so closely associated with a local music scenes, and traditional bluesy traits, which punks and meatheads alike can’t help but enjoy for the honesty and straightforward sound.
Production, courtesy of Gustav Brunn, is incredibly polished, a trait which stands out especially on songs like I Stand Corrected and The Good Ones. Although this may ever so slightly take away from some of the raw liveness associated with acts as Motörhead and AC/DC, which these musicians undeniably take influence from, it’s a style which helps to bring out the hooks in the guitar exchanges and harmonies, while still keeping the crunch and fierceness firmly upfront. Overall, Straight Ahead gets you in a good mood with its catchiness, down-to earth lyricism and kind-hearted assertiveness. Sometimes that’s all great rock music needs. 7/10
Ravenlight: End Of The World (Self Released)
It’s no secret that I struggle with symphonic metal. I’ve dabbled, tasting the offerings of Within Temptation, Nightwish, Delain and Epica, but after a while I’m afraid I get a bit bored and in need of a new rush to stimulate me. Ravenlight is a two-piece outfit from Northern Ireland who formed in January 2018. This four-track EP described as the core pillars of the band is the result of their hard work since their formation. All the music is played by John Connor, whilst Rebecca Feeney provides the operatic vocals. Feeney’s high-pitched operatic vocal is an acquired taste, and one that doesn’t always work for me. The music is a typical mix of fast paced drumming, heavy synths harmonies and crashing guitar riffs.
At least on the rousing The Wild Hunt Feeney lowers the range a little and makes it much more listenable than opener Words Unspoken. The title track contains some of the most irritating keyboard work I’ve heard in years, and it’s at this stage that the weakness of a multi-instrumental musician surfaces. It’s hurried power metal, racing unnecessarily whilst being completely devoid of feeling and passion. And don’t get me started on the dull, plodding final track, Where The Stars Grow. I wish Ravenlight every success. I really do. However, if this is the end of the world, then kill me now. 4/10
Ravenlight: End Of The World (Self Released)
It’s no secret that I struggle with symphonic metal. I’ve dabbled, tasting the offerings of Within Temptation, Nightwish, Delain and Epica, but after a while I’m afraid I get a bit bored and in need of a new rush to stimulate me. Ravenlight is a two-piece outfit from Northern Ireland who formed in January 2018. This four-track EP described as the core pillars of the band is the result of their hard work since their formation. All the music is played by John Connor, whilst Rebecca Feeney provides the operatic vocals. Feeney’s high-pitched operatic vocal is an acquired taste, and one that doesn’t always work for me. The music is a typical mix of fast paced drumming, heavy synths harmonies and crashing guitar riffs.
At least on the rousing The Wild Hunt Feeney lowers the range a little and makes it much more listenable than opener Words Unspoken. The title track contains some of the most irritating keyboard work I’ve heard in years, and it’s at this stage that the weakness of a multi-instrumental musician surfaces. It’s hurried power metal, racing unnecessarily whilst being completely devoid of feeling and passion. And don’t get me started on the dull, plodding final track, Where The Stars Grow. I wish Ravenlight every success. I really do. However, if this is the end of the world, then kill me now. 4/10