Orange Goblin: Rough & Ready, Live & Loud (Self Released) [Paul Hutchings]
![Orange Goblin - Rough & Ready, Live & Loud (2020) [Full Live Album ...]()
I love Orange Goblin. The London quintet have been bleeding ears for over a quarter of a century with their blend of booze-soaked stoner biker rock. I’ve met most of the band over the years and they are as down to earth a bunch of blokes as you could meet. They are true rock and roll legends. Their last couple of albums have been rip-snorting affairs, with The Wolf Bites Back one, if not their best. Live, they rarely fail. No band will have been hit harder by the cancellation of so many gigs than Orange Goblin. This is their first live album and despite the rough edges, it does generally capture the band in their natural habitat. It’s a bit disjointed. Recordings from a three year period, at Sylak Open Air in France in 2016, The Koko in London in December 2016 and the Fuzz Club in Athens in September 2019 mean that there are plenty of those horrible gaps between tracks, whilst the vibe, although a genuine representation of the band doing what they do best, is at best patchy.
Lesoir: Mosaic (Glassville Records/Plastic Head) [Matt Bladen]
![Netherlands art rockers Lesoir aim to lift spirits with new title ...]()
Following up 2017's Latitude was always going to be difficult as it was a bold strident record that brought Lesoir to a wider audience and got them an opening slot with Riverside where they were welcomed as loudly as the headliners themselves, they took a slightly different direction to recording this record, drawing on the emotion of performing vocalist Maartje Meessen said "We really wanted to capture and recreate the energy of our live performance on record" so have they managed to channel this into their powerful brand of art-rock again so they can keep up the purple patch they are so obviously in? Well what we have here are 9 songs that deal with observations, the passing of time, life, politics and everything in between, it's the culmination of their shared personal, musical and artistic experiences over their 10 years from their debut.
The band themselves say that all of these experiences create 'colours' and thus we get the album title Mosaic. You can feel the artistry shine through from the opening moments of the title track, they begin to paint a picture, melodic guitars layered beautifully with a intricate bass/keyboard sound creeping underneath though it doesn't take long before they ramp up the noise into a hard hitting chorus for a truly anthemic start. Much has been made of the Anathema and Porcupine Tree comparisons and this Dutch band never shy away from that, they take risks and keep things experimental as shown by Is This It a song with a funky odd drum signature, though it moves into some classic prog rock ambience even adding a bit of flute.
The Geese is a beautiful, dramatic song, it gets under your skin with it's fervor neatly shifting into the more atmospheric, jazz-inflected Measure Of Things for a great juxtaposition while instrumental Dystopia pairs Floydian rhythms with the ominous words of George Orwell's 1984. Mosaic is an album without fear or hesitation, the band have drawn from their collective experiences and translated them into the 9 brilliant compositions you hear here, art-rock supreme it's their finest releases to date. 9/10
ACxDC: Satan Is King (Prosthetic Records) [Matt Bladen]
![Satan Is King | ACxDC]()
Pure unadulterated aggression, that's what you get from Satan Is King. You have to prepare yourself for this record as it's not for the faint of heart, what you get here is 15 ferocious slabs of hardcore/grindcore that many have described in the past as powerviolence. The title is a tongue-in-cheek to reference to Kanye West's most recent album praising the Son Of God, much like with Mr West this record pays it's due to the King Of Hell but also has an acerbic, vicious take on politics, greed, life and the environment. Politically charged if not motivated by party politics this record has been rightly released in an election year in a country that now, more than ever, need to hold their government accountable. ACxDC do this, on every single track railing against greed and oppression in a direct style chainsaw-sounding guitar riffs, flurries of abrasive kick drums and throat of razor-wire the four piece write concise, explosive music that distills some of the the most raging metal styles together in a heady brew of unstoppable aural force. Prepare your ears and make some molotov's just incase, this is the sound of a revolution. 7/10
I love Orange Goblin. The London quintet have been bleeding ears for over a quarter of a century with their blend of booze-soaked stoner biker rock. I’ve met most of the band over the years and they are as down to earth a bunch of blokes as you could meet. They are true rock and roll legends. Their last couple of albums have been rip-snorting affairs, with The Wolf Bites Back one, if not their best. Live, they rarely fail. No band will have been hit harder by the cancellation of so many gigs than Orange Goblin. This is their first live album and despite the rough edges, it does generally capture the band in their natural habitat. It’s a bit disjointed. Recordings from a three year period, at Sylak Open Air in France in 2016, The Koko in London in December 2016 and the Fuzz Club in Athens in September 2019 mean that there are plenty of those horrible gaps between tracks, whilst the vibe, although a genuine representation of the band doing what they do best, is at best patchy.
The crowd interaction is limited, muted and unrepresentative of the riotous chaos that is standard at a Goblin gig. What we do get here is a truly stellar set list, with the only two real noticeable absentees the live staples Quincy The Pig Boy and Red Tide Rising. A couple of nice inclusions with Shine and Mythical Knives add to the set list, whilst old staples like Saruman’s Wish, Made Of Rats and Some You Win as vibrant and powerful as ever. Like most Goblin gigs, man mountain Ben Ward dominates, his cajoling between verses as frenetic as ever. This album certainly does allow you to appreciate the live performances of guitarist Joe Hoare who is on ferocious form in all three settings whilst bassist Martin Millard and drummer Chris Turner are as tight an engine room as you’ll find in hard rock and metal today.
If you’ve ever seen Orange Goblin live, this release contains absolutely no surprises. Honest, hardworking, and totally bludgeoning, this band do exactly what they say on the proverbial tin. Grab your beer, bang your head, and enjoy, even if it is in your living room instead of a sweaty venue. It’s Orange fucking Goblin baby. No frills, nothing fancy, just solid heavy metal. 7/10
Winterfylleth: The Reckoning Dawn (Candlelight/Spinefarm) [Paul Hutchings]
![The Reckoning Dawn (Deluxe Edition) | Winterfylleth]()
Despite regular output over recent years, it’s actually been six years since a full-length heavy release from Winterfylleth. That was 2014’s The Divination Of Antiquity. The Reckoning Dawn is their sixth full-length release and it may well be their most complete record. The album opens with the powerful and dark Misdeeds Of Faith, a massive statement of intent for the rest of the album. It’s punishingly heavy, with the tremolo riffing intense. Christopher Naughton’s unearthly cries are complemented by the choral style choruses. It’s a driving, aggressive and utterly compelling opening song with the dueling guitars of Naughton and Dan Capp prominent. There is no respite as Winterfylleth launch immediately into A Hostile Fate (The Wayfarer Pt. 4). A drivingly forceful track, Simon Lucas’ blisteringly fast drumming ensures the most solid of foundations whilst the use of melodic harmonies provides a subtle tint to the atmosphere. Harrowing in both message and delivery, these opening two songs on this 59-minute release could not be much more impressive. This is Winterfylleth with a new zeal.
Whilst Winterfylleth continue to add to their thematic intrigue with historical Britain, lyrically The Reckoning Dawn addresses issues that are relevant historically and today: tribalism, manipulation, control, corruption in religion and politics. Absolved In Fire opens with gentle interplay between cello and violin before the band commence their next round of pummeling breakneck riffing, the sheer tempo of the track a culmination of two years planning and writing. It is evident in this album that Winterfylleth have poured heart and soul into this release as we move to the epic title track. The Reckoning Dawn shimmers in its own gloriousness, the transitions from explosive power to slower, crushing heaviness sublime. It’s emotive, deep, dark, and moving. The hook that soars majestically out of A Greatness Undone stirs the passions. Bludgeoning in its extremity, delicate in the intricacy that unfolds, A Greatness Undone undulates, scaling high peaks, the epic synths providing the perfect layers before the song eases back to a melodic, atmospheric smouldering mid-section that slowly increases in both impact and tempo towards a stirring, triumphant ending.
Absorbing the collective work that the band has delivered over the past few years, The Reckoning Dawn contains a new, more visceral edge. Having toured The Hallowing Of Heirdom, the acoustic album that demonstrated a subtle, more intimate side to the band, this album is very much the contrast. Straining from every sinew, this is Winterfylleth returning to their black metal roots but with a more focused, driven sound. Penultimate track Yielding The March Law proceeds at scorching pace, Naughton’s dark cries piercing the wall of riffing. Little can prepare for the majesty of In Darkness Begotten. The closing song on the album, the second longest at over nine and a half minutes, it is staggeringly impressive, from the bone crushing heaviness in the early stages to the orchestral finish which sees the album conclude in stunning and beautiful fashion. Have Winterfylleth pushed their boundaries once more? To me, this album feels like they have. Their line-up is solid and cohesive. Their crafted songs emotively heavier than much of their earlier work, the sheer intensity of the album simply washes over you from start to finish. It’s a captivating, passionate release which demonstrates that in the world of UK Black Metal, few bands can match Winterfylleth. 9/10
Winterfylleth: The Reckoning Dawn (Candlelight/Spinefarm) [Paul Hutchings]
Despite regular output over recent years, it’s actually been six years since a full-length heavy release from Winterfylleth. That was 2014’s The Divination Of Antiquity. The Reckoning Dawn is their sixth full-length release and it may well be their most complete record. The album opens with the powerful and dark Misdeeds Of Faith, a massive statement of intent for the rest of the album. It’s punishingly heavy, with the tremolo riffing intense. Christopher Naughton’s unearthly cries are complemented by the choral style choruses. It’s a driving, aggressive and utterly compelling opening song with the dueling guitars of Naughton and Dan Capp prominent. There is no respite as Winterfylleth launch immediately into A Hostile Fate (The Wayfarer Pt. 4). A drivingly forceful track, Simon Lucas’ blisteringly fast drumming ensures the most solid of foundations whilst the use of melodic harmonies provides a subtle tint to the atmosphere. Harrowing in both message and delivery, these opening two songs on this 59-minute release could not be much more impressive. This is Winterfylleth with a new zeal.
Whilst Winterfylleth continue to add to their thematic intrigue with historical Britain, lyrically The Reckoning Dawn addresses issues that are relevant historically and today: tribalism, manipulation, control, corruption in religion and politics. Absolved In Fire opens with gentle interplay between cello and violin before the band commence their next round of pummeling breakneck riffing, the sheer tempo of the track a culmination of two years planning and writing. It is evident in this album that Winterfylleth have poured heart and soul into this release as we move to the epic title track. The Reckoning Dawn shimmers in its own gloriousness, the transitions from explosive power to slower, crushing heaviness sublime. It’s emotive, deep, dark, and moving. The hook that soars majestically out of A Greatness Undone stirs the passions. Bludgeoning in its extremity, delicate in the intricacy that unfolds, A Greatness Undone undulates, scaling high peaks, the epic synths providing the perfect layers before the song eases back to a melodic, atmospheric smouldering mid-section that slowly increases in both impact and tempo towards a stirring, triumphant ending.
Absorbing the collective work that the band has delivered over the past few years, The Reckoning Dawn contains a new, more visceral edge. Having toured The Hallowing Of Heirdom, the acoustic album that demonstrated a subtle, more intimate side to the band, this album is very much the contrast. Straining from every sinew, this is Winterfylleth returning to their black metal roots but with a more focused, driven sound. Penultimate track Yielding The March Law proceeds at scorching pace, Naughton’s dark cries piercing the wall of riffing. Little can prepare for the majesty of In Darkness Begotten. The closing song on the album, the second longest at over nine and a half minutes, it is staggeringly impressive, from the bone crushing heaviness in the early stages to the orchestral finish which sees the album conclude in stunning and beautiful fashion. Have Winterfylleth pushed their boundaries once more? To me, this album feels like they have. Their line-up is solid and cohesive. Their crafted songs emotively heavier than much of their earlier work, the sheer intensity of the album simply washes over you from start to finish. It’s a captivating, passionate release which demonstrates that in the world of UK Black Metal, few bands can match Winterfylleth. 9/10
Lesoir: Mosaic (Glassville Records/Plastic Head) [Matt Bladen]
Following up 2017's Latitude was always going to be difficult as it was a bold strident record that brought Lesoir to a wider audience and got them an opening slot with Riverside where they were welcomed as loudly as the headliners themselves, they took a slightly different direction to recording this record, drawing on the emotion of performing vocalist Maartje Meessen said "We really wanted to capture and recreate the energy of our live performance on record" so have they managed to channel this into their powerful brand of art-rock again so they can keep up the purple patch they are so obviously in? Well what we have here are 9 songs that deal with observations, the passing of time, life, politics and everything in between, it's the culmination of their shared personal, musical and artistic experiences over their 10 years from their debut.
The band themselves say that all of these experiences create 'colours' and thus we get the album title Mosaic. You can feel the artistry shine through from the opening moments of the title track, they begin to paint a picture, melodic guitars layered beautifully with a intricate bass/keyboard sound creeping underneath though it doesn't take long before they ramp up the noise into a hard hitting chorus for a truly anthemic start. Much has been made of the Anathema and Porcupine Tree comparisons and this Dutch band never shy away from that, they take risks and keep things experimental as shown by Is This It a song with a funky odd drum signature, though it moves into some classic prog rock ambience even adding a bit of flute.
The Geese is a beautiful, dramatic song, it gets under your skin with it's fervor neatly shifting into the more atmospheric, jazz-inflected Measure Of Things for a great juxtaposition while instrumental Dystopia pairs Floydian rhythms with the ominous words of George Orwell's 1984. Mosaic is an album without fear or hesitation, the band have drawn from their collective experiences and translated them into the 9 brilliant compositions you hear here, art-rock supreme it's their finest releases to date. 9/10
ACxDC: Satan Is King (Prosthetic Records) [Matt Bladen]
Pure unadulterated aggression, that's what you get from Satan Is King. You have to prepare yourself for this record as it's not for the faint of heart, what you get here is 15 ferocious slabs of hardcore/grindcore that many have described in the past as powerviolence. The title is a tongue-in-cheek to reference to Kanye West's most recent album praising the Son Of God, much like with Mr West this record pays it's due to the King Of Hell but also has an acerbic, vicious take on politics, greed, life and the environment. Politically charged if not motivated by party politics this record has been rightly released in an election year in a country that now, more than ever, need to hold their government accountable. ACxDC do this, on every single track railing against greed and oppression in a direct style chainsaw-sounding guitar riffs, flurries of abrasive kick drums and throat of razor-wire the four piece write concise, explosive music that distills some of the the most raging metal styles together in a heady brew of unstoppable aural force. Prepare your ears and make some molotov's just incase, this is the sound of a revolution. 7/10