Simon Collins: Becoming Human (Frontiers Records)
The last time I listened to anything featuring drummer/vocalist Simon Collins it was his collaboration with keyboardist/producer Dave Kerzner as Sound Of Contact, their record Dimensionaut was a sublime piece of modern progressive rock that had both men and their co-collaborators displaying virtuosity throughout. I was looking forward to what Collins was going to do next after the Sound Of Contact project disappeared with both men going their own way. Well after a bit of research I hit upon the fact that Collins was probably going to resume his solo career and lo-and-behold Becoming Human is his fourth solo album. This one draws inspiration from the Sound Of Contact project creating a patchwork of rock, pop, prog and electronica that dwells on dark, political and emotions themes. No stranger to the music world Simon is the son of Phil Collins and like his father is adept behind the drumkit, at the keyboard and behind the mic having a similar unique vocal style to his old man.
So then what of his fourth solo album? He's brought along synth and sound design wizard Robbie Bronnimann who delves deep into the electronic world from the pulsating Into The Fray giving the record an industrial sound, which nods to Collin's beginning as a synth-rocker. Elsewhere he has Gaz Williams laying down the bass grooves for his drumming to meld with as the six stringing is provided by Robin Boult and Collins' Sound Of Contact bandmate Kelly Avril Nordstrom. That pulsing intro moves into the first single Becoming Human an introspective spacey song with a hint of John Mitchell, an artist who you can hear across these digitally injected soundscapes that draw you into a glitching, ominous world. Man Made Man is damning indictment of religion and money that throbs to a EDM backbeat, the driving Thoughts Become Matter reminds me of Jayce Lewis' percussive industrial metal sound while I Will Be Waiting is a grooving ballad that is full of blips and twitches.
Those who were looking for Dimensionaut part II will be a little perplexed at the very strong synth influence on this album but having delved into Collins' back catalog I had an idea he had had dalliances with this sound before. From the deep grooves of No Love to the poppy tones of 40 Years, Becoming Human is the next step in Collins' career bolstered by the Sound Of Contact project this solo record builds on that, to show that he is able to still maintain momentum without the demon of repetition rearing its ugly head. 8/10
Hailing from Corinth, A Necromancy Lore is the second album from symphonic death/black metal band Drama Noir. As soon as the haunting female vocals at the start of Desert Draconids fade into rapid fire blast beats and tremolo picking with growled vocals you pretty much know what is going to happen for the remaining 40 odd minutes of this record. Certain numbers, such as Luminous Seduction are punctuated by big orchestral swells and there is a Gothic overtone throughout which brings to mind early Septicflesh, however without the scope of their countrymen to keep the attention from wandering, when they go all out like they do on the rampaging The Last Incarnation, the stirring Relics Of My Enemies and the dramatic Witched Curse are all shining examples of the band doing what they do well but in the first part of the record there is a bit too much similarity. Decent enough but not really anything to write home about if you have listened to Septicflesh. 5/10
Serpent Omega: II (Icons Creating Evil Art)
According to the PR that accompanied this it says that II is a long awaited follow up to Swedish metal band Serpent Omega's 2013 debut. In the interim between the band have acquired Peter Stjärnvind, (Entombed, Nifelheim, Merciless, Unanimated, Murder Squad, VOJD, etc.) on drums. He joins the original members Urskogr (vocals), Brief (bass) and Jonsson (guitars) for this album that has a black metal bleakness, interspliced with harrowing doom metal and even one or two moments of galloping NWOBHM that switches between all of these across 38 minutes and 7 tracks. What I'll say immediately is that Serpent Omega have a filthy sound to their music which sounds defiantly Swedish, similar in many ways to fellow genre benders Avatar.
On Land Of Darkness there is an old school black metal feel while Rivers Of Reversed has a more doomy approach which really shows off Urskogr's expressive vocals where she moves from her normal scarred banshee howl into some great cleans. Through The Gates brings some punk explosiveness while Chthonic is a cathartic heavy riffing number that keeps up the juxtaposed nature of this album which does stay within the extreme metal boundaries but shifts between numerous styles making for a rewarding listen that climaxes with the moody whispers of Av Aska. II is very much worth the wait if you enjoy your metal with darkness to it. 7/10
Samer Elnahhal: Supernova Kill Road (Self Released)
Supernova Kill Road is the debut bar-hopping sci-fi concept album from bass/rhythm guitar player Samer Elnahhal. Now despite this being a debut record Elnahhal is a very seasoned musician and unlike many rock bass players he can say that he has won the Eurovision Song Contest. However don't go trying to find him in any of the videos as at the time (2016) he was the towering horned Minotaur bass slapper for Monster Rockers Lordi when the Finns stormed the contest and won. He held this position until 2019, while continuing in his other band Down South Junkies, then set about creating this debut solo record into which he sunk all of his savings to explore his creative vision outside of the schlock horror he is so linked to. The idea around this album seems to be a load of bars interconnected on the titular street all of which have different stories and musically different sounds.
Supernova Kill Road is the debut bar-hopping sci-fi concept album from bass/rhythm guitar player Samer Elnahhal. Now despite this being a debut record Elnahhal is a very seasoned musician and unlike many rock bass players he can say that he has won the Eurovision Song Contest. However don't go trying to find him in any of the videos as at the time (2016) he was the towering horned Minotaur bass slapper for Monster Rockers Lordi when the Finns stormed the contest and won. He held this position until 2019, while continuing in his other band Down South Junkies, then set about creating this debut solo record into which he sunk all of his savings to explore his creative vision outside of the schlock horror he is so linked to. The idea around this album seems to be a load of bars interconnected on the titular street all of which have different stories and musically different sounds.
Now this does make the album a schizophrenic in terms of sound merging Rob Zombie with Faith No More on the opening Psycho Inn Cafe and I'm On A Mission, the throbbing bass is the major instrument here having that Zombie-like punch to the majority of the record. Occasionally it moves into classic rock realms The Beauty Of Two Worlds especially sounds like a more industrial Lordi. Mostly it has funky, electro rock that pays tribute to Samer's idols with Jupiter City sounding like Alice Cooper mainly due to the vocals. Vocally he is joined by Niki Rock (Barbe-q-barbies, Niki's Project), Henry Lee Roots, (Spiha, Down South Junkies), Mica (Hellcity 13), Tommi Mikael, Mike Kuparinen and Simire to give every song a different edge. There's a lot of work that's been put into this record so I can't mark it down too heavily for the some of the vocal performances being a little off key for my taste, Supernova Kill Road is a bouncy electo-rock album with a schlocky edge. 6/10