Armored Saint: Punching The Sky (Metal Blade Records) [Paul Hutchings]
It’s been five long years since Win Hands Down was released. Five long years since I gave Armored Saint a 9/10 with their seventh album. Well, good things come to those that wait and the patient are about to be rewarded, for album number eight is another stellar release from a band who have always followed their own path in the world of metal. They’ve straddled the line between thrash and power metal but for me Armored Saint have always been the epitome of good, solid heavy metal. Their signature sound is instantly recognisable, the hard edge mixed with lashings of melody and the distinctive vocals of John Bush, one of the best singers in metal over the past 35 years. The band have worked for over 18 months on honing their music, concentrating on writing quality metal. Punching The Sky kicks off hard with the anthemic Standing On The Shoulders Of Giants, a classic Saint track that is also the longest track on an album that sees most songs shorter in length than the previous release. The opening track ticks every box, with its slow burning intro, opening riffs which lead to a pulsing song crammed full memorable hooks and chorus. The temperature increases on the piledriving End Of The Attention Span, which flies along at full throttle.
It’s been five long years since Win Hands Down was released. Five long years since I gave Armored Saint a 9/10 with their seventh album. Well, good things come to those that wait and the patient are about to be rewarded, for album number eight is another stellar release from a band who have always followed their own path in the world of metal. They’ve straddled the line between thrash and power metal but for me Armored Saint have always been the epitome of good, solid heavy metal. Their signature sound is instantly recognisable, the hard edge mixed with lashings of melody and the distinctive vocals of John Bush, one of the best singers in metal over the past 35 years. The band have worked for over 18 months on honing their music, concentrating on writing quality metal. Punching The Sky kicks off hard with the anthemic Standing On The Shoulders Of Giants, a classic Saint track that is also the longest track on an album that sees most songs shorter in length than the previous release. The opening track ticks every box, with its slow burning intro, opening riffs which lead to a pulsing song crammed full memorable hooks and chorus. The temperature increases on the piledriving End Of The Attention Span, which flies along at full throttle.
Two tracks in and the quality is shining. Superb guitar work from guitarists Phil Sandoval and Jeff Duncan, ably supported by the locked in rhythm section of Joey Vera and drummer Gonzo Sandoval. This is a band who have been joined at the hip for over three decades and it shows in the tight links which are threaded throughout the album’s 11 songs. As Punching The Sky progresses, it’s clear that Armored Saint remain masters of the killer earworm. There are few tracks on this album that don’t have a memorable hook or chorus which you’ll end up humming hours after you’ve turned the turntable off. Their sound is as robust now as it was back in 1985. In fact, the years of recording and touring have honed Armored Saint into a slick driven metal machine. They are also unafraid to mix up their sound with Do Wrong To None containing a change to their usual style. There is a freedom in the Armored Saint sound that they didn’t possess early in their career.
Tracks such as Lone Wolf and Fly In The Ointment contrast with their feel and tempo, the latter a more brooding, reflective piece but both are distinctively Armored Saint from start to finish. Unfair is another slower, smouldering track full of emotion with a powerful feel as it builds to an epic crescendo whilst Sandoval plays an American Indian flute on the intro to the muscular Never You Fret that closes the album. Vera once again produces, utilising the same engineering team from Win Hands Down. The result is a slick, polished but not overly shiny record that still has grit and dirt under the nails. Punching The Sky warrants repeated plays to get under its skin and yet it is instantly accessible. The best of both worlds? You bet. 9/10
Forlorn World: Umbra (Self Released) [Paul Hutchings]
If you know anything about the UK melodic death metal scene, the name of Josh McMorran is one that you will instantly recognise. The engine behind Bloodshot Dawn, scene veterans for close to two decades, McMorran has worked tirelessly to pursue and produce his music. Since Bloodshot’s last release, the excellent Reanimation in 2018, McMorran has been working on a new project, Forlorn World. The results are spectacular. Forlorn World gathers many of those instantly recognisable traits of Bloodshot Dawn, but McMorran has mixed them with other elements that allow a wider flexibility than he allows himself with the main outfit. The album includes several guest solos and vocals including Francesco Paoli (Fleshgod Apocalypse), bandmate Morgan Reid, Yo Oniytan (Rings Of Saturn), with bass duties covered by fellow Bloodshot Dawn member Giacomo Gastaldi. Forlorn World explores the story of a man forced to take a dark path, finding revenge and redemption. The epilogue of a great saga in a fictional universe, based on the world we live in and trials we all face together. Josh adds, "The story is about a man who stands up for his beliefs, shot down in the face of impending fear. This is a sombre tale of redemption and inner struggles which hold the character back and his journey to overcome it all."
The lyrical concepts within the album touch on modern politics and social observations ambiguously woven into an adventure following a wizard that seeks revenge in a universe of portals, trolls, and medieval civilisation. The album follows The Shadowmancer's journey to revenge and redemption, after suffering a harrowing trauma he will learn and grow, gaining the power to appease his will. The album opens with Moving Mountains, which provides a dramatic introduction to the release. Ferocious and unrelenting, the initial moments stick closely to the Bloodshot blueprint, but the arrival of clean vocals marks the immediate diversion from the mothership. The frenetic picking remains, alongside the blistering solos, crushing riffs and pummelling programmed drumming but it’s the pleasing melody that provides the freshness. Utilising percussion and some rich synths, McMorran has expanded and pushed deep into new musical territory. The Shadowmancer follows but here there is more than just clean vocals to delight. This song is propelled at a blistering pace, and let’s face it, Josh isn’t going to take the foot of the accelerator is he. Shredding for fun, the guitar work is stunning, the bass lines of Gastaldi rampage underneath the maelstrom. Before The End provides a gentle, instrumental interlude, a sweet piece of guitar allowing a quick breath. March Into The Void sees the utilisation of the synths, described aptly as Blade Runner style, and whilst they add to the mix, they never take away from the underlying power of the overall track.
McMorran has always drawn from bands like Soilwork and Scar Symmetry and never is it more evident than here. The Traveller provides some of the most melodic elements of the album. The longest track on the record, the opening section segues into a flat-out passage, with the keyboards coming to the fore, adding atmosphere without any loss of the firepower expecting. The clean vocals demonstrate that McMorran can sing as well as growl, the contrast working nicely, whilst the changes of tempo, from explosive soloing to fiery aggressive sections and the huge finale all blend well. It’s carries a triumphant feel although the abrupt finish is one of my few criticisms. With the album clocking in at the 30-minute mark, it’s obvious that McMorran has pushed for quality rather than quantity. Penultimate track Pillars Of Eternity sees Josh trade gruff and clean vocals with one of the guest vocalists (I think it’s Francesco Paoli but I may be wrong) before the title track (Umbra which means Shadow in Latin) with its battery of riffs, subtle synths and further guest cleans provides a fitting conclusion. Having worked on the album for over a year, what is evident is the attention that McMorran has put into this project.
The artwork was created by Applewhite Art and only enhances the package. Written, recorded, and mixed himself, McMorran handed over mastering and additional mixing to acclaimed producer Jacob Hansen of Hansen Studios (Aborted, Extol, Amaranthe) who has finished off the project in fine style. Forlorn World is exciting, fresh and provides a creative outlet for one of the UK’s main underground artists. 8/10
Recorded in just 10 days during Lockdown Strange Days is the third full length from The Struts and it's the sound of a band making good on their claims of being the world beating arena rock n roll band. Their huge support shows of bands such as The Stones and The Who have been well documented despite their own tours being a little smaller scale, however once we all get out of this I can see that they will on the Marquee at the UK's biggest venues easily. Strange Days is a key part of this once again ramping up those classic British rock influences of The Stones, The Faces and Queen; Luke Spiller's snide, confident, vocals weaving these tales of sex, drink and rock n roll with a glint in his eye and occasionally a tongue in his cheek. More diverse soundwise than before, check out the Hendrix thumping psych of Wild Child where guitarist Adam Slack faxes off with RATM's Tom Morello it's also got those traditional hip shaking rhythms from Jed Elliot (bass) and Gethin Davies (drums) that hark back to when the Brits ruled the airwaves, the boogie ballad of Burn It Down sound like prime Rod and Ronny.
The band themselves broke the USA before they did over here so I Hate How Much I Want You is little bit of a passing of the torch moment as Def Leppard's Joe Elliot contributes vocals and Phil Collen guitars. The full steam ahead towards the arenas was noticeable on their previous album, here it practically beats you around the head, they are using nostalgia yes, but mostly their music is made help you have a good time. Whereas this was a little contrived on the last record here the short recording time makes things a little more fast and loose Slack getting more chances to bring an axe attack than before the fuzzy All Dressed Up (And Nowhere To Go) an example. As well as Elliot another higher profile guest is Robbie Williams who sings on the title track which I'll admit when I first heard it, I didn't like, however now I've heard it in the context of the album it's not bad even with Stoke's cockiest singer on it his part is thankfully understated, the indie rocking opener Another Hit Of Showmanship has The Strokes guitarist Albert Hammond Jr.
They have also put on their first cover and rather than play it safe, they've gone for Do You Love Me by KISS rocking up the disco thump of the original but not starting too far. Closing with the sax-filled baroom soul of Am I Talking To The Champagne Strange Days once again lays claim to The Struts place on the throne of British rock dominance. A long way away from your Ed Sheeran's, this is what out British music on the worldwide map and The Struts do it with cross generational appeal. I can even forgive Robbie Williams. 9/10
Artificial Eden: Self Titled (Boersma Records) [Matt Bladen]
Artificial Eden: Self Titled (Boersma Records) [Matt Bladen]
Recently signing to German label Boersma Records, Greek based progressive metal band Artificial Eden have a finally released their debut album despite being formed in 2003. Made up of Greeks Antonis Panagopoulos (guitar), Thanasis Paparidis (guitar), Giorgos Pispirigos (drums), S. Hasapidis (bass) and Non-Greek Rob Lungren (vocals), they play a style of progressive metal that nods to Fates Warning, Shadow Gallery et al. So you can expect on Artificial Eden is the complex but classic leaning style of heavy metal with changing time signatures, dramatic elements on the balladic Day Of Tears as well as some soaring vocals that really resonate on the closing track Land Of Depression which is 12 minutes of exactly what Artificial Eden do well. As many of you know I'm a bit of a prg nerd and I'm quite impressed by Artificial Eden the only thing I would say is that the title track which opens the record is possibly the weakest on the record as personally I would have opened up with Thoughts or Lies Between The Lines which are bit more immediate, the latter especially brings a thrashier sound. Still it's pretty decent prog metal that's been a long time in the making. Check it out if you're a prog metal completist. 7/10