Category Archives: Album Reviews

Gojira – Magma

Posted on by

gojira magma album cover ghostcultmag

After losing their mother to cancer in 2015, brothers Joe and Mario Duplantier of Gojira have had to dig deeper than they would have ever wanted to write the follow up to 2012’s much lauded L’Enfant Sauvage (Roadrunner), and this unfortunate event has clearly been at the heart of all aspects of their latest release. From Magma‘s (Roadrunner) muted grayscale artwork to the the record’s lyrical themes and pervading feeling of solemnity, this is a piece of work driven not only by grief but by grim determination.

Reading this, you’d be forgiven for thinking that listening to the album would be a thoroughly depressing experience, but while the background to the record is certainly not the happiest, the music contained within is inherently Gojira. Just a more thoughtful, ambitious and expressive one.

Joe Duplantier turns in what is surely a career best vocal performance, his familiar throaty roar sitting naturally besides quieter and somewhat surprisingly more vulnerable tones, adding further depth and texture which allows the band to wander organically from their familiar path without ever sounding jarring or overtly calculated.

 

Drummer Mario Duplantier excels himself, driving some songs with fierce, occasionally scarily complicated jazz-infused rhythms while allowing others the space and time to breathe by either keeping it simple or backing off completely. Second guitarist Christian Andreu complements his counterpart’s playing as perfectly as ever, and oft-forgotten hero, bass player Jean-Michel Labadie plays his heart out, even taking centre stage with the short Sabbath-esque instrumental ‘Yellow Stone’.

There’s a big Angel Rat (MCA) era Voivod influence on opener ‘The Shooting Star’ and title track ‘Magma’, while ‘Stranded’ and ‘Only Pain’ feature the screeching cat guitar sound that Dimebag Darrell employed in Pantera‘s ‘Becoming’, only with a typically Gojira twist. Songs like ‘Pray’ and ‘Low Lands’ build patiently before exploding with groove-laden, lurching riffs and bursts of speed while ‘The Cell’ is the only song built almost entirely for pace, only slowing down for a mid-paced chorus and yet another crushingly heavy, lumbering riff which it uses to build towards the song’s climax.

Gojira band 2016

 

Recorded at Silver Cord Studio in New York, a studio designed and owned by Joe Duplantier himself, the band have never sounded better. Each instrument is mixed with crystal clarity and the album flows from one song to another perfectly, its mood ebbing and flowing like the tide as you get swept along by wave after wave of aggression and introspection.

While Magma may not be the record some Gojira fans might have expected, there is no question that this is absolutely the album they should have made. Oppressive, cathartic, and thick with raw emotion (especially lyrically), yet uplifting and far more accessible than you’d believe possible, this collection of songs represents a band at the top of their game, allowing themselves to explore and break down more boundaries, while also serving as a fitting eulogy to the memory of the Duplantier’s mother.

9.5/10

GARY ALCOCK

[amazon asin=B01EGTGJ5A&template=iframe image1]


Ayreon – The Theater Equation

Posted on by

Ayreon- The Theater Equation ghostcultmag

If there is one thing that cannot be denied about Arjen Anthony Lucassen, it’s that he has a very bold vision when it comes to his music and it’s presentation. In Ayreon in particular, he shows intricacy and complexity like very few others when it comes to layering, narrative and bombast. Perhaps less mind-boggling than much of his career, The Human Equation (InsideOut) certainly made up with its operatic feel and storyline. So much so it finally lent itself to a live offering (albeit still without the near reclusive Lucassen), of which The Theater Equation (InsideOut) showcases.

Rather than just a usual offering of a band performing live, The Theater Equation offers the album in a way it was meant to be, as a full performance. Thus much of the original cast reprise their roles, including James Labrie as main protagonist Me; albeit with some exceptions such as Anneke Van Giersbergen replacing Mikael Akerfeldt. Thankfully such replacements are hardly downgrades and perfectly encapsulate the feel of their adoptive characters and roles with aplomb. Alongside the strength of its vocal cast, musically this strikes an impressive balance between studio album quality and consistency with the feel and energy of the live arena. Together these elements give such an immersive and emotional performance through a detailed story that delves into many elements of the human psyche and emotional range, as well as the original album does through its narrative.

 

With the original album’s sheer length it wasn’t for the faint hearted per se, and as follows the live version will similarly mostly suit those who are already fans of Ayreon, or at least in tune with the world of prog. With the changes in vocal personnel however and the strength of the performance and lore, The Theater Equation makes this more than just a collectible for the diehards, but a piece that many will find worth in, in what is still one of Lucassen’s more accessible works in such a rich and deep catalogue.

8.0/10

CHRIS TIPPELL

 

[amazon asin=B01F4ENJMW&template=iframe image1]


Nails – You Will Never Be One of Us

Posted on by

Nails – You Will Never Be One of Us ghostcultmag

 

Easily one of the most talked about bands in the heavy metal and hardcore world today, Nails, are back with another beatdown of an album entitled You Will Never Be One of Us (Nuclear Blast). For twenty-two minutes, which is fairly average unfortunately, the California powerviolence group dish out their latest blend of hardcore, grindcore, and heavy metal that will sooth even the angriest of people. For those who love the short yet powerful tracks from previous albums will find only two songs break the two-minute mark.

With such short songs, sometimes it can difficult to pick out tracks to talk about in a review but fortunately there are some truly memorable songs. ‘Life is a Death Sentence’ is a Jekyll and Hyde type song where the first half is that fast, aggressive side to Nails and then in the second half we get the hardcore punk side with only the shortest of warnings. ‘Violence is Forever’ is one of the longer tracks on the album at about three and a half minutes. In addition, this track brings out a groovier side of Nails but does not let up on the aggression at all. Around the two-minute mark the song thrashes out but only to close the song out with a more aggressive riff and guitar feedback. ‘Savage Intolerance’ is a track that could not have come out at a more important time in the world’s history as, per Todd Jones, is about terrorist group, ISIS. Specifically, per Rolling Stone, “…these people are just totally intolerant about anything and everything that’s going on around them, and they just don’t give a fuck, and I think that’s total bullshit.” The track maintains similar tempos from previous tracks but also drops into aggressive sections where any pissed off listener can vision themselves punching an ISIS member’s face in. The last track that I feel obligated to speak about is the closing track, ‘They Come Crawling Back’. This song is easily the longest track in the Nails catalog, let alone on You Will Never Be One of Us, as it hits the eight minute mark! This final song on the album is by far the most hardcore influenced song. While the chorus slows down to let those magical HM-2 distortion pedals work their magic, the verse riffs keep your blood boiling. The second half of the song is a build up to a climactic finish consisting of a back cracking breakdown that is sure to appease all fans, metalheads and hardcore kids alike.

nails band photro 2016 photo credit jimmy hubbard ghostcultmag

Nails continues to make the most angriest music on the planet, bar none, while also collecting a massive fan base consisting of all sorts of hard music fans. You Will Never Be One of Us is simply another step up the ladder for these guys. While the formulas remain the same for the band’s sound, they are the best at it today and I am not seeing much competition in sight.

 

8.5/10

TIM LEDIN

[amazon asin=B01DVN657Y&template=iframe image1]


Architects – All Our Gods Have Abandoned Us

Posted on by

Architects- All Our Gods Have Abandoned Us ghostcultmag

 

For the most part, Metalcore is a genre with an air of defiance and empowering; normally a genre that is anthemic and uplifting with a positive message throughout. On latest album album All Our Gods Have Abandoned Us (Epitaph), serious credit has to be given to Brits Architects as they break this notion and offer an album with a towering message of bleakness and the need for us to stand up for change, in one of the boldest releases in the genre to date.

What is immediately striking about AOGHAU is how genuinely angry it sounds. Far from the faux rage of many of their peers, Architects have genuine reasons to be pissed off. As vegans and environmental activists, much of the album’s focus is on humanities destruction of the planet, and the sentiment of it is undoubtedly clear and real. Frontman Sam Carter in particular gives his most impassioned displays ever and very rarely drops from a full throttle roar, which amplifies the tone even further. The guitar work of course is very prominent and has a much darker tone than the genre is renowned for, whilst keys, rather than dominate, increase the atmosphere with subtle usage.

Aside from the soundscapes and textures, there are other signs that Architects are going for greater ambition than many of their peers, namely the 8 plus minute closer ‘Memento Mori’ which interjects the album’s trademark heaviness with passages of brooding, near ambience before erupting once again in sheer, white hot fury. In a genre that for all its greatness can prove stagnant at times, these signs and moves put Architects in a class of their own when it comes to vision in the genre, and thus have not only exceeded all their own greatness, but have further proven why they are one of the shining lights in the style, and for British metal itself.

9.0/10

CHRIS TIPPELL

 

[amazon asin=B01DY2YXXK&template=iframe image1]


Scorpion Child – Acid Roulette

Posted on by

scorpion-child-acid-roulette

This isn’t my first go around with Scorpion Child, and, honestly, they’ve just never really been able to catch or keep my attention for very long. That trend continues here with their second album Acid Roulette (Nuclear Blast Entertainment) with the exception of a few songs.

‘Moon Tension’ was the first track to grab my attention. It’s more dynamic than the songs that come before it rather than just sounding the same for three and a half minutes. I could find myself singing along to this. ‘Tower Grove’ follows immediately afterwards, keeps the energy going, and I actually did find myself singing along to the chorus. Both of these tracks continue to stand out to me through repeated listens. If the rest of the record could keep up with these two songs, then we’d really be talking.

While the concept of an album based upon the life and adventures of a man wrongly imprisoned for a murder sounds interesting, it just doesn’t do enough to bring this record to life. This album fits in well as background music but nothing really jumps out and above the rest of the general sound. It’s just there.

Scorpion Child may not be my thing personally, but the potential for greatness there and, at the very least, they are worth keeping an eye on for future endeavors. For right now, I’ll keep my hopes high.

5.0/10

ALEIDA LA LLAVE

[amazon asin=B01DVN65BA&template=iframe image1]


Gozu – Revival

Posted on by

Gozu- Revival – Ripple Music ghostcultmag

Stoner rock boys Gozu has a new album out. It’s called Revival (Ripple Music) and it’s a belter. The Boston unit’s third album sees them continue to ply the same brand of muscular stoner-meets-grunge riffs and melodic vocals they’ve been honing since 2009. But the songs are tighter, the riffs bigger, and the quality vocals are allowed to take center stage.

From the battering ‘Nature Boy’ to the grungy ‘Bubble Time’ and slow groove of ‘Oldie’’ Revival rarely has a note out of place. The guitar work, courtesy of Marc Gaffney and Doug Sherman, stretch from almost Black Label Society-esque shredding to Josh Homme levels of fuzziness. The ability to blend both extremes into one record is one of the things that make the album so enjoyable.

 

At their best, Gozu sound like Kyuss fronted by Chris Cornell. Marc Gaffney’s turn in front of the mic gives an already quality band that extra edge. From the bluesy ‘Dee Dee McCall’ to the swampy but stadium size ‘Big Casino’ and even the slow jam outro of ‘Tin Chicken’; Gozu know how to craft a great song and fill it with catchy riffs and big solos.

From start to finish, Revival is brimming with energy and a stash of riffs. One of the best stoner albums of the year.

 

8.0/10

DAN SWINHOE

[amazon asin=B01DCIW3XS&template=iframe image1]

 


Ommadon – Ommadon

Posted on by

Ommadon – Ommadon album cover ghostcultmag

Doom tends to be somewhat formulaic, it’s part of its gloomy charm. To be appreciated fully it’s generally best to be played at skeleton shaking volume. As a whole the genre isn’t particularly suited for records unless you happen to have a wall of cabinets in your house raring and ready to give your neighbours tinnitus. Ommadon’s eponymously titled album on Dry Cough Records follows that doom formula very well. Fleshed out with production from Billy Anderson meaning that the tone is excellent throughout both tracks.

The problem sets in somewhat with the fact that as it’s a two-piece instrumental doom act, they’ve kind of played themselves into a corner. What they do is good, but there’s not really all that much which they can do to make it stand out from the many other doom bands playing the same standard ‘bumbum bumbum BAAAM’ doom riff.

By foregoing vocals, the focus goes entirely onto the music to carry the emotion of the piece and unfortunately no matter how good the tone or the performance the standard hit the guitar/drums, wait, repeat formula just lacks an emotional depth after hearing it repeated for half an hour.

That’s not to say that it doesn’t have merit, with the tone and competency I would imagine this really comes into its own live, with the benefit of much higher volume, a mesmerised audience filling a small sweaty venue on a dreek day. Then it would have relevance and connect with the listener.

However, on record there’s nothing really hear which separates it from any other doom band I’ve heard. What it does is competent, with a great tone. However, there’s little to make it stand out from the crowd.

 

6.0/10

RICH PRICE

 


Rage – The Devil Strikes Again

Posted on by

rage the devil strikes again ghostcultmag

Twenty-two albums into their career (twenty-three if you include 1985’s Prayers of Steel (Wishbone) which was released when the band still went by the name of Avenger) and German trio Rage show absolutely no signs of slowing up. Latest album The Devil Strikes Again (Nuclear Blast) does exactly what you would expect. No surprises or strange left turns, everything about it is unashamedly Heavy Fucking Metal.

As with so much of Rage’s material, it’s probably not going to sit too long in the memory after leaving the stereo, but while it’s on it should keep you entertained and happily nodding your head. Fast and energetic for the most part, the band’s only remaining original member, vocalist/bassist Peter “Peavy” Wagner knows exactly what to deliver and does it in spades.

Although there’s nothing life changing, or even too substantial here, the album is nice and solid with some excellent performances. Guitarist Marcos Rodriguez plays like his life depends on it, his solos clear and precise with more than a hint of Iron Maiden about them, while new drummer Vassilios “Lucky” Maniatopoulos keeps things in the rhythm section pounding and thumping away nicely, the production really helping to showcase his work in particular.

Highlights include title track ‘The Devil Strikes Again’, ‘My Way’, ‘War’, ‘Deaf, Dumb and Blind’, and ‘The Dark Side of the Sun’, while ‘Back on Track’, and ‘The Final Curtain’, although certainly catchy enough, also sound a little lightweight when compared to songs like ‘Ocean Full of Tears’ and ‘Times of Darkness’.

For those of you who haven’t listened to a Rage album since Perfect Man (Noise) or Secrets in a Weird World (Noise), then this is as good a time as any to start reacquainting yourself with them. Mainly because most of the tracks have a genuinely mid-late ’80s vibe about them (just check out the Dokken-esque ‘Spirits of the Night’). A simple, no-frills Heavy Metal album with no aspirations other than to get people banging their heads.
Job done.

6.5/10

GARY ALCOCK

[amazon asin=B01DQN2F2I&template=iframe image1]


Allfather – Bless the Earth With Fire

Posted on by

Allfather - Bless the Earth With Fire album cover ghostcultmag

Bless the Earth With Fire (Static Tension) is a relatively short first album from Rochester UK quintet Allfather but, my God, is it an utter brute. Played at a largely sedentary pace, the Sludgy sensibilities are offset by Hardcore-flavoured guitars which boot the monstrous bedrock squarely up the arse at frequent intervals.

Opener ‘Raskolnikov’ is the first of four fairly brief tracks which nevertheless crush boulders whilst fired with a rampant anger: its howling solos giving the bone-grinding, occasionally shredding riffs some emotional substance and lightening the slurring emphysema of vocalist Tom. The repeated roar “I’m a murderer!” is truly nerve-twanging, the rhythm and squall rising in turn to give the full threatening effect.

It’s a sound that brings to mind the bludgeoning hostility of Hang the Bastard, whilst possessing more invention and vitality. Follow-up ‘The Bloody Noose’ displays more vicious weight before dancing buzzsaw riffs awaken a marauding monster, sure to whip up pits everywhere. The Hardcore Thrash of ‘Mouth of the Beast’ subsequently rips along yet retains a remarkable heaviness, its colossal coda terrified by manically squealing leadwork; whilst the diseased Stoner of ‘Dark Actors’ attracts comparison to High on Fire, almost matching the Californians’ mammoth intensity with a mid-section of pulverising riffs and drums.

The rather splendidly-titled, eleven-minute closer ‘Death, and Hell Followed With Him’ is an epic which again displays the full flourish of the band’s creative hand. Wonderfully emotive and often atmospheric without ever losing potency, and with a perfectly timed quickening, it does however highlight the slight flaw in the make-up. Tom’s unflinching scour is often suited to the task yet sometimes appears tired and limited, always seeming more effective when the scream is employed – which is all too briefly. Thankfully here it’s overshadowed by marvellous instrumentation which gives fans of all Metal persuasions something to revel in.

The Bandcamp version has a bonus track, ‘Blood Red Sunset’, which barrels along at a medium pace, its devilishly groovy riffs and wailing solo ensuring rambunctious fun. Altogether Bless the Earth With Fire displays Allfather’s near-ideal balance of Goliath’s size and David’s lightning-quick devastation to the full.

7.5/10.0

PAUL QUINN

[amazon asin=B01EWXWVC0&template=iframe image1]


Diamond Head – Diamond Head

Posted on by

Diamond Head – Diamond Head album cover ghostcultmag

Returning to the studio after an absence of nine years, West Midlands NWOBHM act Diamond Head go down the self-titled route with their comeback album Diamond Head (Dissonance).

Guitarist Brian Tatler may be the band’s only original member, but new singer Rasmus Bom Andersen sounds like he’s been in place for years. The band have returned to their classic sound, and his voice suits them perfectly. In fact, if it wasn’t for the album’s crisp production, you could be fooled into thinking this latest offering had been lost in the vaults for years.

There’s nothing here which is going to change the world, or suddenly turn the band into megastars, but if you want to hear what the follow-up to 1982’s Borrowed Time (MCA) could have sounded like without all the Prog waffle and experimental nonsense of Canterbury (MCA) then this really is the album for you.

Tatler’s playing is superb, and the riffs fly at you from all directions. It doesn’t even matter that some of them sound a little familiar. The solos are sweet and precise, the choruses are memorable, and the whole thing is just enjoyable. Something a Diamond Head album hasn’t really been for years.

‘Shout At Devil’ and ‘Speed’ rock seriously hard, ‘Diamonds’ is a great closer, ‘All the Reasons You Live’ is nice and dark, and the amusingly dirty ‘Wizard Sleeve’ with it’s “can I come inside your wizard sleeve” chorus is a song which really does sound like it could have been recorded in the early ’80s.

A fine, and long overdue return to form by a band who don’t sound like they’re desperately attempting to recapture former glories, but who are just doing what comes naturally.

And I didn’t even mention Am I Evil or Metallica once.

Oh…

7.0/10

GARY ALCOCK

[amazon asin=B01CZT1BTC&template=iframe image1]