Category Archives: Album Reviews

Visigoth – The Revenant King

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Salt Lake, Utah, is currently drowning in a weight of fan mail – or it would be, if such a thing existed these days. As it is, the various devices of a collective of young metal heads are pinging with platitudes, praise and sites and zines falling over themselves to pay tribute to the greatest thing since ale was quaffed for the first time.

For here is a band, Visigoth, who are revisiting a template established over 30 years ago – a template forged in the fires of “proper” Metal. And on their debut release, The Revenant King (Metal Blade), they doth verily show both their might and wares in a display of muscular, chunky traditional metal. Embracing a rich heritage, their roots of American Classic Metal shine through in the touches of Dio, ‘83-‘85 era Manowar and Manilla Road in their sound. Indeed, halfway through we are greeted with a cover of ‘Necropolis’ from the Road’s seminal Crystal Logic, (Black Dragon/Iron Glory), but this is not a one-trick elephant, as ‘Mammoth Rider’ brings a doomy, epic Candlemass crush before riffing off into Iced Earth territory.

There is a tendency at times for critics and punters alike to fawn more over the concept, ideology and premise of a band, or to be honest entire sub-genres – mix some brooding passages with some sludgy riffs and screams and your band is guaranteed some serious beard-stroking – rather than paying attention to whether what the band is actually delivering merits such a response. Playing traditional metal shorn of the normally pre-requisite Power Metal trappings and singing of armour and days of “yore” also garners similar stroking, though this time not of a beard of hipster origin, and some of the acclaim and commendation of Visigoth is over the top. Yet this is a furrow much ploughed over the past three decades (except for that bit in the 90’s when no one would touch classic metal, even with someone else’s bargepole) and this fledgling quintet have turned in a very respectable effort that shows reverence to the revenant spirits of metal of a bygone age without being derivative, which is no mean feat.

If there are criticisms, while they manage with professionalism the weightiness of penning a series of epic songs (with the exception of ‘Necropolis’ all our adventures weigh in over the five minute mark) some including several sections, at times this does go on a bit. Elsewhere, Jake Rogers vocals, while entirely appropriate, lack a touch of character or distinctiveness, but sharpening and maintaining their weapons is something fledgling warriors learn over time. Visigoth certainly have the weapons and steeds to be successful riding into what promises to be a long and successful campaign. The first skirmish has been won, but great war-leaders make their name by being victorious in a series of battles. Visigoth’s name and reputation is growing, though, and with time many may ride at their side to ultimate victory, glory and fame.

 

7.0 / 10

Visigoth on Facebook

 

STEVE TOVEY


Callisto – Secret Youth

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If there is a phrase that tends to put my hackles on end, my blood boil and my temper enter a different stratosphere it’s when people talk about musical creativity as a “journey” but, in the case of Finland’s post metal outfit Callisto, I can’t think of a more apposite word to describe their moves from hardcore proficiency to the critically lauded outpost of post-metal.

Secret Youth is the band’s fourth full length album (their first on Svart Records) and the first new material since the progressive delights of Providence back in 2009. Six years is almost the equivalent of six lifetimes in the ever changing world of the music business so whilst there isn’t anything remotely approaching “pressure” on Callisto, a lengthy absence tends to lead to speculation about whether you’ve still “got it”.

Relax, kids. They have. And then some.

Secret Youth feels like the sum total of the band’s dozen or so years of accumulated musical knowledge and prowess blended into one record of power, precision and infectious abrasiveness. The first thing that strikes you about the album is just how accomplished it all is – there is a greater level of ambition in the songs that they have created, a readiness to explore different approaches, textures and melodies. Secret Youth also has moments of sublime anger and ferocity, so don’t think that just because they have found melodies and tunes that they have lost any of their inherent aggression; if anything, they have simply become more discerning with when and how they use it.

Opening track ‘Pale Pretender’ is dynamic and pulsating, building a sense of impending menace and doom. Vocalist Jani-Ani Hukkala sounds like he has taken lessons from Interpol’s Paul Banks which, as any fule kno, is a very good thing indeed. Lead-off single ‘Backbone’ consolidates the sense of unease and the arrival of the first guttural howls. This exceptional blend of haunting melodies, pained lyricism and outright ferocity is probably what you’re looking for with Callisto and, make no mistake, it is here in abundance. ‘Acts’ slows the pace a bit, all noir-ish melody and disjointed guitar parts before ‘The Dead Layer’ delivers gloomy atmospherics and poignant ambience.

The second half of the record is equally impressive with the band offering a balanced shift between intensive aggression and more introspection and reflective pieces. As I’m writing this I can immediately sense that this blending of style, in lesser hands, might not really work but as with some of modern heavy music’s best – think of Opeth, Cult of Luna, Katatonia – the effect here is never any less than impressive and, at times, it’s downright brilliant.

Many bands come straight out the traps with the essence of who they are almost immediately; for others, it’s more of a slow burn. With Callisto, we seem to have waited a long time to arrive at the purest distillation of what they are about but with Secret Youth, they have achieved it. If you want to give anyone a perfect example of what this weird thing called post-metal is all about, then you could do far, far worse than play them this. They will thank you and then, in turn, you can thank me. In a word: fabulous.

 

8.5/10

Callisto on Facebook

 

MAT DAVIES

 


Game Over – For Humanity (Re-Release)

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Italy’s Game Over were one of 2014’s surprise packages. Their sophomore album, Burst Into The Quiet (Scarlet), was rated by many as one of the best thrash releases of the year. To capitalize on their success, the band have re-released their 2012 debut, For Humanity (Scarlet).

From the Nuclear Assault-inspired logo and cartoon apocalypse cover to the copious amounts of denim vest jackets, these Thrash revivalists clearly know their source material. If it wasn’t for the crisp production job, this could have easily come from any number of 80s Bay Area bands.

From the off, there’s little introduction or fanfare and they just get stuck in with the good stuff. Sharp solos, air guitar-inducing riffs, and shout along choruses, everything you want and expect from a quality thrash experience. From the shredding opening of ‘Abyss of a Needle’ to the stomping ‘Bleeding Green’, there’s a strong scent of Anthrax running throughout the album, while frontman/bassist Reno’s vocals are often reminiscent of a slightly less accented Tankard, which is no bad thing.

Highlights including the fast and furious ‘War of Nations’, the Kill ’Em All-inspired ‘Another Dose of Thrash’, the blink and you’ll miss it blur of ‘N.S.A’ are all highlights, but there are occasional moments where things can get a bit tired. ‘Overgrill (El Grillador Loco)’ lacks any real sparkle until the final searing solo, while album closer ‘Tupa Tupa of Die’ fails to really stand out. The re-release comes with three live bonus tracks including a souped-up cover of Motörhead’s ‘Iron Fist’ and a couple of originals, showing off a band who can really bring it on stage.

Game Over know what they want to be, and are a pretty perfect version of it. Fans of Burst Into The Quiet will find their debut equally satisfying. Energetic and well-executed thrash may not be hard to come by, but these guys don’t do much wrong.

 

7.0/10

Game Over on Facebook

 

DAN SWINHOE


Periphery – Juggernaut: Alpha / Omega

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‘Juggernaut: Alpha’

If I’ve learned anything from the internet (aside from cat’s secretly ruling the world) it’s that Periphery is the worst thing to ever happen to metal.

Or it’s that Misha Mansoor arrived on earth with the sole purpose to teach us plebs what guitar playing should really sounds like.

Yeah, the internet is split like Democrats and Republicans when it comes to this Maryland collective.

Their ambitious latest undertaking, double album Juggernaut: Alpha and Juggernaut: Omega (Sumerian) will only strengthen that electronic divide. With Alpha and Omega running 42:55 and 40:36, respectively, ambitious is the best way to describe the much discussed follow up to 2012s Periphery II.

Everyone knows double albums are a tricky proposition. Particularly for metal or rock bands. Us metal fans are a fickle bunch. We love to denounce when a band drastically alters their approach (cough, In Flames) and piss and moan when they decide to stay the course (i.e. Cannibal Corpse’s discography). So the challenge here is twofold: how do you please the audience while keeping their attention for the span of discs worth of material? I grew up in the 90s. I remember Use Your Illusion I and II. Those are not good memories.

Fortunately for the peripherals, Periphery have, for the most part succeeded at retaining listener’s attention all while making bold, refreshing sounds.

'Juggernaut - Omega'

‘Juggernaut – Omega’

Both Alpha and Omega feature their heaviest music as well as some of the most melodic. If there was any common sense (and taste) left in commercial rock radio, tracks like ‘Priestess’ and ‘Heavy Heart’ would have found a home on their airwaves. With that said, be prepared to get your ass handed to you by the seven string attack Mansoor, Mark Holcomb and Jake Bowen bring on ‘22 Faces’ and ‘Graveless.’ There’s also the opportunity in track ‘Omega’ for Periphery really to get their prog going. It passes the 11 minute mark without sounding like a second rate Meshuggah or Dream Theater. Most of their peers couldn’t pull that stunt, let alone a double album.

From what I gather, the reason Juggernaut getting the dicey double album format is its narrative. Alpha chronicles the birth and rise of our protagonist, while Omega details the trials and tribulations of said character. And quite frankly, I didn’t follow the narrative. While I can certainly appreciate them taking the creative chance, it feels a bit unnecessary. By eliminating the narrative and trimming some of the instrumental interludes on the first half, it is very possible to have all the great music on one disc as opposed to two. But that’s really more of a nitpick.

A few years back I felt Periphery seemed on track to become the new Killswitch Engage. That analogy still fits. Much like Killswitch shed itself of the metalcore stigma, Periphery, through strong songwriting and not playing it safe, have successfully shaken any association with djent. Now that they can’t be pigeonholed to djent or the “Sumerian sound” it leaves Periphery open to be viewed for what they truly are, a brilliant metal band.

Who cares what the internet says.

periphery

9/10

Periphery on Facebook

HANSEL LOPEZ


Nightingale – Retribution

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Swedish multi-instrumentalist Dan Swanö has had a long and strange career. On the one hand, he’s known for ambitious melodic death metal with Edge of Sanity on the other, he’s been a stalwart of the progressive rock scene with the likes of Nightingale, who are back after a seven-year hiatus. Their new album, Retribution (InsideOut), it’s all about the melody.

This is the seventh album from the band – made up of Swanö on guitar, keyboards & vocals, his brother Dag on guitars and keyboard, Erik Oskarsson on bass and Tom Björn on drums. In their early days, Nightingale was a goth rock outfit unafraid to embrace their experimental progressive sides. Today, they’re more of a poppy, radio-friendly outfit with hints of 80s goth, 70s style synth and AOR.

From the upbeat opening of ‘On Stolen Wings’ to the gentle rock of ’27 (Curse Or Coincidence?)’ it’s clear Nightingale are sticking to the lighter side of the rock spectrum. Whether it’s the synth heavy ‘Chasing the Storm Away’ or the slow gallop of ‘The Voyage Of Endurance’, every track is essentially a catchy, hook laden pop songs and it’s not to get caught up in the moment.

Swanö’s vocals have always been a strong point, no matter which band he’s playing in. And while there are no death growls, his powerful, soaring voice suits the AOR style of Nightingale’s music perfectly. But despite being easy on the ears, there’s little on offer for anyone who doesn’t like their rock dad or radio friendly. Pretty much every song is either a mid-paced stomper or some kind of power or acoustic ballad. The song writing is all to a high standard, there’s little filler, but there’s nothing to get the blood pumping or the head banging.

It might lack any adventure or experimentation, but Retribution is an enjoyable and perfectly listenable album. Edge of Sanity fans may find little to enjoy, but anyone who enjoyed the melodic aspect of Witherscape‘s debut or any of Swanö’s prog-orientated releases will be pleased to find the man back on good form.

 

7.0/10

Nightingale on Facebook

 

DAN SWINHOE


Venom – From The Very Depths

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From The Very Depths (Spinefarm), the fourteenth entry in the Venom canon, sees Cronos and company delving into the roots of underground punk and heavy metal, resulting in some satisfyingly atavistic blasts of noise. No squeaky clean production values are present to water down or blight the impact of the crunchy thrash riffage and relentless aggression present here.

Cronos’ spiteful delivery on ‘Temptation’ exemplifies what Venom have always been about; a gritty, go for the throat approach which requires little deviation from their original blueprint of crust covered heavy metal.  ‘The Death Of Rock N’ Roll’ sounds like recent Darkthrone covering Mötorhead and with only one number on the album exceeding the five minute mark, things are kept nice and concise, as is the rough-shot blast of first single ‘Long Haired Punks’.  The tongue in cheek old school hokum may not work for actual black metal fans but these japing Geordies were never ‘grim’ or ‘kvlt’ to begin with; luckily Cronos appears aware of the ridiculousness of his lyrics as he barks on the former “Line up the Marshall stacks! We’re killing King Creole!” while axeman Rage churns out some pumping speed metal riffage. ‘Evil Law’ rides a crushing mid-paced ostinato but overt repetition certainly kills its momentum, and the wah injected ‘Smoke’ is a questionable entry.

At fourteen tracks, this opus feels fleshed out in places with the elaborate intros of ‘Eruptus’ and ‘Ouverture’ adding nothing to proceedings, but luckily the album adopts a ‘play it straight’ ethos and is, for the most part, shorn of the modern influences or ham-fisted experimentation which has made their recent outings rather ponderous.

Creating menacing vicious heavy metal is what Venom is about and any deviation from this simple formula feels unnatural and forced. All the elements of the bands classic sound has been recalled in what may be the current line up’s finest work since the late nineties, although if you are looking for material of a quality akin to Black Metal or Welcome To Hell (Neat) then you will be found wanting.

A decent, if unspectacular, entry that preaches to the converted.

 

7.0/10

Venom on Facebook

 

ROSS BAKER

 

 


Napalm Death – Apex Predator – Easy Meat

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Remember the first time you heard From Enslavement to Obliteration (Earache), the ground-breaking second album from UK grind pioneers Napalm Death? I certainly do. It was 1988, I’m there trying to grasp on to my love of loud music…and I fucking hated it. I found it laughable, and it sent me away from Metal’s harder edges for a long time. How can you identify with a five-second song, for Christ’s sake? Up to this moment, I’d never listened to another Napalm Death album.

A staggering 27 years later fifteenth album Apex Predator – Easy Meat (Century Media) hits my inbox and boy, I feel different. The angry yet tribal rhythm of the shamanic title track gives way to the pounding machine-gun rattle of ‘Smash A Single Digit’, while the powerful skewing punk of ‘Metaphorically Screw You’ ploughs an irresistible furrow. There’s display of a flexibility in pace with the initially slower ‘Dear Slum Landlord’ retaining a hefty boot with a full production and eventually exploding with euphoric ferocity. The band’s trademark veering grind is still in evidence in the speed and violent switches of ‘Cesspits’ and ‘Bloodless Coup’; while the exercise in raw bloody velocity that is ‘Stunt Your Growth’, complete with mid-point of brutal groove and a barked Barney Greenway delivery, will rip up some serious pits live.

That the band still emits a burning intensity, railing against injustice and The Establishment, is reassuring and adds the crucial element of gravity to what is, in essence, a joyous and energising sound. The beefy punk of ‘Hierarchies’ possesses choruses of near harmonised, reflective vocals and a lightning lead break to highlight the versatility. Thankfully this is followed by the frenetic  bludgeon of blastbeats and the savage roars of the penultimate ‘One Eyed’, reverting back to the coruscating norm with a wonderful closing bounce that is the album’s highlight.

Me, the Napophobe? I bloody love the nose-breaking, careering chaos of it all, which would appal an old, lost friend and make a few more chuckle. I’m ashamed I’ve missed out on so much but thank God for mid-life crises, eh?….

 

8.5/10

Napalm Death on Facebook

 

PAUL QUINN


Diablo Blvd – Follow the Deadlights

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For the last 10 years, Antwerp’s hardest working and hardest rocking band Diablo Blvd have been plying their rock n roll trade to a steadily increasing level of acclaim and popularity. 2015 should see their stock rise even further, with the support slot on the forthcoming  Epica European tour being confirmed.  It’s no great surprise then to see this timely (if fairly rapid) reissue of their third album, Follow the Deadlights, from their new worldwide distribution partner, Nuclear Blast.

Follow The Deadlights is a solid, muscular hard rock album with echoes of Black Label Society, Corrosion of Conformity (the more eagle-eyed among you will have already spotted where they got their moniker), The Cult and the occasional flourish of mid period Danzig which, I’m sure you will concur,  is a fairly decent set of influences.

Opening track ‘Beyond the Veil’ comes rumbling in, drums aplenty, akin to what might happen if BLS met Alter Bridge on a dark night of the musical soul.  ‘Rise Like Lions’ has pretty much the same opening drum led flourish but this time with a bigger riffs and greater level of ambition;  ‘Get Up 9’ ups the tempo somewhat, a driving and burly number with a healthy dynamic. The title track, following the well-thumbed rule book of hard rock and heavy metal, has a massive chorus and set of guitar solos and ‘Son of Cain’ ticks every single one of the melodic hard rock boxes and a few more that you didn’t think needed ticking. In a good way, though. ‘We are Legion’ is as preposterous as it is infectious, leaving no cliché unturned but you can’t help but be carried along with the band’s enthusiasm and earnestness. Who cares that you’ve heard this stuff a thousand times before?

It would be really easy to be cynical about records like Follow the Deadlights. Yes, I’ve heard it all before and yes, the structure of the record is as predictable as fireworks on Bonfire Night and yes, sometimes you can see the joins  but at the same time, you can see how these guys have earned their slots with Epica and, late last year, Machine Head. Follow the Deadlights sounds highly accomplished and there has, self-evidently been a sizeable effort in bringing together the band’s influences, creative juice and energy into the ten songs on offer here.  Follow the Deadlights is probably not going to set the world on fire but as an exercise in modern hard rock and heavy metal, it does a solid job.

 

7.0/10

Diablo Blvd on Facebook

 

MAT DAVIES


Pain Of Salvation – Falling Home

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It has been a number of years since Pain Of Salvation last graced us with their brand of melancholic metallic prog. Not quite a Tool or Chinese Democracy dynasty of nothingness of course, but still a significant period without one of prog and metal’s most overlooked gems. Such a shame that their return is with a self-indulgent stop-gap.

Falling Home (InsideOut) comprises of mostly stripped down takes on songs throughout their history, a brand new song of a similar ilk and two covers reworked to fit stylistically. The reworked efforts encompass their vast history including album opener ‘Stress’ which takes from 1999’s Entropia (InsideOut) and renders it into a lounge jazz number. In some cases these reimaginings both make sense and work exceptionally well; take the heavy blues of Road Salt One (InsideOut) via ‘Linoleum’ which becomes a much softer, near-ballad which still maintains subtle, up tempo mellotron. ‘Mrs Modern Mother Mary’ similarly sees is metallic air removed entirely, showing a much more delicate side and really showcasing Daniel Gildenlow’s diverse vocal delivery.

Sadly for all its well-realized moments there are also plenty that don’t hit the mark, and even ventures towards simple novelty and becomes very hard to take seriously. The aforementioned ‘Stress’ for example sadly brings to mind comedy acts like Richard Cheese, whilst the most notable of the two covers, their lounge take on Dio’s iconic “Holy Diver” holds absolutely no musical worth and is surely included purely as a joke.

With such a rewarding catalogue at their disposal, its more than well documented at how special a group these Swedes can be, capable of absolute magic; which makes this release all the more disappointing and near aggravating. A collection that ranges from sumptuous takes on already high caliber songs to those that prove either unspectacular or even simply pointless, and a release that will only appeal to a select few uber fans, and the creators themselves.

 

4.0/10

Pain of Salvation on Facebook

 

CHRIS TIPPELL


If These Trees Could Talk – ‘Above The Earth, Below The Sky’ and ‘Red Forest’ Reissues

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Here’s a thing. I think it was the British music journalist Andrew Harrison who first coined the phrase “landfill indie”, referring to the glut of post Britpop bands that emerged at the end of the late 90s. These acts, mainly bereft of anything approaching “talent” and conspicuous in their self-regard, whiny vocals and complete lack of musical invention or excitement were responsible for the dilution of an independent music scene that was once renowned for its creativity, sense of purpose and creativity.

I’m going to coin another phrase. Consider, if you will, Post-Rock Rubble (patent pending). I refer, in this instance, to the current glut of hipster post rock bands who, in their quest for something approaching authenticity have appropriated the leitmotifs of post rock and imbued it with a level of anonymity and mediocrity that would be admirable in its effectiveness were the aural effect not so drab and boring. I think you know the sort of thing I’m talking about- delicate melodies married to crashing guitars that have journalists who really ought to know better about these sort of things, salivating at the mouth like Pavlovian dogs, using words like “transcendent”, “epic” and “life changing” to describe vocal free tunes that are, at best, pleasant enough and, at their most anodyne, akin to listening to the grass grow.

The job in hand is, therefore, to separate the wheat from the chaff. It’s with this in mind that we come to Akron, Ohio’s If These Trees Could Talk and Metal Blade Records decision to reissue their 2009 debut Above the Earth, Below The Sky and its 2012 follow up Red Forest. Metal Blade don’t have a deep seated heritage in post-rock but they are a reliable label when it comes to spotting talent and If These Trees Could Talk are one of the better post rock outfits so their timing, whilst curious, is probably ahead of new material from the US based five piece which, as students of this genre will likely attest is a bit of a “good thing”.

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If These Trees Could Talk operate in a world that has become all too familiar since their debut some six years ago. As you probably know, they are all about the feeling and the textures of their music and, structurally, you can spot the influence and lineage of the likes of Explosions in the Sky, Godspeed You! Black Emperor, Mogwai and, at times, Cult of Luna at their most reflective. They have a discerning way of blending delicate and fragile melodies into the post-rock framework that is comforting and occasionally compelling.

Of the two re-issues, although there is a fair smattering of post rock loveliness in the debut album, (7) Red Forest(8) is the superior album, wherein the band have nothing like “difficult second album syndrome” but delivered a nuanced and confident record that succeeds pretty much wholesale, despite the limitations that the genre inevitably confers on its artists.

What sets If These Trees Could Talk apart from some of their more generic peers are two things: their almost metallic use of guitars to convey power as well as precision are probably one of the main reasons that they appeal to the A&R types at Metal Blade but for this listener, it is the deceptive simplicity of their music that compels. There is a moodiness and intensity to this music that brings you back to this band time and again; this is music to become emotional about and emotional for.

Above all, If The Trees Could Talk are not self conscious, nor self regarding- the two most obvious manifestations of their less talented peers. Sombre, thoughtful and evocative and a decent soundtrack for that bleak new year January.

 

Above The Earth, Below the Sky – 7.0/10

Red Forest – 8.0/10

 

If These Trees Could Talk on Facebook (ha!)

 

MAT DAVIES