Category Archives: Album Reviews

Kaipa – Sattyg

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Despite not being one of Prog’s most celebrated acts, Kaipa have magnificent legacy that spans near 40 years (18 years of which spent on a hiatus in fairness, but still not to be taken lightly) with a branch of prog that encompasses symphonic music, Swedish traditional folk and explorative, tangent minded melodies. Since their reunion in 2000 there has been a plethora of rich additions to their history, with Sattyg (InsideOut/Century Media) the band’s latest.

Their tendency for colouful, fantasy based atmosphere remains present on Sattyg, and musically it doesn’t venture from their previous sound, which in itself is a cauldron of diverse influences, and here even including hints of medieval-like instrumentation married with an overall classic prog warmth, all producing an eclectic sound that transmits an impression that is neither dated nor current, with slight shades of a metallic feel in part.

One of Sattyg’s real strengths is the vocal combinations of Patrik Lundstrom and Aleena Gibson, both in their own displays, Gibson in particular a unique and vocally free spirit, who excel as a combined force who wed their harmonies and interplay together, proving as adventurous at times as the accompanying musical shifts.

An aural swirl that indulges the senses for nigh on 70 minutes across 7 reflective, meditative and eccentric musical passages, the sextet casually unfurl their folky and progressive indulgences, unhurried and unpressured, allowing each track to expand and develop as if in its’ own microcosm.  Yes, it may sit too much on the side of whimsy, for some but most will find an album with a multitude of layers, styles and nuances drawn from a palette of rich colours.

One of Progressive music’s underrated gems have added another jewel to their underplayed legacy.

 

8.0/10

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CHRIS TIPPELL


Serious Black – As Daylight Breaks

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Well, that’s shut me well and truly the fuck up

(You wish…)

It’s apt to begin a commentary on a release from one ex-Helloween guitarist (Roland Grapow) with reference to the man he succeeded in the pumpkin-obsessed kings of Power Metal, one Kai Hansen, who titled the third Gamma Ray album Insanity & Genius (Noise) and referenced in the lyrics how thin the line between the two is. Well, the line between generic and uninteresting pap and Power Metal Glory is even thinner, perhaps as thin as the hair-line on Herr Hansen’s fivehead these days. But with As Daylight Breaks (Nuclear Blast) Serious Black (contenders for best new band name – certainly best Harry Potter themed one) have released a debut that is so far over the line on the side of quality, the line is a dot to them (answers on a postcard if you get that reference).

Having written off Power Metal in my mind as a genre that, no matter how well its composite parts could be put together, was done, creatively redundant and in the type of artistic morass that Death Metal found itself in for twenty years, nevertheless, like the child poking the disembowelled frog with a stick and hoping for some twitch or reaction, with morbid curiosity I find myself drawn to it. See, when Power Metal is on it, there’s very little better for invigorating the mind and soul. And Grapow’s latest offering slapped me round the chops, leaving me with a fiendish grin, a rediscovered  enthusiasm for the genre and a frog named Lazarus.

The brainchild of Grapow and former Visions of Atlantis bassist Mario Lochert, with the rhythm section rounded out by former Blind Guardian tub thumper Thomen Stauch, Serious Black absolutely nail everything that is joyous about Power Metal infused hard rock, from the driving opening pair of ‘I Seek No Other Life’ and the simply massive ‘High And Low’ through to the theatre-y and slightly camp closing ‘Older and Wiser’.

The band is led by the underrated and under-celebrated vocal talents of former Tad Morose pipes, Urban breed who avoids being one of a million Kiske-clean wannabes by injecting power and tone; at times channelling Jon Oliva, particularly on the keys led title-track, at others Mike Howe (Metal Church), and able to carry a faster verse alongside the ubiquitous sizeable choruses.

Musically, you can bandy about names such as Kamelot (‘Akhenation’), Within Temptation (the uptempo rock romp of ‘Trail of Murder’), Savatage, Stratovarius, and Sonata Arctica if you like; there definite elements of Blind Guardian and Helloween,  and that’s absolutely fine, as Serious Black sit as a kind of summation of all that “is” from the polished end of Power Metal.

As Daylight Breaks benefits from a great, full, vibrant production and above all exudes the sensation of a band really enjoying their work. As they rightly should. I once incorrectly tagged Grapow as a Janick Gers figure who had ruined one of my favourite bands. He well and truly proved me wrong – I even quite like Pink Bubbles Go Ape now, and I’m one of the few people on the planet who love Chameleon (both EMI) – and with Serious Black he’s done it again, proving as Edguy did with last years’ Space Police (Nuclear Blast) that, when done well, Power Metal can be fulfilling rompy-pompy.

 

7.5/10

Serious Black on Facebook

 

STEVE TOVEY


Angelus Apatrida – Hidden Evolution

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I have a slight issue with albums like Angelus Apatrida’s Hidden Evolution, their third for Century Media and fifth overall. See, I know that if I’d have picked this up in my teens, I’d have loved it and adopted them as a pet band, bought the T-shirt (providing it had a skull on it, which it surely would have) and I’d probably still be returning to it now – it has all the requisite elements, thrashed riffs, pace and power but with Skolnick-ian melodic leads to spice up the chugs, as well as melodic choruses, such as ‘Wanderers Forever’. But the issue is, that I don’t know if I can be wholly comfortable with reconciling an album that I’d recommend twenty years ago to an album I’d recommend now. But these Spanish thrashers are making a damn good go of convincing me.

Vocalist Guillermo Izquierdo flits from Dave Mustaine to Phil Anselmo territory within the space of ‘Architects’ and elsewhere calls to mind both Matt Barlow and modern day Zetro in delivery and phrasing (indeed, Iced Earth jamming with Exodus is an early impression that stays with you throughout repeat visits), and, at heart, this is thrash with its roots firmly in the Among The Living’s of our world, with worthy metal song-writing and some sanguine touches, such as the outro to ‘Tug of War’.

Alongside Izquierdo, his brother in guitaring arms David G. Alvarez finds the balance between raging, cutting loose and adding clever melodic guitar touches, little guitar licks that are reminiscent of Xentrix at their best, or some slick open chord embellishments to keep things interesting. Whilst staying within the (at times restrictive) confines of the genre, AA keep things fresh by varying their attack – capable of “heads down and see you at the end” numbers in the shape of the slamming ‘Serpents On Parade’, locked down spiky riffing, such as ‘End Man’, chugging out ‘First World Of Terror’ or bringing the hooks with the anthemic variants of ‘I Owe You Nothing’.

There are criticisms in that Hidden Evolution is a touch lengthy, and, despite playing with the various shibboleths that are prevalent within the “Serious Thrash” boundaries, these are still tropes that aren’t particularly new. But all that said, Angelus Apatrida have pulled together a very credible, consistent and enjoyable modern thrash album to be proud of. Despite my initial scepticisms, its over-riding “Proper” metalness and proliferation of hooks and actual songs has won me over. Fair play.

 

7.5/10

Angelus Apatrida on Facebook

 

STEVE TOVEY


Marilyn Manson – Pale Emperor

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There’s an anecdote relating to former Manchester United footballing legend George Best, (who retired aged 27 and once said “I spent a lot of money on booze, birds and fast cars – the rest I just squandered”) whereby a hotel bell boy found Mr Best in a room with a Miss World, champagne and surrounded by stacks of cash (casino winnings) littering the bed and uttered the infamous words “George, where did it all go wrong?”

At the onset of this (new) millenium Holy Wood (In The Shadow Of The Valley Of Death) (Nothing/Interscope) had Marilyn Manson positioned to complete his unprecedented rise to become the anti-saviour of rock. Hit singles, videos on heavy rotation, ground-breaking and critically acclaimed sell out arena tours with talked about stage shows, movie soundtracks, millions of album sales… he was the biggest and most successful solo rock artist, and poised to stride on steampunk stilts to the head of the rock world on a global scale.

At some point over the last fifteen years of distractions… of liaisons with burlesque super-stars, addictions, depraved and/or pornographic promo vids, drug and alcohol-fueled binges, (alleged) gang-bang parties, where persistently dumbed-down and creatively redundant farces dressed up as albums have seemed inconveniences with which to pay for his way of life … one wonders if there’s been a similar, recent, moment of clarity for Brian Warner that has stirred and inspired ninth album Pale Emperor (Hell, etc/Cooking Vinyl). As a man renowned for a debauched lifestyle, Warner’s reputation as an artist has plummeted significantly to the point that many have turned their back on him. Pale Emperor will have a tough task in getting those who have left the Manson family to return, but is it the album to do it?

Manson knows it is, yet what serves Pale Emperor well is its humility – comprehension and hunger returning to the Manson stable, a realisation that, as a middle-aged man, Warner wants to be a credible artist again, wants to show he can still do this, and do this better than most. Showcasing a stripped down, reimagining of the Manson sound, Pale Emperor achieves those aims. Enter the album expecting a medley of ‘Beautiful People’ or ‘Disposable Teens’ styled anthems and you’ll be left disappointed. Enter it open-minded, and you’ll discover a mature rock album, distinctive yet displaying a new austerity.

Based around Manson’s characteristic drawl and dirty, dirty bass grooves, ‘Third Day Of A Seven Day Binge’ is an undulating new classic to add to the MazMaz canon, while ‘Deep Six’ is the closest to those anthems of old, with a persistent bass snap mixing with garage rock and the trademark snarl, along with nods to classic 70’s Alice Cooper. Elsewhere, a vibe of filthy bass, simple drumming, dark sleaze, intelligent verses and understated choruses pervade. Noticeable by their altered state is how the guitars are used – rather than distorted chords juddering down, predominantly the album is flecked with cleaner tones; hints of Nirvana and Smashing Pumpkins, with strong elements of Americana redolent throughout.

‘The Mephistopholes of Los Angeles’ sees Warner croon “I don’t know if I can open up, I’ve been opened enough” in an autobiographical proto-punk influenced song that inherently suits a man who has always been a great storyteller; ‘Warship My Wreck’ recalls ‘Lamb of God’ (from the aforementioned Holy Wood) in its sparse and starkness; ‘The Devil Beneath My Feet’ is the grandson of Rolling Stones’ classic ‘Sympathy For The Devil’, while ‘Birds of Hell Awaiting’ kicks off with pure bass pornography, before jarring vocals descend the song hell-wards into an Americana swathed discordant grunge lurch.

While Born Villain took baby steps in the right direction and at least established Manson as a draw once again following his global jaunts with Rob Zombie, it was still beige wallpaper compared to the grotesque genius of his first four albums. …Emperor, on the other hand, is comfortably Warner’s best work since Holy Wood. Deserving plaudits in its’ own right, returning from the dead might not be so difficult after all… Indeed, as Manson himself spits on ‘…Mephistopholes…’ “Lazarus’ got no dirt on me, I’ll rise to every occasion”.

Welcome back, Marilyn.

 

8.0/10

Marilyn Manson on Facebook

 

STEVE TOVEY

 

 

 

 


Orden Ogan – Ravenhead

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Perhaps it says all you need to know about German Power Metallers Orden Ogan‘s fifth outing, Ravenhead (AFM/Nuclear Blast), that not only did I assume on first listen it was a debut release, but that I hadn’t realised I’d actually seen the band live a couple of years back when they were completely overshadowed by both Freedom Call and especially Luca Turilli’s Rhapsody until reminded by our fellow scribe Richie HR (who had to endure me drunkenly bellowing the wrong words in his ear all through the headline set).

See, if by your fifth album the endearing features are “promising for the future”, “naïve energy and charm” and if you don’t have a distinctive sound of your own so as to be so unremarkable as to not be remembered, then NINETEEN YEARS into your bands’ existence maybe it’s time to sit down and take stock.

But does knowing that this is a fifth album (I tend to do my research after a first listen, if research is required, so that initial impressions are as untainted as possible) make the difference in how Ravenhead should be judged? Damn skippy it does. Because you know that “promise for the future” then becomes “Oh, this is probably as good as it’s going to get” and, if we’re being honest, “naivety” really means not quite doing it right or not yet realising what needs to be done to live up to the masters (or indeed apeing the masters a touch too much to be a successful band in your own right). Having lived with Ravenhead for a while it becomes obvious that, like so much else in today’s consumer society, while superficially it’s all shiny and nice, as an album it lacks any real depth,  substance or character.

Borrowing heavily from Blind Guardian and their school of fantasy-tinged Power Metal, this is exemplarily well played, but as a million death/metalcore bands show, technical expertise certainly doesn’t equate to innovative songwriting ability and Orden Ogan will always be so far in the shadows of their countrymen that they may as well be invisible.

There are decent tracks on here, but after two decades and five albums I want more than a band that sounds a lot like one of their contemporaries with a touch of Sonata Arctica (on ‘A Reason To Give’) or an added folky, shanty feel to a ‘At The End Of The World’. Meanwhile ‘Deaf Among The Blind’ may as well add the word Guardian to the title and serve to sum up Orden Ogan’s status in life.  Some of this may seem harsh because this is a perfectly pleasant proficient and professional Power Metal product, but where there is wheat, all else must be termed chaff.

 

6.0 / 10

Orden Ogan on Facebook

 

STEVE TOVEY


Battle Beast – Unholy Saviour

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Ever since Hammerfall brought Glory To The Brave (via Nuclear Blast) by damn near single-handedly re-establishing traditional metal as a valid concern some 18 years ago, the traditional types of metal have existed in a vacuum. While even the most conservative of genres, thrash, updated itself in several directions via the urbanization and gangsterization of a Machine Head, or branched out into progressive and technical fields of your Voivod’s and Heathen’s, traditional metal (a sub-genre incorporating “HM”, Speed and Power Metal) seems happy to regurgitate the same tropes and styles ad infinitum.

I guess the clue is in the tag “traditional”…

Finland’s Battle Beast on their third album Unholy Saviour (Nuclear Blast) tick many boxes of the Speed Power Metal sub-genre confidently, continuing exactly where their second, self-titled album, finished; post-Stratovarius hard-rocking refrains punctuated with pacy Accept-influenced riffing, and peppered with rapid bursts of Pyry Vikki’s double-bass drum hurtle. Added to those ingredients are Noora Louhimo’s vocals, not a million miles away from Sister Sin’s Liv Jagrell (a band that Battle Beast share several aural similarities with) pitching from punchy mid-range to a powerful throaty higher register that give the band their quasi-distinctiveness and a USP.

As the album unfolds, it’s clear Battle Beast have three song types, the Symphonic Hard Rocker, such as opener ‘Lion Heart’, the ‘Freewheel Burning’ Speed Metal anthem of a ‘Speed And Danger’ and the softer, more delicate power ballad, of which ‘Sea of Dreams’ displays subtlety and grace and a softer tone to Noora’s voice, in a track that, while obvious in its dynamic climb, works despite its’ genericises.

With sprinkles of keyboards and dual guitars driving duelling descants, make no mistake the term derivate isn’t always a negative thing as Battle Beast do exactly what they set out to do, and this is a collection of well-crafted Hard Rocking Power Metal songs. The fact that there is nothing novel or innovative doesn’t have to put you off, it’s just a matter of whether you have room in your collection for an album that does exactly what you expect it to, that will share characteristics with several of its bed-fellows and is, ultimately, the very definition of “if you liked this band before, you’ll like this, if you didn’t there’s nothing on here that’ll change your mind”.

 

7.0 / 10

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STEVE TOVEY


Caina – Setter Of Unseen Snares

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When talking about Black Metal albums, the word “atmospheric” can be rather difficult to pin down.  Sometimes it means pine-scented forest sulking, other times bleak, suicidal caterwauling – these days, due to the odd and sometimes unpredictable shifting of underground trends, it’s as likely to mean “we are now a 90’s Indie band” than anything else. On Setter Of Unseen Snares (Church Of Fuck), long-running British two-piece Caina have pulled off the increasingly unusual trick of doing something a little bit different.

The first half of Setter… leads from a genuinely haunting True Detective sample into four short, dynamic tracks of Black Metal that are contemplative, aggressive and catchy.  Favouring strident riffing and surprisingly melodies underpinned by solid blasting and shrieked vocals, they pull off the trick of being “atmospheric” without losing any of the power or dynamics that Black Metal is supposed to have.  This is particularly evident on ‘I Am The Flail Of The Lord’ and ‘Applicant Supplicant’, which bookend this first half with genuinely catchy riffs and something approaching a sing-along chorus. Taken by themselves, these first five tracks would form a genuinely effective EP of mature, listenable Black Metal in its own right.

The album doesn’t end with those five tracks, however, and the sixth track – the fifteen-minute ‘Orphan’ – either transforms the rest of the album or contradicts it.  Ditching the forceful Black Metal riffing for a slow-build swell of feedback which rises into “Post-Metal” atmospherics and clean vocals, ‘Orphan’ almost sounds like a different band at first, and initially the effect can be to break the momentum built up over the first five tracks.  As the song develops, however, more traces of Caina’s Black Metal sound start to introduce themselves, until ‘Orphan’’s final few furious minutes, where we’ve returned full-circle to where ‘Applicant Supplicant’ left us. It’s not a comparison all fans will be glad of, but the band Orphan most calls to mind is controversial “hipster BM” merchants Deafheaven. After a couple of spins, it really coalesces into a single entity, with ‘Orphan’ throwing the catchiness and power of the first five tracks into sharper relief, while highlighting more vividly the atmospheric and contemplative nature of the band.

Setter Of Unseen Snares, then, is a genuinely remarkable album in its own, quiet way, but it needs a bit of time to reveal itself as such.  On initial listens it may well sound competent, polished but ultimately offering little new – but for those with the patience to join up the dots between the first and second part of the album and allow the experience of one to affect the other, this may well stand as one of the most interesting and accomplished Black Metal albums they’ve heard in a while.

 

8.0/10

Caina on Facebook

 

RICHIE HR

 


Marduk – Frontschwein

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One of the longest serving and reliable bands in black metal, Marduk are a Swedish institution, a machine that just won’t quit. While they may rarely top the bill at festivals and even their most well acclaimed albums will get scant mention in any ‘best of’ list, their bloody single-mindedness and raging intensity has acted as a blueprint for the second wave of BM, and now an entire generation  after they formed, still show no signs of slowing down. Thirteenth full-length release Frontschwein (Century Media) offers few surprises and takes no prisoners.

Named after the grunts of the armed forces during the two world wars who were first over the top and destined to die either in a hail of bullets or shamefully as a deserter, Frontschwein continues Marduk’s obsession with death and armed conflict, long ago discarding the cheesy supernatural themes of early releases. The opening title track begins proceedings in a firestorm of tremolo picking and light speed blasting all competing for attention with the grotesque croaks of frontman Mortuus. Next track ‘The Blond Beast’ employs a catchy, mid-paced riff with just a tinge of post-punk to horrify the purists before normal order is restored on the scorching ‘Afrika.’

The most obvious comparison to previous albums that springs to mind whilst listening to Frontschwein is 1999’s classic Panzer Division Marduk (Osmose), a record of similar aggressive and militaristic traits. Like that hateful half hour, Frontschwein is straightforward, exhilarating black metal utterly devoid of gimmicks, although the occasional change of pace such as on the eerie, marching riffs of ‘Wartheland’ and the mournful dirge of ‘Nebelwerfer’ ensures that proceedings don’t stagnate. However, it’s the raging triumphalism of the eight minute plus ‘Doomsday Elite’ that shows Marduk at the peak of their powers with Morgan’s searing guitar licks threatening to scorch all and sundry.

Just as we are constantly reminded that war is hell and must never be forgotten, Marduk’s veteran status demands respect and their continued quality output proves that they still have plenty more gas in the tank.

 

7.5/10

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JAMES CONWAY


Atlas Losing Grip – Currents

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At first glance, the idea of combining melodic punk with speed metal seems like a notion dreamed up after eating too much cheese, but the more you think about it, the more it starts to make sense given that both styles of music rely on catchy and powerful melodies to drive forward their songs. That’s exactly what Swedish quintet Atlas Losing Grip realised and has spent the past few years attempting to perfect. And they just may have managed it on third full length Currents (Cargo Records).

Opening track ‘Sinking Ship’ merges crunchy, compressed riffing with a widescreen, emotive chorus that immediately lodges in your frontal lobe. The band’s shining light is undoubtedly new vocalist Niklas Olsson who has stepped fearlessly into the shoes left by the recently departed Rodrigo Alfaro. Olsson’s clear, commanding tones give the likes of the anthemic ‘The Curse’ a truly epic quality that instantly raises the spirits, helped along by some perfectly executed guitar lines and harmonies. The band have an obvious appreciation for So-Cal punk which is demonstrated on the Bad Religion worshipping ‘Cynosure’ which manages to cram in the perfect amount of soaring vocal lines and gritty riffs in under three minutes, while the no holds barred speed metal of ‘Nemesis’ is like Annihilator and A Day to Remember fucking on the deck of the Jolly Roger.

While many bands have used nautical themes before, its use on Currents feels appropriate for while the band are by no means lost at sea, the choppy and unpredictable nature of their music may at first put off newbies. But for those brave enough to take the plunge, there is so much to discover, such as the mature and sombre ballad ‘Closure’ and the classic songwriting of ‘Kings and Fools’ which if penned by Dave Grohl would be a Top Ten hit, no questions asked.

With far much more going on than your average punk or metal album that feels content to just go through the motions, Currents is a joy from start to finish, an album chock full of life-affirming hooks and meticulously written riffs and melodies that, unless you’re a militant punk douche or elitist metalhead tool, is simply impossible to dislike.

 

8.5/10

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JAMES CONWAY


Shattered Skies – The World We Used To Know

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In the last couple of years, Irish/UK based quartet Shattered Skies have been making ripples in the Prog ocean, including an early but show-stealing performance at the first incarnation of HRH Prog with their brand of tech metal. The fact that it has taken so long for a full debut to see the light of day and capitalise on this momentum could have proved damaging for lesser bands, and even seen them forgotten about. Fortunately this shouldn’t prove a problem for an act with such a strong balance between the memorable and the forward thinking.

Sitting well alongside their peers with the air of drifting but Meshuggah like crunching tone of TesseracT and the soaring melodies of Alaya, The World We Used To Know (Independent/Holdtight! PR) is by no means a wholly original concept but is delivered with a much bigger emphasis on actual, catchy songs than most. The vast bulk sits on the anthemic side with the merest suggestion of further imagination. Sean Murphy’s lofty vocals offer the towering performance that this brand of metal expects without the reliance of harsh growls.

So far, so good, but there is the niggling sense that there is a lot of boldness and evolution waiting to come out. The likes of ‘Collapse Of Man’ and the following ‘End And The Rebirth’ show futuristic keyboards at play ,which then seems to get buried for a more straightforward formula here on in, reappearing again with the magnificent 11 minute title track. This closing epic shows them really exploring the prog rabbit hole with various twists and dynamic shifts yet still contains plenty of drawing hooks. A stark statement of just what they are capable of.

A very strong and immediate debut of impressive technical prowess married with a level of immediacy that many in this crowded bracket cannot muster, Shattered Skies have shown just why they have made such an impact. The only dampener is the evidence on show that they have the prowess to be more daring, adventurous, and even more special. A very commendable start which closes with what almost feels like a teaser for bigger things to come.

 

8.0/10

Shattered Skies on Facebook

 

CHRIS TIPPELL