Category Archives: Album Reviews

United Progressive Fraternity – Fall In Love With The World

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Sometimes bands like to choose their name via the “does what it says on the tin” approach; a sentiment that certainly rings true with United Progressive Fraternity, even if it does clumsily sound like some kind of University society which really should have existed. A band formed from the ashes of Australian act Unitopia, with Mark Trueack at the helm; this also holds the additional talents of Guy Manning of The Tangent and Dan Mash of The Tangent and Maschine fame, oh and contributions from some guys called Steve Hackett and Jon Anderson.

The name even holds little surprise about their sound, and Fall In Love With The World (InsideOut) is expectedly warm sounding. The overall message of the album is one of ecological and preserving significance; spelt clearly in the title this is about our world and the importance of maintaining and saving it; but presented in a more joyous manner than say, a politically charged hardcore act.

Sonically there is quite an array of styles at play, interlinking from jazz interludes, woodwind, traditional Eastern effects and instrumentation, combined with changing paces and flows plus numerous nods to the greats of Prog. Oddly this project took the mantra of an open door policy without a true creative head but with contributions of various people coming in and out; yet it does feel a cohesive effort throughout.

Returning to messrs Hackett and Anderson, although it is clear where Anderson appears (‘Water’ on backing vocals), Hackett’s contributions seem oddly illusive despite his memorable style, which begs the question, could these huge presences have not been more prominent? Otherwise FILWTW is a pleasing, if not spectacular release; proving a decent showcase of a dictionary definition of a ‘typical’ sounding Prog album, but not a great deal else.

 

6.0/10

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CHRIS TIPPELL


Twingiant – Devil Down

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I presume the name of this Phoenix rumbling machine is pronounced ‘Twin Giant’, rather than being some bizarre moniker for someone who suffers sudden painful episodes [you mean like Twinge-ee-unt? That’d be odd… Phonetics Ed]. A somewhat irrelevant point, you say? Maybe, but none more so than certain passages of its sophomore full-length Devil Down (Medusa Crush).

That said, there’s a neat line in southern-infused stoner here, with luscious, howling lead solos a la Vulgaari‘s Brett Hedtke to boot. Delightfully-named opener ‘Old Hag’ is a languid yet moody beginning, all ‘stoner meets The Doors-in-the-Mojave, the dust getting right into a grainy production which completely suits the feel, some seriously chunky riffs planting the coda deep in the sand. Former Black Hell vocalist Jarrod Leblanc’s whisky-soaked growl rails over the more up tempo ‘Dead to Rights’, which carries something of the bloated stodge associated with the genre but is enlivened by some fascinating lead and rhythm work. Meanwhile, some plundering bass work from Leblanc sets up the ripping ‘Daisy Cutter’, a barrelling pace combining 70s suvvern rawk with the inhospitable wastelands of a desert storm and a moody, howling centrepiece.

So, it’s not to say the album’s terrible, but the main accusation frequently levelled at this sort of stuff is that it too often sounds like an easy Sunday afternoon jam session at your local rock pub; a little lazy, like your lovable Dad with his middle-age spread (hiya Girls), and not a little dated. Despite some swelling riffs and crushing power, those deficiencies appear throughout the aptly-titled ‘Through the Motions’; while the jerky, Allman-infused ‘Under a Blood Moon’, despite occasionally stirring the emotions, threatens to get going yet never really makes it. In a disappointing ending, only a sludgy vocal and the brief explosion of a pounding riff rescue the closing title track from utter tedium.

That said, this does, at times, rip, those driving riffs sounding like a firing engine with groove-laden, trippy leads dancing all over ‘Tiger Lily’. It’s a warm, heavy sound which isn’t for everyone, but evokes welcome memories of days gone by and will certainly get a gasoline party going.

 

6.0/10

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PAUL QUINN

 


Within Temptation – Let Us Burn: Elements and Hydra Live In Concert

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2014 seems to have been the year that symphonic metallers Within Temptation proved their status as one of metal’s modern giants. Arena tour shows across the globe including in the notoriously difficult to tackle UK market (which sees very few bands of our world reach such heights, and still stumble), the announcement of their return to Bloodstock Open Air in 2015 as main stage headliners, and a new album in Hydra (BMG/Nuclear Blast) which epitomised their grandiosity (and even got songs onto Radio 2). This double live release is a showcase of what to expect from this special act.

The first half sees the long awaited release of their 15th anniversary show Elements (BMG) from Antwerp, with accompaniment from Il Novecentro Orchestra, whilst the second is taken from their Amsterdam show this year in support of Hydra (for clarity this review is based on the audio and not the video content). Both sets have significance for different reasons and it is commendable for this reason instead of a lazy release of near identikit sets. Encompassing and celebrating the band’s history, Elements proved a milestone show with a wealth of rarities and guest appearances from ex members such as Martjin Westerholt, plus a large chunk of their well received The Unforgiving (Roadrunner) album, which was released the previous year.

The accompanying orchestra adds an extra element of boldness to proceedings, making the likes of ‘Stand My Ground’ sound absolutely colossal. Not to mention that WT are always a reliably impressive live act; with Sharon den Adel showcasing her talismanic presence.

The second set may not have the gravitas of celebration of its predecessor but is still a huge statement of their strength as a live act. In support of their latest effort, this shares some set similarities but holds a significant chunk of Hydra (opener ‘Let Us Burn’ leaving no prisoners), particular highlight being ‘Dangerous’ with guest vocals by Howard Jones projected via video screen. Yes it would have been great to have the collaborators perform live, and the clumsy ‘And We Run’ could have been omitted from the set altogether, but this shows that even on a more standard booking, Within Temptation are a true live presence.

Fans will of course lap this up, and the uninterested will not have their minds changed, but nevertheless this is a fine exhibition of one of our worlds largest entities (whether you like it or not) in their natural environment.

 

8.0/10

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CHRIS TIPPELL

 

 

 

 

 


Wizard Rifle – Here In The Deadlights

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Wizard Rifle are back with the new album Here In The Deadlights with the promise to continue the demand of tearing down the conventional ways of music.

The album begins in an atmospheric way reminding post-metal soundscapes, but it ends to burst with a powerful and cacophonic rock with some sludge metal nuances. We also can find some punk influences, like in the track ‘Buzzsaw Babes’, but always with the sludge pinch in the song’s height.

The bass guitar has an important, robust and distorted presence helping the tracks to have a full and fat global sound, sometimes even accompanying the guitars. There are also two vocalists performing at the same time, but they don’t deviate a lot between each other – it’s like two in one. Once again, the punk guidance is very present in the vocal’s department.

In ‘Paul The Sky Tyrant’ we can attend to more traditional doom moments which go from the vocals themselves to the sluggish guitar riffs that are so characteristic of the genre. Still regarding this song, we even have time to witness a final passage delivered by twin guitars. In spite of the initial phase comprised by a weird and disturbing rock, the album evolves to a truly doom personality sometimes headed by a lead guitar without losing sight about the distorted and heavy background. Still, we will be pleased with a jazz oriented passage in the beginning of the track ‘Psychodynamo’ in which improvisation really seems to rule.

In the end, and after some listening, I believe it’s hard to label Wizard Riffle and in fact it’s always quite square when a band encloses itself in one single genre or style. Let’s say that Wizard Riffle are influenced by doom, sludge and rock, but always with an experimental vision and very unique of opened minds to the unknown that are commanded by the impulse of create the maximum discomfort towards the conventional.

7/10

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DIOGO FERREIRA


Sister Sin – Black Lotus

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With one black leather thigh-high boot in the hard rock camp, and the other stomping down on the metal side of the fence, comes the confident swagger of Swedish quartet Sister Sin. Following hard on the heels of a successful second stage Bloodstock headline performance this year, it’s easy to see why the band are self-assured, as the headbanging ‘Food For Worms’ launches their fifth album Black Lotus (Victory).

Vocalist Liv Jagrell has bark, bite and edge in her voice, a metal snarl that stays around the mid-range, as the Scandinavians impart an album of no-surprises rock/metal that doesn’t just throwback, but whole-heartedly engages in the worship of the days of Accept and Dio. While comparisons with Doro may seem too obvious (and I tried my damnedest to avoid them), nonetheless ‘Desert Queen’ and ‘Ruled By None’ are smack bang in Pesch territory. Pleasingly, though, Sister Sin aren’t adverse to chucking the odd curveball in, as the more epic ‘Count Me Out’ inspires thoughts of Tony Martin era Sabbath jamming with Metal Church and the countrified ballad ‘The Jinx’ is a good tune which shows Sister Sin have chops, as it would have been easy to have car-crashed going down that particular alley.

At this stage in the game, while it’s too late to expect anything special from Sister Sin, it would be churlish to discount them completely as they are a whole-hearted and exceptionally competent act who deliver gratifying, committed hard rocking heavy metal like it’s going out fashion. I guess the problem is, we know it went out of fashion twenty years ago and came back stronger and more diverse than ever shortly after. We also know The Gods Made Heavy Metal, and that it’s never gonna die, so considering the tumults of great out there, it’s difficult to champion a release that is Top C grade in the grand scheme of things when there are so many A Grade acts out there doing something more interesting.

There is absolutely nothing wrong with Black Lotus. It scratches an itch, but does so in the same non-permanent way that countless others do.

 

6.5/10

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STEVE TOVEY


tētēma – Geocidal

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Is it possible to have too much of a good thing? Not when it comes music, no. Geocidal (Ipecac Recordings) is the debut release of the experimental juggernaut tētēma; the lovechild of Mike Patton composer Anthony Pateras. If Patton’s previous track record of the weird and wonderful was anything to go off of, things were about to get interesting. This album did not disappoint.

Geocidal begins with the percussion filled ‘Invocation of the Swarm’ that could almost be compared to a mix between Tomahawk and Fantômas. Patton’s vocals aren’t the focal point of the track and this trend continues with each subsequent song. ‘Pure War’ is an excellent example of this. His voice stands out at some points but not during others. It is an additional instrument complimenting Pateras’ work.

‘Irundi’ breaks away to a lighter almost tribal sound invoking nature and rain. I love this song, everything about it perfect and I just want to keep it on repeat. It is clean and precise in the beginning and slowly becomes corrupted as bits and pieces of more electronic sounds are introduced into the mix before it dissolves into distorted vocals and cuts out.

‘Ten Years Tricked’ may just be the highlight of the album for me. A few notes on a piano here and there, vocals scattered throughout, the occasional brass and woodwind that take things from cold and uncomfortable to almost sensual. It may appear to be one of the more simple tracks on the album but it’s arranged extremely well and just works. Even the moments of silence only add to the song.

Overall, I am very pleased with this album. It makes you think and it makes you wonder what exactly Patton and Pateras were thinking when putting it together. You can interpret these pieces in so many ways and that’s what makes it all so interesting. Every new listen reveals something new; a note that had previously gone unnoticed, vocals snaking their way through the music with more force or a different intent. Each and every song brings something different to the table and pulls you in multiple directions. At times haunting and frightening, while soft and soothing at others, tētēma’s Geocidal is a living, breathing creature that is well worth your time and energy. It’s a little scary, in a very good way.

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9/10

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ALEIDA LA LLAVE


Taake – Stridens Hus

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They’ve left it a bit late to try and muscle in on everyone’s end of year lists, but Norwegian Black Metal outfit Taake’s new album might just cause a few people to have a rethink. Stridens Hus [‘Battle House’] (Dark Embrace) is Taake’s sixth album since 1999 – which are always released at three year intervals – and it’s a corker.

The one man project from Hoest has fashioned a mix of traditional nasty black metal with an aura of accessibility. The production values are good – raw, but not unlistenable, while the music itself features a variety of different textures that need multiple listens to really appreciate.

Opener ‘Gamle Norig’ combines Hoest’s evil, rasping vocals with riffs parts reminiscent of Still Life-era Opeth (Peaceville). The song peaks and troughs, swinging from abrasive to almost melodic guitar work. The six-minute ‘Orm’ starts as a fairly standard Black ‘n’ Roll number before belting out some solos that wouldn’t sound of place on 70s prog album and then morphs into an epic blackened doom monster featuring monk-like chanting. It’s exciting, heavy and enjoyable.

What makes Stridens Hus so listenable is the variety on offer. Taake have a whole host of ideas crammed into each song, where so many others would only have one or two. The seven minute ‘Det fins ens Prins’ combines blasting drum beats with chanting, spoken word,  quiet interludes and epic passages. There’s flourishes of thrash moments that recall Volcano-era Satyricon, and a few that bring to mind Dark Medieval Times (both Moonfog)

Plenty of focus on the music – long guitar-focus parts; the instrumental ‘En Sang til Sand om Ildebrann’ could almost pass for classic melo-death before leading straight into the pure filth of ‘Kongsgaard bestaar’; which combines the soul-shrivelling blast beasts and rasping screams at the start with a host of melodic guitar solos the end. There are times when how a song starts is completely at odds with how it finishes, but it just adds to the journey.

In an overcrowded and samey scene, Taake are one of the few bands to stand out. Stridens Hus is an excellent album – combining the traditional themes and sounds of Black metal and mixing them up with elements to create something familiar yet refreshing.

 

8.0/10

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DAN SWINHOE


Code Orange – I Am King

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Deathwish Inc is currently on the top of their game, the Real Madrid of the metal world if you will. Their trajectory and ability to find some of the most cutting edge and intense and boundary pushing bands the genre has to offer. Only this year the label have produced the likes of Young And In The Way and Cult Leader, bands who have both released staggeringly brutal and intense albums, rivalling anything released this year in terms of in your face snarl or quality. Code Orange (formally Code Orange Kids) are a band following in the trend set by their Deathwish label mates with their sophomore album I Am King which shows the bands’ progression from hardcore rookies on their first album Love Is Love/Return Is Dust (Deathwish Inc) to full blown masters of their craft on their sludgy, hypnotic and savage second release.

The band have certainly spread their wings and soared into the unknown on this release, with key experimentation taking place such as the band dabbling with more soundscapes and at times even elements of drone.  All this whilst not straying too far from the path that made them the up and coming ones to watch on their first album. Despite listening to the odd Neurosis album and taking a few tips from the returning king of savage production Kurt Ballou, I Am King sees the band do what all good follow up releases should do; take what made the previous release work and expand that idea until it is fit to burst before adding new ideas and experimentation.

This is exactly what Code Orange have done on this album, taking their post-Hardcore meets Converge sound and ramping up the sludge and Neurosis elements almost to breaking point, which at times makes the album one of the most punishing listens of the year.  Plus there are the new forays into drone and other experimental music provide new ground for them to build on the next album.

Overall, Code Orange have proven on this release that they are no longer kids, as I Am King shows the makings of a band not content to just sit in the realms of safety and complacency.  But a band ready to expand their sound and not afraid of experimentation to broaden their horizons. At times heavy, trippy and crushing all at the same time, I Am King is what all follow up albums should strive to be.

 

9.0/10

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DAN O’BRIEN

 


Voices – London

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Born from the ashes of much missed extremists Akercoke, Voices have proven a near ever present on the UK live scene in the last couple of years, yet upholding a sense of enigma and intrigue. Musically they prove all the more abrasive than most, through sheer venom, their unpredictable nature and their uncompromising boldness; a boldness that sees them take on a concept album on their second outing, and a sprawling metropolis of one at that.

London (Candlelight) follows an anti-hero like figure through the dark underground of this nation’s capital, a cold and grim tale within the dissonant and complex City, exploring his mental state, his sexual craving and his ultimate isolation. Far from being a story based on pure fantasy and whimsy, the overall setting and feel to proceedings is so organic and could easily have been a true account. Various spoken word interludes increase the almost cinematic experience as they interchange from male narrator and the news reader delivery of the female, one that paints a vivid picture of London’s dark side as often seen in the media.

Conceptually this is a mammoth prospect and it is perfectly matched sonically in both mood and diversity. Beginning with pure melancholy with the acoustic opener ‘Suicide Note’ is a surprising start which lulls you in before ‘Music For The Recently Bereaved’ quite simply erupts in a white, fist flying, rage. Like the urban jungle of its namesake, each turn proves capricious as dynamics quickly change, paces slow and quicken again in a breath as it simultaneously terrifies and hypnotizes. Vocally this shows a huge plethora of styles beyond most of their black/death metal peers, veering from both guttural and shrill growls and screeches, to an eerie, Scott Walker like croon.

The roots of the majority of this unit may have history together in Akercocke (David Gray, Sam Loynes and Peter Benjamin all previous members) but this is still a new band in some sense of infancy yet with an already formidable reputation and artistic vision. London is a tremendous feat which not only surpasses expectations, but buries them deep underground, and album that sees Voices as not only one of the UK’s but the world’s most forward thinking and captivating extreme acts, and should be seen as a benchmark release.

Huge in scope and style, but pulled off with astonishing effect.

 

9.0/10

 

CHRIS TIPPELL


Monster Magnet – Milking The Stars: (A Reimagining of Last Patrol)

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I’ve never been a fan of an artist tweaking with a release, especially after it has been available for fans to pay money for a couple of years.  It rarely improves the product and in most cases damages the initial spark that brought it to life in the first place. Perfect example, how many people watched Star Wars and thought “Oh I wish Han didn’t shoot first!! Can we have a shit laser blast to appear from nowhere and make the character a little less bad ass please?” No one? Thought so.

Milking The Stars (or fans’ bank balance) is the new album by veteran space rockers Monster Magnet. The record features re-recordings of five tracks from the bands previous album The Last Patrol (both Napalm) which itself was released the previous year in 2013. Despite this Milking The Stars:  A Reimaging Of The Last Patrol ,to give it its full title, reckons it would be a good idea to rerecord them. Oh and by ‘reimagining’ Dave Wyndorf and co basically mean, make it sound like The Doors then add more acid and tie dyed sheets.

The album opens on one of the new songs recorded for the release (five reimaginings, two live tracks and five brand new tracks for the album in total) called ‘Let The Circus Burn’ which can be best described as seven minutes of the band instrumentally pissing around. It might sound good if you were let’s say, smacked out on enough acid to wake Jim Morrison up in the morning, or think it was a good idea to let Ringo sing on a few songs, but to me this is unbearable self-indulgent hokum of the highest order.

The album does have some pretty dirty moments peppered throughout the record when it is not off tripping its face off. The third track ‘No Paradise For Me’ is pretty filthy stuff, not necessarily a return to their stoner roots or their Power Trip (A&M) days, but there is at least something in there.

Overall, Milking The Stars:  A Re-imaging Of The Last Patrol is a reinterpretation of more recent material released by the band less than a year ago with more of a psychedelic vibe. I am going to be honest and say I am baffled as to why this “reimagining” exists as the tracks already feature a heavy psychedelic presence , with the re-recording seemingly pushing that into overdrive, damaging the album in the process.

 

4.0/10

 

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DAN O’BRIEN