Category Archives: Reviews

Adrenaline Mob – Dearly Departed

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I don’t think anyone is running around accusing Russell Allen of being lazy but, true to his contrarian nature, his current work output is something approaching Stakhanovite in nature. This digital only release of covers and acoustic versions of songs from Adrenaline Mob is, presumably, some kind of a stop gap until the band get around to recording the follow up to Men of Honor. With Allen spending much of 2015 working on the new Symphony X album, Dearly Departed (Century Media) is going to act as a reminder that, despite all the comings and goings in personnel (the departure of Mike Portnoy being the most notable in recent times), Adrenaline Mob remain a going and thriving concern.

Your view of Dearly Departed is going to depend on your view of Adrenaline Mob and your view of the role of the cover version as part of an artist’s canon. This might be a self-evident truth but one does detect a bit of a sneer around this kind of endeavour, however well intentioned. In the case of Dearly Departed, the second covers album from the band, it’s fun. It’s lightweight fun, most assuredly, but fun nonetheless.

As with other Adrenaline Mob releases, the production on this record is big, modern and polished. The vocals are high in the mix, showcasing Allen’s voice which works well for the acoustic versions on show here: ‘Angel Sky’ and ‘All On The Line’ from Omerta and Men of Honor (both Century Media)’s ‘Dearly Departed’ all get thorough run outs. I’m not entirely convinced that the world actually needs an acoustic version of ‘Angel Sky’ but these things are pleasant enough and Adrenaline Mob junkies will lap it up.

The covers include the very-hard-to-bugger-up ‘The Devil Went Down to Georgia’ from the Charlie Daniels Band, a warm and faithful Black Sabbath medley and a sprightly and convincing rendition of Queen’s ‘Tie Your Mother Down’. For this listener though, it’s the Pat Travers band cover of ‘Snortin’ Whiskey’ which is the most inspired choice, suggesting the band have a deeper musical hinterland and a better sense of humour than I had previously given them credit for: it’s punchy, gnarly and a very welcome appearance.

Dearly Departed is no world changer but, a bit like finding some cash down the back of your sofa, it will bring a smile to your face. Don’t expect too much and leave your prejudices at the door and you might find yourself enjoying this.

 

6.5/10

Adrenaline Mob on Facebook

 

MAT DAVIES

 


Outer Heaven – Diabolus Vobiscum

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Taking a Latin phrase of religious meaning such as “Domins vobiscum” and adding a satanic connotation may rank as a rather unoriginal and even a little juvenile manner to release naming, yet it is the approach that Douglassville’s own Outer Heaven have adopted for their debut release (excluding their 2013 demo available for download). Not that EP release Diabolus Vobiscum (Melotov) is a laughing matter; far from it.

It is clear that Outer Heaven are not setting out to reinvent the wheel by any stretch but their sound does draw upon several of metal’s poles of extremity. A huge overriding element sees them draw upon the sludgy, rawness of the early death metal greats with in its guttural tone and primal production values. EP opener ‘Lord Of The Void’ highlights their doom streak however with its bluesy, Sabbath like opening bars (even the title sounds like a tribute to the fathers of heavy metal) and continued droning pace, abruptly interjected by a brief blastbeat segment. This sets the tone throughout as the rest of the EP takes on a dark, brooding crawl of a pace with a huge sense of ferocity.

Diabolus Vobiscum may show some signs of cliché and formulas tried and tested by the greats, but this is far from mere aping and hero worship. Outer Heaven on their debut have delivered a very nasty slice of vintage death metal with plenty of replay value, and surely putting them on the map in the underground.

 

7.0/10

Outer Heaven on Facebook

 

CHRIS TIPPELL


Blackberry Smoke – Holding All The Roses

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I have a musical comfort zone. And it’s all the way over there with the Jackson Flying V’s and double-bass drums. It may even include some spandex (not on me, though…) Yet here I am, sitting here, rocking on the porch (sofa), nodding along to the Southern vibes of Atlanta, Georgia’s Blackberry Smoke and their fourth album Holding All The Roses (Earache).  And I’m more than fine with that.

Following the critical and commercial success of The Whippoorwill (Earache/Southern Ground) would have daunting to many bands, but not the Smoke, who shacked up with mega-producer Brendan O’Brien (Pearl Jam, AC/DC, Bruce Springsteen). Any fears that such a hit-maker would sterilize their sound are quickly dispersed by the laidback singalong to ‘Let Me Help You Find The Door’ and it’s rock n’ roll shamble. The title track shuffles in next, picking up the beat, with some clean guitar fingerpicking and a more uptempo come-and-join-us chorus. Whereas the temptation could have been to seek the big bucks and accidentally fall into the trap of producing sanitized radio rock, instead Blackberry Smoke have infused their music with even more of a traditional Southern flavour, and, boy, does it suit.

Blackberry Smoke are no gimmick band, just a class one with their hearts in yesteryear and a love of venerable records, releasing an album full of simple pleasures; of pure, excellent songs. There are many highlights, the pick of which are the two melancholy numbers, the deeper, bluesier ‘Woman In The Moon’, where Charlie Starr’s lazy delivery comes into its own, and ‘No Way Back To Eden’ (a track I’d have been tempted to close the album on), both of which prove the quintet have that added depth all the best have. In amongst the swathes of Creedence Clearwater Revival (and several other subtle references I’m too unschooled to know) ‘Too High’ is wistful country and ‘Rock and Roll Again’ is the sound of the Deep South ripping on Status Quo and Lynyrd Skynyrd’s ‘Call Me The Breeze’, while ‘Payback’s A Bitch’ has a work-shy hook that will infect you like sidewinder venom, as Holding All The Roses unfurls it’s kick-ass blues rock beauty with a smile.

I’ll level. If Blackberry Smoke weren’t on Earache, the chances are high I wouldn’t have been interested in checking them out. Chances are also as good as getting a 7+ on a 15 hand in pontoon we wouldn’t be included them in the hallowed digi-pages of the good ship Ghost Cult without the same, or similar, connection. And we’d have missed out on a warm, chilled out doozy, so hats off to Dig and all concerned for branching out and expanding their traditional net. I’m delighted they did. I’m not going to go off and dive into a whole other musical genre, but I’m glad the Smoke have entered my life and my music collection. They won’t be for everyone who frequents a metal site, but they should be for people who value unassuming good rock songs.

If there is justice out there, the winds will spread the Blackberry pollen far and wide.

 

8.5/10

Blackberry Smoke on Facebook

 

STEVE TOVEY


Gehennah – Metal Police (EP)

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To celebrate their signing with Metal Blade, Swedish quartet Gehennah are re-releasing their 2014 EP, Metal Police, with a whole host of extra goodies. Originally a four track 7”, the 2015 version now boasts a dozen dirty, in your face blasts of thrash and roll.

Although they’ve been together since the early 90s, Metal Police was only the band’s – made up of Mr Violence (vocals), Rob Stringburner (guitars), Micke “Hellcop” Birgersson (drums) and Charlie Knuckleduster (bass) – second release of the new millennium. As well as a couple of extra songs from the original sessions, the new version comes with re-recordings of older Gehennah material.

The original four tracks all follow the same path; short, sharp rockers of AC/DC meets Motörhead-inspired thrash. It’s over in ten minutes, but it’s great sweaty and sweary fun. The title track and a storming cover of The Dwarves’ ‘Fuck ‘Em All’ are especially pleasing.  The bonus tracks continue in the same vein; in your face, no fucks given rock and roll. Gehennah wear their love of classic Motörhead on their sleeves but frontman Mr. Slaughter’s bark adds an even punkier edge than Lemmy could rustle up in his heyday. The likes of ‘Carve Off Your Face (And Shove It Up Your Ass)’, the relentless ‘Hellstorm’ and ‘Piss off, I’m Drinking’ are the perfect soundtrack to a night of drinking, fighting and debauchery.

As re-releases go, Metal Police is a corker. A short but enjoyable EP has been transformed into a dirty, punky full length beast. What Gehennah lack in originality they make up for with energy, attitude, and amusing song titles.

 

8.0/10

Gehennah on Facebook

 

DAN SWINHOE


Tijuana Bibles – Sun Chaser (Single)

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Despite not having even released a full length album, and thus far one EP and single, Glasgow’s Tijuana Bibles have already accomplished quite the feats, most notably several small festival appearances and one at T In The Park; not something that every band you will find in these pages can claim. In anticipation of their upcoming release, these youngsters unveil latest single, the very catchy Sun Chaser (Pling).

On evidence of this single, it seems Tijuana Bibles have their ears to several phases of British influence. The main bulk sits strongly with indie rock and even a little Britpop, but doesn’t have quite the over-sanitized sheen or overly pop air of such mainstream radio fodder. Coupled with the hints of psychedelic and even blues hiding away and what we have here is signs of something special. On this single alone it seems that these guys’ future is very bright and should see acclaim from both the mainstream audiences and to those looking for something a little different.

 

7.0/10

Tijuana Bibles on Facebook

 

CHRIS TIPPELL


The NAMM Show: A Recap

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It’s another January and you know what that means in the music world, NAMM. NAMM or The National Association of Music Merchants, Anaheim Convention Center and bleeds into the surrounding hotels once more. It feels like a working vacation for most people, because who doesn’t to be in balmy southern California in 70-degree weather in the middle of winter? It is the largest music trade show in the world and there is also a slightly less attended summer edition as well. You will run into people from all over the planet at this massive convention. It’s pretty overwhelming just being there and navigating around the four floors of the ACC. It’s an endurance test from dealing with protesters outside to getting to a booth for signing. An overview of the whole thing breaks down like this: you have the Exhibitors trying to make deals, then the buyers trying to make deals, finally there’s new and established artists looking for deals. One thing for sure, it is one big ole networking party!

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I really don’t think any other trade show is this much fun. The day before it officially starts they have specialty concerts and performances with all-star jams. That continues every night from Thursday to Sunday, all over Anaheim up to as far as Los Angeles. As well as 3 stages of performers directly outside the convention center during the con. The best thing is it’s not just one style of music that is focused on. Every style you can come up with is represented there.

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Yes, there’s a lot of star-gazing and an abundance of new instruments, visual impact productions, and inventions. It’s up to you to see how much you can handle. My only advice I can give you is to treat everyone you meet with respect (super obvious, I know). You don’t want to talk down to or blow off someone at your booth who could help elevate your brand to the next level. And for the love of Odin, wash your wash hands if you use the bathroom!

 

NAMM website

NAMM on Facebook

 

WORDS AND PHOTOS BY OMAR CORDY


Hawk Eyes – Everything Is Fine

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Leeds’ alt.Rockers Hawk Eyes have successfully married US Discord Records style with off-beat prog melodies to good effect. Everything Is Fine (Pledge/Red Vole) is the sound of the band putting their best foot forward and maturing into a more versatile outfit striving to rise to the top of the Brit-rock pack.

The former Chickenhawk have mastered the blend of pop melodies without sacrificing the deliciously punchy nature of their songs. The driving melodies of nineties post-hardcore are injected with a shot of sludge and mathrock passion to great effect. Angular riffs underpin soaring harmonies which give the likes of ‘The Ambassador’ an urgency reminiscent of At The Drive-In.

The exhilarating rush of ‘Die Trying’ with its soaring chorus is another highlight, a deceptively addictive earworm which embeds itself in your cerebral cortex with its catchy lyrics full of righteous determination. The air of confidence the band has gained is never more evident that on the bruising ‘I Never Lose’, which rides an urgent riff and another great chorus.

In the four years since their Ideas (Vinyl Junkie) opus, Hawk Eyes dogged approach to touring has clearly benefited them, honing their craft through touring with rock journeymen such as Therapy?. Their duel vocals are used to great effect and while the maverick spirit of acts like The Melvins hovers over this it never threatens to extinguish the rabid pop nous of tracks like ‘The Ballad Of Michael McGlue’ which flies high on a rousing call and response chorus which declares “I don’t think God is gonna change his mind”.

Gleefully delivering agitated alt rock wrapped in easily swallowed bubblegum melodies Everything Is Fine is a stirring collection which warrants several visits, and the songs flow superbly from one riotous track to the next making this an intoxicating adrenaline rush which you will want to experience frequently.

“Happiness is a risky business” they spit on ‘Terribly Quelled’; it may be one they have to get used to if they continue to progress in such promising fashion.

 

8.0/10

Hawk Eyes on Facebook

 

ROSS BAKER


Golers – In ‘n’ Outlaws

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Canadian thrashers Golers are back with their fourth album, In ’n’ Outlaws (Independent/self-released). The Vancouver- based quartet – made up of Walter Mason on vocals and Guitar, Derek Rockall on guitar, Stuart Carruthers on bass and drummer Jason Mosdell – have delivered 14 tracks of quality hardcore-infused thrash with hints of southern sludge.

The opening title tracks is fast as it is brutal; two and half minutes of raw speed and aggression. The rasping screams, pummelling drums, lightning riffs, Golers only play music that’s high octane, heavy, relentless, volatile – imagine Iron Reagan fronted by Phil Anselmo, then make it heavier.

Very few songs longer than two minutes – but that brevity means none of the tracks outstay their welcome. It’s hard to pick out individual songs for special mention. Every track is, however, littered with quality solos; ‘Paradise Entrails,’ ‘Scratch’ and ‘Riff Cult – Relations’ are blessed with some excellent guitar work, and offer a brief reprieve from an otherwise uninterrupted aural attack.

Despite all sounding pretty similar, they’re also very good and there’s very little in the way of filler. But with all 14 tracks following a very similar blueprint it does get a bit fatiguing along the way. However it’s a small grip with an otherwise quality release.

From start to finish, In’n’Outlaws is an unadulterated assault on the senses. It’s a consistently nasty album from a band who know how to shred and thrash. One for people who miss extreme metal and punk from the 80s.

 

7.5/10

The Golers on Facebook

 

DAN SWINHOE


Thulcandra – Ascension Lost

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Anyone that has ventured into the Thulcandra back catalogue has probably noticed this German black metal band seem to exist as a living shrine to one of the former giants of the genre. Although their Dissection worship has decreased with every release, recent album Ascension Lost (Napalm) has not truly shaken off the homage to the band, with veins of Reinkaos (Black Horizon) rippling throughout.

Despite being inspired by such revered material, Ascension Lost leaves very little impression. Lacking any distinct identity or style of its own, the material passes by you with only vague echo of a few musical moments really standing out at the end. Ascension Lost falls into the trap of becoming black metal by numbers, filling in all the tremolos and blasts in all the right places to make a black metal track, but it lacks the atmosphere that is so crucial to the genre. It’s hard to deny the bands technical proficiency in both playing and song writing, but the music is devoid of personality. Being the side project of Obscura’s Steffen Kummerer, it is hardly surprising that technicality has taken preference that leaves the record lacking.

Fans of the band will already know what to expect from the album. The songs follow a similar style to their previous work and this album is no departure from this. Ascension Lost remains enjoyable boasting impressive riffs and drumming, but is also distinctly unmemorable. As the title suggests, Thulcandra haven’t ascended to any level of brilliance with this record and until they break from their Dissection homage, are unlikely to any time soon.

 

4.0/10

Thulcandra on Facebook

 

CAITLIN SMITH


Wind Rose – Wardens of the West Wind

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In for a penny, in for a pound, right? And sometimes that dividing line between success or failure is just how far you’re prepared to take things. Power Metal, with its origins heavily rooted in the extravagances of Yngwie and embracing and taking the more bombastic elements of symphonic music and film scores, is often guilty of not going far enough, playing the safe game mixing Europe with Helloween and churning out decent, if standard, fast-rock fare. On their second album, Wardens of the West Wind (Scarlet), Wind Rose follow in the boot-prints of countrymen Rhapsody by ramping things to the max, and to some effect.

See, where Rhapsody made a name for themselves was by being brave enough to make their music and songs epic; as grandiose, as pompous, as couldn’t-give-a-fuck-what’s-cool as possible, and to think outside re-writing Blind Guardian licks to wanting to create something monumental, something cinematic, something befitting of the grandest of stages. Wind Rose have produced a stirring, rousing album in the vein of Symphony of Enchanted Lands (Limb) that sets them apart from the majority of the others who sit in the Power Metal bubble by taking that chance to do something different. The movie that Wind Rose are tracking is more nautical than Rhapsody’s swords-and-dragons fantasy, as if a hero quest head-on collision of Pirates of the Caribbean and Waterworld was sound-tracked by a collaboration of Symphony X and Luca Turilli.

Attack is another area where Power Metal bands stand or fall, and Wind Rose bring the energy of a thousand marauding pirates fuelled by rum and the promise of treasures great hidden under an X. Francesco Cavalieri’s voice leads the quintet and is another competitive advantage, capable of drama, authority and melody, and making sense of the grandiloquence going on around him, pulling the power and the might cascading around him into strong, viable songs.

In a field that consists of a handful of giants and many who will struggle to achieve a status above mediocrity Wardens… positions Wind Rose as one to watch. If their live show can re-capture the exuberance on record, we will have a new name to light up the European scene.

 

8.0/10

Wind Rose on Facebook

 

STEVE TOVEY