Tag Archives: 70’s Rock

The Ghost Cult Album of the Year for 2015: Ghost – Meliora

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1. Ghost – ‘Meliora’ (Spinefarm)

Released on 21st August, Ghost Cult’s Album of the Month for September and now our official Album of the Year, managed, even in a year in which Slayer released a divisive selection and Iron Maiden unveiled a 90 minute double album after a five year hiatus, to dominate conversations, causing arguments and endless discussions about it’s place in their canon and Ghost‘s status in the world of rock and metal.

For a “new” act to take on the established acts for column inches and internet debate is testament to how successful the Satanic vision of the original Nameless Ghoul has been.

The band formed in 2008 with a simple mission to spread the word of Satan through the medium of retrospective rock with the devil’s harmonies carrying and subverting the masses.

“This is the album where Ghost have consolidated the tricks and tropes that drew us into their strange vaudevillian universe to begin with and the album that will hold us there for some time more. Meloria sees Ghost honing all their tricks into one accessible and often infectious package.”

Read Mat Davies original review here

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Much as dream follows day, Infestissumam saw a definite evolution and movement on from Opus Eponymous, and so Meliora is a further celebration of  the Ghost sound, of their continued exploration of a musical niche, adding rock opera tendencies, even, at times, grinding War Of The Worlds into the feted gristle flowing through their distinctive Satanic mills as 70’s synths flutter, guitar solo sing, and holding it all together into memorable hook-filled hymns is Papa Emeritus III.

You can throw superlatives, or analyse things to the nth degree, or you can enjoy that most special of things – an album filled from top to bottom with great songs.

And more than anything, THAT is why Meliora is the Album of 2015.

 

Ghost Cult Top 50:

50-41

40-31

30-21

20-11

10-2

 

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Avatarium – The Girl With The Raven Mask

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Leif Edling is an unsung, underrated, talented bastard, and a legend. Part-responsible for some of the finest, melodramatic slow and mystical metal known to man across the first four Candlemass releases, his seat and decanter of wine at the table of legacy and honour is assured. Founding member of one of the founding fathers, as his main gig has become more of a part-time, festival turn, two years ago he celebrated the year of his 50th anniversary on earth by putting together Avatarium.

Leaving behind the doom bent of the ‘mass to feed the muse of progressive, heavy retro-tinged rock, and allowing the 60’s and 70’s bands of his youth to influence his writing, at their very best Avatarium are transfixing. The Girl With The Raven Mask (Nuclear Blast), the second band’s full length, is retro without being Sabbathian, fuzzy without being stoner, more Hammer than Occult (any bandying around of the term “occult rock” in this direction is being  incorrectly applied for no limp or quaint quasi-folkisms abound here) and progressive without losing focus or atmosphere.

‘The Master Thief’ is Opeth-style progressive luxury and ‘Pearls and Coffins’ is a simply magnificent track, seguing from bare, Western-tinged Tarantino soundtrack led eloquently by stunning vocals into a swirling Deep Purple vortex of an org(an)asmic post-chorus coda; its’ seven minutes an epic sway. And speaking of the Purple ones, in ‘Hypnotized’, Marcus Jidell channels the spirit of pure Blackmore with a majestic mellifluent magic carpet ride of a solo.

The Girl With The Raven Mask does not crush you with weighty riffs, but instead mesmerizes, with singer Jennie-Ann Smith a rare, enigmatic and captivating talent who sparks when the songs are sparse; reminiscent of Nancy Sinatra’s version of ‘Bang Bang (My Baby Shot Me Down)’ (sorry Cher). Given more room than on either their self-titled début, or last years’ All I Want EP, Smith is magnificent. If she had been a solo artist in the late 60’s she would be revered amongst the Joplin’s of history.

A diverse and intriguing marriage of stripped back and the grandiose, of top-level psychedelia and rock, all carried out to sea on the beguiling voice of Smith, for a while I feared The Girl WithThe Raven Mask was doomed (sic) to be one of those releases where the idea was better than the reality, but, while not every track hits the heights of the true moments of genius, the swirling, epic qualities draw you in.

 

8.0/10

 

STEVE TOVEY

 


Gentlemen’s Pistols – Hustlers Row

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Founded in 2003, British rock outfit Gentleman’s Pistols are probably – and somewhat unfairly – best known as “that band Bill Steer joined after Carcass broke up.” This is a shame, because their new album is actually pretty good.

Hustlers Row is the band’s third album and first on Nuclear Blast after nearly a decade on Rise Above. Its 10 tracks play out like a walking tour of rock’s 70s heydays. Track by track you get a who’s who of classic rock influences shining though; Led Zeppelin (‘The Searcher’), Lynyrd Skynyrd (‘Stress and Confusion’) and Deep Purple (‘Personal Fantasy Wonderland’) are all present, and clearly Steer & Co know how to emulate their heroes’ boogie and jive. They’ve also got a good sense melody, and it’s easy to hear the likes of The Beatles (‘Lady Teaser’), CSNY (‘Hustler’s Row’) and Cream (‘Time Wasters’) shine through on the lighter moments.

This, however, is probably its biggest problem it’s a very good rock album without an identity of its own. Where, for example, Clutch’s new record Psychic Warfare sounds like a hard rock album only they could have made, Gentleman’s Pistols and Hustler’s Row sounds like a lot of (albeit very good) different bands without settling on their own distinct sound.

The late one-two of ‘Dazzle Drizzler’ and ‘Coz of You’ are probably the best example of the band getting into a groove without overtly playing tribute, and they’re probably the best moments on the album. There’s nothing wrong with Hustler’s Row; the vocals are great, the riffs and solos top-notch, and the song-writing more than solid. Even the production gives the whole thing a warm authentic sound that makes it feel like a genuine gem from 40 years ago.

Despite the lack of an identifiable “Gentleman’s Pistol” sound, Hustler’s Row is  still a decent listen, and an album youngsters who’ve just discovered the likes Deep Purple and oldies who were there originally can enjoy together.

 

7.5/10

 

DAN SWINHOE