Tag Archives: Deep Purple

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

 


Sweat Lodge – Talismana

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Ye gods! Somebody in this band fucking loves a bit of Black Sabbath! Hawkwind and Deep Purple too I’d wager. Now, I’m not normally one for Stoner, Doom or Space Rock, but this album is quite charming, as it has a certain Southern (as in New Orleans, not New Cross) sensibility about it that stops it from descending into the sludgey pit of boredom that bands of those genres so often inhabit. Think of it as Corrosion of Conformity with Ozzy singing and Monster Magnet producing in the early 1970s. Then chuck a bit of Hawkwind at it and you’re done.

The problem with revival bands like this is that they can often struggle to find their own identities. I think Sweat Lodge‘s Talismana (Ripple) suffers a little from this tendancy, as it can often sound like a 70s rock compilation that’s been chopped up & stirred together. On the other hand, their love for that period is obvious and they clearly know their history (only 9 tracks!). The sounds, effects and hooks are all perfectly pitched and it’s frankly astonishing to hear something like this being recorded today. Impressive. So if you like your 70s rock & metal, you’ll love this. Also, if you like modern revival and mid-fi stuff like The Sword, Spiritual Beggars or Wolfmother it should likewise give you an earection.

The album opens with somewhat derivative but wonderfully named ‘Tramplifier’. Standout tracks are ‘Bed of Ashes’ (this could almost be Sabbath), ‘Phoenix Ascent’ (Deep Purpletastic and my favourite), ‘Heavy Head’ (great riffs, lots of layers, varied vocals, a spacey midsection and a cheeky tease of an ending) and ‘Banshee Call’ (a Peter Green era Fleetwood Mac intro that opens out into straight up Diamond Head – lovely).

Top job from a clearly talented and passionate band.

 

7.5/10

 

PHILIP PAGE


Whitesnake – The Purple Album

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“I’m sixty-three years old, booking a world tour, the tickets are flying out the door… Why the fuck should I give a fuck?!” was David Coverdale’s rather eloquent response to criticisms of the concept of Whitesnake’s The Purple Album (Frontiers), an album that does exactly what it says on the tin (and then some), revisiting The Cov’s years as frontman of Deep Purple and Whitesnake-ing up a selection of his favourite tunes.

And, the guy has a point (so to speak – as the millions… and millions… of The Cov’s female fans would testify), for not only did he co-write all of these magnificent  and timeless rock songs in the first place, but The Purple Album is a rather fine run through of them that will please both ‘snake and Purple fans alike, as tracks from the 70’s are electrified by the guitar talents of former Winger six-stringer Reb Beach and Trans-Siberian Orchestra’s Joel Hoekstra.

It needs to be said, these are not “better” versions of the originals, but new, different versions, presented in vibrant aural technicolour – a thoroughly enjoyable run through of a selection of songs that do benefit from the modern, ballsy rock (but oh-so-slick) production, provided by Coverdale, Beach and Michael McIntyre. It also needs to be acknowledged that this is no bog-standard re-record. What we have here is one of Rock music’s most iconic and distinctive vocalists laying down versions of some truly seminal tracks – ‘Burn’, for example, an instantly identifiable riff and powerful chorus that inspired many . All through, The Cov is on absolute fire, effortlessly wrapping his larynx, like thick, oozing melted chocolate undulating down and over a fulsome breast, around ‘Love Child’, playful and powerful on a driving version of ‘Lady Double Dealer’ that sounds like it could have been on 1987 (EMI/Geffen) or soulful and with gravitas on ‘Soldier of Fortune’. While predominantly a Rock album,  ‘Holy Man’ and ‘Sail Away’ are sensitively delivered by the distinctive, legendary tones of Lord David Coverdale.

What we have is a celebration of Coverdale’s career that sees him taking classic songs from the very beginning of it and peppering them with the condiments of his band, Whitesnake. The only real mis-step is ‘Mistreated’, because despite all the skill and best will in the universe no one can play that song and make those notes sing and emote like Ritchie Blackmore, but it is the only time things don’t quite hit the mark. For when all is said and done, all The Purple Album is, is a(n excellent) selection of Deep Purple songs played by Whitesnake. And a very good thing that is too.

8.5/10

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STEVE TOVEY


‘Find The Real’: Johanna Sadonis of LUCIFER

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Johanna Sadonis of LUCIFER, by Burning Moon

While preparing to launch her second band and release her second debut album in as many years, Johanna Sadonis, formerly of The Oath and now of Lucifer, spoke to Ghost Cult about the authentic sound of Lucifer I and why the music of yesteryear is at the core of her bands’ identity.

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Lucifer I (Rise Above) has a very authentic, organic, warm 70’s sound to it. Was it difficult, in this age of Pro-tools and plug-ins to find place that would allow you to record in an older style way, and someone skilled enough to do it?

“I didn’t look in the places you would normally look for a band that plays rock and metal. I was working at a record store and there was a guy who plays session bass for a lot of different bands and he said he had to go to the studio to record something with guitar player from The Swans for a side project. He came back with 4 or 5 songs and he played them over the big system in the record shop. And I said “It sounds amazing. It sounds like a 1960’s Serge Gainsbourg record!”, so I asked how on earth did he do this in one day, and he said the guy they recorded with (Ingo Krauss) was a true wizard!”

“He actually used to run Conny Plank’s studio, the old hero of the Krautrock scene, and he told me it was full of vintage equipment, so I asked for the contact. It was good to take it out of the context of going to one of the normal metal studios.”

“It was a good thing to do. He did an amazing job and we were able to record live. You don’t have clicks so you have an organic flow to the music, and it can be a magic trick to have that. So, we went to an old studio with all this vintage equipment, and it sounds so much more organic, and you’re able to record live and you hear the little flaws. It’s not over-produced because that would take the life out of it.”

 

Occult rock is a very “in” scene to be involved in. Why do you think this is, and do you associate with the other bands coming from a similar vibe?

“I’m sure it’s popular for similar reasons. People realise where the real gems are lying. It’s hard in rock and metal to reinvent the wheel and (when people try to) there have been such abominations of style and sub-genres that have been looming over the last couple of decades that have been quite horrible, you know? Also the horrible productions…”

“You look, and you have to return to the roots. But a lot of bands do that, bands that have been around for a long time, maybe during the 90’s they had a horrible phase trying out other stuff that was in fashion then, but now they return to their raw roots, because they realise where it’s at.”

Ha! I always think of Paradise Lost when you talk about bands doing things like that. I loved the earlier stuff, then they took some musical decisions I didn’t like, and I lost touch, though I’m pleased to hear they’re supposed to be heading back to their earlier sound…

“I guess you have to do that if you play music for a long time because you don’t want to repeat yourself. But, hopefully after you make a horrible album you return to what’s right! But everyone does it – even Sabbath with the last album tried to re-invent the old feeling. Whether it worked or not is another question… Or Danzig, the last album is much more back to the roots and to a raw production.”

“I don’t compare Lucifer to other contemporary bands, even those in the same genre although I am friends with many of those bands. I respect their stuff, and we look back to the old influences. I’d rather have a band looking up to those old classics than trying to copy the copy of a copy.”

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What is the attraction of a musical style and aesthetic that is older than you are?

“It’s part of a long journey. Being a metalhead for more than 20 years, and going through various different phrases I started with classic metal, of course, but then I went really into death and black and doom. But then when you get older and you start to open your mind a little more, you start to dig more into the historical paths of music.”

“When you’re a music nerd, you start digging, and I came to realize all the bands were based on these classic bands that have been there for 50 years, and you examine why have these bands been here for all this time. Why are Black Sabbath, Deep Purple, Uriah Heep classic bands and so good? If you’re a music lover or musician you hear all that and it’s all genuine.”

“So, here I am, at this stage in my life and I have the taste of a 56 year-old man, you know!”

It’s weird, isn’t it, when you come round to listening to the same music as your parents did…

“Exactly! My Dad listened to Deep Purple, and my Mum was into rock n’roll. When I was 13/14, I thought this is not cool! You don’t want to listen to what your parents listen to, because you’re brought up with it. It’s not something you can find your own individual space, because your parents are there too. For me, it was Metallica and Danzig when I was 13. Later on you grow up and you realize “Oh shit! It’s amazing what my parents listen to! Give me all your records!!””

“So, now I listen to my parents records!”

 

Lucifer on Facebook

 

STEVE TOVEY


Mirror Queen – Scaffolds of The Sky

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Quick question for you… how many heavy metal records do you need in your life? I was thinking about this the other day when my pile of vinyl and CDs needed tidying up. I have a LOT of stuff and so the thought- albeit a fleeting one- passed through my mind that perhaps I had enough. Luckily that thought quickly evaporated from my mind, due in part to the excellent new record from New York City reprobates Mirror Queen.

On this second album of heaviness, the portentously named Scaffolds of the Sky (TeePee), the American outfit treat us to another slab of infectious NWOBHM/ Prog loveliness that might not be the most original record you’ve heard all year but certainly pushes a number of buttons marked “hot”.

Mirror Queen’s take on guitar rock is both nostalgic and forward facing. The agreeable blend of twin guitar harmonies and unfettered wig outs recalls the days when the likes of Iron Maiden and Judas Priest were slugging it out for the heavy metal championship of the world but Mirror Queen imbue their art with an additional progressive flourishes: listen carefully to ‘Strangers in Our Own Time’ and you will find lashings of Dutch Prog outfit Focus as well as some cap- doffing to Deep Purple, for example.

There is a progressive sensibility to all of Scaffolds of the Sky; from the psychedelic lyrics to the slightly woozy and trippy guitar parts that are both hypnotic and ethereal. There’s a dirty and gritty riff underscoring ‘Quarantined’ which gives it a welcome roughness whilst you’d lay a not inconsiderable sum of money that ‘Vagabondage’ was recorded in 1975 rather than 2015, such is it’s authentic blend of progressive heaviness.

‘Wings Wetted Down’ has its origins firmly rooted in mid period Pink Floyd and Black Sabbath and ‘At the Borderline On the Edge of Time’ is as space-rock as you’d expect from a song that is surely taken from the well-read copy of “Song Titles that Hawkwind Haven’t Yet Used”.

And there you pretty much have it. Mirror Queen know what they like, and what they like is Prog and heavy metal. These are, of course, very good things to like. Scaffolds in the Sky won’t win any prizes for originality but it does win plenty of praise in these quarters for its unpretentious, straightforward effective rock schtick.

 

7.0/10

Mirror Queen on Facebook

 

MAT DAVIES


Tommy Bolin 40th Anniversary Vinyl Edition Box Set Out May 19th

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UDR Music will be releasing a 40th anniversary version of Tommy Bolin’s classic solo album Teaser with a deluxe box set dubbed the Teaser 40th Anniversary Vinyl Edition Box Set on May 19, 2015.

Bolin is best known for his work with groups such as Zephyr, The James Gang, and Deep Purple. He was a bright, young American guitar god who created a whirlwind with his loud, stylish, free-form fusion performances before his untimely death at the age of 25 in 1976. Released in 1975 during his time with Deep Purple, Teaser was the solo masterpiece and eventual cult-classic that Bolin never got the chance to properly promote.

UDR Music will release the official TEASER 40th Anniversary Vinyl Edition Box Set, a three-album deluxe vinyl box-set supplemented with two live CDs, celebrating the 40th anniversary of this legendary release. Featuring long-lost outtakes and alternative mixes from the original Teaser studio sessions, plus two live CDs comprising performances from Ebbets Field, The Northern Lights, My Father’s Place and Albany, the TEASER 40th Anniversary Vinyl Edition Box Set is set to satiate the appetites of Bolin fans worldwide.

Track list LP’s:
LP 1 – side A:
01: Teaser
02: Flying Fingers
LP 1 – side B:
03: Wild Dogs
04: Cookoo
LP 2 – side C:
05: Chameleon
06: Lotus
LP 2 – side D:
07: The Grind
08: Crazed Fandango
LP 3 – side F:
09: People People
10. Smooth Fandango
11. Marching Powder
LP 3 – side E:
12. Homeward Strut
13. Dreamer
14. Savanah Woman
15. Oriental Sky

Track List Live CD’s:
CD 1:
01: Teaser – My Father’s Place
02: People People – My Father’s Place
03: The Grind – My Father’s Place
04: Wild Dogs – Live at The Northern Lights
05: You Told Me That You Loved Me – Live in Albany
06: Stratus – Live at Ebbets Field
07: Post Toastee – Line in Albany
08: Hoka-Hay – Energy KBPI Broadcast
09: Homeward Strut – Live at Ebbets Field
CD 2:
10. Shake The Devil – Live at The Northern Lights
11. Marching Powder – My Father’s Place
12. Lotus – My Father’s Place
13. Homeward Strut – Live at The Northern Lights
14. You Know, You Know – Live at Ebbets Field
15. Crazed Fandango – Live at Ebbets Field
16. Post Toastee – Live at The Northern Lights
17. Walk In My Shadow – Live at Ebbets Field

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earMUSIC Signs US Distribution Deal With eOne Music

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earMUSIC, the international record company of Edel Group has signed an exclusive US distribution deal with Entertainment One. Their release schedule has been announced with the following:

May 12:
Deep Purple – Long Beach 1971
Angra – Secret Garden
SOTO – Inside the Vertigo

May 26:
Thunder – Wonder Days
ASH – Kablammo!

June 9:
Gamma Ray – Best Of:

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The Answer – Raise A Little Hell

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It can be hard to tell, sometimes, about the career progression (or otherwise) of a band in this age of dwindling physical sales, so sometimes all you have to go on is how often people are talking about a band, their “buzz” and their profile. Now, I accept this can create a false impression, but while they burst onto the scene with some UK-centric noise around Rise (Albert) in 2006, it seems very few are talking about Northern Ireland’s The Answer any more (if they were at all), and perception is of a band that have gone backwards, despite some pretty hefty touring with AC/DC.

Raise A Little Hell (Napalm) is their fifth album and kicks off with ‘Long Live The Renegades’, a mash of Deep Purple’s ‘Woman From Tokyo’ and Thunder’s ‘She’s So Fine’; Cormac Neeson’s smoky Bon Scott voice and Paul Mahon’s effortless bluesy licks bringing to life a track that will no doubt become a live favourite. Citing AC/DC and Thin Lizzy as main influences, the album proceeds to walk through the greats of yesterday; ‘The Other Side’ dances in the garden of Led Zeppelin and ‘Red’ kisses the feet of Whitesnake, ‘I Am What I Am’ and the title track are slower, bluesier numbers, while ‘Whiplash’ raises the pulse. The album is locked down by the constant heartbeat of solid bass and drums, and naturally references yesteryear with casual blues rock riffs.

However, as I’ve mentioned before elsewhere (Orden Ogan), by a fifth album I’m looking for some sort of legacy, some sort of statement, and the thing about The Answer is, that they aren’t. The Answer, that is. Or if they are, the question must be “name a decent, if unspectacular, rock band of the common-or-garden variety”, and while that’s harsh, should The Answer cease to be, there would be very little wailing or gnashing of teeth. These aren’t the sort of band to release a drop-your-trousers bone(r) fide classic.

That said, good music is good music, whether it’s bought by ten people or ten million. And Raise A Little Hell is simple, effective, good hard rocking music.

 

7.0/10

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STEVE TOVEY


Lunatic Soul – Walking On A Flashlight Beam

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How Mariusz Duda finds any spare time is a complete mystery. Not only the vocalist for Polish prog behemoths Riverside, Duda simultaneously has steered his own solo outings under the moniker of Lunatic Soul through alternate sonic landscapes. Despite most assuredly earning some downtime after the former’s most successful year, Lunatic Soul now return on yet another direction.

In stark contrast to Riverside’s previous album Shrine Of New Generation Slaves (InsideOut) and its more overt signs of 70’s rock worship, Walking On A Flashlight Beam (KScope) virtually eschews all remnants of guitars from its palette, relying instead of ambient electronica and synths, with drums and bass. Both bands may still be tied in their sense of mood and melancholy, and of course the shared talents of Duda’s distinctive and delicate tones, but otherwise they veer to different paths.

Opener ‘Shutting Out The Sun’ begins in an unassuming manner, with the sounds of light, crashing waves before it builds upon layers of effects and synths, shaping to an altogether more crowded form. WOAFB sees Duda really open up in creativity, from the almost tribal drum beats on ‘Gutter’ to the Eastern tinged melodies within ‘Pygmalion’s Ladder’, all still maintaining the album’s wispy atmosphere. Of course the star is without doubt Duda’s voice which conveys an almost unmatched sense of fragility and emotion in modern prog.

Whereas Riverside’s last venture saw the influence of the likes of Deep Purple, WOAFB draws a lot more from the likes of Tangerine Dream, both in its synth based structure and also in its ambience and inventiveness. Showcasing in its beauty a plethora of ideas which may be in some ways far removed from the more famous of Duda’s bands yet not alienating to its fans, WOAFB is evidence enough of Duda’s claim as one of modern prog’s great minds.

 

8.0/10

 

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CHRIS TIPPELL


Valkyrie Signs With Relapse Records, New Album Due Out In 2015

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Virginia riff rockers Valkyrie has signed with Relapse Records and worked on their first full-length release in seven years at Earth Analog Studios in Champaign, IL with producer Sanford Parker (Corrections House, Nachtmystium, Pelican, Twilight) earlier in the month. It is due out in early 2015.

 

Formed in 2002, the band features brothers Jake and Pete Adams (Baroness, Samhain) on guitar and vocals, Alan Fary (Earthling) on bass and Warren Hawkins on drums. Drawing comparisons to Thin Lizzy, Scorpions, Black Sabbath, early Iron Maiden and Deep Purple, Valkyrie play guitar driven rock n roll replete with infectious solos and catchy, powerful vocals.

 

Guitarist / vocalist Jake Adams commented on the signing and new material:

 

“We are really excited about this new record. Some of these songs we have been working on for many years and we are glad to see them have a proper release on an excellent label. This new record will be a step up in terms of song dynamics and musicianship from the previous albums. We think our fans will dig the fresh approach to the classic Valkyrie sound.”

 

For a more in-depth look into the band, check out this profile we did on them a few months ago, written by Ghost Cult scribe Dan Swinhoe:

 

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