Just how good and revered this album is and will be is not yet known, but there is no doubt that all the elements are there for this to become at the least an underground hit.
“II: Sojourn” CD//DD//LP track listing:
1). The Devil Is Here
2). Save My Life
3). Still We Fight
4). Wait On The Wind
5). See My Demons
6). Barrow Hill
7). Chorale
8). Slaves To Righteousness
9). Victory
10). Angel Take Me
The Review:
Undoubtedly the best medieval inspired hard rock band in the North West of England (!) Wytch Hazelare back with this second full length album. They have retained their vintage sound and peculiarly English sense of style on this excellent return. Much like their debut, “Prelude”, the band play very assuredly and with considerable flair; the guitar work is fleet footed and the rhythm section is very tight indeed.
If the band were going for a classic Wishbone Ash crossed with Thin Lizzy by way of Jethro Tullvibe... they have succeeded admirably. Messrs Downey, Lynott, Gorham and Robertson/Moore/White/Sykes (or Bell) would be hugely pleased if they came up with the fiery work displayed on “Save My Life” or storming opener “The Devil Is Here”. The word here is classic: classic sound, well deliveredsongs and timeless in themes and scope.
There are bursts of pace (“Still We Fight”) to go with anthemic choruses. There are mellow and melancholy tracks (“Wait On The Wind”) and not a duff track in sight in the ten on offer here. This is English hard rock of the best vintage (1972-1978) and actually manages to conjure up the wistfulnessthat the aforementioned Wishbone Ash did so convincingly on their classic “Argus” full length.
Just how good and revered this album is and will be is not yet known- it needs more time to bed in than the two weeks I have had it for review; but there is no doubt that all the elements are there for this to become at the least an underground hit. From the lush acoustics of “Barrow Hill” to the instrumental bombast of “Chorale”, the ingredients are here.
Wytch Hazel pursue the same path to its logical conclusion via “Slaves To Righteousness”, “Victory” and the closing “Angel Take Me”. The only possible fly in the ointment for some listeners may be the somewhat spiritual/religious aspect to the record- but it was there on the debut too. It doesn't bother me but you may feel differently; your call.
What we have here, then, are ten tracks of finely crafted English hard rock in the classic style. There are no songs about girls, no songs about cars, only loud guitars and a longing for another, simpler time. Fantastic.
Stoner/Hard rock band GRAMMA VEDETTA will release their new single "Address Unknown" on June 15th 2018. The song is taken from the band's yet to be titled upcoming album.
The band commented "We are very stoked to release this song. Built on a jam in the studio it has evolved into an epic journey between the 70s psychedelia and the 90s grunge, all revisited in a modern way. This song shows completely where the band's roots are."
it is a near perfect melding of death metal, folk, prog, hard rock, orchestral and choral music and a number of other elements which mean that no song stands still for long yet every fleeting, tiny moment of each one has impact
“Queen of Time” CD//DD//LP track listing:
1. The Bee (5:30)
2. Message In The Amber (6:44)
3. Daughter Of Hate (6:20)
4. The Golden Elk (6:22)
5. Wrong Direction (5:09)
6. Heart Of The Giant (6:32)
7. We Accursed (4:59)
8. Grain Of Sand (4:44)
9. Amongst Stars (4:50)
10. Pyres On The Coast (6:19)
The Review:
From their death metal beginnings 25 years ago, Amorphis have slowly progressed further and further towards a more melodic sound, which culminated in their quite frankly stunning 2015 release “Under the Red Cloud”. That album was centred around an entirely epic feel, catchy guitar riffs and choruses that couldn’t help but elicit huge singalongs on the tour that followed. With their latest album, “Queen of Time”, this approach has been altered slightly. All of the above is intact, but it has been added into a much richer, more complex mix with a heavier focus on synths and, for the first time in the band’s history, the use of a choir and orchestra. Needless to say, all of this combined leads to an engaging and varied record which reveals more and more secrets with every listen, as any good progressive release should.
Opening the album in style is ‘The Bee’, which immediately signals the band’s desire to do something a little different to “Under the Red Cloud” – whereas the latter opened with a haunting piano refrain, this newest effort begins with heavy synths which slam into an even heavier riff. Throughout the track the synths and guitars constantly intertwine as vocalist Tomi Joutsen veers sharply from powerful, deep death growls which could tear the head off a bear, to tender mournful clean lines which show off his rich, clear tone which, cutting across even the most thunderous moments throughout the album.
‘Message in the Amber’deftly introduces sounds that wouldn’t be out of place on a Jethro Tull song, with a folky, thoroughly 70s English prog riff standing out wonderfully. ‘Daughter of Hate’ takes things in a darker but still mind-bending direction, with black metal screams and dissonant guitars somehow working exceptionally well in the same track as a saxophone solo and a spoken word section courtesy of the grizzled sounding Pekka Kainulainen, the band’s long time lyricist. His work here, as with most Amorphis releases, is based around the Finnish national epic poem, “The Kalavela”. For a non-Finnish listener, this does make some of the lyrics a tad obscure, but this does not distract from the sheer beauty and other-worldliness of the imagery which does not require context to be appreciated.
The next two tracks, ‘The Golden Elk’and ‘Wrong Direction’ dial up the melody, the former pacey and catchy, the latter an emotional and accessible centre-piece to the album which hints at a more poppy approach that Amorphis could easily and convincingly take in future (the visually stunning video for this song is also certainly worth a watch). ‘Heart of the Giant’, with its distinctly oriental main riff, demonstrates how expertly the band have used the orchestra and choir on this record – they are used sparingly and subtly throughout so that songs like this where they are brought to the fore have a lot more impact. ‘We Accursed’ makes use of soaring strings as the backing to its thundering chorus and that unmistakable 70s prog sound makes a welcome return towards the middle of the track. ‘Grain of Sand’ offers more of the fantastically effective oriental sound, combined with a soaring chorus, where Joutsen’s powerful, melodic cleans duel with his equally impressive growls before leading into a pummelling outro where the solid riffing of Esa Holopainen locks in with the powerhouse drumming of Jan Rechberger to create a compulsory head banging moment.
A very special guest crops up on ‘Amongst Stars’ in the form of Anneke Van Giersbergen of The Gathering, The Gentle Storm and Devin Townsend Project. A more perfect contrast to Joutsen’s vocals could not have been chosen – the fact that her strange, ethereal tones have not graced an Amorphisrecord before now seems rather an oversight. ‘Pyres on the Coast’ is an impressive closer, a brooding atmosphere permeating the entire track despite its ever-changing heaviness and speed.
It is this last song that neatly sums up what Amorphis have done with this record and how it relates to their entire career to date – it is a near perfect melding of death metal, folk, prog, hard rock, orchestral and choral music and a number of other elements which mean that no song stands still for long yet every fleeting, tiny moment of each one has impact, is meaningful and shows just how talented a band Amorphis are to bring so many diverse sounds into a cohesive and highly enjoyable whole.
Fans of Motorhead will find what they are seeking here. Likewise, fans of more conventional hard rock acts like Guns n Roses and even earlier Aerosmith will find much to enjoy here. A solid and hard rocking record.
“The Age of Absurdity” CD//DD//LP track listing:
1. Ringleader 2. Freak Show 3. Skin and Bones 4. Gypsy Kiss 5. Welcome To Hell 6. Dark Days 7. Dropping The Needle 8. Step Into The Fire 9. Get On Your Knees 10. High Rule 11. Into The Dark
The Review:
Phil Campbell played guitar in Motorhead from 1984 to the end of the band. Over thirty years on the rock n roll front-lines. It's no surprise, then, that this record is a rocking shot of adrenaline, but some might be a little taken aback by the bluesy inflections in much of the material and the classic rock inflections to the solos and hooks. In fact, while opener “Ringleader” has a fair bit in common with Campbell's Alma Mater, the likes of “Freak Show” are bluesy swaggerers which would have fitted in perfectly on much more melodic records- think The Wildhearts by way of Free and you have it about right.
As the record progresses, it is clear that Campbell hasn't used up all his bullets with his extensive output with Motorhead and instead must have saved up a wealth ofmaterial which he did not feel was right for Lemmy, but makes perfect sense. When the tempo ratchets up, as it does on “Gypsy Kiss”, of course the spectre of the greatest rock n roll band of all time will loom large- but the cleaner vocals and melodies are a departure.
Over the course of the eleven tracks there are a variety of tempos- from the gallop of vinyl tribute “Dropping The Needle”to foot stompers like “Welcome To Hell”and the blues rock of the excellent “Dark Days”. Neil Starr's vocals are a real strong point of the release- confident and melodically powerful, they provide a great counterpoint to Phil and the bass/drums/guitar supplied by his sons- and as you would expect, the band are a tight unit.
Over the course of eleven tracks you get bluesy, swaggering rock n roll, delivered at maximum volume. The final three song stretch is catchy and hard driving and even thoughtful as on the closing “Into The Dark”. Fans of Motorhead will find what they are seeking here. Likewise, fans of more conventional hard rock acts like Guns n Roses and even earlier Aerosmithwill find much to enjoy here. A solid and hard rocking record.
Owl Makerswirls out of the darkness like the stuff of legend, reflecting the power of their namesake Hihankara, a Lakota goddess who acted as the gatekeeper to the afterlife. Don’t think for a minute though that this southern Connecticut trio is lost in esoterica – their unique brand of hard hitting rock and roll is fiendishly addictive and representative of a group who strive for greater things with every successive show, driven by an unmatched hunger to succeed. We sit now on the eve of their first musical utterance, “Paths Of The Slain” -- six tracks of high powered, hard rocking triumph -- and realize that things may not all be as they seem.
With the world in their sights and all the raw talent needed to take it by storm, Owl Maker’s potent live shows have thrilled audiences across the region. Now, “Paths Of The Slain” stands to bring the band to the next level. Mixed and mastered by Arthur Rizk (Code Orange, Power Trip), even upon first listen it’s easy to see why these guys have won the hearts of movers and shakers within the scene. Suffice to say, with their reputation for dynamic stage shows and hard work, Owl Maker must be making Hihankara proud. “Paths Of The Slain” will be released on March 16 2018 and you can check out a new track “Lady Stoneheart” below.
“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.
“Grimmest Hits” CD//DD track listing:
01. Trampled Down Below 02. Seasons Of Falter 03. The Betrayal 04. All That Once Shined 05. The Only Words 06. Room Of Nightmares 07. A Love Unreal 08. Disbelief 09. The Day That Heaven Had Gone Away 10. Illusions Of Peace 11. Bury Your Sorrow 12. Nothing Left To Say
The Revew:
After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal”and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.
Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with apretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”
Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.
The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.“The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.
“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.
At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!
I don't expect it to usurp the likes of “Born Too Late” or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.
“Street Reaper “CD//DD//LP track listing:
1). Unmarked Grave
2). Street Reaper
3). Mother Road
4). The Dark
5). The Other Side
6). Shadows Fool
7). Brimstone
8). The Cross
9). The Casket
10). Die in Vain
The Review:
Portland's R.I.P. unleashed their debut on an unsuspecting public back in 2016. Since then, the press seem to have latched on to the quartet's “street doom” label as something new in the doom sphere. Truthfully, it is not. Street doom is as old as Saint Vitus and The Obsessed... maybe even as old as Sabbath! Any doom head knows the difference- fantasy vs reality, heroes vs heroin and so on. Regardless of what genre tag has been ascribed, “In The Wind” was an enjoyable slice of Saint Vitus meeting Fu Manchu. With “Street Reaper”, the band have progressed their sound on by focussing it and tightening up the arrangements.
The one minor criticism I levelled at their debut was that it was a little on the long side. Well, the ten tracks here have solved that problem and the band have really delivered a muscular set of songs. Once again, the influences are there: Pentagram, The Stooges, Saint Vitus, Sabbath... and the aforementioned Fu Manchu. The spectre of the Californian state looms large in the sound and vibe, and gives the band a little something extra, a little uniqueness. A little of the desert and a little of the imagery shown on the album cover- four hirsute dudes rolling in a low-rider. It is clear that these guys are not from Barnsley, that's for sure!
The music is direct and punchy, featuring over-driven bass and fuzzed up guitars again. The riffs are simple and groovy and this really does have the feel of street level music. From the opening chug of “Unmarked Grave”, through the title track and beyond; this will get your head nodding. As noted first time around, it is great to hear a band with a singer and actual riffs. This isn't about playing really slow or being massively heavy but is instead more about the vibe and the flow of the record. There are nods to the gods via instrumental interludes like “The Cross”, grooving slabs of riffage such as “Shadows Folds” and even some more melodic playing here and there (the intro of “The Dark”, for instance, and the closing “Die in Vain”).
The wheel is not being reinvented here, but that isn't the point. R.I.P. bring a slightly more youthful swagger to the game- it's welcome as most of the really big players are knocking on a bit now, to say the least. By the time of the seventh track “The Casket”, you will have made up your mind about the album. Personally, I like it. I don't expect it to usurp the likes of “Born Too Late”or Pentagram “Relentless” in my list of best all time doom albums, but if you want a modern doom rock album with lots of attitude and overdrive, then this is one you should check out.
With the last three tracks clocking in at around four and a half minutes apiece, the band close the show consistently, albeit using different tempos and approaches as they go- relatively up tempo, slower dinosaur riffing and melodic- respectively. The yowling vocals are more Reagersthan Wino, the sound is never less or more than over-driven and fuzzy and the whole thing works well. It is an improvement on their debut and sets the band up very well for album number three and a possible rise through the ranks of doom. When are they coming to the UK?!
Hard rock is such a complicated subgenre. It walks that line between metal and mainstream rock, and it is so very easy to flop colossally straight into Creed-ville. Or cover-ville. Neither is particularly pretty.
Pittsburgh group Outsideinside first popped on the musical landscape via a 2013 split EP with “Old Head”. That appearance followed a few years of live shows and studio work. Now, the quartet is out in force with its premiere full length, "Sniff a Hot Rock."
Although billed as a hard rock act, Outsideinside is heavy with the funk, rock and other influences. Singer/guitarist Dave Wheeler flashes some killer blues chops on "Ten Years" and hits a modern rock vibe on "Can't Say Nothin'." Bassist Jim Wilson and drummer Panfilo Dicenzo definitely craft that hard rock edge, but are talented at flirting with other techniques as well. A strong rhythm section with clarity on its sound makes or breaks a hard rock performer. Dicenzo and Wilson pair up well to make Outsideinside's music sound brash, but smart.
"Sniff a Hot Rock" further deserves acknowledgment for when Wheeler and company exhibit a self-awareness enough that the band can meld diverse inspirations. This is critical, but often unnoticed. Hard rock fans can feel a band when it starts losing itself or panders to trends. Outsideinside's full length avoids these traps quite well.
The outfit has some particularly forceful songs. The base of "Empty Room" may remind you a bit of, oddly, early music by Inside Out, the group that would later evolve into Rage Against the Machine. "Pretty Thing" has got a brawny riff that elevates the track, along with some classic elements to top it off. And the same can be said of "Shot Me Down," where the group's harkening to legends like Jimi Hendrix and Humble Pie is most evident.
While doing a yeoman's task to represent its ethos fully on disc, one has to believe the live experience of Outsideinside is particularly excellent. If hard rock is your bag, Outsideinside may well be worth a stream.
Inspired by Iron Maiden, Metallica, Motorhead, Dissection and Slayer, Montreal, Québec’s WarCall play fast, aggressive, melodic, dramatic and aggressive music, no that’s not a typo, you read it correctly, double the aggression and with three well-received albums under their bullet-belts (‘Demonarchy’, ‘Blood, Guts and Dirt’, ‘III’), this power-trio are about to unleash their fourth ‘Invaders’. The album features 10 tracks and is a concept record based on humans fighting back an alien invasion.
“Everybody who has followed WarCall since our beginnings will be extremely satisfied with ‘Invaders’. It is our best sound, best production, best song writing and best musical performances. The new album is a return to the style on the first two albums. On album ‘’III’’, we wanted a raw approach so it was recorded live in the studio on analog tape for a truly rock and roll feel. With ‘’Invaders’’, it’s a more polished production with more energy and experience.” says guitarist Mathieu Simard
Warcall’s forthcoming album “Invaders” is due out October 13, 2017 via Plan B Music and today you can check out a new and exclusive track“Riding With Zombies” below.
On October 7th 2017 Swedish hard rock sensations Märvel will release their new album “At The Sunshine Factory”. The band have worked hard to create a ”larger than life” sound, building a studio of their own to get enough time to develop their songs to perfection. A cheerful production disguises a darker lyrical theme affected by today's world situation.
Havinginked a deal with The Sign Records in the beginning of 2017, they have started to re-release Märvel’s earlier albums on new formats, but new material is what fans of the band have been craving and Märvel have never been this well equipped and ready to make a first and lasting impression on a new audience, and are set to deliver something fresh and invigorating.
Märvel’s music has been described as sweaty group sex with The Hellacopters, Turbonegro and Electric Six at a KISS-themed children’s party. Throw some 60s soul and the good kind of 80s metal into the mix and you’ve got it.So if that sounds like your kind of party, check out their new video for “All Over the News” below which is taken from their forthcoming album. Preorders for the album are available here
“Let's not mince words here, this is straightforward hard rock. Big choruses, big sounds and big hooks are the order of the day. The production is superb; thick and muscular with the right amount of polish.Black Star Riders have proved, again, that they are a fine hard rock proposition in their own right and with a strong work ethic, great live show and several albums under their belts, the band seem primed to rule the hard rock circuit.”
“Heavy Fire” CD//DD//LP track listing:
1. Heavy Fire (4:28)
2. When The Night Comes In (3:16)
3. Dancing With The Wrong Girl (3:21)
4. Who Rides The Tiger (4:20)
5. Cold War Love (4:05)
6. Testify Or Say Goodbye (4:17)
7. Thinking About You Could Get Me Killed (3:38)
8. True Blue Kid (4:17)
9. Ticket To Rise (4:38)
10. Letting Go Of Me (3:44)
The Review:
Black Star Ridersare back with another full length studio album. Their line-up has never been consistent, but mainstays Scott Gorham (yes, Thin Lizzy) and Ricky Warwick are still the driving forces along with Damon Johnson and Jimmy Degrasso. The band are on rollicking form here; fans of The Almighty will recognise Warwick's writing style in the opening title track and elsewhere on the record.
Let's not mince words here, this is straightforward hard rock. Big choruses, big sounds and big hooks are the order of the day. The production is superb; thick and muscular with the right amount of polish. BSR grew out of the touring Thin Lizzyline up and you can certainly hear that- as you could on the preceding albums. This time, though, there is more of the band's own stamp on things.
Certainly, “Dancing With The Wrong Gir”l sounds very Lizzy- but “When The Night Comes In”sounds much less so. Warwick's references to god and guns are very much present and correct (as a rock n roll motif, not as an endorsement of either, you understand!). Over the ten tracks there are more restrained moments such as “Cold War Love”, out and out rockers like “Who Rides The Tiger”, familiar harmonies such as those on “Testify Or Say Goodbye” with it's rhyming chorus and so on. You get half time type grooves on “Thinking About You Could Get Me Killed” (and the title track, for that matter) and lots of stellar lead work.
By going all out on ten finely honed tracks, this is a stronger record than, say, “All Hell Breaks Loose”- which was strong in itself. More time together on the road and the studio must surely help- but these rock and roll veterans have been around the block many times, so they know how to deliver anthemic tracks like “True Blue Kid”. Warwickcontinues his penchant for excruciating puns on “Ticket to Rise”, but title aside, it's a fine low slung groove with some female backing vocals adding an extra dimension. Tough-as-nails/sweet-as-sugar closing statement “Letting Go Of Me” is a rocking note to finish the album on.
Black Star Ridershave proved, again, that they are a fine hard rock proposition in their own right and with a strong work ethic, great live show and several albums under their belts, the band seem primed to rule the hard rock circuit. Indeed, a very high UKchart placing for this album shows that the public are taking notice and taking the band to heart, as they should. Catch them live in 2017 and witness the power for yourself.
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