Great Comebacks (Part 2)

In part one I wrote about the return of bands, against the odds, to a position of glory that they had previously slipped from for a number of different reasons - ranging from losing a member or just going off on a creative tangent. 

Part two, if I’m being honest, is more of the same, so if you want something different, move along. There is nothing to see here.

I have no master plan about who I am going to write about. A name will just pop into my head and I will go with it. Therefore, I may have missed someone glaringly obvious, but I’m sure I will get to them in the end. In the meanwhile, you will have to make do with the following, which, I have to admit, is a band I forgot about in part one...

Paradise Lost

Paradise Lost came moping out of deepest, grimmest Yorkshire at the tail-end of the 1980’s and instantly made a name for themselves for their individual brand of Doom influenced Death Metal. Although, they would reinvent themselves many times over the years (their style generally changing a little for each release), it was their metamorphosis in the mid-late 1990’s from Doom Metal heroes into the far more palatable, Sisters Of Mercy/Depeche Mode styled Gothic Rock band, that caused the most consternation and the harshest critical feedback from fans and journalists alike. 

Many people were very quick to shout “Sell out!” at the band, where in fact it could be quite fairly pointed out that the opposite is true. Paradise Lost had built up a strong and loyal following over the years, even if they never quite achieved the commercial potential they deserved, for reasons unknown.

Surely altering your sound so drastically is more likely to alienate your existing fans than it is to earn you new ones? Whichever way you look at it, the facts speak for themselves. Paradise Lost had, for all intents and purposes, scored a bit of an own goal. They no longer appealed to the metal fraternity, and the mainstream had no interest in them.

It should be noted at this point though, that the change in style and image, most noticeable on the “Host” album, coincided with the switch to a major label, so maybe the “sell out” tag is justified after all?  

Some of you may be thinking at this point, that “One Second” was released on Music For Nations, an independent label, which is true, but it all really went wrong for the band with the move to EMI and the almost complete removal of any metal from their sound.

It took many years, before they returned from the wilderness to where they truly belonged, with the Gothic Doom masterwork that is the self-titled “Paradise Lost” released in 2005. It wasn’t an entire return to the style that served them so well back in the early 90’s, but the trademarks that made the band unique were back. Nick was sounding dark and brooding again, Gregor’s guitars had regained their distinctive signature sound and the songs were stylistically more metal again. There were still residual traces of the more electronic style of previous releases, but these definitely took a back seat on the new material.

If they had upset their fans previously, it seemed that all was forgotten as they were welcomed back with open arms (and wallets). 

Great Comebacks (Part 1)

There have been many great comebacks/return to form albums over the years. Be it from bands that lost a major/founding member, split up and re-formed, or just released a classic album long after it was considered a viable possibility. I have been thinking about this recently, and have decided to write about the ones that impressed me the most, or even just surprised me.

I have to say, before I continue, that I actually don’t like the term “comeback” and hesitated to use it, as to me, it undermines what may have been achieved in the meantime. It also suggests that I don’t respect experimentation and change, whereas, in fact, the opposite is actually true in most cases. It’s just that the following bands had, for the most part, failed to set the world alight after they lost a member/the plot (delete as applicable).


Iron Maiden

When Bruce Dickinson left the band in 1993, there was an overwhelming feeling of shock and disappointment, but also of excitement within the metal community. Although Iron Maiden were still one of the biggest bands in metal, after the release of  two average albums, maybe this is what they, as a band, needed to reinvigorate themselves. Bruce Dickinson had lost interest in what they were doing, and had already released one solo record, with plans for a second. Besides, there were many great metal singers that could step in to fill Bruce’s (enormous) shoes weren’t there?  Bands have replaced iconic vocalists before, and had continued to be a success (look at AC/DC or Dio-era Black Sabbath for example). Yes, it was a daunting task, but surely whoever they chose would be up to the job?

Well, yes and no as it turned out. Blaze Bayley had already made a name for himself within the ranks of Midlands heroes, Wolfsbane, but was generally considered to be a shock addition to the ranks of Iron Maiden. His vocal range and delivery were (and remain to be) completely different to his predecessor. This would prove to be a controversial choice by Maiden founder/bassist, Steve Harris. The band took on a much darker edge, musically and lyrically, but even then Blaze’s limitations were on display for the world to see. Although, by no means a bad vocalist (in fact, I rate The X-Factor among Maiden’s best to this day), he lacked the flamboyant, over the top style and voice that Bruce brought to the band. For this reason, many fans abandoned Iron Maiden, and they became another great band from the 80’s, seemingly relegated to the B-leagues (at least in the UK and the US). Although they still sold records in respectable quantities and maintained a solid hardcore following, the glory days were, apparently, in the past, and it looked as though it would remain that way. I have to say at this point, for the sake of balance, that myself and many other fans, loved Blaze and the grittier edge he brought to the band.

However, things took an unexpected turn, when it was announced in mid 1999, that Bruce was returning. We, the fans, while being overjoyed by the news, also approached it with trepidation. Was this just desperation? After all a lot of bad blood had been spilled after Bruce quit, and a lot of it very publically. Could they really record another great album? Could the world truly embrace Iron Maiden again? The metal landscape of 1999 was vastly different from that of 1993. Both Grunge and Nu-metal had come and gone, along with a whole host of other sub-genres. Well, as we all know now, not only did the band release a masterpiece in the prog-tinged Brave New World, but for the next 10 years (and counting), they have taken the metal world by storm and have continued to evolve. Once again, they have become the most revered, respected and loved band in the metal genre. Not only have they the regained the adoration of fans and critics alike with their recorded output, but they have also become even bigger than they ever where and have toured relentlessly, always putting emphasis on the newer material over the “classics”. They are, and want to remain, completely relevant and, not, as Bruce has stated in the press, “A cabaret act”. Where many of their peers have become just that, or have faded away into obscurity, Iron Maiden have taken on the world and things still appear to be on the up for the band. In fact, their most recent album, “The Final Frontier”, while not being as world-beating as the previous 3 albums, is the bands biggest success to date. A truly remarkable turnaround for a band that was considered, in the late 90’s, to be “washed up”, and past their best.


Alice In Chains

This is a very different situation, as the band didn’t merely lose a member, but they lost their iconic vocalist in the most tragic way possible. Layne Stayley had been struggling for many years with a very public and destructive heroin addiction. It was this addiction, that would take the life of one of the most unique and passionate singers in the world of rock. Alice in chains hadn’t played together since 1996, and continued to be on a long-term hiatus, when the news broke in April 2002 that Layne had suffered a fatal overdose as the result of a lethal combination of heroin and cocaine (known as a speedball).

Although most fans considered the band to be over long before Layne’s death, it did officially and emphatically put an end to Alice In Chains as an entity and founder member/main songwriter, Jerry Cantrell had already decided to embark on a solo career, which continued in the same vein, stylistically as AIC.  After all that had happened, it came as a huge surprise when it was announced in 2005, that the band had decided to reform, hiring the talents of new vocalist, William DuVall. The news was met with a mixed reception. There as a great deal of scepticism and negativity from many fans, joy from others and also a certain level of apathy.  How could they play again under the name of Alice In Chains, without Layne? It wouldn’t be the same band would it? There were many who thought that they should change the name, but Jerry was adamant. Alice In Chains is his band, and always would be. He had already lost a close friend, and didn’t want to lose his band as well. He decided that the time was right to resurrect the influential and much loved group.

Any dissenting voices were truly silenced when they heard DuVall’s eerily Layne-esque voice on the subsequent world tour. The man was amazing. He combined Layne’s tortured wail and empassioned delivery with a rock star image and stage presence. In short, he was a revelation. Alice In Chains were back, and back in style. It is one thing, however, to play live, but a very different thing indeed to record a album that would continue their legacy and would not tarnish the reputation of the band and the memory of Layne. Well, guess what? On “Black Gives Way To Blue”, the band’s first release in 14 years, they delivered the goods with style. They hadn’t missed a beat. The album was and is a classic release, and let’s hope that the band continue for many years to come. After so much tragedy and frustration, who would want to deny them a second chance? Welcome back guys!


Korn 

After years of albums ranging from lacklustre to forgettable, Korn regained their fire again this year with their new album, the aptly named “Korn III: Remember Who You Are”. In the later end of the 2000’s, many thought that they had lost direction and had completely lost sight of what the band once was. Others however admired the new direction and brave attempt to step away from the ailing (and now dead) nu-metal scene, as The Deftones had deftly done before them. Unfortunately for Korn, whereas The Deftones had successfully transformed themselves effortlessly and without any pretence, into a post-rock giant, their own more commercially-minded approach failed to excite the masses, and the band became lost in the shuffle.

It could be argued that the return to their roots on the new album is a nothing but a cynical, last ditch attempt by the failing band, to regain their popularity, but I think that it is actually a brave move. Let’s face it, how many bands would opt to make a record that sounds like the mid-90’s heyday of the much reviled nu-metal scene? I mean, by the beginning of the new millennium, the rotting corpse of nu-metal had been well and truly put to rest by the return of the face-shredding aggression of metal. To me, this proves that the band has rediscovered their identity and passion for what they did in the first place. The new album is a powerhouse of old-school nu-metal (if that even makes sense?), and has set the band up again as the leaders of the (admittedly rapidly shrinking) pack. When you have a style that is as unique and recognisable as Korn, who needs to experiment? They have been there and done that. Maybe now, they can just continue on with their career. I just think that it is a great, classic, Korn record, and I, for one, hope they don’t do another u-turn on its follow-up. My advice to the band would be to just stick to what you do best, and keep doing it well. Everyone loves a bit of nostalgia sometimes, and although it may have a limited shelf life in the long-term, it beats the forgettable turgid material they have been churning out for the last few years. Bring on the nu-metal revival!  

That’s it for part one, but keep your eyes on this space as I will be back with part 2 during the week. As always, I welcome comments and thoughts

Top 20 songs of the year.

I’ve never been one to back down from a challenge...er, even when I challenge myself. I decided that I would see if I could make a list of the 20 best songs I have heard (so far) this year. Yes, you read that right. Songs. Not albums. I did contemplate reducing this to 10, but that wasn’t going to happen. I had a feeling this was going to a tough one...and as I suspected, there was some serious internal dialogue and maybe even a little arguing with myself (not out loud...I’m not that mad).

I think trying to rank them in any kind of quality order would have been a torment too far, so I have listed them in alphabetical order by band name...

Just one more thing – these are all songs released this year, not just old songs I have heard. Just in case there was any chance of confusion.

Before The Dawn – Painless                               http://www.youtube.com/watch?v=b54BJCl74jo

Bifröst – Die Wilde Jagd                                     http://www.youtube.com/watch?v=7jIyX_NZJrA

Blaze Bayley – Faceless                                      http://www.youtube.com/watch?v=4lxBAylHR1Q

Borknagar – For A Thousand Years To Come    http://www.youtube.com/watch?v=a2qphDT-HNk

Danzig – Hammer Of The Gods                          http://www.youtube.com/watch?v=JXDBx5XKOLk

Enforcer – Midnight Vice                                    http://www.youtube.com/watch?v=69ARB7WQl3Q

Finntroll – Under Bergets Rot                             http://www.youtube.com/watch?v=tEzuxkkGyWQ

Godsmack – Cryin’ Like A Bitch                       http://www.youtube.com/watch?v=0eXIOK2vOhM

Heidevolk – Nehalennia                                     http://www.youtube.com/watch?v=KBpDom4QWHE

Iron Maiden – Mother Of Mercy                       http://www.youtube.com/watch?v=NHtbQK0Fksk

Korn – Pop A Pill                                              http://www.youtube.com/watch?v=ns6OboxGHLM

Murderdolls – Blood Stained Valentine              http://www.youtube.com/watch?v=jDim6RFETAU

Mustasch – Damn It’s Dark                               http://www.youtube.com/watch?v=VnlFC7tAPxw

Ratt – Eat Me Up Alive                                     http://www.youtube.com/watch?v=CeIfv8cOKp8

Rotting Christ – Demonon Vrosis                       http://www.youtube.com/watch?v=MHW2CF4GF-8

Stone Sour – Say You’ll Haunt Me                    http://www.youtube.com/watch?v=eEn-nTkbEM0

Svartsot – Kromandens Datter                           http://www.youtube.com/watch?v=M2eBxSFVYRk

Watain – Reaping Death                                     http://www.youtube.com/watch?v=IrOfvhFiq6E

White Wizzard – Over The Top                          http://www.youtube.com/watch?v=FfnIBnz2_zw

36 Crazyfists – Reviver                                       http://www.youtube.com/watch?v=jRDCHT-YPfY

All in all, this is a nice mix of styles and artists...and is essentially just the soundtrack to my 2010. I have included YouTube links, so you can check out anything you may be curious about. Hope you like it. 

Under-rated albums/artists: Part 5

In this instalment, we have "Medication" - a band that hardly seemed to even make a ripple on the rock scene (in the UK at least), which is not only a shame - as the material here is of such a high standard, but it also a bit baffling when you consider that the band counted within its members, both Whitfield Crane and Logan Mader.

If your only experience of Whit Crane is as a member of Ugly Kid Joe, then you really need to get with the program (as the kids say?), as he has remained a constant in the world of music, albeit in a less noticeable and less mainstream way. After UKJ he went on to sing (briefly) with Life Of Agony, Medication, and Another Animal. As a side note, Ugly Kid Joe have recently reformed, which could be interesting as they were a better band than many give them credit for.

Anyway, back to the subject – Medication. The band was formed by Logan and Whit after Whit left Life Of Agony (an odd pairing that was never going to last), and stylistically I would say that they inhabit a place somewhere between goth metal and early 90’s grunge. This may not sound like a winning combination on paper, but the music on offer here is of a high enough quality and contains enough hooks to keep you coming back for more. Whit has a strong voice that seems to be perfectly suited to the music, the guitars have the melodic edge of early 90’s (and modern) Paradise Lost, and the production is the icing on the cake (to coin a very much over-used phrase) which ensures that the songs sound both crunchy and at the same time, strangely fuzzy (in a deliberate grunge way).

You will, of course, find songs here that are reminiscent of other bands such as Stone Temple Pilots (Walk Away), Paradise Lost (No Direction), and elsewhere the influence of Type O Negative, David Bowie, Alice In Chains, Pearl Jam, etc, but I hasten to add that the band has added a flourish of its own and the end result is very satisfying. If you are looking for a latter era grunge record with a difference, you could do a lot worse than to check out the “Medication” EP or the full-length “Prince Valium”.

Sadly, due to internal issues (read as “musical/personal differences” if you will), the band was short lived. They did, however, leave behind a nice collection of songs for us to enjoy.

Here are 2 examples:

No Direction:  http://www.youtube.com/watch?v=M1VDMhYklUo

Something New: http://www.youtube.com/watch?v=ikTydunchXQ

36 Crazyfists - Collisions And Castaways.

Some people (let’s call them idiots) will tell you that 36CF are a “nu-metal” band, but that is far too much of a one dimensional term to encompass an album as visionary as this. The songs on offer here contain an extra edge of brutality not normally associated with the dreaded “N” word (no, not that one). Not to mention the man negative connotations connected to the term....in fact, I refuse to dwell on the subject, and as this is my blog, that’s the final word on it.

In truth though, I always found 36CF to be lacking a certain something, and have always considered them to be a forgettable and even rather lacklustre band, just jostling for attention in the hugely over-populated sea of metal. Well, I can safely say that this is no longer the case. They have remedied this with apparent ease and with a style that lesser bands can only lose sleep over.

In short, this is a truly remarkable juggernaut of an album that smashes its way into your ears and then sets up camp in your brain - these songs just flat-out refuse to get out of my head. But, you don’t want short do you? What you (probably) want is a proper review, so here goes...

As far as influences go, I could list points of reference all day, but it would be of a genuine disservice to this album and to the band itself. Saying that however, there are many obvious (to my ears, at least) influences on display here....from such wildly varying sources as Deftones, Spineshank, Nevermore and even Skid Row(ok, that is a wild-card idea, but just listen to his voice on songs such as “Reviver” for example). This is, however, very much a modern metal record, and should be viewed as such, which means that the songs will obviously be influenced by that which has come before it. Therefore listing band names here would be pointless, not to mention, time consuming. You can just play a fun game of picking them out for yourselves if you so desire.

The top notch songs are reinforced, but by no means dominated by, huge (but often refreshingly simple riffs) and Brock’s voice is on sublime form, ranging from a Mike Williams (The Agony Scene) like roar to a Sebastian Bach rasp, some clean vocals reminiscent of Warrel Dane, and with moments of Chino-esque beauty throughout. Add to that, some wonderful chorus vocals that are as catchy as herpes, but thankfully, are a lot more enjoyable, and you get an album that is a pleasure to listen to. This man is a truly under-rated force in modern metal.

Definitely not a one trick (white) pony, this album is exciting and changeable enough to keep the attention of the listener through to the final chord. The momentum is maintained with relative ease, and the songs flow wonderfully - all credit to whoever devised the running order. This album is just long enough to ensure that you are left wanting more, and is never in any danger of overstaying its welcome. Instead of becoming bored and turning this album off, you will find yourself being unable to resist the urge to press play and listen to it again (and again). It starts strong and just simply tears through the 45 minutes on offer in a stunning display of exceptional song-writing and musicianship. The moments of calm that are dotted throughout, just help to heighten anticipation for the heaviness to return...and again, it doesn’t disappoint in this respect.

In summary, this is an accomplished record and there is a depth and style never even hinted at on previous releases. This irresistible and remarkable collection of songs has not only shot straight into my top of 2010 list, but it is certain to remain a favourite for many years to come.

Did Grunge really “kill” Metal?

A lot has been said over the past 2 decades (is it really that long???) about how alternative rock/grunge killed metal in the early 90’s. I really don’t think it did. By the end of the 80’s metal had lost its direction and had become a watered-down, embarrassing shadow of what it had been at the beginning of the decade...at least in the mainstream sense. Of course death metal had risen to prominence, and black metal had just begun to raise its corpse-painted head, but as far as “people” were concerned, metal was a spent force and consisted of bands such as Poison and their ilk. Something needed to happen, and just as Punk had kicked the overblown, pompous hard-rock of the 70’s to the kerb and spat in its face, grunge essentially did the same to the floundering metal scene at the beginning of the 90’s. But rather than kill metal, all grunge really did was to drive metal back underground to lick its wounds and to start the process of coming back stronger. The underground is where metal  thrives and like a wounded animal, when it is cornered, it is more vicious.

Besides, many of the bands that made the biggest impact on the heavy music scene in my youth were metal bands...Acts such as  Pantera, Carcass, Sepultura, Machine Head (along with the likes of Paradise Lost, Fear Factory, etc) and of course the old guard of Iron Maiden and Metallica where the heroes of the early-mid 90’s. Add to that, the sudden explosive (literally) rise of black metal in Scandinavia and the rising Swedish death metal scenes (Gothenburg and Stockholm had 2 equally important, but also different styles) and the newly emerging so-called nu-metal sound. Therefore, I would argue that all grunge did was kill off the dead weight and to put an end to the awful glam-metal scene of the 80’s. Of course, there some great bands within said scene, but like all other popular musical movements, it was full to the point of bursting with chancers, fakes and posers. The music industry had got its claws well and truly in, and was demanding MTV airplay, stadium tours and stellar record sales.

Many bands that were considered to be past their prime and finished, went on to release some of the strongest albums of their respective careers after grunge, and many are continuing to this day. Compare that to the all but forgotten bands from the grunge era. Those that are still a going concern are, for the most part, nothing more than classic rock bands (Pearl Jam, Stone Temple Pilots, Alice In Chains)...the fresh sound of the early 90’s now over-played and overdone by wave after wave of post grunge rubbish such as Nickelback, (later), Staind, etc. In the end, it is metal which had the last laugh, as it is now, even after 40 years, stronger than ever and the rise seems to be showing no signs of slowing.

So, did grunge kill metal? Of course not. Metal was just resting and regaining its strength. Grunge won the battle, but metal won the war in convincing style.

This is by no means, an exhaustive account of the enormity and impact of the many different scenes and sub-genres of the 1990’s, but rather the random thoughts going through my mind as I type, so please forgive the disjointed and possibly rambling text above. I am, however, currently working on an in depth piece on the changing face of metal/hard rock over the past 40 years, and will be posting that as soon as it’s done.

Under-rated albums/artists: Part 4

Ok...so, I have decided to type a whole piece on under-rated music containing a number of bands and albums I think deserve more recognition. Those of you who have read my previous blogs will be aware that i have usually dedicated one blog at a time to each of these, but this time I have decided to save time (and capitalise on my current inspiration) by including a few bands at the same time in this one.

Earthtone9:

Ok, so I have said (along with many in the music press) for many years that this band deserved so much more recognition than they ever received. I was always baffled that this band never quite managed to capture the imagination of the collective metal audience despite releasing a string of top quality albums/EPs.  It’s even more strange when you consider that they were (rightfully) the darling of the UK metal press for a while back in the late 1990’s/early 00’s. The “Arc’ Tan’ Gent” is/was a flawless metal/prog masterpiece and still stands up as an all time classic even now. Imagine a less boring and self-indulgent Tool, but with, dare I say it, Nu-metal influences (does anyone remember Kilkus?), then I think you will have an idea of how this sounds. You can imagine my delight then, when I discovered a few weeks back that they have decided to reform. Let’s just hope that they have a little more success this time round, because if any band deserves a little credit and respect it is these workhorses of the UK metal scene.

Standout tracks: Tat Twam Asi; Star Damage For Beginners; Yellow Fever.

The Duskfall:

This sadly defunct Swedish group took their inspiration from the predictable and somewhat obvious source for a Swedish band - melodic death metal -  but then added their own slant/take on the well worn and familiar sub-genre and infused it with a healthy dose of thrash/groove metal. Unlike many bands within the scene, The Duskfall managed to make each song sound unique and interesting, and even though their albums retained a fairly strict melo-death (easier to type) blueprint, they bolstered this with classy, memorable riffs,  top quality songwriting and almost annoyingly catchy choruses (without being cheesy). The vocals are very much in the vein of Mikael Stanne or Peter Dolving, so don’t provide much in the way of inventiveness, but they work perfectly for this style of music.  While, they are certainly not for everybody, if you are a fan of bands such as At The Gates, The Haunted,  Skinlab, Dew Scented, etc... I would recommend these guys very highly indeed.

Standout tracks: The Wheel and The Black Light; Sealed With A Fist; The Option And The Poison.

Before The Dawn:

There is not a whole lot I can say about this Finnish band that would really do them justice. If I start mentioning influences, style, etc, then you will probably decide that you already know how they are going to sound. Whilst this is, for the most part, melodic death metal, Before The Dawn bring a slightly more Finnish sound to the Swedish dominated genre. This is especially evident in the vocal style (which is both harsh and clean in pretty much equal measures), and in the guitar melodies. These guys are absolute masters of the hummable/singable chorus, and some of these songs will be stuck in your head for days. I could list influences all day, but people will always judge for themselves anyway. I will, however, say that I hear a little Amorphis, Dark Tranquillity, Insomnium and even Dark Age in their sound, but I will stress again, that this is all wrapped up and presented nicely in a style that is more than merely the sum of its parts.  Overall, it could be said that BTD have a far more polished sound than many of their contemporaries and benefit (or suffer depending on your view) from a top notch production which allows the band to shine and to show off their, not inconsiderable, songwriting muscle.

Standout tracks: Exile; Painless; Deadsong.

The New Wave of Trad Heavy Metal (NWOTHM)

I would like to start off by pointing out that I don’t usually go for this whole retro thing...revival, rebirth, rip-off (?), as I find it, for the most part, derivative and unnecessary. I mean, what is the point of bands such as Airbourne when AC/DC are still alive (just) and well? I understand that bands have to start somewhere, and I definitely appreciate wearing your influences on your sleeve...but sometimes it just crosses the line into plain facsimile territory. Again, I know that young bands need time to develop their own unique style, but many bands of this ilk are well aware that there is a market for 70’s/80’s style retro rock, and are therefore reluctant to spend too much time trying to find their own place in the rock world. To be honest, if it’s an authentic 70’s rock experience that you crave, you could do worse than to check out the band “Witchcraft”.

Ok, so now I get to the point of this blog. I started off by saying how I don’t usually go for these retro movements (new thrash, new grunge, etc), but I have to say that, so far, I am totally smitten with the NWOTHM. This is basically a tribute to/revival of the British heavy metal sound of the late 1970’s/early 1980’s. The so called NWOBHM (New Wave of British Heavy Metal) scene was forged from the dying embers of the punk movement and spawned the likes Iron Maiden, Def Leppard, Diamond Head, Angel Witch, and a host of lesser known (but often better)  bands, who I will come back to later. In recent years there has been a slow, but steady rise in the number of hungry young bands, who have been inspired and influenced by this exciting and important period of metal history.

Two such bands which spring to mind are Sweden’s “Enforcer” and White Wizzard from the USA. Both bands have a shared love of old school metal, but approach it from different angles.

Enforcer have really gone for the NWOBHM vibe, with a sound that is reminiscent of early Iron Maiden (just listen to the song “Midnight Vice”), as well as taking in elements of bands such as Weapon, White Spirit, Sweet Savage, Paralax and a whole host of the lesser known bands from the era. Whether this is by design or purely by accident, I have no idea. It is one thing to write songs and to play in the “style” of a particular era, but to then back this up with the “feel” and “attitude” of the time with such a level of authenticity is something else all together and for me, that is one reason this band stand out from the pack. I can’t recommend this album highly enough. I would have said it was a classic NWOBHM album, but its 30 years late and, er the band are Swedish. Those 2 minor niggles aside, this is an (almost) perfect traditional metal album.

White Wizzard on the other hand, whilst they have also headed back to the 1970’s/1980’s for their influence, it comes, this time, in the form of Queensryche and Judas Priest (among others, obviously). Once again this album not only has the sound, but also the genuine feeling of the period.

Incidentally though, both bands happen to have a song called “High Roller” on their respective new albums....coincidence or just a stereotypical name for a song from the period? I’ll let you decide.

The bottom line is that I am feeling excited by a genre revival for the first time as far as I can remember. This is most likely to be as much to do with my own personal love of NWOBHM as it is about the bands themselves, but long may the NWOTHM live. It is full of energy and passion and is a breath of fresh air in the modern metal world. For all of you over 30’s out there, and for those curious youngsters interesting in expanding your knowledge of where metal came from, I would certainly suggest giving these two bands a try...who knows where it  will take you!?  Maybe you will fall in love with NWOBHM in the same way I did when I picked up a second hand tape from “Oldies” in Wolverhampton way back in 1992. That day certainly changed my life. I was already into metal, but at that time I had little or no knowledge of the importance of the early 1980’s British metal scene, and certainly not of the bands that made it happen.

Random Thoughts Following The Sad Passing Of Ronnie James Dio.

It is the sad, and unavoidable truth, that often an artist needs to pass away (young is good, but not essential) to be truly appreciated, and in some cases revered. Already this year, we have been unlucky enough to have lost two giants of the metal world (literally in the case of Pete Steele...not so literally with the more portable RJD). On both occasions I was shocked and saddened...what was my first instinct? To post a condolence on Facebook, of course (the joys of the modern world). Obviously my second instinct was to spend the next few days playing nothing but the music of the aforementioned artists...proclaiming to myself and to anyone else who cared to pay any attention to me, how great and under-rated they were.

This is always the case isn’t it? We all know how great these people are, and always feel that it doesn’t need to be said. It is only on the sad occasion of their passing on from this mortal coil, that we feel the need to suddenly share this opinion with everyone else. Wouldn’t it be nice if we took the same time to celebrate them when they were still breathing air? To set up, for example, a Facebook page or a website extolling the greatness of our favourite artists. Ah, wait. This does happen, but when the artist in question is still with us, these people are considered a bit too fanatical in most cases...just for doing the same thing we will all be doing when the person dies. 

No, this blog is never going to go anywhere...I’m just spending a few minutes getting these random ramblings out of my brain to make room for new stuff.

But when all is said and done, whatever our motives or reasoning, the people who give us this wonderful music which makes our time on this earth that much better deserve our time and our thanks....be it during their lives or by remembering them on the day of their death. I would, therefore, just like to say a huge thanks to all of the bands and musicians who have improved my life over the last 2 decades. I can’t even begin to list individuals here, but I am sure that I will remember you all and honour you all in due time. Unfortunately, you will more than likely be in the next world when this actually occurs.

Rest In Peace Ronnie James Dio and Peter Steele. You will both (truly and honestly) be missed, and although it is a cliché, the world will certainly be an emptier and less interesting place without you.

Under-rated albums: Part 3: This is Menace - The Scene Is Dead

This instalment of my series focuses on the second album by the “supergroup” This is Menace. It is one of those albums (you know the ones) where each track features a different singer. This type of album (project) is, more often than not, nothing much more than a vanity project from an artist (or artists) who wants to record an album with metal luminaries, childhood heroes or “celebrity” friends just to give their own ego a rub. We (the consumer) usually don’t get anywhere near as much from them,  as these projects, by their very nature, are more often “miss” than “hit” (think Probot or Iommi),but this album is definitely a “hit” (after hit).

I think one of the main reasons for this, is despite each track having a different “guest” vocalist, this feels like the work of a real band. This is down to the fact that each song has the same core musicians (with 2 members of Pitchshifter among them) which gives the album a more cohesive feel than others in this vein. Also, when you take into account that most of the vocalists here appeared on the first album (No End In Sight) too, it all starts to make sense. Rather than “feeling” like a real band, this IS a real band...just with a wide variety of singers and singing style. To my ears, this gives This Is Menace a real edge over a lot of other bands in the scene, and definitely makes for a more interesting and compelling listening experience.

“No End In Sight” was a worthy enough debut, but I felt that it lacked that certain something. The band has come on in real leaps and bounds (to use a well-worn cliché) on this, their sophomore release, giving us, the listeners, a lot more to get our teeth (ears surely?) into. Each song, whilst being distinctive, gels nicely into the album as a whole, and with the vocal style changing with each track on the CD, it is a little more exciting to listen to. As I said previously, though, this doesn’t  detract from the album at all, and this still feels like the work of a group of musicians with a common agenda and a singular goal. That, for me, is why “The Scene Is Dead” stands mightily over the pretenders and over the metal scene in general. If you haven’t heard this, well, why not?  It features the talents of some of the best (and most loved?) singers the metal/rock world has to offer, ranging from the more mainstream palatable, Colin Doran (Hundred Reasons) and JS Clayden (Pitchshifter), through to the more extreme in the forms of Barney Greenway (Napalm Death) and Jeff Walker (Carcass).   It is hard to pick out stand-out tracks, so I would just recommend that you go out and buy this record (come on, you can trust me) or check out any random song on itunes...go on...be daring!

To summarise, this is definitely a “real” album by a “real” band, so don’t be put off by the, often used and misleading, “supergroup” term. It’s hard to really describe what the band are doing here musically, other than just to say that Pitchshifter are an obvious point of reference as far as the guitar and bass style goes, but the overall songs take on a life (and style) of their own, which I would say id distinctively “This Is Menace”. This is a band which deserves much more recognition, and maybe we can all help them to achieve it.

Why Is The Local Live Music Scene Dying?

What has happened to the, once flourishing, local metal scene? Back in the late 1980’s and throughout the 90’s local bands and venues could count on a good attendance, and a little support/interest from the local metalheads. Those days seem long gone in the UK now. Even fairly established bands, who have featured in magazines or on the various music TV channels, fail to pull anything more than a sparse crowd, consisting mainly of the hardcore fans...despite the fact that the entrance fee may be just a few pounds. Why is this? I think there are a number of contributing factors, but none really explain the complacency or downright apathy of modern metal fans. It makes me feel so sad and frustrated when I see a band play in front of an audience of maybe just 20 people, when I know that there are a sizeable number of rockers in the area.

What I find hardest to understand is the fact that popularity of live music is on the rise in these times of illegal downloading, due to necessity on the part of the bands/music industry, yet locally staged gigs seem to be experiencing a drop in attendance numbers. Could it be that people are spoiled in the current climate, where even in a fairly small town or city, a gig by a well-known band is never a long journey away? Maybe people feel that they would rather spend their money watching a “bigger” band or at least, one they might have heard of. While this is understandable, it also a little short-sighted as there are many great bands on the underground scene, who are worthy of your attention.  

It could that the modern way of life is also to blame, to a certain degree, as people have access to so much new music through the internet. The knock-on effect of this is that it is hard to keep people’s attention/interest when there is so much competition out there. This could go a long way to explaining the problem of low attendance numbers. When you have, for example, 20 bands all competing for ticket sales in the same scene, then the market share of the ticket-buying public is, perhaps, being spread a little too thin. In the current economic climate, people can only afford/justify spending a certain amount on going out. Therefore, a decision needs to be made. In most cases, people will spend their money on seeing a band they are already familiar with or a bigger band who tour less often, and in bigger venues. Once again, this is totally understandable, and indeed, forgivable...but the damage being caused to the up and coming bands could be catastrophic.  

It frustrates me when a promoter makes the effort to get a good bill together, combining local support with a decent and often established act, and charges just a few pounds, yet people seem reluctant to make the effort to turn up. I have actually seen people approach the door of a pub on a gig night, and when they see that it costs £3 to get in they then walk away or go to the “bar” room next door. I would understand if the entrance was £10, but when the price is so low and you get 3 bands on a bill, choosing to go elsewhere rather than to give the bands a try for the price of a pint is completely unfathomable to me.

It is often the older people within a scene  that are the most guilty of this behaviour, despite the fact that the local pub circuit was very important back in the day for helping to establish many of the bands we all know and love today. Where would we be without the pub/club circuit of the 70’s and 80’s? Well, we wouldn’t be watching huge metal bands in stadiums/clubs or arenas, that is for sure.

Maybe a possible solution to this would be for smaller/local venues to entice people in on less-popular nights of the week as opposed to the usual Friday/Saturday nights? I mean, come on, weekends are often the nights that people just want to sink a few cold ones with their mates, and not want to pay to get into the pub they regularly frequent. Of course, the downside to this is again down to the amount of disposable income people have in their wallets. Many venues have, for this reason, combined the two, by having bands play at the weekends, and make entry free. The bands may make less money, but in the long-term they are playing to more people and getting their names out into the public consciousness, so this would seem to be the ideal solution.

So, to sum up, we can all help this once great institution and the bedrock of the music we love, by just popping to the local club or pub nights and checking out what they have to offer. Come on, it’s just a few quid to get in, and will help to build the bands of the future, and to ensure that new bands are inspired to form. There can be no losers here, and besides, you can get a great night out for the price of a beer. Who knows you may discover the band that will change your life on your own doorstep (not literally of course...that would just be weird).

Finally!

I know this has been a long time coming, and is not exactly going to set my blog page (or the world) alight, but as I haven’t written anything for some time, I figured now was a good time while the inspiration was there.

So.....2010 rolls on, and the great albums keep on coming. Can this year get any better? Well, I really hope so, but it has been such a strong and exciting 4 months, that I can’t help but feel that this upwards trajectory can’t continue for much longer...can it?!  Saying that though, I really hope it does, as this could be one of the best years of my life as far as music goes...I mentioned some great releases so far this year in a previous post, and I can add Svartsot, Cypress Hill, Heidevolk, Barren Earth and (from what I have heard so far) Soulfly to the growing list of quality albums of 2010.  Whatever your taste in rock/metal (and beyond), there really has been something for everyone this year.

Ok, so this hasn’t been much of a post...more the product of my excited state of mind, which in turn filled me with the need to get this out of my system in a constructive way...and also, I feel a bit inspired to write again, so expect a couple of reviews before the weekend, and the next instalment (or 2) in my Under-rated series...that’s all for now. I thank you.  

Pagan Metal and the (perceived) unfortunate racist connection.

OK, so this is a bit of a touchy subject, but one I feel compelled to write about, especially since learning that one of my favourite pagan metal bands has decided to alter their own logo in attempt to appease the ignorant masses. You see, as I mentioned in my previous blog Latvia’s Skyforger have removed the Latvian thunder cross symbol that made up part of their logo. The reason for this is apparently due to the constant negative comments and reactions they had received from people who had perceived it, and the band of being racist. Of course, this is far from the reality of the situation. The symbol in question is a variation of the swastika, but not in the Nazi sense, of course as that would be racist. The swastika is actually a symbol that has been used throughout the world for thousands of years, and in Europe the sun cross, for example, is a pagan symbol that has existed since the Bronze Age and therefore pre-dates Christianity by a considerable length of time. The fact that the band felt the need to remove it is a sad indictment of our current, modern fascination with so-called “political correctness”. People need to actually do a little research before pointing the finger at others. Now, I am not for a moment, advocating racism, but the facts are that Europe, as a continent, has a very rich and varied cultural history going back many thousands of years, and we should all be proud of this, and should preserve this heritage at all costs, and without being made to feel guilty for it. What do we have to feel guilty about? As far as I can see, the answer is nothing. I am all for immigration at all levels (OK, maybe not illegal), and feel that people should have the right to settle wherever they please, providing they have the means to provide for themselves, and that they respect the culture, history, heritage and traditions of the country they are moving to. For the most part, however, the majority of people are more than willing to do this, and it is, in fact, the people in charge of the country and the do-gooders that are responsible for making us feel shameful about our own traditions and, in many cases, for banning them for fear of offending those non-natives.  They are instilling themselves as the moral guardians, and are, in most cases, wrongly assuming that they are doing what is “best” for people.

But, I am getting away from my own point a little here. The problem is that, it is the ignorant, hateful and downright disgusting behaviour of a very small minority within the black metal scene that is ruining the perception of the genre as a whole, not just from the perception of the general public, but also from other quarters within the metal spectrum. I am talking, mainly of the NSBM (National Socialist Black Metal) sub-genre, although this frankly scary attitude does not end with them, and is present throughout the black metal genre (and it’s myriad sub-genres). The problem this causes is that bands, such as Skyforger, Glittertind, Forefather, and many others that write about national pride, get accused of racism. What is racist about being proud of the country that you live in, and that your ancestors lived in? What is racist about singing of the natural beauty around you, or of long gone customs, traditions and tribes? Of course, the answer is nothing. The unfortunate and sad fact is that people, in general, seem unable to distinguish between Nationalism and National Socialism. A person who is a nationalist is not necessarily a racist (although of course they can be), and in the majority of cases, is merely expressing a feeling of identity, of belonging, a love of their culture and country. For the most part this does not involve the hatred of other social or racial groups. Of course, there is also the issue of those racists hiding within the Nationalist pagan metal scene and behind the facade of an apparently innocent pagan symbol. This makes it even more difficult to distinguish between the bands that are true pagans, and those who are a far more worrying, and in some cases, dangerous prospect.

What can we do about this? Well, obviously, people are entitled to believe what they please, and this applies to the NSBM bands too, of course. I would never suggest otherwise, as that is what the whole system of democracy is built on. So, personally, I will try to avoid (knowingly) buying anything released by a racist band, but of course this is an individual choice. If you want to boycott these bands too, but are not sure if a particular band is NS or merely pagan, the internet is obviously a valuable resource. There are a number of websites you can look at to learn about the lyrical themes and/or content of any given band. One such site is Encyclopaedia Metallum.

I don’t want to dwell on this subject, or go into too much boring detail, so I will leave it there.

Oh, and in the immortal words of The Dead Kennedys “Nazi Punks, Fuck Off!”

What will 2010 Bring? Part 2: Some more upcoming albums I am looking forward to.

In part one, I mentioned a few upcoming releases that have really aroused my interest, and in some cases my curiosity. Well, it may be predictable, but now it’s time for a handful (er, 3) more. These albums are due for release between March and May, but we all know how dates can be put back without warning. For now, however these are just a few of the albums I will be looking forward to buying over the coming months.

Starting with one that is sure to be of interest to any fans of Folk/Pagan/Viking metal out there (Yes, Rob...that means you). It’s the new one, “Mulmets Viser”, from Denmark’s Svartsot, who, in my ever so humble opinion, released one of the last decade’s best folk metal albums, and one of the best metal albums in general, in their debut “Ravnenes Saga”. It had everything that a folk metal fan could possibly want from an album: Death metal vocals, heavy riffs, melodic guitars, annoyingly catchy songs and lots of (admittedly, sometimes, slightly twee) folk melodies. That album is highly recommended for fans of Amon Amarth (lazy comparison out of the way), or the mighty Thyrfing (first 4 albums), to whom they have most in common. If you want a good starting point of reference, you should search on YouTube for either, “Nidvisen” or “Jotunheimsfærden”. Those songs pretty much sum up what the band is about. I have absolutely no idea what the new album will sound like, but I am hoping for more of the same, as the old adage goes “If it ain’t broke...” and all that. This is one of the most anticipated albums for me this year as “Ravnenes Saga” was such a revelation, and totally restored my faith in what was, and indeed still is, becoming an increasingly watered-down, vapid, and cheesy genre. I doubt that this is what Martin Walkyier envisioned all those years ago when he, and his band at the time, Skyclad (he quit the band in 2001) created what would become known as folk metal. I’m not going to rant about this now...I’ll save that for a future blog, but to say I have high expectations for this one would be a massive understatement. I’m waiting with bated breath for the release date (29^th March), and a review will no doubt follow.

Next up is “Korn III: Remember Who You Are”. Good advice. I just hope the band have chosen this title for a reason. This is of particular interest to me, as a long time fan of Korn, as it is being produced by Ross Robinson ...the man who handled production duties on the band’s self-titled debut album. Let’s not beat around the bush here (hmm...more clichés)...Korn appear to have completely lost their direction in the last decade, and have seemingly been drifting along on auto-pilot for far too long. Can Robinson bring them back to where they belong and give them some much needed focus? I, for one, think that he can...and not only that, but I think he will help the band to find their purpose again and will, perhaps, propel them to new creative heights. I am expecting big things from this album, and to be honest, if they don’t deliver, then I think I will lose interest in them for good. Last chance saloon, boys. Let’s hope that this will be a real “return to form” for this once innovative and important band.

Last (for now) is “Kurbads” from everyone’s (well, mine anyway) favourite Latvian riflemen, Skyforger. This has been a long time coming, and is the band’s first album of new material in 7 years! The band released two albums in 2003, an album of traditional Latvian folk songs, "Sword Song" and a metal album "Thuderforge". Either of these would be a good starting point for anyone who is new to this great band. First of all, I should probably explain what the band sound like, for those new to them. Imagine, if you will (can) early Skyclad, but with Latvian lyrics and a slightly harder, pagan black metal edge. This band are one of the leading lights in the “real” folk/pagan metal scene (along with the likes of Obtest, Metsatöll, Thyrfing, etc), but are sadly often misunderstood by the ignorant masses. The reason for this? The band’s logo featured the Latvian thunder cross. I say featured as they have now decided to remove it as it was frequently misinterpreted as being (similar to) a swastika, despite the band stating on many occasions that they are NOT politically motivated or racist, merely proud. There is nothing wrong with national pride, people. Unfortunately it is all too often seen (wrongly) as being racist. Many bands adopt a similar stance of being proud without being hateful, such as England’s own Forefather and Norway’s Glittertind, and I wholeheartedly encourage this. We should never lose touch with who we are and where we come from, especially not for fear of upsetting people from other cultures or backgrounds. We have a long, rich and varied cultural history here in Europe and we need to keep it that way. Thankfully, metal is doing just that...flying the flags of our heritage, be it with the use of traditional music and/or instruments, or in the lyrics...telling stories of times gone by , describing the beauty of the landscape, or of great historical battles (among many other themes). Skyforger do all this with class and great musicianship, and I recommend them to anyone who is interested in paganism, or indeed, just likes their metal with that bit of a “folky” edge. I think I need to continue with this idea of national pride in metal, but will save that for a future blog.

Under-Rated Albums: Part 2: Pist.On - $ell Out

Continuing with my theme of under-rated albums, I bring you my overview of “$ell Out” by the sadly defunct US act Pist.On. The title of the album (along with the accompanying artwork) was a dig at the media (and even some of their own fans) who had seen fit to label the band as “sell outs” for adapting the spelling of the band name to PistOn at the request of their new record label. There is a knowing smirk and sense of fun about the whole situation, with a dollar sign on the front cover and the band posing for photos, on the inner sleeve, wearing flashy suits, sitting in expensive cars, pretending to be prostitutes, and flashing money around. Unfortunately, it all seemed to backfire on them, as the record failed to sell as well as “Number One”, and the band spilt soon after it’s release. The reason for the name change (it was just the removal of a “.” In reality) was obviously to have the record stocked in stores, and to make the band easier to promote...not, as some people claimed at the time, a cynical attempt to gain mainstream acceptance. Any band wants to reach the biggest audience it can, and the wrong name can, of course, prevent this from happening. All Pist.On are guilty of, is making a small concession in order to get a new record deal and to release their new album. Of course, it could be argued that by choosing the name in the first place, they only have themselves to blame. Personally, I think that this was a minor issue, and has no affect on my opinion of the band or their music. I hope that, by now, you are interested to know what the band sound like...If you are, read on.

Musically, the album continues where the debut left off, with more of their (obviously) The Smiths influenced, moody metal/dark rock. This time however, the order of the day seems to be set more in the camp of rock, with the metal elements considerably toned down. Essentially gone, are the Metallica/Paradise Lost influences, which are replaced with more of a Deftones style and a sense of introspection not found on the first CD. The lyrical themes are, again, loneliness, depression, despair and sadness. Not exactly uplifting stuff you might think, but even though the lyrics are obviously meaningful and genuine, at times they are delivered in an almost ironic way (hey, it works for Morrissey) and are backed up by some top notch song writing.

Once again, the music is helped along nicely by the considerable vocal talents of Mr. Henry Font, who displays his ability to set the mood and tone for any given song, as any good vocalist, in a band such as this at least, should be able to do. Aided by an equal talented band, consisting of Val Ium (hoho) on bass, Burton Gans on guitar and Jeff McManus on drums, Henry sings his way through the 11 songs on offer here in a style that is as reminiscent of Soul Asylum’s Dave Pirner, as it is of Deftones’ Chino Moreno. He is often backed by the softer, female vocals, of Val, which adds a lot more depth to the, already, well crafted songs. These are songs of heartbreak, loss, depression and relationship woes. Luckily though, none of this is anywhere near as ´emo´ or as pretentious as it sounds, and, as previously mentioned, owes a bit of a debt to the song writing style and dark humour of the likes of Morrissey and Paradise Lost.

Despite the lyrical themes and, somewhat toned down, ´softer´ style on display here, this is a varied and satisfying album which should appeal to fans of the first album as well as to anyone who is partial to a little Soul Asylum, Deftones, Smiths, Soundgarden and maybe even to fans of 90’s era Metallica or Paradise Lost. Sadly though, this album is a little hard to get hold of, but is certainly worth picking up for a few quid if you can find it.

What will 2010 bring? New albums I'm looking forward to: Part 1

So, this year is already off to a storming start with quality releases by Finntroll, Bifröst, Blaze Bayley, Fear Factory, Ihsahn, Heidevolk, Metsatöll, Mustasch, Rotting Christ, Sigh, and many, many others.

This promising trend certainly looks to continue as the year wears on, with new albums still to come by the likes of Deftones, Sonic Syndicate, Cold, Spineshank, and the mighty Iron Maiden. This could certainly be a vintage year for rock/metal music, and it is certainly one that I am very much looking forward to.

The Maiden album alone should be the highlight of the year, especially when you consider the upward creative trajectory that the band has been on in the last decade....constantly evolving and adapting their style, not to fit in with or to pander to the mainstream, but to the ever-changing vision of Mr. Steve Harris. It could, however, be a bit of a bitter pill, as the band have stated for a number of years now that album number 15 would be their last, as well as comments alluding to the fact that they can’t go on forever, and that they are getting older. We will have to wait and see, but personally, I really doubt that Steve would want to give up while the band are scaling such creative heights or finally receiving some long overdue mainstream recognition and acceptance. He is just too driven as a musician and too stubborn to admit that he is done. Even if this does prove to be their swansong as far as recorded output is concerned, then we can still look forward to a few more years of touring, as they still have a lot of extravagant plans afoot as part of the ongoing theme of the re-imagining of classic tours from the band’s history.

Another album that I am excited about is the new Deftones release “Diamond Eyes”. After the slightly disappointing “Saturday Night Wrist”, this album has a lot of expectations riding on it, and I don’t have any doubt that Deftones can deliver. I expect that it will more of their brooding, introspective and often beautiful post-rock (not nu-metal by the way). From the two songs I have heard so far, this is already sounding like a masterpiece, although it is a bit early for predictions at this point. I suppose we will just have to wait and see.

As I mentioned earlier, we also have new albums by two recently reunited bands in Cold and Spineshank. To be honest, I will be approaching both of these with a little trepidation as both could realistically go either way creatively. Cold, in particular, had adopted a horrible Creed-lite sound on their last album, so I am really hoping that they will be looking to their first three albums or indeed, elsewhere for inspiration this time around. As for Spineshank, they had also taken a worrying swing in the wrong direction on their last album, but the (very) rough demo they posted online over a year ago now, was certainly very promising and displayed a much heavier sound than previous albums. I await both of these with much interest.

I am also very much looking forward to hearing the new album by Sonic Syndicate (their first with Nathan on vocals) in May. I have to be honest (sorry Nathan), but I wasn’t really impressed with the single “Burn This City”, as it was just that little bit too commercial. I have no issue with sing-a-long choruses or clean vocals, but this was just a step too far for me. I have high hopes for the album though, and am especially interested to hear what Nathan is going to bring to the table as far as the sound of the band is concerned. His vocals are far superior to the previous vocalist, and I know what he is capable of from his days with The Hollow Earth Theory. For that reason, and the fact that I love their previous album, “Love And Other Disasters”, I have no doubt that this will be their strongest album to date. Let’s look at the facts. They have a new (better) singer, so they will already feel the need to step up and to prove what they can do to a (no doubt) expectant and maybe even dubious fanbase, and Nuclear Blast also seem to be throwing their full weight behind the band. If they have faith in them, I think we can all rest easy knowing that this will be a great album. Roll on May.

Mustasch - Mustasch review

My first impression of this album, and the one that will continue throughout is, that there is a definite 90’s feel to it, which is in no way, a criticism. It blends a lot of the stylings and songwriting of that decade’s top bands (within this genre and in my opinion) into one nice package, without sounding dated or contrived. As much as I hate to constantly compare each song to other bands, it is, perhaps, the best way to explain how they sound if, like me, you are previously unfamiliar with Mustasch. You can easily pick out influences ranging from the obvious, such as Turbonegro, Grand Magus, Therapy?, Clutch And Monster Magnet through to the more subtle Sepultura, Anthrax, Rage (German band), Candlemass, Danzig, and even the more 80’s influences of bands such as The Cult, Iron Maiden and Metallica (with many more along the way). Even though the influences come thick and fast and from all angles, the underlying sound here is, to my ears, very much Swedish...with it’s catchy radio-friendly hooks, old-school worship and a superb, stylish mix of doom/stoner/punk/metal.

It would, however, be unfair, not to mention, a bit redundant, to judge the the band on their influences alone (all bands have them after all), especially when the end result is this good. Yes, they wear their influences proudly on their sleeves (and possibly, T-shirts), but they are certainly more than merely the sum of their parts. I don’t know how this great band has managed to fly under my radar for so many years, but better late than never, I suppose. I can safely say that I am well and truly converted to the Mustasch cause.

I will now give a quick breakdown of each song, but I won’t go into too much detail as I have tried to give as much information as I can in the first paragraph.

Heresy Blasphemy

The first proper track, following the obligatory instrumental intro(prelude), comes in with some heavy riffage, and some Cult/Danzig-esque vocals. A good, dark start to what will be an interesting, and rewarding album.

Mine

A rocking little romper of a track with more of the Danzig/Cult influence, but with some almost Sebastian Bach style vocals, crunching “Roots” –era Sepultura riffery (is this a word?), and some melodic guitars more in the realm of Iron Maiden.

Damn It’s Dark

Very reminiscent of Semi-Detached/High Anxiety era Therapy?, both lyrically and in vocal delivery. The guitars, again, bring to mind Therapy? but, also their peers, The Wildhearts. This is a great, annoyingly catchy song, and for me, is definitely the stand-out track on the album...and as it has been chosen as the promotional song, for cover-mounted CD’s and TV appearances, obviously the band/label, think so too.

The Man The Myth The Wreck

Although this comes in with a heavy riff, and again, has a real Therapy? (and Grand Magus) sound, it also has some NWOBHM undertones, and combines this nicely with the sludgy/stoner/doom riffing and the vocal style of fellow Swedes, Grand Magus. At around the 1:45 mark, a slow, heavy, breakdown comes in (in a style similar to Machine Head), and leads nicely to the final part of the song with it’s almost early 80’s Maiden bass sound. Another solid track, and again, one of the best on here.

The Audience Is Listening

Yet gain, we are back into Therapy? (do you sense a theme here?) territory, with hints of The Almighty (at least vocally), a nice Monster Magnet guitar sound, and with an almost Fu Manchu head nodding riff. Maybe it’s just me, but I also get more than a slight whiff of the more (radio) punk edge of The Stooges and The Hives throughout too.

Desolate

At first, this really makes me think of Anthrax/Metallica with it’s slow, brooding tempo and somewhat menacing tone. The band, however, throw a serious curveball at you during the final third of the song, but I won’t ruin it here. I will say, though, that there was no way I would have predicted it. A nice surprise to brighten up, what is otherwise, an unremarkable song. It definitely takes the song up a notch, from mid-paced filler, to a far more intriguing prospect. Nice move, guys.

Deep in The Woods

As much as I hate to keep comparing each song to another band, the guitar intro to this song could be off any W.A.S.P. album, but then we head into a nice mid-paced rocker, reminiscent of German metal masters, Rage. Not a bad song, but at the same time, a little unremarkable.

I’m Frustrated

It had to happen. Yes, you guessed it (didn’t you?)...The Ballad. Well, they are Swedes after all (haha). This is a pretty standard radio rock ballad, in the vein of almost any of the eyeliner-wearing, acoustic guitar toting, rock star wannabe hordes, and even comes complete with ´symphonic´ strings near the end (which is never good). What saves it from being completely terrible, though, are the (slightly) country style acoustic guitars, even if they are a little Bon Jovi/Poison. In fairness, however, I actually don’t hate this song as much as I probably should.

Lonely

With this track, we are, thankfully, back into more rocking territory, and not for the first time, I feel the ghost of “Brit Rock” looming over the proceedings. It also has a distinctly Hardcore Superstar/ Backyard Babies feel. To be brutal, though, this is another fairly average track.

Blackout Blues

Another nice little rocker which brings to mind early 90’s Anthrax/Skid Row. That might sound like an odd combination, but if you are familiar with Skid Row’s “Subhuman Race”, then I think you’ll understand what I mean...and if not, why not?!

Tritonus

This leads in with an orchestral intro (why do I get images of the Pink Panther cartoon?), before kicking in with a nice booming Sabbath/Candlemass (same thing?) riff....but, just when you think you have the song pegged, we get an almost Cradle Of Filth style passage with a nice voice-over and some chilled, Sabbath/Maiden acoustic guitars. This is the most unexpected song on the album, and is a fitting climax with it’s unexpected lurches between slow passages and doom riffing. Nice.

So, after listening to this 3 or 4 times now, and therefore, having digested it fully, I can safely say that this will be getting a lot of repeat visits from me. The only real negative I could mention, is that it really seems to lose momentum as the album progresses. Imagine this, if you will, as a vinyl. Side A would be the one you would be likely to play more often. Despite this little stumble, it is still, like Nifelvind, going to feature highly on my year-end round-up. I hope this review was helpful, and might inspire some of you to pick up a copy or (at the very least) to check them out on YouTube.

Score: 8/10

Metal Hammer Top 50 Albums List In Full

This is not a new blog but, as requested, a list of the Metal Hammer so-called "Top 50 Albums Of The Decade"

50. Arch Enemy - Anthems Of Rebellion

49. Cavalera Conspiracy - Inflikted

48. Anthrax - We’ve Come For You All

47. Converge - Jane Doe

46. Nine Inch Nails - With Teeth

45. Airbourne - Runnin’ Wild

44. Dimmu Borgir - Death Cult Armageddon

43. Devildriver - The Last Kind Words

42. Megadeth - United Abominations

41. Gojira - From Mars To Sirius

40. A Perfect Circle - Mer De Noms

39. Down - II: A Bustle In Your Hedgerow

38. Dream Theater - Systematic Chaos

37. Disturbed - The Sickness

36. Children Of Bodon - Are You Dead Yet?

35. In Flames - Come Clarity

34. Slayer - Christ Illusion

33. Testament - The Formation Of Damnation

32. Opeth - Watershed

31. Mastodon - Leviathan

30. Alice In Chains - Black Gives Way To Blue

29. Velvet Revolver - Contraband

28. Deftones - White Pony

27. AC/DC - Black Ice

26. Judas Priest - Angel Of Retribution

25. Killswitch Engage - The End Of Heartache

24. Mayhem - Ordo Ad Chao

23. Heaven And Hell - The Devil You Know

22. Lacuna Coil - Comalies

21. Dillinger Escape Plan - Miss Machine

20. Marilyn Manson - Holy Wood

19. Bullet For My Valentine - The Poison

18. Pantera - Reinventing The Steel

17. Mastodon - Crack The Skye

16. Korn - Untouchables

15. Opeth - Blackwater Park

14. Nightwish - Once

13. Trivium - Ascendancy

12. Motörhead - Motörizer

11. Iron Maiden - A Matter Of Life Or Death

10. Tool - Lateralus

9. HIM - Black Light

8. Avenged Sevenfold - City Of Evil

7. Rammstein - Mutter

6. Metallica - Death Magnetic

5. Megadeth - Endgame

4. Lamb Of God - New American Gospel

3. Slipknot - Vol. 3: The Subliminal Verses

2. System Of A Down - Toxicity

1. Machine Head - The Blackening