COME July 14th The Distortion Project will present Onslaught, Artillery and Hatriot in Limelight2 in a veritable feast of thrash - so much so the tour has been dubbed the Thrash Invasion 2014....
Onslaught have been regular visitors to Northern Ireland, and as they continue the tour in support of their album IV (review is here) Nige Rockett spoke to us about the gargantuan tour so far, the enduring attraction of thrash and because it is an over 18 event they're prepared to let younger fans into the sound check.
He also explains that he's working on the 'skeleton' for the new album but with touring commitments there's going to be a wait for the follow up to IV.
Click the link below to hear the interview on an at times crackly phone line.
Nige Onslaught
Tickets for The Distortion Project presentation of Onslaught, Artillery and Hatriot on July 14th are available from Ticketmaster and all usual outlets (details here). Onslaught's IV is available on AFM records now.
Wednesday, April 30, 2014
Avatar deliver a dark carnival of the apocalypse
IN the mid-20th Century writer Ray Bradbury published the seminal dark fantasy book, Something Wicked This Way Comes, about a carnival of nightmares - a novel only spoiled by its sickly sweet ending. Sweden's Avatar have no such sweet endings on their soon to be released album, Hail To The Apocalypse.
Avatar's dark vision showcases bloodied armies, tortured souls, and a palace of music where doubt sits with sadism and masochism. Laughter? That only comes when you are in on the joke.
A weirdly compelling mélange of metal styles draws listeners in, much as Bradbury's fictional carnival was a draw for the teenage protagonists in his novel.
Add a dash of comedic metal, a dash of melodrama, circus guitar riffs, a drop of black metal and a dash of death metal and you may, just may, get close to what Avatar deliver on this album.
From the furious opener, the eponymous 'Hail To The Apocalypse', the circus elements reign on the hypnotic 'I Don't Know' followed by death metal riffs come fast and furious on 'The Death of Sound'
Johannes Michael Gustaff Eckerstrom performs vocal gymnastics throughout the album but it is Tom Ohrstrom and Kunn's guitars who add the flourishes, the strange combination of styles from straightforward riffing on 'Vulture's Riffing' through the dark melancholia on 'Something In The Way' and 'The Tower'.
Lyrically, behind the mask of the demented ringmaster, Eckerstrom delivers with panache punchy lines that range widely, but all have an inherent darkness that is in itself challenging.
Standout tracks 'Murderer' and 'Tsar Bomba' sum up the experience, with the former's incantations behind metal riffing and dark melodies, and Tsar Bomba's black metal charge only softened by a stunning range of solos that range from the sublime to the plain silly in an enjoyable exercise.
The challenge presented to John Alfresson (drums) and Henrik Sandelin (bass) to keep up with the varied pitches and rhythms inherent on this platter is undoubtedly more than just coming in on '1'; but as both have been with the band since its inception from 2003 they are no doubt used to the weirdness, such as on the funfare that is 'Puppet Show' and the wacky journey on 'Get In Line'.
Last time out Avatar enjoyed success with the release in 2012 of Black Waltz, hitting the Swedish album charts at #25; but as openers for Avenged Sevenfold/Five Finger Death Punch's autumn/winter tour they have gained valuable road chops. They're now beginning the European tour cycle for Hail The Apocalypse, including the June 12th date at Belfast's Oh Yeah Centre.
How they bring to life the over-the-top dynamism of Hail The Apocalypse and Black Waltz to the stage in smaller venues is as intriguing as the lyrics of 'Something In the Way' (one of the lines is: "It's okay to eat fish, because they don't have any feelings...")
What is certain is that Hail...deserves a wide audience, an audience prepared to live with pathos, bathos and belly laughs together with the frowns of concentration just trying to keep up with the madness.
Album closer, The Tower, is perhaps the most 'straight' song on display, with its menacing atmosphere, duplicitous themes and haunting melody building to a traditional heavier mid section and a gradual fade out.
So, raise your drinks, your horns and salute the apocalypse, buy a ticket to the dark carnival and ride the merry-go-round where you may just meet your deathly clone.
Hail The Apocalypse is released on Sony/Gain on May 14th.
The June 12th Belfast date at the Oh Yeah Centre is a Distortion Project show. Tickets, priced at £12 available from Ticketmaster and usual outlets. This is a +14 show, and no alcohol will be on sale (but there are a number of bars nearby for older fans...)
Below is the video for the title track from Hail The Apocalypse...a small taste of the Dark Carnival...
Avatar's dark vision showcases bloodied armies, tortured souls, and a palace of music where doubt sits with sadism and masochism. Laughter? That only comes when you are in on the joke.
A weirdly compelling mélange of metal styles draws listeners in, much as Bradbury's fictional carnival was a draw for the teenage protagonists in his novel.
Add a dash of comedic metal, a dash of melodrama, circus guitar riffs, a drop of black metal and a dash of death metal and you may, just may, get close to what Avatar deliver on this album.
From the furious opener, the eponymous 'Hail To The Apocalypse', the circus elements reign on the hypnotic 'I Don't Know' followed by death metal riffs come fast and furious on 'The Death of Sound'
Johannes Michael Gustaff Eckerstrom performs vocal gymnastics throughout the album but it is Tom Ohrstrom and Kunn's guitars who add the flourishes, the strange combination of styles from straightforward riffing on 'Vulture's Riffing' through the dark melancholia on 'Something In The Way' and 'The Tower'.
Standout tracks 'Murderer' and 'Tsar Bomba' sum up the experience, with the former's incantations behind metal riffing and dark melodies, and Tsar Bomba's black metal charge only softened by a stunning range of solos that range from the sublime to the plain silly in an enjoyable exercise.
The challenge presented to John Alfresson (drums) and Henrik Sandelin (bass) to keep up with the varied pitches and rhythms inherent on this platter is undoubtedly more than just coming in on '1'; but as both have been with the band since its inception from 2003 they are no doubt used to the weirdness, such as on the funfare that is 'Puppet Show' and the wacky journey on 'Get In Line'.
How they bring to life the over-the-top dynamism of Hail The Apocalypse and Black Waltz to the stage in smaller venues is as intriguing as the lyrics of 'Something In the Way' (one of the lines is: "It's okay to eat fish, because they don't have any feelings...")
What is certain is that Hail...deserves a wide audience, an audience prepared to live with pathos, bathos and belly laughs together with the frowns of concentration just trying to keep up with the madness.
Album closer, The Tower, is perhaps the most 'straight' song on display, with its menacing atmosphere, duplicitous themes and haunting melody building to a traditional heavier mid section and a gradual fade out.
So, raise your drinks, your horns and salute the apocalypse, buy a ticket to the dark carnival and ride the merry-go-round where you may just meet your deathly clone.
Hail The Apocalypse is released on Sony/Gain on May 14th.
The June 12th Belfast date at the Oh Yeah Centre is a Distortion Project show. Tickets, priced at £12 available from Ticketmaster and usual outlets. This is a +14 show, and no alcohol will be on sale (but there are a number of bars nearby for older fans...)
Tuesday, April 29, 2014
Brazilian black metal triumph for Patria on Individualism
BRAZIL. Football, samba, carnivals...and black metal. The south American economic powerhouse has been something of a cradle of extreme metal with Sepultura, Soulfly and Krisiun. And, Patria, black metal five-piece, are set to join the hallowed ranks with their latest release Individualism.
To say this is a savage blackened slab of music would be an understatement; there is a refinement to the dark vision, visages of a dystopian, evil dominated world.
This comes across as a strike back against the conservative values of the newly emerging BRIC (Brazil, Russia, India, China) economies, which are so quickly seeing their industrialists and middle classes warm to the western cultures as they don their suits.
But given that Patria emerged from the dark, and occasionally frosty south of Brazil there is no faux capitalism on show here - there is instead a classic black metal sound with the right proportions of blast beats and manic riffing.
'Blood, Storm Prophecy' showcases the aural attack, while 'Orphan of Emptiness' reveals the depths in their take on black metal. Mantus and Igniis Inferniis team up on 'Far Beyond Scorn' to vary the tempos in an effective assault, while throughout Individualism Triumphsword's vocals maintain the deathly screams of classic black metal.
And, therein lies the challenge for Patria - they're not reinventing the black metal wheel. Instead they are leading the listener down a journey that began in Scandinavian's frozen wastes in the 90s with the likes of Emperor, Burzum and early Satyricon to name but a few.
What does this represent then? Is it an homage to the 'classic' black metal sound, or another re-tread? The answer lies deep in the album as the brief atmospheric 'Epiphany' instrumental merges into 'Your Rotten Heart Dies Now'. The band understands the dynamics necessary to make black metal more than monochromatic; anchored by WS Vulkan's bass and Abyssius' drums there is a consistent re-interpretation of black metal: while not deviating from the template Patria have freshened up their sound from previous releases and given a fresh perspective on black metal.
Peerless production and mixing give this album real clarity in its destructive intent and Triumphsword's impassioned utterings take listeners down familiar lyrical themes such as anti-Christian sentiments and rejection of the political futures mapped out by the so-called world leaders.
While Patria translates as 'homeland' this is not so much a reference to the band's country of origin, but rather their homeland of black metal.
Steeped in that tradition they offer, on Individualism, a treat for those exploring the black metal landscape - and Mantus' familiarity with its history and lineage (he has worked as a graphic designer for Indie Recordings in Norway and produced cover art for the likes of Vader and Dimmu Borgir).
This is an album that deserves to propel Patria to wider audiences, and maybe expose more people - and lend more support - to the Brazilian underground.
It's well worth taking the effort to checking this out.
To say this is a savage blackened slab of music would be an understatement; there is a refinement to the dark vision, visages of a dystopian, evil dominated world.
This comes across as a strike back against the conservative values of the newly emerging BRIC (Brazil, Russia, India, China) economies, which are so quickly seeing their industrialists and middle classes warm to the western cultures as they don their suits.
But given that Patria emerged from the dark, and occasionally frosty south of Brazil there is no faux capitalism on show here - there is instead a classic black metal sound with the right proportions of blast beats and manic riffing.
'Blood, Storm Prophecy' showcases the aural attack, while 'Orphan of Emptiness' reveals the depths in their take on black metal. Mantus and Igniis Inferniis team up on 'Far Beyond Scorn' to vary the tempos in an effective assault, while throughout Individualism Triumphsword's vocals maintain the deathly screams of classic black metal.
And, therein lies the challenge for Patria - they're not reinventing the black metal wheel. Instead they are leading the listener down a journey that began in Scandinavian's frozen wastes in the 90s with the likes of Emperor, Burzum and early Satyricon to name but a few.
What does this represent then? Is it an homage to the 'classic' black metal sound, or another re-tread? The answer lies deep in the album as the brief atmospheric 'Epiphany' instrumental merges into 'Your Rotten Heart Dies Now'. The band understands the dynamics necessary to make black metal more than monochromatic; anchored by WS Vulkan's bass and Abyssius' drums there is a consistent re-interpretation of black metal: while not deviating from the template Patria have freshened up their sound from previous releases and given a fresh perspective on black metal.
Peerless production and mixing give this album real clarity in its destructive intent and Triumphsword's impassioned utterings take listeners down familiar lyrical themes such as anti-Christian sentiments and rejection of the political futures mapped out by the so-called world leaders.
While Patria translates as 'homeland' this is not so much a reference to the band's country of origin, but rather their homeland of black metal.
Steeped in that tradition they offer, on Individualism, a treat for those exploring the black metal landscape - and Mantus' familiarity with its history and lineage (he has worked as a graphic designer for Indie Recordings in Norway and produced cover art for the likes of Vader and Dimmu Borgir).
This is an album that deserves to propel Patria to wider audiences, and maybe expose more people - and lend more support - to the Brazilian underground.
It's well worth taking the effort to checking this out.
Individualism is out now on Indie Recordings.
Monday, April 28, 2014
Edgy Edguy capture hearts and minds on Space Police - Defenders of the Crown
TEN albums in and Edguy get short shrift from mainstream rock media in the UK, with barely a mention in the top selling magazines and not a showing on the TV rock channels. That's their loss, because Edguy have been gathering fans throughout the UK, achieving an almost cult following.
And, on Space Police - Defenders of the Crown the band have showed that this is a following that knows what Euro/Power metal can achieve by lifting the listener and challenging perceptions.
Those that write off Edguy as slightly 'silly' band must not have really taken the time to listen to their output, their musicianship and the more deep themes they explore through metaphors and analogies.
In terms of musicianship and arrangements Space Police is packed with so much that to analyse it all would be pointless - there are few missteps.
The duo of songs that make up the title of the album 'Space Police' and 'Defenders of the Crown' are peerless. Both songs manage to sum up the learning and development of the band. Sammet's vocals are tested and rise to that test, Dirk and Jens weave guitar magic throughout, and a smattering of keyboards add to the high-paced atmosphere.
With their metal poured out on the first three tracks 'Love Tyger' showcases Edguy's hard rock credentials with an infectious bridge and chorus and a riff that many a band in the 80s would have killed for.
However, they quickly move onto a track that bears all the hallmarks of power metal in the shape of 'The Realms of Baba Yaga', which despite what appears a straightforward run through on first listen has subtleties and depth on repeated listens.
'Do Me Like A Caveman' may have a ridiculous title, but lyrically is an intriguing ode to insanity, with real hard rock muscle in the range that all the musicians explore and a tasty but brief solo from Jens.
'Shadow Eaters' is a run through at full tilt, pulling out all the proverbial stops, followed by the obligatory power ballad on 'Alone In Myself'.
But the real revelation on the album is closer 'The Eternal Wayfarer' that pours pomp on to the power metal; with echoes of Zeppelin and Floyd reverberating, along with an insistent riff that keeps on giving and well structured solos. This almost nine minute long song should be a crowd pleaser live, and with both its melodies and its strength in an arrangement that allows real breath to the theme.
Space Police is almost the complete Edguy album....but there is an aberration in the middle: a ridiculously over the top cover of Falco's hit 'Rock Me Amadeus'. This detracts somewhat from the album's sinuous depths, and would have been best kept as a 'B' side, or reserved as a live surprise track. That said it is an enjoyable song - but it breaks up the running of the album that begins with the riffage of 'Sabre & Torch'.
Setting aside '...Amadeus' Space Police is a complete showcase of Edguy's development as a band. The hard rock elements are nicely balanced with the power metal themes and occasional symphonic arrangements. What this shows is a band comfortable with their songwriting and confident to put the lessons of their previous nine albums into the mix.
Production on Space Police is nicely done, with space for all the instruments to work out, without over-crowding the clean sound.
It may seem a strange statement to make about a band now 20 years into their career, but Space Police - Defenders of the Crown could be a breakthrough for Edguy in new territories and new fanbases, not least the UK and US. That is unless the unwary are put off by the slightly mad retro sci-fi album cover....
And, on Space Police - Defenders of the Crown the band have showed that this is a following that knows what Euro/Power metal can achieve by lifting the listener and challenging perceptions.
Those that write off Edguy as slightly 'silly' band must not have really taken the time to listen to their output, their musicianship and the more deep themes they explore through metaphors and analogies.
In terms of musicianship and arrangements Space Police is packed with so much that to analyse it all would be pointless - there are few missteps.
The duo of songs that make up the title of the album 'Space Police' and 'Defenders of the Crown' are peerless. Both songs manage to sum up the learning and development of the band. Sammet's vocals are tested and rise to that test, Dirk and Jens weave guitar magic throughout, and a smattering of keyboards add to the high-paced atmosphere.
With their metal poured out on the first three tracks 'Love Tyger' showcases Edguy's hard rock credentials with an infectious bridge and chorus and a riff that many a band in the 80s would have killed for.
However, they quickly move onto a track that bears all the hallmarks of power metal in the shape of 'The Realms of Baba Yaga', which despite what appears a straightforward run through on first listen has subtleties and depth on repeated listens.
'Do Me Like A Caveman' may have a ridiculous title, but lyrically is an intriguing ode to insanity, with real hard rock muscle in the range that all the musicians explore and a tasty but brief solo from Jens.
'Shadow Eaters' is a run through at full tilt, pulling out all the proverbial stops, followed by the obligatory power ballad on 'Alone In Myself'.
But the real revelation on the album is closer 'The Eternal Wayfarer' that pours pomp on to the power metal; with echoes of Zeppelin and Floyd reverberating, along with an insistent riff that keeps on giving and well structured solos. This almost nine minute long song should be a crowd pleaser live, and with both its melodies and its strength in an arrangement that allows real breath to the theme.
Space Police is almost the complete Edguy album....but there is an aberration in the middle: a ridiculously over the top cover of Falco's hit 'Rock Me Amadeus'. This detracts somewhat from the album's sinuous depths, and would have been best kept as a 'B' side, or reserved as a live surprise track. That said it is an enjoyable song - but it breaks up the running of the album that begins with the riffage of 'Sabre & Torch'.
Setting aside '...Amadeus' Space Police is a complete showcase of Edguy's development as a band. The hard rock elements are nicely balanced with the power metal themes and occasional symphonic arrangements. What this shows is a band comfortable with their songwriting and confident to put the lessons of their previous nine albums into the mix.
Production on Space Police is nicely done, with space for all the instruments to work out, without over-crowding the clean sound.
It may seem a strange statement to make about a band now 20 years into their career, but Space Police - Defenders of the Crown could be a breakthrough for Edguy in new territories and new fanbases, not least the UK and US. That is unless the unwary are put off by the slightly mad retro sci-fi album cover....
Space Police - Defenders of the Crown is available now on Nuclear Blast.
Brewing up a storm at The Diamond - The Brew set for NI
THEY may be one of the best UK rock bands you've never heard of but The Brew have been racking up the plaudits and raising the roofs across Europe; and they're now set for the Diamond Rock Club on May 10th.
The Grimsby three piece have earned a well-deserved reputation throughout Europe, headlining shows in Germany, Spain and Poland. Now, with their fourth album Control they may finally be getting the respect in the UK that they deserve, with acclaim coming from mainstream publications and rock stations.
Control, produced by Toby Jepson, captures the raw gritty rock classic rock sound, with a modern twist.
In anticipation of the UK tour, which opens on May 1st, The Brew have released a new video for the latest single from Control - Skip. Below is the video for Skip and the previously released Repeat.
Control is out now on Jazzhaus Records.
The Grimsby three piece have earned a well-deserved reputation throughout Europe, headlining shows in Germany, Spain and Poland. Now, with their fourth album Control they may finally be getting the respect in the UK that they deserve, with acclaim coming from mainstream publications and rock stations.
Control, produced by Toby Jepson, captures the raw gritty rock classic rock sound, with a modern twist.
In anticipation of the UK tour, which opens on May 1st, The Brew have released a new video for the latest single from Control - Skip. Below is the video for Skip and the previously released Repeat.
Control is out now on Jazzhaus Records.
Friday, April 25, 2014
Second Slayer show confirmed
DUE to phenomenal demand reads the advertisement, but that was almost a certainty when it comes to Slayer playing Belfast's Limelight1!
And, with the 30th June date now sold out, thus as we hinted earlier this week a second Slayer Belfast June date has been confirmed for 29th June
But then again it is - after all Slayer! Having yesterday announced that Slayer are developing a new imprint as part of their deal with Nuclear Blast and offered a free download for free. Click here for our story and the link to the free download of the song Implode.
For those who missed Slayer's dates last year here's our review of the August date when the band were really on top form.
Tickets for the 29th June date are go on sale now from Katy's Bar and Ticketmaster.
And, with the 30th June date now sold out, thus as we hinted earlier this week a second Slayer Belfast June date has been confirmed for 29th June
But then again it is - after all Slayer! Having yesterday announced that Slayer are developing a new imprint as part of their deal with Nuclear Blast and offered a free download for free. Click here for our story and the link to the free download of the song Implode.For those who missed Slayer's dates last year here's our review of the August date when the band were really on top form.
Tickets for the 29th June date are go on sale now from Katy's Bar and Ticketmaster.
Thursday, April 24, 2014
As tickets are about to go on sale for Belfast, Slayer release free download track
RIGHT - you're all up for the scramble to get tickets to see Slayer for June 30th at the Limelight1 when they go on sale tomorrow. Just to get you in the mood they've released new song 'Implode' as a free download on Slayer.net.
And the band have signed a new worldwide deal on Nuclear Blast, ending a 28-year relationship with Rick Rubin and American Recordings.
The new track has been released as a 'thank you' to fans for their continued support. Kerry King explained: “you have been waiting for us, now we are delivering for you.”
Registered members of Slayer’s fan club were sent an email right around midnight giving them the link to the song and a chance to hear it before it was made public. 'Implode' can now be downloaded here.
The relationship with Nuclear Blast will see Slayer create their own label imprint; a name for which has yet to be decided.
Slayer sold out last year's shows in the Limelight1, at a time when many questioned whether they'd be recording again. Today's announcement also comes with news that the band are getting down to recording new material for a 2015 album release.
Tickets to the 30th June Limelight1 Slayer show go on sale at 9am tomorrow from Katy's bar and Ticketmaster
And the band have signed a new worldwide deal on Nuclear Blast, ending a 28-year relationship with Rick Rubin and American Recordings.
The new track has been released as a 'thank you' to fans for their continued support. Kerry King explained: “you have been waiting for us, now we are delivering for you.”
Registered members of Slayer’s fan club were sent an email right around midnight giving them the link to the song and a chance to hear it before it was made public. 'Implode' can now be downloaded here.
The relationship with Nuclear Blast will see Slayer create their own label imprint; a name for which has yet to be decided.
Slayer sold out last year's shows in the Limelight1, at a time when many questioned whether they'd be recording again. Today's announcement also comes with news that the band are getting down to recording new material for a 2015 album release.
Tickets to the 30th June Limelight1 Slayer show go on sale at 9am tomorrow from Katy's bar and Ticketmaster
Ferocious foursome flay Metalfest IV with furious metal at Diamond Rock Club
Review by Zakk
WITH the boss away reviewing this for Metal-Rules.com [read it here] it has been left to me to sum up Metalfest IV on Monday 21st April at County Antrim's rock mecca, the Diamond Rock Club, Ahoghill.
Easter Monday it might have been but there was a seismic shift in the tectonic plates under Northern Ireland when four slabs of metal landed - and within were four distinct flavours of metallic ferocity.
In a slightly surreal event there were even cross-dressing bearded Easter/Playboy bunnies present...but then you had to be there to really appreciate it...if appreciation is the correct response!
Opening up proceedings were extreme metal act Altus. Propelled by Matt Cordner's roar, Altus are improving constantly on their live performances and closing duo of songs Beast and Born To Exist summing up the Altus wild ride. Some of the slower, more doom-laden tracks hint at a future sound that mixes the extreme with the atmospheric.
They where a great growling, monstrous start to a great metal night.
Under-rated, not appreciated are some of the phrases that have always sprung to mind with A Little Bitter despite their musical prowess. Their combination of powerful songs, huge melodies, metal riffage and lyrical excellence have always been something all the contributors to Belfastmetalheadsreunited have enjoyed.
For this reviewer it was the first time seeing the three-piece and they left a massive impression of just what can be achieved through hard work, great playing and super songs in a live environment.
Jonny Armstrong's guitar work soared and swooped, while Darren Pilkington's drums were an awesome aural accompaniment to Seamy Donnelly's bass work; as he used all six-strings on his instrument to provide a dynamic, while both he and Jonny used the length and breadth of their fretboards to good effect.
Whether it be Further I Crawl, Jebus, Genghis or Dark Tide the strength of each song also hides lots of subtleties as well as choruses many a so-called mainstream band would want to have in their locker.
Sinocence have really upped their game of late, and although having seen them on occasion it seems that the band have gelled to a greater degree than ever. Moro seems more confident than ever spearheading the band; and despite feedback and cable issues Anto's lead sections were coherent and concise - a sign that you can been a guitar widdler and be capable of making solos appropriate to the structure of a song.
Long Way Down is a tremendous opener, and the wealth of their material was bracketed by the closing storm of Metal Box. Highlights also included Coda and the cover of Prong's Snap You Fingers, Snap Your Neck.
The growth of Sinocence is apparent and they deserve to be atop a pile across the UK.
Stormzone have grown and developed over the past two years, with latest release Three Kings a tribute to persistence of power metal played well.
Harv's engaging presence and powerful range kept the show rolling in a set including favourites such as opener Where We Belong and Death Dealer. An impressive The Pass Loning showcased all the talent in the band, while the slower Beware in Time only served to help empahsise the stomp of Spectre. Of particular note among this excellent set of musicians was the pounding of Davey Bates on drums and Steve Moore's lead sections; both complementing the overall range of the band.
Stormzone's ongoing success should, as with all the acts on display at Metalfest IV reach a wider audience.
Derwin and all connected with the Diamond Rock Club deserve a pat in the back for putting on shows like this, and despite not packing out the room it is a sure sign that future events like this will draw more and more punters through the Ahoghill venue.
Sub-editing by Jonny
Monday, April 21, 2014
Cheap thrills are sometimes the best as heritage and healthy new classic rock rock the Diamond
SOMETIMES the gigs you expect the least from are the most enjoyable, maybe the low expectations mean that you enjoy them because the expectations are so low: other times they are enjoyable are because they are just good...
Such was the case when Derwin and co welcomed Cheap Thrill to the Diamond Rock Club last Thursday night (17th April).
Made up from members of Cinderella, White Lion and the Gibbs Brothers Cheap Thrill seemed on the face of it to be another heritage band making hay while the classic rock revival stays strong - but that is to undersell them.
However, before such an act can take to the stage the spirits of the 80s have to be invoked from the ether. And there is no finer group to do that than Maverick.
The ten-legged monster of classic rock and metal have evolved and grown in front of the eyes of Northern Ireland audiences. Now as they prepare for the release of their début album their time is coming...fast!
Already their tracks seem like old friends, choruses riotous sing-alongs and solos and riffs flying from all corners and stage moves well rehearsed and well executed.
Saints and Sinners, Top Heavy etc etc - if you haven't caught the Maverick bug you need to get infected as soon as possible.
With a couple of covers thrown in to raise the party mood (although they have enough strong material of their own not to bother...) the Diamond was ready to rock for Cheap Thrill.
As it was the first show of their European tour there were a few kinks to be knocked out, not least some ropey backing vocals but otherwise everything was good in Ahoghill Rock City.
With the expected Gypsy Rose and other fan favourites rolled out the reception was raucous, and the band seemed to be enjoying playing and bantering.
Some unexpected cover versions (a slowed down Billy Jean and closing with Imagine) kept the momentum throughout, but ironically it was the new track 'Hero' that was the strongest of the night.
Cheap Thrill should be an ailing act rolling through the years for older fans. However, there is something very, very exciting bubbling here. Get the fans to roll in for the 'classic' tracks and produce new tracks like Hero could be a recipe for endurance and if they return to the Diamond we hope that they are prepared to air some more 'new' songs.
Such was the case when Derwin and co welcomed Cheap Thrill to the Diamond Rock Club last Thursday night (17th April).
Made up from members of Cinderella, White Lion and the Gibbs Brothers Cheap Thrill seemed on the face of it to be another heritage band making hay while the classic rock revival stays strong - but that is to undersell them.
However, before such an act can take to the stage the spirits of the 80s have to be invoked from the ether. And there is no finer group to do that than Maverick.
The ten-legged monster of classic rock and metal have evolved and grown in front of the eyes of Northern Ireland audiences. Now as they prepare for the release of their début album their time is coming...fast!
Already their tracks seem like old friends, choruses riotous sing-alongs and solos and riffs flying from all corners and stage moves well rehearsed and well executed.
Saints and Sinners, Top Heavy etc etc - if you haven't caught the Maverick bug you need to get infected as soon as possible.
With a couple of covers thrown in to raise the party mood (although they have enough strong material of their own not to bother...) the Diamond was ready to rock for Cheap Thrill.
As it was the first show of their European tour there were a few kinks to be knocked out, not least some ropey backing vocals but otherwise everything was good in Ahoghill Rock City.
With the expected Gypsy Rose and other fan favourites rolled out the reception was raucous, and the band seemed to be enjoying playing and bantering.
Some unexpected cover versions (a slowed down Billy Jean and closing with Imagine) kept the momentum throughout, but ironically it was the new track 'Hero' that was the strongest of the night.
Cheap Thrill should be an ailing act rolling through the years for older fans. However, there is something very, very exciting bubbling here. Get the fans to roll in for the 'classic' tracks and produce new tracks like Hero could be a recipe for endurance and if they return to the Diamond we hope that they are prepared to air some more 'new' songs.
Slayer second date in Belfast...again...
OKAY - calm down people! The venue have NOT confirmed a second Slayer date after our earlier announcement of the Limelight1 of their 30th June Belfast date.
However, should you wander online to the Slayer Facebook page or to the Ticketmaster IE page you will find that on the Sabbath day of the 29th June Slayer will also be playing Limelight1.
All this and Anthrax on July1st...gather together thrashers (oh, and Ritchie Sambora is playing Ulster Hall on 1st July too).
However, should you wander online to the Slayer Facebook page or to the Ticketmaster IE page you will find that on the Sabbath day of the 29th June Slayer will also be playing Limelight1.
All this and Anthrax on July1st...gather together thrashers (oh, and Ritchie Sambora is playing Ulster Hall on 1st July too).
The (Kerry) King has risen! Belfast's resident speed metal thrashers are back on 30th June
SLAYER - the name synonymous with speed metal thrash, the wicked infusion of west coast US Punk, metal and speed that sticks a middle finger at the scenesters and fashionistas of the music business are coming back to Belfast on 30th June 2014.
Yes - the band which sold out a 2013 Limelight1 date in a stunning record smashing three minutes are coming back to the Ormeau Avenue venue once again to level Belfast ahead of their European festival dates.
Those who have seen Slayer before know what to expect...those who saw Slayer at the Limelight1 last year know that seeing them in such an almost intimate venue is almost a revelatory experience.
Screw the doubters, screw the magazines who and TV channels obsessed with the latest PR insider gossip - Slayer are not changing, never will change for evermore and always pound all in front of them.
Yes, there are a very, very few naysayers, but rest assured they won't be there on 30th June 2014 at Limelight1 and are not among the anointed Slaytonic Whermacht.
Tickets go on sale (and will sell at an equally rapid rate) on Friday. £35+booking fee from...well we suggest you find out quick how to get hold of them...[Clue - usual outlets]
[UPDATE: Slayer's Facebook page has an additional date on 29th June too - nothing confirmed as yet from Limelight, will let you know when and if it is confirmed]
Yes - the band which sold out a 2013 Limelight1 date in a stunning record smashing three minutes are coming back to the Ormeau Avenue venue once again to level Belfast ahead of their European festival dates.
Those who have seen Slayer before know what to expect...those who saw Slayer at the Limelight1 last year know that seeing them in such an almost intimate venue is almost a revelatory experience.
Screw the doubters, screw the magazines who and TV channels obsessed with the latest PR insider gossip - Slayer are not changing, never will change for evermore and always pound all in front of them.
Yes, there are a very, very few naysayers, but rest assured they won't be there on 30th June 2014 at Limelight1 and are not among the anointed Slaytonic Whermacht.
Tickets go on sale (and will sell at an equally rapid rate) on Friday. £35+booking fee from...well we suggest you find out quick how to get hold of them...[Clue - usual outlets]
[UPDATE: Slayer's Facebook page has an additional date on 29th June too - nothing confirmed as yet from Limelight, will let you know when and if it is confirmed]
Tuesday, April 15, 2014
A Cheap Thrill - no better place to get it than at Diamond Rock Club on Thursday night
WAY, way back in the distant past (that would be the mid-eighties for younger readers) there was a 'scene' in transition. The sleaze rock of the LA strip was being supplanted by thrash metal. Yet, fans from all genres would gather together in worship of hard rockin' music.
Such was the diverse nature of this transforming 'scene' no-one seemed unduly concerned to see Metallica, Anthrax, WASP and Bon Jovi on the same bill...
That line-up was at Monsters of Rock, Castle Donington in 1987. While Monsters of Rock has now transmogrified into Download, in 1987 the band opening main stage proceedings was Cinderella - fresh from the release the previous year of their seminal album, Long Cold Winter.
Despite their appearance there was a genuine musical intent behind the band....and now in 2014 you get the chance to get a flavour of that once again when a 'super group' with two founder members of Cinderella play Diamond Rock Club on Thursday night (April 17th).
Eric Brittingham and Jeff LaBar from Cinderella join forces with Brandon Gibbs (The Gibbs Brothers) and Troy Patrick Farrell (White Lion) have joined forces as Cheap Thrill to once again bring that sound of the 80s to a new generation with a fresh vibe for all.
Opening an extensive UK and European tour at the Diamond Rock Club on Thursday night, this is perhaps not just a heritage gig, but a chance to feel the vibe that transcended genres and just rocked.
Tickets still available - more details: https://www.facebook.com/thediamondrockclub or just rack up on the night!
Such was the diverse nature of this transforming 'scene' no-one seemed unduly concerned to see Metallica, Anthrax, WASP and Bon Jovi on the same bill...
That line-up was at Monsters of Rock, Castle Donington in 1987. While Monsters of Rock has now transmogrified into Download, in 1987 the band opening main stage proceedings was Cinderella - fresh from the release the previous year of their seminal album, Long Cold Winter.
Despite their appearance there was a genuine musical intent behind the band....and now in 2014 you get the chance to get a flavour of that once again when a 'super group' with two founder members of Cinderella play Diamond Rock Club on Thursday night (April 17th).
Eric Brittingham and Jeff LaBar from Cinderella join forces with Brandon Gibbs (The Gibbs Brothers) and Troy Patrick Farrell (White Lion) have joined forces as Cheap Thrill to once again bring that sound of the 80s to a new generation with a fresh vibe for all.
Opening an extensive UK and European tour at the Diamond Rock Club on Thursday night, this is perhaps not just a heritage gig, but a chance to feel the vibe that transcended genres and just rocked.
Tickets still available - more details: https://www.facebook.com/thediamondrockclub or just rack up on the night!
Monday, April 14, 2014
Amon Amarth winner drawn
CONGRATULATIONS to Margaret who has won a pair of tickets to see Amon Amarth in Belfast's Limelight1 on August 12th.
Thanks to the dozens of you who entered this Belfastmetalheadsreunited, www.rockradioni.co.uk competition, with the tickets from the Limelight and Shine.
Now, if you want to see the mighty Swedish melodic death metallers you'll have to shell out the money - and believe us, it is well worth it!
Oh, the answer....feck sake! Are y'all daft, its Deceiver of the Gods! And if you haven't bought it, do so immediately after you buy your tickets to see Amon Amarth. Now watch the AA mini-movie and steel yourself for this might gig!
Thanks to the dozens of you who entered this Belfastmetalheadsreunited, www.rockradioni.co.uk competition, with the tickets from the Limelight and Shine.
Now, if you want to see the mighty Swedish melodic death metallers you'll have to shell out the money - and believe us, it is well worth it!
Oh, the answer....feck sake! Are y'all daft, its Deceiver of the Gods! And if you haven't bought it, do so immediately after you buy your tickets to see Amon Amarth. Now watch the AA mini-movie and steel yourself for this might gig!
Pat McManus proves more than a six-string wonder on stage
THERE are people who play guitar; there are guitar players, there are guitar shredders; and then there are true artists when they strap on a guitar, proving that entertainment with a six-string is an art form. Pat McManus is such an artist.
And when backed by the musicianship of Marty McDermott (bass) and Paul Faloon (drums) there is a potency that few can equal, with power, precision and pure musical fun.
On Saturday (April 12th) that fun was brought to bear on the Voodoo, Belfast in a set as varied as it was entertaining.
Opening for the Pat McManus Band were locals, Worldsend; returning after a break with only their second gig in a year.
While many acts try to recreate that classic rock sound that was so prevalent in the 80s many miss out on the fact that there needs to be variety and a sense of danger, whether that be in the performance or the lyrical content.
There was no danger of this quartet falling down on musicianship, as Eddie led the crowd on a musical journey through hard rock nirvana with his dark jester persona, while Jay performed with a cool extravagance on guitar.
Opening with the eponymous Worldsend it was clear from the beginning that this was a band that has used the break to re-focus and return tight and fluid.
Andy (drums) and Paul (bass and backing vocals) were locked in as tight as a nut, providing the foundation for the flourishes and finesse of all on stage.
'Letters to Lost Souls', 'Warning Signs' and 'Enemy' all stood out in an all too brief a set, leaving many asking when their next full album will emerge.
The Pat McManus band emerge with no fanfare just a headlong rush with songs from the most recent release Dark Emerald Highway: 'S Before X' and 'Let's Turn It Up' roared with a real sense of occasion, while Pat grinned as his guitar became part of his body, an extended limb wrenching sounds that caused spontaneous smiles across the room.
From blues to hard rock, from six-string soloing to 12-string mandolin solos; from emotive slow songs to acoustic memories, what stood out amidst such a literal belter of a set was that there is an essence that can be distilled from skill to produce what is the pure liquor of rock.
It is a redundant exercise to pick out a song, a moment or a solo in a subjective basis, nor list the tracks, as each person there will have an abiding memory. 'Lazy Days, Crazy Nights', 'Return of the G Men' stood out for us; but Pat's tribute to the late, great Gary Moore 'Belfast Boy' is a song that produced all-round applause and sense of connection that we believe can only be achieved - such as on '...G-Men' - when there is a geographical link and a link to musical heritage.
Leaving the venue as more and more people queued up to shake Marty, Paul and Pat's hands, buy t-shirts and have albums signed; and emerging into the small hours of Sunday morning what can be in doubt is that Pat McManus and his cohorts deserve to be playing on larger stages to showcase what they can do: until then we will continue to cherish the moments when Pat's skill is displayed a few feet from our smiling, appreciative audiences.
And when backed by the musicianship of Marty McDermott (bass) and Paul Faloon (drums) there is a potency that few can equal, with power, precision and pure musical fun.
On Saturday (April 12th) that fun was brought to bear on the Voodoo, Belfast in a set as varied as it was entertaining.
Opening for the Pat McManus Band were locals, Worldsend; returning after a break with only their second gig in a year.
While many acts try to recreate that classic rock sound that was so prevalent in the 80s many miss out on the fact that there needs to be variety and a sense of danger, whether that be in the performance or the lyrical content.
There was no danger of this quartet falling down on musicianship, as Eddie led the crowd on a musical journey through hard rock nirvana with his dark jester persona, while Jay performed with a cool extravagance on guitar.
Opening with the eponymous Worldsend it was clear from the beginning that this was a band that has used the break to re-focus and return tight and fluid.
Andy (drums) and Paul (bass and backing vocals) were locked in as tight as a nut, providing the foundation for the flourishes and finesse of all on stage.'Letters to Lost Souls', 'Warning Signs' and 'Enemy' all stood out in an all too brief a set, leaving many asking when their next full album will emerge.
The Pat McManus band emerge with no fanfare just a headlong rush with songs from the most recent release Dark Emerald Highway: 'S Before X' and 'Let's Turn It Up' roared with a real sense of occasion, while Pat grinned as his guitar became part of his body, an extended limb wrenching sounds that caused spontaneous smiles across the room.
From blues to hard rock, from six-string soloing to 12-string mandolin solos; from emotive slow songs to acoustic memories, what stood out amidst such a literal belter of a set was that there is an essence that can be distilled from skill to produce what is the pure liquor of rock.
It is a redundant exercise to pick out a song, a moment or a solo in a subjective basis, nor list the tracks, as each person there will have an abiding memory. 'Lazy Days, Crazy Nights', 'Return of the G Men' stood out for us; but Pat's tribute to the late, great Gary Moore 'Belfast Boy' is a song that produced all-round applause and sense of connection that we believe can only be achieved - such as on '...G-Men' - when there is a geographical link and a link to musical heritage.Leaving the venue as more and more people queued up to shake Marty, Paul and Pat's hands, buy t-shirts and have albums signed; and emerging into the small hours of Sunday morning what can be in doubt is that Pat McManus and his cohorts deserve to be playing on larger stages to showcase what they can do: until then we will continue to cherish the moments when Pat's skill is displayed a few feet from our smiling, appreciative audiences.
Photos courtesy of Metal Planet
Saturday, April 12, 2014
Close to magisterial melancholia SAVN reach for hope on new platter
THERE is a wealth of female fronted symphonic rock and metal bands kicking around record stores and download charts across the world at the moment; however, occasionally you come across one which sits a little to the left of what you expected - and such is the self-titled release from SAVN.
Sitting in a world dominated by keyboards and symphonic sections the elements of guitar and drum are relegated to supporting roles, with no sign of an empathetic solo from a six-stringer.
And, that is where we initially found it difficult to get our heads around this album - where were the solos....
But after continued listens there is something that makes up for this, in the shape of Carmen Elise Espenaes - sister of Liv Kristine of Leave's Eyes - and former front woman of Midnattsol.
Her haunting refrains push the melancholy with a lyrical message of hope, which given that SAVN translates as desperation is quite a feat.
“There is a strong red line through all of our songs," said Carmen. "Directly or indirectly they all touch the theme deprivation in some way, that’s the reason why we decided to have the same title as the band`s name."
From the off the track 'Musical Silence' sets the scene, the desperation of being without your craft then rediscovering the gift it can give.
And for all the band members SAVN is something of a re-discovery of that craft. The roots of the band lie in the late 90s Norwegian 'goth metal' (their description not ours) of The Sins of the Beloved. When Stig Johansen (vocals and guitars) and Anders Thue (keyboards) recruited Carmen to add vocals it seems they gradually came together as a musical unit.
And the essence of the musical unit is summed up on 'The Demons in Me' - once again lyrically about internal struggles in the search for personal redemption. It is a rounded track of symphonic rock bolstered by the appearance of Michelle Darkness (End of Green), in which keyboards and strings add to the atmospheric effect.
Guest appearances litter the album, but complement, but do no crowd the release. Fiddle players Dag Bjorkedal and Lillian Hodne appear as does the Lingua Mortis Orchestra (which appears on the tracks Sorrowful and Lengselens Hand) directed, recorded and by 'composer' and Rage guitarist Victor Smolski.
However, what is the more notable appearance is by Carme's sister Liv from Leave's Eyes on 'I Am Free', the siblings' voices working in concert.
There is within this release a real sense of drama - sometimes slipping into melodrama, but overall coming across as a piece of uncontrived musical rock theatre.
It would be a stretch to describe this as a metal performance, but the musicianship throughout echoes the sense of the lyrics. Carmen states that although the tracks are about individual and band experiences she has also pointed them at being something the listener can relate to.
The penultimate track 'Now Or Never' is the best exemplar of this. Carmen describes it as:
“A wake up call; many people forget that it might be a chance that you only live once. They don't live in the moment and live their lives as there would be many more chances to come. Now it`s the time to change”.
Overall SAVN's self-titled release is a piece of art best sampled alone, with the chance to reflect on the soundscapes and the melodies, while penetrating the lyrics.
The addition of some more guitar leads to echo more emphatically the magisterial melancholia would have been the icing on the SAVN cake. However, don't let this deter you from listening. Should you seek a reference point. Carmen's sister said:
“If you like the early Theatre Of Tragedy, you'll enjoy SAVN”, she said. “It's very down to earth. Stig was in The Sins Of Thy Beloved and there are things he really loves about that period of bands like Sirenia and Tristania.
Sitting in a world dominated by keyboards and symphonic sections the elements of guitar and drum are relegated to supporting roles, with no sign of an empathetic solo from a six-stringer.
And, that is where we initially found it difficult to get our heads around this album - where were the solos....
But after continued listens there is something that makes up for this, in the shape of Carmen Elise Espenaes - sister of Liv Kristine of Leave's Eyes - and former front woman of Midnattsol.
Her haunting refrains push the melancholy with a lyrical message of hope, which given that SAVN translates as desperation is quite a feat.“There is a strong red line through all of our songs," said Carmen. "Directly or indirectly they all touch the theme deprivation in some way, that’s the reason why we decided to have the same title as the band`s name."
From the off the track 'Musical Silence' sets the scene, the desperation of being without your craft then rediscovering the gift it can give.
And for all the band members SAVN is something of a re-discovery of that craft. The roots of the band lie in the late 90s Norwegian 'goth metal' (their description not ours) of The Sins of the Beloved. When Stig Johansen (vocals and guitars) and Anders Thue (keyboards) recruited Carmen to add vocals it seems they gradually came together as a musical unit.
And the essence of the musical unit is summed up on 'The Demons in Me' - once again lyrically about internal struggles in the search for personal redemption. It is a rounded track of symphonic rock bolstered by the appearance of Michelle Darkness (End of Green), in which keyboards and strings add to the atmospheric effect.
Guest appearances litter the album, but complement, but do no crowd the release. Fiddle players Dag Bjorkedal and Lillian Hodne appear as does the Lingua Mortis Orchestra (which appears on the tracks Sorrowful and Lengselens Hand) directed, recorded and by 'composer' and Rage guitarist Victor Smolski.
However, what is the more notable appearance is by Carme's sister Liv from Leave's Eyes on 'I Am Free', the siblings' voices working in concert.
There is within this release a real sense of drama - sometimes slipping into melodrama, but overall coming across as a piece of uncontrived musical rock theatre.
It would be a stretch to describe this as a metal performance, but the musicianship throughout echoes the sense of the lyrics. Carmen states that although the tracks are about individual and band experiences she has also pointed them at being something the listener can relate to.
The penultimate track 'Now Or Never' is the best exemplar of this. Carmen describes it as:
“A wake up call; many people forget that it might be a chance that you only live once. They don't live in the moment and live their lives as there would be many more chances to come. Now it`s the time to change”.
Overall SAVN's self-titled release is a piece of art best sampled alone, with the chance to reflect on the soundscapes and the melodies, while penetrating the lyrics.
The addition of some more guitar leads to echo more emphatically the magisterial melancholia would have been the icing on the SAVN cake. However, don't let this deter you from listening. Should you seek a reference point. Carmen's sister said:
“If you like the early Theatre Of Tragedy, you'll enjoy SAVN”, she said. “It's very down to earth. Stig was in The Sins Of Thy Beloved and there are things he really loves about that period of bands like Sirenia and Tristania.
"He’s always been influenced by these bands
and what he put together with Savn is like a dream come true”. I love the album. It's an excellent piece of art”.
Overtime we've come to like this album, wavering towards Liv's sentiment of loving it.
Produced by Leave's Eyes Alexander Krull, SAVN is released Digipak CD, Vinyl and picture disc at the end of April on CDR Records Norway via Intergroove and also as a download.
Friday, April 11, 2014
Richie Sambora Belfast bound
ONCE known only as the guitarist standing beside Bon Jovi Richie Sambora has grown in stature over the past few years...and now he's set to play Belfast's Ulster Hall as part of a run of dates across Europe.
Sambora now has three solo albums under his belt, to add to the 130m album sales accumulated as part of Bon Jovi, with the latest release Aftermath of the Lowdown receiving both critical acclaim and fan backing.
The date for Sambora's Ulster Hall date is July 1st - the same day thrash icons Anthrax - lay waste to Limelight1. It has some resonance that these two ends of the rock and metal spectrum are still going strong so long after the 80s.
The venues may be smaller than the tours of that decade which saw Bon Jovi and Anthrax play Belfast, but the audience age range is greater; and arguably more devoted. How many of today's so-called stars will still be touring in 30 years time...
The soft rock hero Sambora will be backed by six-string wunder-kid, Orianthi, who was last spotted wielding her axe with the venerable Alice Cooper.
Tickets for Sambora go on sale this coming Thursday, April 17th (the same day as Cheap Thrill with members of Cinderella and White Lion play the Diamond Rock Club (yet more stars of the 80s still touring!).
The fee to gain access to see Richie Sambora is £36 including booking fee, which you can proffer via www.ticketmaster.ie, at the Waterfront and Ulster Hall ticket desks and at Ticketmaster outlets across the country.
We are currently deciding which members of our review crew will be at each venue on July 1st...we may convene on April 17th...in the meantime "Oh, Oh, We're Living On A Prayer".
Sambora now has three solo albums under his belt, to add to the 130m album sales accumulated as part of Bon Jovi, with the latest release Aftermath of the Lowdown receiving both critical acclaim and fan backing.
The date for Sambora's Ulster Hall date is July 1st - the same day thrash icons Anthrax - lay waste to Limelight1. It has some resonance that these two ends of the rock and metal spectrum are still going strong so long after the 80s.
The venues may be smaller than the tours of that decade which saw Bon Jovi and Anthrax play Belfast, but the audience age range is greater; and arguably more devoted. How many of today's so-called stars will still be touring in 30 years time...
The soft rock hero Sambora will be backed by six-string wunder-kid, Orianthi, who was last spotted wielding her axe with the venerable Alice Cooper.
Tickets for Sambora go on sale this coming Thursday, April 17th (the same day as Cheap Thrill with members of Cinderella and White Lion play the Diamond Rock Club (yet more stars of the 80s still touring!).
The fee to gain access to see Richie Sambora is £36 including booking fee, which you can proffer via www.ticketmaster.ie, at the Waterfront and Ulster Hall ticket desks and at Ticketmaster outlets across the country.
We are currently deciding which members of our review crew will be at each venue on July 1st...we may convene on April 17th...in the meantime "Oh, Oh, We're Living On A Prayer".
Thursday, April 10, 2014
Amon Amarth comp reminder
A WHILE back we announced a competition to win a pair of tickets to see Amon Amarth lay waste to the Limelight on August 12th. This is just a reminder that the clock is ticking towards entries closing.
If you want to enter click here to find out how to enter and read a review of the latest Amon Amarth album.
In the meantime here's a few videos of the mighty Swedish Viking melodic death metallers. Enjoy and enter!
If you want to enter click here to find out how to enter and read a review of the latest Amon Amarth album.
In the meantime here's a few videos of the mighty Swedish Viking melodic death metallers. Enjoy and enter!
Wednesday, April 09, 2014
Black Stone Cherry - October 24th with Theory of A Deadman
TICKETS go on sale this Friday, April 11th for Black Stone Cherry and Theory of A Deadman in the Mandela Hall, Queen's University Student Union on October 24th, 2014.The Shine.net promotion will see BSC play a special over 14s show in the revered venue, as they tour on the back of their coming release Magic Mountain.
The price of admission is £16.50 plus booking fee.
And here's a wee taster of what's to come...One of the lead songs Me and Mary Jane:
Tuesday, April 08, 2014
No joke in the Badlands as Cage The Gods let loose début platter
Review by Baal
All of us have heard the one about an Englishman, an Irishman, a Welshman and a Scotsman.....this is just the nationalities British band Cage The Gods are comprised of and their music will make you smile!.
This
band , comprising of Peter Comerford on vocals, Jam on
guitars, Mitch Witham on bass and Colin Jones on drums,
are definitely not a joke....
What they are is a new
and exciting band, who seem to have perfected a blend
of both classic and modern rock, which has been moulded
into a set of songs with sound familiar yet at the same
time fresh. If there’s one thing that stands
out after a listen to this debut album ‘Badlands’,
then it’s that sometimes all too rare
commodity…..songs, and songs are what Cage The Gods
have in abundance.
On
first listen, all of the influences are fairly obvious.
Name a classic rock band from the 80’s or early 90’s
and you’ll find aspects of ‘that’ sound on this
album. Opening track ‘Favourite Sin’ kicks things
off in a G ‘n R tinged fashion, though as was
mentioned earlier, still sounding fresh and vibrant.
The
production is polished yet powerful and really
showcases the band's obvious talent.
‘Trouble
Reigns’, title track ‘Badlands’ and ‘Scarifice’
do exactly what they should….they rock. The powerful
yet soulful hooks are delivered with an attitude and
style that is seldom encountered on a debut album.
Comerford’s vocal style oozes an attitude and
arrogance that works alongside Jam’s straight ahead
riffing and soloing, whilst the rhythm section keep
things rolling along in great style.
The
uniquely titled ‘Bruce Willis’ sees the band flex
their blues tinged muscles and is an enjoyable
departure from the straight up classic rock sound that
comes before it.
The
band also display the ability to employ light and shade
in the form of the more restrained and melodic
‘Falling’ and ‘What’s Left Of Me’, to our
ears two of the strongest tracks on ‘Badlands’.
‘Promises’ is also a very strong track which gives
the aforementioned duo of tracks a run for their money.
It would be difficult to find fault with this
album, all of the songs have something to offer,
without a trace of ‘filler’ in sight.
We were lucky enough to
catch the band recently, supporting The Answer and
happily we can report that they can also cut it
live and we look forward to seeing them on these
shores again sometime.
If
there is any justice and if the set of songs on
‘Badlands’ are anything to go by then Cage
The Gods should have a promising future ahead.
If
you’re a fan of classic rock with a modern vibe (and
why wouldn’t you be), you really could do a lot worse
than invest in a copy of this album, a worthy and
worthwhile addition to any self-respecting rockers
collection.
Consumate crushing metal chaos as Devildriver level all in front of them
WHEN it comes to metal there is something intangible that unites and binds amidst a maelstrom of music and mayhem that despite the horrific faces and brutal lyrical imagery is life-affirming and leaves an audience emerging from concerts smiling and exhausted.
There arefew finer examples of this as when Devildriver - with support from Bleed From Within and Sylosis - took the stage in Belfast's Limelight1, with a display of devastating heavy metal.
Bleed From Within suffered from the curse of the opening act, playing to a half-full venue, many of whom were there only for the top two acts. However, they were determined not to be daunted. Shaking off the supposed metalcore tag the Scottish band took to the stage with intent, and performed as if they were the headliners, maintaining musicianship and onstage banter to a high degree and earning new fans as a result.
Sylosis are one of the bands that have been bubbling under for a while, with their own devoted audience ready to head straight to the pit. 'Fear the World' and 'Teras' were set highlights.
What they did prove is that they are to be escalated to a higher plain in the future - the standard of playing was at a particularly high level and the Middleton's lead sections were played with the ease of one who knows his musical reference points and is prepared to build upon them.
Despite only having just over half an hour on stage Sylosis have visibly grown up since the release of last year's Monolith, and even having a stand-in drummer didn't deter them.
Devildriver haven't been back to Belfast since 2006, when they headlined Rottfest. And, when they took to the Limelight1 stage it was a meeting of minds as if friends old and new were at a particularly chaotic family reunion...
No fancy fanfares, no melodramatic lengthy intro tapes, no fuss, no frills - by the time the opening chords of 'Head On To Heartache' reverberated throughout the venue there was only one focus, a metal band: nothing more, nothing less.
And, that is what undoubtedly all fans really want. Dez Fafara is the congenial frontman, like a tattooed ringleader, the mad uncle who gets the party started, and with a growl that terrifies the faint hearted.
Flanked by manic guitarists Jeff Kendrick and Mike Spreitzer, roaming Chris Towning on bass and anchored by John Boecklin on drums the five-piece delivered what can only be described as a well-rehearsed, well executed and powerful set; each member comfortable with their roles and each one determined to raise each other's game.
The pair of songs 'Not All Who Wander Are Lost' and 'Before The Hangman's Noose' were ear-splitting, mosh pitting metal at its best.
The vast majority of the audience were familiar with all the songs on show, and a charged cover version of Awolnation's 'Sail' brought the audience to a peak.
And then the groove kicked in...
'Clouds over California' was heavy, groove, melodic metal, with Kendrick and Spreitzer rolling the riffs around Fefara's insistent singing.
Closing with 'Ruthless' this was also a ruthless execution of metal at its best, the holy unity of band and audience merged together in a way that left all exhausted and all happy.
All three bands are examples that while pure aggression is at its heart, pure joy is the soul of metal; with all the darkness and all the supposed imagery it is a music form that has the potential, for at least a few short hours when performed live, to bring hearts and minds a thrill of freedom from the mediocrity that passes for culture in the 21st Century.
All photos courtesy of Marc Leach (Copyright Marc Leach Photography). Video of Sail courtesy of NI Rocks
There arefew finer examples of this as when Devildriver - with support from Bleed From Within and Sylosis - took the stage in Belfast's Limelight1, with a display of devastating heavy metal.
Bleed From Within suffered from the curse of the opening act, playing to a half-full venue, many of whom were there only for the top two acts. However, they were determined not to be daunted. Shaking off the supposed metalcore tag the Scottish band took to the stage with intent, and performed as if they were the headliners, maintaining musicianship and onstage banter to a high degree and earning new fans as a result.Sylosis are one of the bands that have been bubbling under for a while, with their own devoted audience ready to head straight to the pit. 'Fear the World' and 'Teras' were set highlights.
What they did prove is that they are to be escalated to a higher plain in the future - the standard of playing was at a particularly high level and the Middleton's lead sections were played with the ease of one who knows his musical reference points and is prepared to build upon them.
Despite only having just over half an hour on stage Sylosis have visibly grown up since the release of last year's Monolith, and even having a stand-in drummer didn't deter them.
Devildriver haven't been back to Belfast since 2006, when they headlined Rottfest. And, when they took to the Limelight1 stage it was a meeting of minds as if friends old and new were at a particularly chaotic family reunion...
No fancy fanfares, no melodramatic lengthy intro tapes, no fuss, no frills - by the time the opening chords of 'Head On To Heartache' reverberated throughout the venue there was only one focus, a metal band: nothing more, nothing less.
And, that is what undoubtedly all fans really want. Dez Fafara is the congenial frontman, like a tattooed ringleader, the mad uncle who gets the party started, and with a growl that terrifies the faint hearted.
Flanked by manic guitarists Jeff Kendrick and Mike Spreitzer, roaming Chris Towning on bass and anchored by John Boecklin on drums the five-piece delivered what can only be described as a well-rehearsed, well executed and powerful set; each member comfortable with their roles and each one determined to raise each other's game.
The pair of songs 'Not All Who Wander Are Lost' and 'Before The Hangman's Noose' were ear-splitting, mosh pitting metal at its best.
The vast majority of the audience were familiar with all the songs on show, and a charged cover version of Awolnation's 'Sail' brought the audience to a peak.
And then the groove kicked in...
'Clouds over California' was heavy, groove, melodic metal, with Kendrick and Spreitzer rolling the riffs around Fefara's insistent singing.
Closing with 'Ruthless' this was also a ruthless execution of metal at its best, the holy unity of band and audience merged together in a way that left all exhausted and all happy.
All three bands are examples that while pure aggression is at its heart, pure joy is the soul of metal; with all the darkness and all the supposed imagery it is a music form that has the potential, for at least a few short hours when performed live, to bring hearts and minds a thrill of freedom from the mediocrity that passes for culture in the 21st Century.
All photos courtesy of Marc Leach (Copyright Marc Leach Photography). Video of Sail courtesy of NI Rocks
Monday, April 07, 2014
Slough Feg - the mystery and the glory of American Celtic Rock
SLOUGH Feg, formerly known as The Lord Weird Slough Feg, are an enigma. After listening to their latest release on Metal Blade we weren't sure whether to send them Primordial, Darkest Era, Mael Mordha and Thin Lizzy albums, or forcibly take them away from Slough Feg.
The sheer concept of a metal band from USA playing Celtic tinged songs with dashes of New Wave of British Heavy Metal is on the surface too weird. But where previous releases have struggled, at times, to nail the balance in that sound, on the album Digital Resistance it comes together in way that plain and simply works.
Taking its cue from the unending and potentially degrading advance of technology this is an album that takes a listen or two to get the 'message' but its worth persisting with.
Lead song and title track 'Digital Resistance' kicks off with a weird groove and works out, and leaving aside the opener 'Analogue Avengers/Bertrand Russell's Sex Den' the rest of the album plays out as an intriguing romp through Celtic rock.
'Habaes Corpus' and 'Magical Hooligan' are a duo that sit perched as perfect pair of exemplars of why this album works so well. When the Celtic theme gives way to the straight forward dual guitar rock and metal.
However, there is a lyrical consistency on the album as singer and guitarist Mike Scalzi explains: "The more we indulge in technology and allow it to do everything for us, especially allowing it to think for us (as in the case of looking everything up on your phone or computer rather than trying to remember and retain information), the more physically and mentally "flabby" we become. So there is somewhat of an urgent message, or complaint about this increasingly human tendency."
Flabbiness is not something the band indulge in throughout this recording; it is tight and worth all efforts to really listen to it. The closing pair of songs, The Luddite and Warrior's Dusk are a massive testimony to the band's ability and their song writing.
Somehow what they do shouldn't work, but it always has done, and even more so on this release. The press release accompanying the album points to Grand Magus and Cirith Ungol as points of reference and we wouldn't disagree.
And to sit in such company as these bands is surely their well-earned dues. And, despite the need for expediency in naming a band, we vote they return to their name The Lord Weird Slough Feg, read some more graphic novels about the character SlaÃne (from 200AD...you might get that comic fans) and come over to Ireland north and sough and discover just how they can take the next step towards worldwide warp spasm...
And, if you're not up to speed with that story, suffice to say Slough Feg are worth the effort to listen to.
The sheer concept of a metal band from USA playing Celtic tinged songs with dashes of New Wave of British Heavy Metal is on the surface too weird. But where previous releases have struggled, at times, to nail the balance in that sound, on the album Digital Resistance it comes together in way that plain and simply works.
Taking its cue from the unending and potentially degrading advance of technology this is an album that takes a listen or two to get the 'message' but its worth persisting with.Lead song and title track 'Digital Resistance' kicks off with a weird groove and works out, and leaving aside the opener 'Analogue Avengers/Bertrand Russell's Sex Den' the rest of the album plays out as an intriguing romp through Celtic rock.
'Habaes Corpus' and 'Magical Hooligan' are a duo that sit perched as perfect pair of exemplars of why this album works so well. When the Celtic theme gives way to the straight forward dual guitar rock and metal.
However, there is a lyrical consistency on the album as singer and guitarist Mike Scalzi explains: "The more we indulge in technology and allow it to do everything for us, especially allowing it to think for us (as in the case of looking everything up on your phone or computer rather than trying to remember and retain information), the more physically and mentally "flabby" we become. So there is somewhat of an urgent message, or complaint about this increasingly human tendency."
Flabbiness is not something the band indulge in throughout this recording; it is tight and worth all efforts to really listen to it. The closing pair of songs, The Luddite and Warrior's Dusk are a massive testimony to the band's ability and their song writing.Somehow what they do shouldn't work, but it always has done, and even more so on this release. The press release accompanying the album points to Grand Magus and Cirith Ungol as points of reference and we wouldn't disagree.
And to sit in such company as these bands is surely their well-earned dues. And, despite the need for expediency in naming a band, we vote they return to their name The Lord Weird Slough Feg, read some more graphic novels about the character SlaÃne (from 200AD...you might get that comic fans) and come over to Ireland north and sough and discover just how they can take the next step towards worldwide warp spasm...
And, if you're not up to speed with that story, suffice to say Slough Feg are worth the effort to listen to.
Sunday, April 06, 2014
Fast, furious thrash-tastic evening with Sinocence, Bull Riff Stampede, Psykosis and Bakken
FOR a few short hours the Limelight2 in Belfast was turned into a mini-Bay Area bangers of thrash metal's heyday.
That thrash spirit was delivered by The Distortion Project in bucketloads with four bands delivering sets that could snap a neck.
Sinocence, Bull Riff Stampede, Psykosis and Bakken were on top form in front a diverse crowd ready to applaud, shout and generally get as much fun out of the night as the bands also had on stage.
From the off it was full-speed ahead with openers Bakken delivering a 'Deth inspired set of solos and riffs. Highlights included Mystic Moghul, Sasquatch and one of a duo of new tracks, Evil Walks This Way stood out as oozing potential for a forthcoming ep.
Throughout the set the pace was rampant and the attention solely focussed on a pounding momentum - highly enjoyable.
Enjoyment was the order of the day with Psykosis. Old school long shorts, high tops, mighty thrash and hyperactive bouncing from Tony on rhythm guitar, while Grant romped through neo-classical lead. Nailed down behind the pair were Shane's manic drumming and a rampaging bass from Jay.
Psykosis proved that solid musicianship and laughs need not be exclusive on stage; the ethos that means thrash is so enduring in the face of trends and PR efforts from labels seeking to promote the latest 'approved' scene.
Psykosis are a force for good, grabbing the audience by the balls and shaking them about...however, knob exposure is taking the line and stepping way, way over it.
Bull Riff Stampede - fresh to the audience - delivered sheer heavy thrash metal, pile-driving and - a word that is usually not bandied about outside the clichéd magazine writers - brutal.
The four-piece were focussed and forceful, drilling through a set based on their Scatter The Ground début and their recent Enraging the Beast -mighty and things that look simple are revealed as a deceptively complex arrangement heavy on the pace, heavy on delivery - we're certain they'll be welcomed back in heartbeat. Dave and Jay particularly accomplished front and centre.
Sinocence always deliver a consistent set, pure metal, pure thrash. Maybe it was the three previous acts, but Sins raised their game, pounding the audience into happy submission.
By the time that opener Coda on Self Slaughter blurred into the stand-out Long Way Down the subtleties of the composed set, balancing aggression on a tightrope of well arranged songs packed with thrash sensibilities and buckets of hooks.
Anto and Moro's guitar work inter-twined and wove patterns of power, while Jim and Davy kept the ball rolling - and rolling at times in wicked rhythms. Throwing in the cover version of Prong's Snap Your Fingers, Snap Your Neck kept variety going before the highlight of Occam's Razor.
Recent appearances at Hammerfest and rigorous gigging and rehearsals have benefitted Sinocence - roll on the next release.
Four bands, all four-pieces, all four a furious demonstration why whatever form thrash is delivered in, when it is delivered this well there is only one appropriate response - bang the heads, raise the horns, raise a beer and yell "hell yeah!"
That thrash spirit was delivered by The Distortion Project in bucketloads with four bands delivering sets that could snap a neck.
Sinocence, Bull Riff Stampede, Psykosis and Bakken were on top form in front a diverse crowd ready to applaud, shout and generally get as much fun out of the night as the bands also had on stage.
From the off it was full-speed ahead with openers Bakken delivering a 'Deth inspired set of solos and riffs. Highlights included Mystic Moghul, Sasquatch and one of a duo of new tracks, Evil Walks This Way stood out as oozing potential for a forthcoming ep.
Throughout the set the pace was rampant and the attention solely focussed on a pounding momentum - highly enjoyable.
Enjoyment was the order of the day with Psykosis. Old school long shorts, high tops, mighty thrash and hyperactive bouncing from Tony on rhythm guitar, while Grant romped through neo-classical lead. Nailed down behind the pair were Shane's manic drumming and a rampaging bass from Jay.
Psykosis proved that solid musicianship and laughs need not be exclusive on stage; the ethos that means thrash is so enduring in the face of trends and PR efforts from labels seeking to promote the latest 'approved' scene.
Psykosis are a force for good, grabbing the audience by the balls and shaking them about...however, knob exposure is taking the line and stepping way, way over it.
Bull Riff Stampede - fresh to the audience - delivered sheer heavy thrash metal, pile-driving and - a word that is usually not bandied about outside the clichéd magazine writers - brutal.
The four-piece were focussed and forceful, drilling through a set based on their Scatter The Ground début and their recent Enraging the Beast -mighty and things that look simple are revealed as a deceptively complex arrangement heavy on the pace, heavy on delivery - we're certain they'll be welcomed back in heartbeat. Dave and Jay particularly accomplished front and centre.
Sinocence always deliver a consistent set, pure metal, pure thrash. Maybe it was the three previous acts, but Sins raised their game, pounding the audience into happy submission.
By the time that opener Coda on Self Slaughter blurred into the stand-out Long Way Down the subtleties of the composed set, balancing aggression on a tightrope of well arranged songs packed with thrash sensibilities and buckets of hooks.
Anto and Moro's guitar work inter-twined and wove patterns of power, while Jim and Davy kept the ball rolling - and rolling at times in wicked rhythms. Throwing in the cover version of Prong's Snap Your Fingers, Snap Your Neck kept variety going before the highlight of Occam's Razor.
Recent appearances at Hammerfest and rigorous gigging and rehearsals have benefitted Sinocence - roll on the next release.
Four bands, all four-pieces, all four a furious demonstration why whatever form thrash is delivered in, when it is delivered this well there is only one appropriate response - bang the heads, raise the horns, raise a beer and yell "hell yeah!"
Thursday, April 03, 2014
Middle class, middle aged - and that was just the majority of the audience at Foreigner...
THERE was a time when the rock 'n' roll fraternity enjoyed the anarchy and the middle finger to the establishment and disdained the sit down concerts of their parents; when even the most moderate sounding rock bands enjoyed a swirling mass of swaying fans.
But when Foreigner played at Belfast's Waterfront Hall there were even people wearing their best glad rags and ladies of a certain age with Cashmere overcoats and the latest fashions...
All did not bode well...
Opening the night's proceedings were No Hot Ashes, and as home town heroes they surely deserved a better turn out, but the bar's attraction was obviously more of a draw for those who only knew the hits from the headliners.
Nevertheless the band's 80s songs from NHA still sounded fresh, and with Eamonn's easy banter greeting the personal shouts from those present, songs such as Diane and Summer Rain prompting sing-alongs from those who bothered to see this exciting reformation. Only a lack of a punchy sound detracted from the performance - no fault of the band.
FM are one of those bands who bubbled nicely in the 90s and then faded to the hard rock festival circuit. Kicking off with Tough Love and including songs such as Closer to Heaven and That Girl they produced a set that was mostly enjoyable, if at times insipid - perhaps they will see greater audience turn-out and warm the songs up as the tour progresses.
With the bar tannoy announcing three minutes to Foreigner's appearance drinks were quickly quaffed and the hall finally filled with its sell-out crowd.
A deceptively simple stage-set (take note Journey!) and a subtle and appropriate lightshow the band were quickly into gear, with Double Vision. It had all the hallmarks of a heritage show, a pension show for an act that were only there to pay some bills.
However, such fears were quickly dispelled when front man Kelly Hansen bounded off the stage, crawled along seat backs and reprimanded the person who had the temerity to use his phone when the band were playing.
It was at that crucial moment that momentum shifted: this was not a heritage show; it was a band that were onstage enjoying playing hits to an audience familiar with almost every song.
Those more familiar with the band's back catalogue rather than just the Top 10 hits were clearly pleased when Mick Jones - finally emerging on stage led the way to a stunning version of Star Rider. In the late 70s and 80s many a band wanted to produce Freebird Mk2, and while the structure of Star Rider is roughly the same, it was always a song that excelled as an art piece of rock performance. Even if half of the 'ladies' looked a bit bemused by the guitar solos it was a high point of the gig.
As many of the band are 'a little older' the keyboard solo and drum solo were an opportunity for a breather. While obviously competent and excellent players they were relatively pedestrian and left many heading for a smoke or bar break...
However, when the band kicked off the guitar anthem Juke Box Hero the pace was headlong to the conclusion. Juke Box Hero has always been the aspirational song for budding rock guitarists alongside Blue Oyster Cult's Marshall Plan.
With tweaks and extended sections the song rose above the excellent recorded version and Mick Jones was the epitome of the Juke Box Hero - a highpoint, a rousing song that shows off Foreigner at its best.
Closing the evening with the anthemic ballad I Want To Know What Love Is and a stomping version of Hot Blooded Foreigner proved they are no longer a spent force. New material from the band would have capped off a tremendous evening.
The average age of the audience may have been in the middle part of middle age, and many well into middle class. Is this a sign of people reliving their youth, prompted by easy listening Radio Two? Or is it a sign that with the right band there are many who yearn for that little bit of anarchy and sheer enjoyable release? We hope it is the latter and hope that if Foreigner return there will at least be a section for standing audience members who are still capable of bouncing up and down despite their ages.
Foreigner produced a fantastic performance of hard rock excellence. Take note younger acts!
But when Foreigner played at Belfast's Waterfront Hall there were even people wearing their best glad rags and ladies of a certain age with Cashmere overcoats and the latest fashions...
All did not bode well...
Opening the night's proceedings were No Hot Ashes, and as home town heroes they surely deserved a better turn out, but the bar's attraction was obviously more of a draw for those who only knew the hits from the headliners.
Nevertheless the band's 80s songs from NHA still sounded fresh, and with Eamonn's easy banter greeting the personal shouts from those present, songs such as Diane and Summer Rain prompting sing-alongs from those who bothered to see this exciting reformation. Only a lack of a punchy sound detracted from the performance - no fault of the band.
FM are one of those bands who bubbled nicely in the 90s and then faded to the hard rock festival circuit. Kicking off with Tough Love and including songs such as Closer to Heaven and That Girl they produced a set that was mostly enjoyable, if at times insipid - perhaps they will see greater audience turn-out and warm the songs up as the tour progresses.
With the bar tannoy announcing three minutes to Foreigner's appearance drinks were quickly quaffed and the hall finally filled with its sell-out crowd.
A deceptively simple stage-set (take note Journey!) and a subtle and appropriate lightshow the band were quickly into gear, with Double Vision. It had all the hallmarks of a heritage show, a pension show for an act that were only there to pay some bills.
However, such fears were quickly dispelled when front man Kelly Hansen bounded off the stage, crawled along seat backs and reprimanded the person who had the temerity to use his phone when the band were playing.
It was at that crucial moment that momentum shifted: this was not a heritage show; it was a band that were onstage enjoying playing hits to an audience familiar with almost every song.
Those more familiar with the band's back catalogue rather than just the Top 10 hits were clearly pleased when Mick Jones - finally emerging on stage led the way to a stunning version of Star Rider. In the late 70s and 80s many a band wanted to produce Freebird Mk2, and while the structure of Star Rider is roughly the same, it was always a song that excelled as an art piece of rock performance. Even if half of the 'ladies' looked a bit bemused by the guitar solos it was a high point of the gig.
As many of the band are 'a little older' the keyboard solo and drum solo were an opportunity for a breather. While obviously competent and excellent players they were relatively pedestrian and left many heading for a smoke or bar break...
However, when the band kicked off the guitar anthem Juke Box Hero the pace was headlong to the conclusion. Juke Box Hero has always been the aspirational song for budding rock guitarists alongside Blue Oyster Cult's Marshall Plan.
With tweaks and extended sections the song rose above the excellent recorded version and Mick Jones was the epitome of the Juke Box Hero - a highpoint, a rousing song that shows off Foreigner at its best.
Closing the evening with the anthemic ballad I Want To Know What Love Is and a stomping version of Hot Blooded Foreigner proved they are no longer a spent force. New material from the band would have capped off a tremendous evening.
The average age of the audience may have been in the middle part of middle age, and many well into middle class. Is this a sign of people reliving their youth, prompted by easy listening Radio Two? Or is it a sign that with the right band there are many who yearn for that little bit of anarchy and sheer enjoyable release? We hope it is the latter and hope that if Foreigner return there will at least be a section for standing audience members who are still capable of bouncing up and down despite their ages.
Foreigner produced a fantastic performance of hard rock excellence. Take note younger acts!
Wednesday, April 02, 2014
The mystery of the missing audience...yet Fuckhammer and Altus still deliver
THERE comes a time when as a journalist and reviewer you simply scratch your head and wonder what the hell it takes to get some people off their asses. At a sparsely populated Limelight2 on Saturday, March 22nd Fuckhammer and Altus still managed to deliver two intense sets of heavy metal...yet there were too few present.
True the full-on assault of Altus and the downright extreme delivery of Fuckhammer may not to be the taste of, for example, those that helped sell-out the Foreigner show, but there are more than a few who like their metal delivered full-on.
Despite the mystery of the missing audience the Distortion Project gig saw two performances that were enjoyable, in as far as giving your ears a kicking can be enjoyable; which in the right hands is a pleasurable experience.
Altus were concentrating on their recently released ep, (available here) and played what we saw as an intense set of metal. The last time we reviewed them we spoke about a band in transition. It seems that the transition is now complete. Particularly the more doom-laden tracks seem to be where the band are comfortable.
Fuckhammer are perhaps one of the enigmas of extreme metal - members play in other bands and range across the border. But they have their own identity and style.
Abortion Addict, Drone and Dead in the Gutter were stand out tracks in a tight set. And, the storming, full sprint of their cover version of Symptom of the Universe flayed body parts of those present.
Bagsie and Dave McCallum kept the momentum rolling along with a DJ set that was as varied as it was entertaining, something that would be a good addition to nights like these.
With so many gigs coming down the path it is perhaps understandable that some may be trying to ration their metal and rock, but the Distortion Project offers a £5 gig most Saturday's and bar staff are on hand to ensure you get your drink offers speedily down yer necks.
For those present on March 22nd, whether they were drinking or not it is fair to say that they were 'Hammered to Fuck' by two great acts.
Now, kiddies make sure you save up yer pennies for future gigs from local bands laid on by the likes of James Loveday and Derwin at the Diamond....and give them a hug for keeping the rock and metal scene alive.
True the full-on assault of Altus and the downright extreme delivery of Fuckhammer may not to be the taste of, for example, those that helped sell-out the Foreigner show, but there are more than a few who like their metal delivered full-on.
Despite the mystery of the missing audience the Distortion Project gig saw two performances that were enjoyable, in as far as giving your ears a kicking can be enjoyable; which in the right hands is a pleasurable experience.
Altus were concentrating on their recently released ep, (available here) and played what we saw as an intense set of metal. The last time we reviewed them we spoke about a band in transition. It seems that the transition is now complete. Particularly the more doom-laden tracks seem to be where the band are comfortable.
Fuckhammer are perhaps one of the enigmas of extreme metal - members play in other bands and range across the border. But they have their own identity and style.
Abortion Addict, Drone and Dead in the Gutter were stand out tracks in a tight set. And, the storming, full sprint of their cover version of Symptom of the Universe flayed body parts of those present.
Bagsie and Dave McCallum kept the momentum rolling along with a DJ set that was as varied as it was entertaining, something that would be a good addition to nights like these.
With so many gigs coming down the path it is perhaps understandable that some may be trying to ration their metal and rock, but the Distortion Project offers a £5 gig most Saturday's and bar staff are on hand to ensure you get your drink offers speedily down yer necks.
For those present on March 22nd, whether they were drinking or not it is fair to say that they were 'Hammered to Fuck' by two great acts.
Now, kiddies make sure you save up yer pennies for future gigs from local bands laid on by the likes of James Loveday and Derwin at the Diamond....and give them a hug for keeping the rock and metal scene alive.
Low down and lovely dirty hard rockin' from Bonafide at the Diamond
WHEN it comes to hard rock you have to put all into it to gain the maximum pleasure - and that applies to whether you're a member of a band, or a member of the audience. And, Bonafide brought it in abundance for a night of sheer hard rockin' pleasure on March 29th at the Diamond Rock Club.
The Swedish band were making a return visit to the Diamond in Ahoghill (Rock City) and they produced a relaxed performance that also managed to maintain maximum commitment to rock at its finest.
Opening for Bonafide were local act Tric, making a return to live performances after a year in hiatus.
Now a four-piece Tric laid down a solid set, with the emphasis on blues tinged hard rock. The influences of DC and even Quo on their songs were neither slavish nor where they simply going through a 12-bar homage. Tric were back to plant a flag for rock.
Bonafide are a mystery band. They should be much more widely known given their songwriting, live performances and set of excellent recorded material. However, most present on March 29th knew the songs well.
Opening with the storming Bombo, Pontus Snibb is an engaging front man, obviously comfortable as the focal point of the band, his vocals and guitar playing a masterclass for those who want to follow the rock path.
While Pontus was the focus it would be a mistake to ignore the tight-knit unit of Bonafide. Bassist Martin Ekelund is the joker in the pack, climbing around the side of the stage and egging the audience on during the likes of Peg Legged Pete.
Niklas Masston's drums stay consistent and add flurries that give the edge to Suburb Baby Blues, which is a tune the audience apparently relate to judging by the number of people singing along.
As aide de camp Mikael Fassberg's guitar playing fills out the sound with solid rhythm, and when the opportunity arises playing some tight and entertaining lead solos.
Bonafide wrapped up with a duo of songs that reflect their ethos and the ethos of fans who are prepared to travel to see low down and lovely dirty hard rockin'.
Fill Yer Head With Rock and Hard Livin' Man were perfect closers, with the band rising up to meet the audience's enthusiasm.
Well-rehearsed and confident on stage Bonafide played it hard and played it well at the Diamond Rock Club - a well spent Saturday night for all present.
The Swedish band were making a return visit to the Diamond in Ahoghill (Rock City) and they produced a relaxed performance that also managed to maintain maximum commitment to rock at its finest.
Opening for Bonafide were local act Tric, making a return to live performances after a year in hiatus.
Now a four-piece Tric laid down a solid set, with the emphasis on blues tinged hard rock. The influences of DC and even Quo on their songs were neither slavish nor where they simply going through a 12-bar homage. Tric were back to plant a flag for rock.
Bonafide are a mystery band. They should be much more widely known given their songwriting, live performances and set of excellent recorded material. However, most present on March 29th knew the songs well.
Opening with the storming Bombo, Pontus Snibb is an engaging front man, obviously comfortable as the focal point of the band, his vocals and guitar playing a masterclass for those who want to follow the rock path.
While Pontus was the focus it would be a mistake to ignore the tight-knit unit of Bonafide. Bassist Martin Ekelund is the joker in the pack, climbing around the side of the stage and egging the audience on during the likes of Peg Legged Pete.
Niklas Masston's drums stay consistent and add flurries that give the edge to Suburb Baby Blues, which is a tune the audience apparently relate to judging by the number of people singing along.
As aide de camp Mikael Fassberg's guitar playing fills out the sound with solid rhythm, and when the opportunity arises playing some tight and entertaining lead solos.
Bonafide wrapped up with a duo of songs that reflect their ethos and the ethos of fans who are prepared to travel to see low down and lovely dirty hard rockin'.
Fill Yer Head With Rock and Hard Livin' Man were perfect closers, with the band rising up to meet the audience's enthusiasm.
Well-rehearsed and confident on stage Bonafide played it hard and played it well at the Diamond Rock Club - a well spent Saturday night for all present.
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