ALBUM REVIEW: The Dark Element is a dark, but joyful collaboration

SOMETIMES you get collablorations, and sometimees...The Dark Element is a new musical collaboration featuring former Nightwish vocalist Anette Olzon and Finnish guitarist and composer Jani Liimatainen (Sonata Arctica, Cain’s Offering).

With Jani responsible for playing the guitars, keyboards and programming their self titled debut album (due for release 10/11/17) delivers what is essentially a traditional European female fronted symphonic, melodic power metal sound but with a nice mix of AOR and hard rock twists and grooves.

The addition of Jani’s former Cain’s Offering bandmates, Jonas Kuhlberg on bass and Jani “Hurtsi” Hurula on drums means the band are already a tight formidable unit and with four singles already released and Olzon sounding better than ever this release comes with a lot of anticipation and totally
delivered.

First single and opening track ‘Dark Element’ sets the mood with it’s deep keys and heavy drumming intro before the bass and guitar kick in. A mid tempo number with Olzon  showcasing her vocal range with consummate ease, it’s a cracking start to the album.

‘My Sweet Mystery’ has Nightwish written all over it in terms of tempo, guitar riffs and vocals. A solid symphonic rock track with Olzon singing in a lower register for effect and producing a vocal delivery which has a deep, rich tone to it. It also has a catchy sing-a-long chorus and a tasty solo from Jani.

‘Last Good Day’ has a slower rock groove tempo to it with a great riff throughout as well as a very tight rhythm section and an interesting twist in the vocal arrangement.

Track four ‘Here’s To You’ has a melodic instrumental intro that develops into a very catchy dramatic song that contrast the lyrics which are dark, moody and seem to have a personal feel to them.

By the time you have listened to the next four songs, ‘Someone You Used To Know’, ‘Dead To Me’, ‘Halo’ and ‘I Cannot Raise The Dead’ you begin to feel that lyrically you are being taken on a very dark and personal journey.

From the pain Olzon suggests on ‘Someone You used To Know’ to the fast paced power synths , tight rhythm section and superb riffs the songs are all wonderfully written and delivered.

The powerful background vocals on ‘Dead To Me’ add depth to the song and with the tempo and mood changes it’s a prime example of symphonic metal at its best and one of the strongest songs on the album. ‘Halo’ continues in the same vein while ‘I Cannot Raise The Dead’ is a more AOR orientated song with a great groove to it and another very nice, if a bit short, solo by Jani before the main riff kicks in again.

Track nine ‘The Ghost and the Reaper’ starts with a fast tempo mix of synth and guitar before developing into a steady mix of mid tempo symphonic metal and hard rock riffs driven along by the bass and drums. Olzon’s vocals again stand out and are complimented with some great harmonies.

‘Heaven of Your Heart’ is a ballad with soft vocals over a light piano, a beautiful delivery from Olzon telling the story of a modern day failed love affair with photographs being the only memory of what used to be.

The album finishes with ’Only One Who Knows Me’ a strong hard rock song with Olzon’s vocals to the fore which builds nicely into an AOR style number. There’s a strong bass line and complimentary drumming again before a subtle keyboard and orchestration section takes us back into the hard rock riff again. Lyrically this song is more hopeful and upbeat and ends with a faded out solo from Jani that could have gone on a bit longer.

Overall this is an excellent debut album and another great release from the Frontiers label. Well worth parting with a few of your hard earned shekles!

Hopefully this will get toured as it deserves to be heard live.

Review by Andy Gillen

ALBUM REVIEW: TEN score with dark Gothica for their 13th album

It’s hard to believe that British Melodic Hard Rock act TEN have been treading the boards for 22 years now.

Having gone through various line up changes through the years they are about to release their 13th studio album ‘Gothica’ on 7th July, and the third with current line up Gary Hughes (vocals, BGV, Guitar, bass and programming ), Dann Rosingana (Guitar), Steve Grocott (Guitar), John Halliwell (Guitar), Steve McKenna (Bass), Darrel Treece-Birch (Keyboards and a helluva name) and Max Yates (Drums) with additional vocals coming from Karen Fell.

Dennis Ward joins Hughes on the mixing and mastering duties with Hughes promising, as it’s their 13th album, something a bit more sinister than on their previous output whilst still holding true to the traditional traits of a TEN album.

He promises to embrace history, romance and erotic horror and in part has done this by using an original piece of artwork for the cover by Stan W. Decker which shows a beautiful enchantress reading incantations from a book whilst summoning shadowy characters from its pages mirroring what Hughes is trying to do with the characters on the albums’ songs. All very “Arty” but will listeners take this on board?

We don’t have to wait long as track one ‘The Grail’ is an eight minute opener based on King Arthur’s Crusaders quest to find the Holy Grail. With sweeping heavier guitar riffs , big hooks, monk like chanting on the choruses and Hughes story telling vocal delivery you are instantly transported back to that time. The stunning guitar work on this opener is a trait which runs throughout the album (hard not to think of Monty Python though if you’re a certain age though).

‘Jekyll and Hyde’ is a darker themed song but with quite a heavy riff throughout, a bit more up tempo and catchy sound to it with some nice guitar pieces it ends with a simple piano outro which is in stark contrast to the overall feel of the song. The guitar work is slightly reminiscent of Zakk Wylde’s playing during his time with Ozzy Osbourne..

Third song ‘Travellers’ starts with the chiming of a grandfather clock followed by a beautiful underlying keyboard intro which continues nicely in the background throughout the song and again has a great hard rock soaring guitar sound. Hughes’ vocal delivery is very poetic and the guitar solos majestic and melodic. Beautifully written piece of AOR.

‘A Man For All seasons’ is another piece of historical lyric writing. Starting with a medieval composition the guitars suddenly kick into action, with some great runs and fills throughout accompanied by equally accomplished keyboards and rhythmic rhythm section with the soloing again coming to the fore. This is a clever piece of writing about the Tudor ascension to the throne, the reformation of the Church and Henry VIII’s eventual mental deterioration. A piece of history all told in seven minutes!

Track five ‘In My Dreams’ is a more commercial, radio friendly song but with quite a heavy opening riff. A song about a shy, geeky young man’s fantasies of finding that perfect girl, his real life imperfections meaning they only meet in his dreams. A song a lot of angst ridden teenagers will relate to (and some older ones too). The solo is sublime to say the least.

‘The Wild King of Winter’ has a slow mournful start featuring keyboards and guitar  before a fast paced heavy riff, that goes on through the whole song, turns it into a really modern rock song with some nice Prog rock keyboards. Tortured lyrics about love are the theme and again the solos are fantastic, being heavy and melodic at the same time.

‘Paragon’ was the first release from the album and is a bit of a grower to be honest. A simple piano and keyboard opening and a nice guitar riff basically makes it a ballad with the subject matter about fantasies and eroticism as Hughes had promised. It’s not quite up to what came before it but the melodic guitar solos adds something to it which lifts it and stops it from becoming a bit of an album filler.

‘Welcome To The Freak Show’ continues the erotica theme and is dark, sexy and mature. Starting with a fairground music intro the guitar work soon lifts the song into a nice mid to up tempo number which includes Hughes’ description of a girl who sounds well worth meeting!

Penultimate track ‘La Luna Dra-Cu-La’ has a cracking opening riff with a strong Celtic feel to it. The drumming is excellent employing a bit of bodhram drum in parts. The lyrics are as dark as the title would suggest. It has a great rhythm to it with the Celtic feel taking full effect about three mins in sounding like Gary Moore in his prime. There is a great guitar battle solo and Hughes’ delivery is again spot on. This will more than likely become an album favourite.

Final song ‘Into Darkness’ starts with an old school cinema reel rolling before a nice keyboard and bass line kicks in. This is a slow melodic song to end the album with and there is yet another nice guitar solo in a song berating the movie industry (of old maybe) and how young starlets got swallowed up by an unforgiving industry. A great heavy riff is thrown in at the death for good measure.

Overall this is a wonderfully written, performed nad produced album. Poetic, intelligent and informational. A must have for all TEN fans.

Review by Andy Gillen

ALBUM REVIEW: Dead Daisies capture the energy on Live and Louder

THE problem reviewing live albums when you are “of a certain age” is the temptation to draw comparisons with the classics like UFO’s Strangers In The Night, MSG’s Live at Budokan and Iron Maiden's Live After Death.

A live album has to capture the energy of the crowd and transport you there to see the musicians sweat, smell the pyro and get the buzz you only get at live gigs. When you’ve been lucky enough to see the band playing on the tour during which the album was recorded you have a fair idea what to expect.

With the Dead Daisies you have charismatic front man John Corabi, you know, the guy who sang on Motley Crue’s ‘best’ album, steady and original member David Lowry on rhythm guitar, the powerhouse duo of Marco Mendoza (bass) and Brian Tichy (drums) and Dee Snyder’s mate Doug Aldrich on lead guitar, a player who just seems to get better and better, so you know that it’s going to rock and most of all.... be fun! Something that seems to have been replaced by the mundane reality of social media.

And 'Live and Louder' is a fun album.

‘Long Way To Go’ kicks off proceedings with a bang. Its AC/DC style riff and thunderous playing of Tichy and Mendoza gives the show a high energy start. Corabi is already in fine fettle on the mic and Aldrich’s fills and solo already drag you in to vibe.

Moving straight into ‘Mexico’, a mid tempo rocker that keeps the energy high with Corabi quickly getting the crowd involved. Clearly the band are a well oiled machine and Aldrich produces the first of many blistering solo’s.

Recorded in various European venues ‘Make Some Noise’ from Vienna really does. Starting with a bit of Shredding from Aldrich and Tichy pounding the skins as if his life depended on it the crowd are fully engaged. It has a great riff throughout and produces that fun and enjoyment mentioned earlier.

‘Song and a Prayer’ is a solid, steady rocker with a great mix of riffs, hooks, Aldrich fills with Mendoza and Tichy as solid as ever. Mix in Corabi’s vocals and quickly becomes a crowd favourite.

Dead Daises like to throw in a cover or two of songs that influenced them when they were growing up and the brilliant version of Creedance Clearwater Revivals ‘Fortunate Son’ is the first one they play. Corabi is on top form on vocals.

‘We All Fall Down’ follows and has all the hallmarks of a classic rock song. Good solid riff, rhythm section complimented by the rhythm guitar, obligatory subtle key change and Aldrich knocking another one out of the park!

So far all the songs are from their second and third albums, “Revolución” and “Make Some Noise” but their first self titled album gets a run out with ‘Lock ‘n ‘ Load’. It’s a slower tempo song with Aldrich taking over the role originally played by Slash which he does with aplomb. A much more melodic sound to this song that breaks the set up nicely.

That slower tempo continues with the start of ‘Something I Said’ with Corabi in his element with the background vocals complimenting perfectly. However it soon turns into a bit more of a rocker mid way through it though with a sublime solo from Aldrich.

‘The Last Time I Saw The Sun’ is a song about being on the road and has a great slide guitar intro from Aldrich before a full on up tempo rocker takes over. Tichy and Mendoza are tighter than an err, tight thing and there’s bit of cowbell (there’s no such thing as too much cowbell!) There’s no doubt Aldrich is enjoying playing in this band.

The Who’s ‘Join Together’ is next to get the cover treatment. With a voice box used to good effect to open and Corabi doing a great job on Daltry’s vocals which at their Belfast gig was a personal favourite of the Rock Radio N.I. legend that is Davy Warren! This is the song where Corabi whips the crowd up with Tichy keeping the beat going and Aldrich deploying the voice box again. You really get a feel for the atmosphere on this one.

‘With You and I’ follows with Corabi telling the now totally enthralled audience to pay special attention to the lyrics as there’s so much shit going on all over the world. There’s a great groove to this song with the band really laying it down.

Band introductions are next with wee snippets of AC/DC, Jimi Hendrix, Aerosmith and Judas Priest thrown in to keep the crowd fully involved!

‘Mainline’ is jokingly introduced as a ballad as it’s far from it and is the fastest and heaviest song in the set. With its slightly punky feel to it, it is pure raw energy from start to finish with a tip of the hat to Mendoza for a great bass line.

Three more cover songs follow starting with the Beatles song ‘Helter Skelter’ (originally on their Face I Love ep). Having been covered by bands like Motley Crue, Gillan, Aerosmith and Guns ‘n’ Roses this is probably one of the better versions, especially live!

This is followed up with an up tempo, hard hitting version of the Grand Funk Railroad song ‘American Band’ and the Dead Daisies do indeed “come to your town to help you party it down”

Amazingly we are at the final song and after a bit of banter with the crowd they unleash the full on riff attack that is ‘Midnight Moses’, originally by the Sensational Alex Harvey Band.  Driven by Mendoza and Tichy, a nice rhythm guitar line from Lowry and Corabi still singing at full throttle Aldrich lets rip again on the lead and it’s a great ending to the album.

If you saw them on their recent tour this will take you right back to that night as it’s total in your face Rock’n’Roll that few bands in this genre are capable of. If you missed them you NEED this album, actually you need it even if you were there!

Review by Andy Gillen

ALBUM REVIEW: Gotthard score a hit with album number 12 Silver

Swiss hard rock outfit Gotthard are set to release their 12th studio album today, Friday January 13^th and for fans of the band and hard rock it is highly recommended!

Formed in Lugano, Switzerland 25 years ago by singer Steve Lee and guitarist Leo Leoni the new album has been aptly named ‘Silver’.

It’s the third album with singer Nic Maeder at the helm and he has now firmly established himself in that role. Musically it has the harder rock sound as in ‘Bang!’ rather than some of their softer rock earlier albums but has more of a feel of seminal albums ‘Lip Service’ and ‘Domino Effect’.

Well known for their ballads Gotthard have actually released an album without one on it....sort of, but if you are expecting another ‘One Life, One Soul’ or ‘Heaven’” you won’t find it on ‘Silver’. A couple of songs almost fit the bill but what you actually get on this album is a masterpiece in straight forward hard rock with that distinctive catchy Gotthard sound, anthemic choruses with big hooks, excellent riffs and solos and a super tight rhythm section

Starting with ‘Silver River’ with a keyboard and harmony vocals intro it develops into a classic hard rock riff with a real groove to it. The solo is a sign of good things to come later.

‘Electrified’ continues with the up tempo groove attack and features a nice bass line from Marc. There’s a great hook on this fast paced song that briefly lets up before the solo which continues on for a time under the vocal.

Track 3, “Stay With Me’ is the first released single. With an acoustic start that hints at a ballad it soon builds into a melodic song with a nice mixture of soft and hard rock tempos. The vocal harmonies are spot on and it’s another song with a big hook questioning whether you should change who you are just to stay with someone, just to please them.

The catchy ‘Beautiful’ has a radio friendly mid tempo beat with great harmony vocals and just enough of a hard edge to it. It’s a song about escaping from the world with someone to make a better life together with the weight of the world lifted from your shoulders. The tempo and beat nicely conveys this feeling.

‘Everything Inside’ is a song of hope and freeing your mind without keeping things bottled up. It has a haunting opening but has a good solid rock riff to it that gives the song an upbeat feel to it. It also has a pretty good solo that fits the song nicely.

As for track 6, ‘Reason For This’ has a Heart style riff to start but develops into a mid tempo, straight forward rocker with a tight rhythm section and nice vocals from Nic. It’s a song about blame and has good harmony vocals to match.

‘Not Fooling Anyone’ has an acoustic start and screams Gotthard ballad. But, it’s not exactly that as it has an almost personal emotional depth to it that defies the normal love style ballad as it’s about having a cold heart which makes it acoustic angst and not quite the typical smushy ballad.

‘Miss Me’ is up next. With a slow groove to it it doesn’t quite build into the song it could’ve been as the lyrics have a lot of hurt and pain that a slightly harder edge from the middle section might’ve sold the songs meaning and feeling better. Doesn’t make it a bad song, in fact it’s good but just feels like something is missing…

Track 9 is the interestingly titled ‘Tequila Symphony No.5. We are now back to the hard rocking mode again (with a nice classical music touch) with a great riff and rhythm section. It’s another song about dealing with the darker side of the mind, finding yourself and needing someone to believe in you to do so. Possibly the best track on the album both lyrically and musically.

‘Why”’is another acoustic track mixed with a rock beat and has the now traditional Gotthard background vocals.

Track 11 “Only Love is Real” has a piano, vocal and orchestral intro that develops into quite a dramatic song both lyrically and musically. It has a great arrangement to it and the songs title basically gives the lyrical content away.

Penultimate song ‘My Oh My’ is right out of the ‘Domino Effect’ era with a heavy riff and probably Nic’s best vocal delivery. With some excellent guitar work it’s another song with a positive message. It competes with ‘Tequilla Sympony No 5 as possibly the best song on the album depending on your personal taste.

Final track “Blame on Me” is a fast paced rocker to finish the album off. With a bit of harmonica thrown in for good measure, it’s full of energy with a bit of a manic solo to it. A song many can relate to about going out for a pint (or in this case JD) which doesn’t quite end up like that!

Lyrically the album feels like an exercise in the duality of life and trying to keep the balance between good and bad. A crisp, clear production only enhances the musicianship of this band and the variety of songs they are capable of producing. With little bits of piano, harmonica and the good old Hammond organ thrown in for good measure this is an album that is highly recommended!

Review by Andy Gillen

Gotthard are :

Leo Leoni (guitar)

Freddy Scherer (guitar)

Marc Lynn (bass)

Hena Habegger (drums)

Nic Maeder (vocals)

ALBUM REVIEW: Gotthard re-release not one, not two, but four albums on two CDs

Swiss Hard Rock outfit Gotthard have a long and illustrious career behind them. The band were founded in 1992 by guitarist Leo Leoni and singer Steve Lee, who was sadly killed in a motorbike accident in 2010.

They have released 11 studio albums (nine with Lee) and are about to issue their 12th album, their third with new singer Nic Maeder, ‘Silver’, on January 13th.

Interestingly though record company Nuclear Blast have decided to re-release four albums from Gotthard's back catalogue two weeks later.

The albums are part of their classic album series and will come in the way of two CDs in a package. One will include ‘Need to Believe’ (the last with Lee) and Firebirth (the first with Maeder) the second will be ‘Lip Service’ and ‘Domino Effect’, which are possibly their finest two, ‘Domino’ in particular a fan favourite due to its darker lyrics.

Both packages include bonus tracks, ‘Need to Believe’ has the tracks ‘Ain’t Enough’ and ‘Speed of Light’ both of which are fast-paced rockers with harder lyrics and great guitar work by Leoni, while ‘Firebirth’ includes a mostly acoustic version of album opener Starlight which is almost Bluegrass in style and an instrumental version of The Beatles (or more accurately George Harrison) song ‘While My Guitar Gently Weeps’. This is an excellent version of a song that’s been done to death and Leoni’s solo out does Clapton’s version by a mile with a more modern twist to it.

‘Lip Service’ has no bonus tracks but ‘Domino Effect’ includes ‘Can’t Be The Real Thing’ and ‘ Superman’ (which was originally released on the Japanese version). Both songs are hard rocking tunes with catchy riffs in usual Gotthard style and the usual great vocals from Lee.

Releasing these specials only two weeks after their new album may well be a clever marketing ploy by Nuclear Blast but if you are a fan from way back then the only reason to buy them are for the bonus tracks which you probably have already.

However, if you are relatively new to the band then ‘Need to Believe and Firebirth gives you a good comparison between Lee and Maeder, who by the way does an excellent job of filling the huge shoes of Steve Lee, although maybe not quite on the ballads. The Lip Service / Domino Effect special is an absolute must buy if you are new to the band as it shows them at their very best.

Bottom line – most, if not all, Gotthard albums are worth having in your collection so whether you buy these specials will be a personal choice and will depend on what you already own but Nuclear Blast have picked 4 damn good albums for you to start with.

Roll on Jan 13th when “Silver” is released

Review by Andy Gillen

ALBUM REVIEW: DGM bring the Italian slant on prog metal

When you take a album review from a band you’ve never actually heard it pays to do a bit of research and surprisingly DGM, who are an Italian progressive metal band, have been knocking around for the guts of 20 years and in “The Passage” are releasing their 8th studio album.

The strange name derives from the initials of three of the original band members, none of whom are still in the band? Bypassing that like the Zika virus and noticing they have been likened to Symphony X ( toured with them, Russell Allen has guested on a previous album and guitarist Michael Romero plays on this) we dive in.

Opening with the 16 minute opus “The Secret”, split into two parts, the similarity hits you up the face. Not so much a copycat but their own twist to that sound.

A piano and keyboard intro blends into a mixture of crushing riffs, steady bass and drums sections but also staying quite melodic in places. The joint guitar/keyboard solo is a feature repeated throughout the album.

Part II of The Secret has a more melodic guitar sound but also has some very latter day Metallica riffs thrown in for good measure. The most noticeable thing is Marco Basile’s vocal delivery, not so much a full on screamer but with a lower tone that blends very well with the overall sound.

“Animal” is more melodic in nature but still powerful. A standard mid tempo song with some nice technical guitar playing from Simone Mularoni, who also delivers a pretty tasty solo. First time hearing this guy play and it’s well worth the wait!

“Ghosts of Insanity” features Tom England of Evergrey on shared vocals. With a fast paced riff and double kick drumming book ending this mostly mid tempo song it features a bit of techno keyboards and a funky bass line as well as some solid, chunky, chopped off riffs.

Next song, “The Fallen”, bursts out in a total frenzy of a riff before developing into a song with a fairly intense piece of drumming from Fabio Costantino. It still manages to keep its melodic feel and again the guitar and keyboard parts are technically very good, especially on the solo’s. Costantino probably needs an oxygen mask after playing this live.....

Title track “The Passage” again follows the meaty riffs/technical guitar and keyboard with a melodic undertone formula. It may sound a bit similar to previous songs but DGM have got this down to a fine art and it never feels old.

“Disguise” is the runt of the litter on this album. A piano and vocal ballad weighing in at 1min 57 secs it feels a bit lost. As a full length ballad or used as a quieter section in another song it would’ve worked much better which is a pity as it’s really well done.

The techno keyboard intro to “Portrait” may have you reaching for the skip button but hang on as it explodes into a thrashy riff, drums and bass combo before they drift back into the more melodic mid tempo middle section again, before finishing as it started.

Track nine “Daydreamer” starts with a fairly standard metal riff before a seriously funky bass and guitar line take over. There is a serious groove to this song which is a nice departure but it still maintains that alternating heavy and melodic rhythm.

“Dogma” features Michael Romero on guitar and is a full on assault on the eardrums. The added double kick drums and bass line means this song fairly gallops along with some excellent shredding in the string bending solo trade off between Romero and Mularoni.

Final song “In Sorrow” is a ballad with a mixture of acoustic guitar and keyboards. The intro sounds slightly reminiscent of ‘The Unforgiven’ and a sweet solo compliments the song nicely.

Overall this is a very good album for its genre and the band are clearly great musicians who have honed their craft over the years. Fans of Symphony X and maybe even Dream Theatre might just get a kick out of this.

Review by Andy Gillen

The band :-

Simone Mularoni – Guitars/keyboards

Marco Basile – vocals

Andrea Arcongeli -bass

Fabio Costantino – drums

Emanuele Casali - keyboard

ALBUM REVIEW: Jorn lands with classic covers album

NORWAY's own heavy metal Thor, Jorn Lande, returns with a new album of cover versions ranging from Kate Bush to Iron Maiden entitled 'Heavy Rock Radio'. But does the album deliver as much hammer as Thor’s hammer Mjölnir

Starting with Frida's (the dark haired one from Abba) 'I know There's Something Going On' didn't initially inspire much confidence but Christ does it rock! The structure of the song totally lends itself to the heavy metal treatment and witg heavy, filled in riffs and an excellent solo from Trond Holter - it's an encouraging start.

Messing with teenage wet dream Kate Bush's song 'Running Up That Hill' in principle shouldn't have worked but he bloody nails it. Loaded up with guitar, bass, drums and Jorn’s raspy vocals it's like a totally new song.

Foreigners 'Rev on The Red Line' still has that Foreigner feel to it but with a much heavier sound and the synths pushed firmly into the background.

So far, so good, but John Farnham's 'You’re The Voice' throws up the first issue. The arrangement is excellent and it really works with a heavy guitar influence but those guitars are used  to replace part of the vocals on the chorus and this lessens its impact. Thankfully this is put right in the second part of the song but it could've been so much better the whole way through as Jorn’s vocals are excellent. Didn't really need to turn the pages over....

The pop rock offering of Paul Stanleys 'Live to Win' is in much need of a boot up the arse and gets it here. Much heavier with a Scandanavian/ European vibe to it, this version is much better than the MTV-era influenced original

Okay, 'Don't Stop Believing' has been done to death.....but not like this! Leaving out the piano and focusing on guitar with the bass playing the lower tones the piano normally would play, Lande sticks rigidly to the songs structure but his raspy vocal delivery breathes new life into it.

'Killer Queen' is up next. There are some Queen songs that would be better suited to getting the heavy treatment (Don't stop Me Now springs to mind) but this one should probably have been left alone. It's not that its bad but as Jorn himself says on the liner notes:"I'll let the listener decide if the outcome was auccessful" This version could cause more social media chatter than the Brexit vote!

Covering the iconic Eagles tune 'Hotel California' may well be sacrosanct in some quarters but thankfully they did as its an absolute belter of a version. Staying close to the original and keeping it fairly simple there is a whole new dimension to this song. A much more menacing vocal delivery gives it depth and the guitar outro is just killer. Album highlight so far.

Anyone familiar with Lande’s back catelogue will know he's at his best when he takes on Ronnie James Dio and David Coverdale. His Dio cover album and the ‘Snakes' Once Bitten album are perfect examples. So, the fact that this version of 'Rainbow in the Dark' is superb is no surprise. It maintains all the elements of the Dio original but with a much heavier sound. The trick with singing an RJD song is to try and get his unique phrasing and pinched off vocals correct and Jorn manages to do this really well without sounding like a copycat. Great version of the song.

Surprisingly Iron Maiden get the full Jorn treatment with his offering of 'The Final Frontier'. Sans the snoozefest that is Satelitte 15 as an intro the song is tighter. Jorn does an excellent job on the vocal without ever trying to sound like Bruce. It probably misses the trademark Maiden three guitar sound but it's still an excellent version.

'Stormbringer' is song that sees Coverdale get, err, covered. It’s another outstanding version as Jorn is right in his comfort zone singing this stuff.

Album closer 'Die Young' is a great effort at a Dio-era Sabs song. There are no dramatic changes to the original just cleaner vocals and new, original and energetic guitar parts. A great way to finish the album off.

Overall this is good fun and a damn good listen. Personal choice will always dictate favourites but it's worth getting to discuss Killer Queen alone.

Review by Andy Gillen

ALBUM REVIEW: Primal Fear unleash classic metal glory on Rulebreaker

Two years after their acclaimed Delivering the Black album Primal Fear unleash 'Rulebreaker' on the unsuspecting - or could that be suspecting - masses.

Released through Frontiers and produced by bassist Mat Sinner and Jacob Hansen the line up now includes Francesco Jovino on drums (returning after 10 years with U.D.O) and Tom Nauman back as a full member.

Nauman gives the line-up a three guitar attack along with Alex Beyrodt and Magnus Karlsson (also on keyboards) and of course Ralf Scheepers on vocals.

Kicking off with the fast driving riff and squealing guitars on 'Angels of Mercy' the tone is well and truly set. Scheepers is in top form and this continues on 'The End is Near' with its driving bass and drums. The lyric 'Do you wanna die?' Is the first of many horns in the air, sing-a-long moments. There's a great Accept style riff to this tune and Scheepers holds nothing back!

'Bullets and Tears' is a full on Judas Priest homage with a very Iron Maiden sounding bridge. Classic 80's NWOBHM and a very nice harmony guitar solo thrown in for good measure.

'Rulebreaker' is the first song to slow the tempo down a bit but has a chugging riff, nice bass line and the harmony guitars again (something which is prevalent throughout the album) An anthemic tune, as is next track 'In Metal we Trust'. Pretty self explanitory what this is about but with a quicker tempo again reminiscent of the mighty Priest. With lyrics like "Raise your Fist" this is clearly aimed at the fans and teh live environment..

Now for something completely different...and a bit of a gamble. 'We Walk Without Fear' is 11 minutes long.

Starting out like a hybrid of a Sergio Leonne film score and Nightwish with its ticking watch, orchestral and choral arrangement the song explodes into a fast riff with double kick drums driving it on. The tempo alternates between fast and slow riffs throughout the song and has a lovely melodic guitar overlay. This gives the song an epic feel reminiscent of Avantasia with a brilliant dual guitar assualt on the solos. Ending like the final scene in 'The Good, The Bad and the Ugly' this is the standout track on the album and not a bit too long.

'At War With The World' brings the fast paced, melodic power metal riffage back to the fore and features another anthemic chorus.

In contrast to this 'The Devil in Me' has an early Dio style feel to it in the tempo, bass line and to a lesser extent the lyrics but also has that harmony guitar sound with a very catchy chorus.

'Constant Heart' has Scheepers at his screaming best on parts and is another fast paced tune. Jet fuel may not melt steel and guitar solos can't actually melt faces but if that were true the solos on this might stand a chance of doing so.

Penultimate song 'The Sky is Burning' is a classic metal ballad, switching between slow and mid tempo with a semi acoustic start and finish. The solo is right out of the 80's classic power ballads by bands such as the Scorpions and Sykes influenced Whitesnake.

'Raving Mad' is a fitting title for the final song which is fast with a chugging/ galloping riff which ends with solo's being traded seemingly for fun.

Primal Fear may not have re-invented the wheel here but are surely the standard bearers for classic metal and in 'Rulebreaker' they have produced their best album in years.

If you love Old Skool Heavy Metal that has you headbanging, air guitaring, foot tapping and/or screaming out the choruses with horns held high then this is the album for you.

Review by Andy Gillen

So that was 2015...my choices and I want your choices too

SITTING here, January 4th, reflecting on the year that was 2015, and before wrapping the 12 months up there are a few thank yous in order...

First to family - fuck I know it's a cliché but it's true. This site exists through a lot of things but contributors make it. Melanie Brehaut, Andy Gillen, Darren McVeigh, Andrew Pennington, take a bow.

Next my colleagues in music reporting, Mark Ashby, Carolyn Ashby, Brenda P McTaggart and all the lensmen and women. Camaraderie deserving in many mentions in dispatches.

James Loveday (The Distortion Project) and Derwin McFarland (Diamond Rock Club) and all the other promoters of rock and metal that deliver the noise for us all.

To Nigel, Davey and Phil at RockraadioNI cheers! To Rob, Jamie, Sion and Ritchie at Devils Gate Media - world domination awaits! To Dilly at Belfastunderground for letting me blast the net (now with Mark and Carolyn bringing more metal too!).



Matt - Gasoline Outlaws

To the bands - all in all thank you for the music, That is all. To the friends - Lizzie, Ruth, Ivor, Simon and many more for keeping it real and well for being friends.

Down to business. As editor of this site 2015 represented a watershed year for me. Instead of reviewing it I could write a thesis worthy of a masters degree based on the strength of the releases and live shows. (I could but I'll not...)

Here's where you come in. Below I'm posting my personal top three tracks and top three albums of 2015. Agree or disagree, they're personal choices. I want you to post in the comments box below your top track, top album and/or top show, with a sentence (just one, as to why).

Now my choices...
Top Track:

1. Stand As One - Gasoline Outlaws
2. Where Angels Fly - Trucker Diablo
3. In Kymatica - Sinocence

Why? I could and perhaps could have chosen more (Screaming Eagles eponymous song for one), but Stand As One's cry for peace was all the more poignant after standing at Hard Rock Hell and hearing the news of the Bataclan massacre. Matt's delivery and the song's structure edged it to the top for me.

Top Album:

1. The Defects - 45 Minutes
2. Rise Above the Noise - Trucker Diablo
3. Joint third: Screaming Eagles - Stand Up and Be Counted/ Gasoline Outlaws - No Rules, No Laws, No Regrets

Aidy - The Defects

Why? I cheated by having a joint third, but it's my site. The Defects selection may strike some as odd, as the album only scraped a release at the end of 2015 and has it's 'official launch' in 2016. However, it is a totally immersive selection of styles - rock, punk, pop punk, ska, dub step and reggae that it represents what is best about music, when it accepts no boundaries. [Full review coming shortly].

Now over to you...post your comments below, oh and there's a prize for what I think is the best post. [More than a pint, less than a Slipknot ticket].

ALBUM REVIEW: Def Leppard release Def Leppard...but is it any good?

SHEFFIELD'S finest return with their 11th studio album simply entitled Def Leppard. When asked about this the band said it was named that as it just sounds like Def Leppard and they didn't want to put too much weight on a title track and put all the weight on the band.

An interesting concept but does it actually SOUND like Def Leppard?

Well, yes, yes it does but with a few interesting twists on the norm.

Opening with the two tracks pre-released on youtube, 'Let's Go' and 'Dangerous' we instantly have that classic Lepp sound. Let's Go has a "Pour Some Sugar On Me" riff and is typically pop rock with the now traditional layered harmony vocals. The chorus is a bit annoying at first but does grow on you and there's a nice Brian May influenced solo.

'Dangerous' is an up tempo melodic rocker with a "Pyromania" era sound and a slightly punky riff to it. It also has a sweet, if too short, solo.

'Man Enough' is where the band changes direction. Opening with a funky bass line it struts along nicely and has a bluesy guitar riff. The song is very much Queen in its composition with "Another one bites the Dust" being the obvious comparison, hand claps and finger clicks included. A great song.

'We Belong' is a classic Def Leppard ballad that few do better. It features all members of the band sharing lead vocal duties and as Joe said, "The lines everyone sings are poignant to parts of their lives" A smooth love song featuring a nice clean solo which should get decent radio rotation.

'Invincible' is a typically British sounding mid tempo rock song. It has a great bass line to it complimented nicely by the drums, which on this album, seem to have a more traditional sound. The chorus has Joe sounding a bit like David Bowie in his early years.

The jazzy, up-tempo 'Sea of Love' is next. A lower range vocal suits the song and Joe perfectly on this. The song, apparently was due to be on Phil's Delta Deep album and you can see why by the bluesy feel and solo which has a bit of a Skynryd riff in it.

'Energised' will probably be seen as the weakest track on the album as its a bit techno sounding. It does have a catchy sing-a-long chorus to it so its not all bad.

Gears get crunched for 'All Time High', another up-tempo hard rocking tune with more of the usual stacked vocal harmonies. This song could almost be described as glam rock and is very enjoyable.

As quickly as the Lepps pushed up through the gears they slow back down again with the heavily Led Zeppelin influenced 'Battle of my Own'. An acoustic blues song featuring huskier vocals from Joe again and a killer electric solo ending.

'Broke 'N' Brokenhearted' is a catchy, guitar driven song with another punchy riff which has an almost punk vibe to it. One bound to get the foot tapping.

'Forever Young' starts with a disjointed guitar sound and is fast-paced with a good dual guitar sound to it. Def Leppard at full on rock speed is always a joy and this is no exception.

A second acoustic ballad is up next in the form of 'Last Dance' A classic Def Leppard love song in the same vein as "2 Steps" etc. Harmony vocals are to the fore on this one. Bound to get a slot in the live show.

'Wings of an Angel' may sound like it's another ballad but it is far from it! With huge riffs and great solo's in it this is a flat out rocker which should keep most fans happy although there is a strange vocal between the verse and chorus that doesn't quite feel right, but that's a minor gripe.

The final song on the album is The Beatles inspired 'Blind Faith'. Described by Viv as a psychodelic rock song its similar in style to 'Lucy' or 'Strawberry Fields' it has a nice clean guitar solo between verses and finishes with a full on hard rock riff. A completely different sound for the band and a song that should definitely grow on people.

So, Def Leppard 2015?

Released from record company demands and constrictions the boys have produced an album that is as impressive as it's diverse and it should appeal to a broad spectrum. Yes, the influences are obvious but you're supposed to listen to 'Man Enough' and go: "Hey! that sounds like Queen."

I may be only one set of ears but if you want old skool Lepps it's all there. If you are interested in hearing them venture into different musical genres then that's there too. This may be the freest album they have ever written and well worth the effort of a listen......Welcome to the Show!!

Review by Andy Gillen

Def Leppard appear at Belfast's SSE Arena on December 7th, with Whitesnake and Black Star Riders

NEWS: Six band Saturday with Sinocence; Vikings and metal; Bloodstock pre-party and FM lyric video

###News###

IT'S a six-band Saturday this weekend. Sinocence have the Belfast launch of their ep No God, No Masters Vol 2 (review here) at Limelight2 with colleagues in rock Gasoline Outlaws, Donum Dei, Maverick and Conjuring Fate.

Doors are at four pm with the action running through until 9pm.

Hardy rock fans will then (if they have not already) made their way to the Diamond Rock Club to see The Quireboys conclude their unplugged tour.

That's a damn busy Saturday of rock!

###News###

THE History Channel have just this week premiered Season Three of the most metal of programmes 'Vikings'.

With recruiting underway for extras in Dublin shortly (long hair and beards useful of course) there is a distinct metal connection with the programme.

Warduna's main man Einar 'Kvitrafn' Selvik has co-written the score and makes an acting appearance on the show.

For those who have not caught up with Warduna as yet, let's just say that after the release of 'Gap Var Ginnunga' they won the Golden God as Best Underground Metal Band in 2014...

###News###

HEADING to Bloodstock? It just might be worth your while being there on Thursday...

The Sophie Lancaster Stage will host a warm-up that will set the tone for a weekend of partying...

The bonkers Arnocorps will headline with their metal interpretations of one Mr Arnie Schwarzenegger oeuvre of action packed films.

The PR blurb has the band declaring: We're so pumped to be bringing our action adventure, audio assault to the ballsiest of all metal festivals."

Opening the fest will be Reign of Fury, followed by Metaprism and Welsh death metallers Desecration.

And, if you really aren't sure that the party is getting underway then pirate metal act Red Rum will be bringing their rum-infused rabble rousing set to Bloodstock. They were magnificent at HRH United on the Hammerfest stage. Check out 'Make Port, Drink Port' on https://youtube.be/qHjPp7EK2nU.

###News###

CONSTANT readers will remember Andy Gillen's review of FM's new album 'Heroes and Villains'

The AOR band has now released a lyric video for 'Life Is A Highway'. Along with 'Digging Up The Dirt' - the first video/single from the it is available now as an Instant Gratification track on iTunes with album pre-orders at http://radi.al/FMHandViTunes.

FM axeman Jim Kirkpatrick said: "Life Is A Highway is one of the band's favourite songs from 'Heroes and Villains'.

 

"Steve Overland brought the original idea to rehearsal and then the rest of the band all chipped in to created this melodic rocker".

 

'Heroes and Villains' is the band's first release on Frontiers Srl and you can watch Life Is A Highway below...

 

 

###ENDS###