LIVE REVIEW: Black Peaks batter Limelight with outtanding set

It was  a mosthtastric night when Black Peaks arrived in Belfast as part of a triple header in Belfast's Limelight on Saturday, January 28th.

An impressive under card of Making Monsters  and Employed to Serve certainly set the scene, collectively, all of the artists on the night delivered killer rifts, dark/grunge rock lyrics and head banging/ blistering vocal talent.

Making Monster's were the first to the stage and within minutes this Derry/Londonderry four piece had the crowd eating out of the palm of their hands.

Front woman Emma's voice can only be referred to as hHuge' and Emma demonstrated suitable sass/remarkable stage presence that merit the comparisons with Panamore's Hayley Williams.
This four piece has incredible genuine chemistry and showcased amazing original tracks from their debut EP 'Bad blood'.  'Bros', which Emma describes as a personal affirmation regarding female empowerment inspired by the women in her life.

They are quickly amassing an impressive online following/ critical acclaim from the likes of BBC radio 1's Phil Taggart and Kerrang's Alex Baker. These guys are one to watch, although I do believe they have more of a commercial sound that slightly went against he grain/ tone of the evening.

Next up was Employed To Serve definitely smashed it, rolling hits from their debut album "Greyer than You Remember", a cracking cover of Memphis Will Be Laid To Rest, as well as debuting tracks from their second album, which is currently in development with Holy Roar Records.

This six piece's sound has been described as post-hardcore” which best describes their angular, twisted take on familiar hardcore trope matched by grind influences. It' safe to see how this group have progressed from a simple two piece with the sole intention to see what happens, Employed To Serve have continued to tour extensively across the UK/ Europe in their own right and as supporting artists from their London base since their first EP release in 2015.

When headliners Black Peaks took to the stage, there was an immediate shift in the atmosphere, the energy and progressive rock sound whipped their fans into a head banging/moshing frency.
Blazing through a collection of rock tracks including Glass Built Castles, Set in Stone, Drones from their most recent Album Sautes.

Black Peaks provide an amazing masterclass in stage craft combined with outstanding musicianship that demonstrates their continued progression from their initial/self released EP Closer To the Sun under the then band title Shine to there previously mentioned crrent Sony Music Release Statues.

Their rise to the top of the Progressive Rock scene has been stratospheric, helped in part by the success of the track "Glass Built Castles" was added to the Guitar  Hero Live's GHTV service in February 2016 and on the evidence of tonight's show that rise will continue.

Review by Emmet Dillon
Photographs by Darren McVeigh

NEWS: Ramblin Man Fair adds extra date and more bands

THE massively enjoyable and relaxed Ramblin Man Fair, in Maidstone, Kent, has added an extra date to their weekend of celebration of all shades of rock, and yet more bands.

As well as the Saturday and Sunday, July 29th and 30th the weekend of fun will now kick off on the Friday.

Headliners on the 28th will be Saxon, with Last In Line and the Graham Bonnet Band with further guest acts to be announced.

Biff of Saxon had this to say about making a return to Ramblin Man:

“After a great time at the first Ramblin’ Man Fair we are very happy to be asked back to headline the inaugural Friday night this year. With all the hits and more coming your way … get out your denim and leather, it's going to be special”

Already announced are ZZ Top and Extreme as headliners on the Saturday and Sunday respectively.

Here's a list of the bands announced so far...

Friday 28th July

Main Stage Saxon (Headliner)
Last in Line
Graham Bonnet Band
*Plus Guest Act to be Announced*

Saturday 29th / Sunday 30th July

Main Stage ZZ Top (UK Festival exclusive)
Extreme (UK Festival exclusive)
Dokken (UK Exclusive)
Blues Pills
Monster Truck
British Lion
Jared James Nichols
Colour Of Noise

Prog in the Park Stage Kansas (Headliner)
Magnum
Focus
I Am The Morning
The Gift

Blues Stage Joanne Shaw Taylor (Headliner)
The Quireboys (Blues set)
Big Boy Bloater

Outlaw Country Stage The Kenny Wayne Shepherd Band (Headliner)
Dan Baird & Homemade Sin
Ghoultown
Whiskey Dick
Jessica Lynn

Grooverider Stage Rival Sons (Headliner)
Vintage Caravan
The Picture Books
Dirty Thrills

Editor and owner of this site, Jonathan Traynor, had this to say about Ramblin Man: "We have had a team out at Ramblin Man for the past two years, and it is one of the most relaxed, chilled out celebrations of rock and blues out there. A wide variety of styles and types of bands -  you'll see old favourites, discover new acts and toast them all with a fine selection of beer!

Weekend tickets cost £150 (subject to booking fee)

Diamond virgins assemble - time to pop your Diamond Rockl Club cherry and come along to Ahoghill...

RIGHT you lot! Pay attention! Sit up straight and get your notebooks out. This site is called BELFASTmetalheadsreunited, but we're not parachoial, not restricted to the 'Big Smoke'.

We venture forth beyond the limits, locally, nationally and internationally. However, something troubling has been brought to our attention...there are some of you reading this who have never been to the Diamond Rock Club, Ahoghill. Shame on you!

Yes, we know it is troubling to venture outside the safe zone of Belfast, or wherever you regard as your home turf, but should you decide to venture forth you can be safely escorted from your urban idyll via a 'beer bus', which will also return you from the wilds. No passport is required.

Should you do so, there is a feast of rock and metal on offer. For example, this weekend Stormzone and Triggerman will play the Diamond Rock Club, and amongst the acts in coming weeks and months you can catch Blaze Bayley, The Quireboys and many more.

For those yet to experience the Diamond vibe, let's just say that you missed Trucker Diablo and Hell's Addiction oversee a sensational Christmas party, and The Diamond All-Stars (Cormac, Seamy, Pat, Davey, Keith) entertain all with a set of all our favourites.

Below is a selection of some images from those shows...and now Diamond virgins, it's time to to pop your cherry, board the beer bus and come along!
(Pictures by Lizzie Torbitt)

NEWS: Clutch set date for Belfast return

IF you haven't heard it yet, Clutch will play a headline Belfast show at The Limelight 1 on Wednesday 14th June, 2017.

Formed in 1991, the Maryland-based band's ability to absorb different musical styles and fabricate them into a distinct Clutch sound continues to be their forté.

“A Quick Death In Texas,” overstocked with signature “Clutch heavy” Tim Sult riffs and lonesome guitar licks, and the funk undercurrent of “Your Love Is Incarceration,” colour 'Psychic Warfare' with articulate musicality and comfortable familiarity.

It's the parabolic motion of projectiles. Or, as Isaac Newton stated, what goes up must come down — that is, everything except Clutch.

Earth Rocker created an insurmountable peak. But Psychic Warfare has altered laws of physics by elevating the smart songwriting and impressive performances of that last album, setting an even higher benchmark as their now-definitive album to date.

The eleventh Clutch studio album 'Psychic Warfare' goes straight for the throat with “X- Ray Visions” and never lets go. Working again with acclaimed producer Machine, this time in Texas, the concise arrangements that made Earth Rocker so assertive is the same harness for the combustible musical energy on Psychic Warfare. Harder, faster... let the rhythm hit 'em.

The overall intensity of Psychic Warfare would be self-consuming without the pressure valve of a canny rhythm section. Drummer Jean-Paul Gaster and bassist Dan Maines have an intuitive sense of dynamics that gives weight and contrast to the forcefulness of the vocals, steering Clutch into the straightaway out of tight, exhilarating corners.

“I listened closely to the rhythm of Neil’s vocals this time around.” Gaster explains. “The rhythms he sings, are very syncopated. It was my goal to articulate these rhythms on the drums while keeping the pulse of the music strong.”

Psychic Warfare is cinematic, a soundtrack to the plot of singer Neil Fallon's imagination. The narrative of “The Affidavit” sets the scene for an album of gunslingers, energy weapons, paranoid neurosis, and the occasional three-legged mule. It's an episodic lyrical landscape populated by abstract characterization, nuance, and clever peculiarity.

“I spent a lot of time doting over the lyrics,” Fallon says. “It was fun because I have a great luxury that I'm a professional  liar — that's what a storyteller is. Or at least that’s what I try to be. It's the one socially acceptable way to completely deceive people, and that's what they want. If you sing it with enough conviction, people won't question it. I just love that escapism, the fantasy aspect of it. And fantasy doesn’t necessarily equate to dragons and wizards. It can be seedy hotel rooms and sketchy hitchhikers.”

Gaster says the band knowing Earth Rocker was such a high water mark put them in a position of needing to follow up with an exceptional album. “Looking back on the process, one thing that sticks out in my mind is the amount of rehearsal the band put in. We started each pre-production day by writing out a new album sequence and then playing that sequence straight thru as if it were a set list. I think this allowed us to get inside the songs in a way we had not done before. When it came time to record drum tracks, I had a clear idea of how I wanted to play each song.”

In the past, Clutch consciously made each album conspicuously different from the last one. “We had a sadistic fear of repeating ourselves,” Fallon admits. “But over the last few years, we've realized our strengths and what it is that people like about us. Why deny it? Clutch is Clutch, embrace what you are.”

Tickets, priced at £20(+booking fee) go on sale Wednesday Feb 01st 2017 @ 10am from www.limelightbelfast.com,www.ticketmaster.ie, Katy's Bar & Ticketmaster outlets nationwide.

ALBUM REVIEW: Maturity achieved by Black Star Riders on release number three, Heavy Fire

THE third album for newish acts is when the heady air of being in a new band has faded and its time to see whether you've gotten over the 'difficult' second album. But what about if you are an experienced group of musos, with a lengthy track record. What does LP #3 mean then?

With a festival tour under the banner of Thin Lizzy last year album number three couldn't have come soon enough for Black Star Riders as an entity in its own right, and 'Heavy Fire' is the release them from the shadows of Lizzy, The Almighty et al.

There is still a vague hint of Lizzy's legacy in places here, but this - as great as 'All Hell Breaks Loose' and 'The Killer Instinct were - is when any tags, any wondering at the band's longevity can be cast aside and Black Star Riders mount their steeds and the hoof beats thunder.

In songwriting terms this a complete set of 10-songs that are true and walk through your speakers with a confidence, and a sure swagger that establishes itself from the off with the title track 'Heavy Fire', which with its slowed down mid-section takes a listen or two before it clicks.

'When The Night Comes In' is perhaps the track with the most similarity to Lizzy, but the rest of the album is BSR through and through. Any shackles that may have held them back in other people's perception are thorn off and this is a band that kicks you firmly in the aural tract.

Scott Gorham adds the licks and Damon Johnson and Ricky Warwick serious amount of riffage. One senses that after Warwick and Johnson toured with a couple of acoustics and Warwick played on hi Fighting Hearts tour there were a collection of songs to bring to the collective BSR stable for completion. Something Warwick seems to confirm in the blurb accompanying the album.

“I had the album title almost a year before we started recording,” he aid, “and it refers to the fact that there’s so much going on in the world right now, and we’re bombarded constantly with information and technology designed to make our lives better and easier, but yet we don’t really have a clue where we’re going as a species. It’s kinda asking about how we deal with all that, how we negotiate our own paths in these sometimes dark and dangerous times.”

However they arrived at the songs they surge from your speakers. There are huge choruses, interesting arrangements and a wee surprise in the shape of the wonderfully balanced, laid back 'Cold War Love'.

Warwick's gift of the gab in weaving tales is on display, whether they are deceptive tracks about romance and lust ('Dancing With The Wrong Girl'), disgust at the lack of gun control in the USA ('Who Rides The Tiger') or warning relatives about their path ('Ticket To Rise) the storytelling matches each musical arrangement.

What makes this the band's strongest outing is the breathing space within each track. When  producer Nick Raskulinecz sat the band down in the studio in Franklin, Tennessee his ear and the band's collective experiene melded, with Robbie Crane and Jimmy DeGrasso making sure that the rhythm section doesn't allow itself to run away no matter how fasrt-paced the tracks.

When the album closes with the up-tempo 'Letting Go Of Me' such is the strength of the 10-tracks that clicking 'repeat' comes naturally.

Black Star Riders have produced a superb album, but as Johnson says it will be the fans who will decide if it matches their previous outings.#

“I think it’s the most solid piece of work that we’ve done,” he said. “Do we have songs on this album better than 'Blindsided', better than 'The Killer Instinct', better than 'Finest Hour'? I think so, but beyond that I think that our audience is going to recognise this as a complete work from top to bottom. We’ve grown as songwriters, we’ve grown as musicians, and I think you can hear that in the record we’ve made.”

That growth is apparent, mature measured and ready to take on the rock world. And, with an increasing collection of Black Star Rider's songs perhaps live there won't be such a reliance on Thin Lizzy tracks...

Review by Jonathan Traynor

Heavy Fire is out Nuclear Blast on February 7th

LIVE REVIEW: A day of triumphs for many reasons - Cursed Sun, Rival Sons, Neamhni, Drakonis and Scimitar

SUCCESS and triumph comes in many shapes and forms in hard rock and metal - be it the size of the crowd, releasing recorded material, or simply mounting the stage.

In an evening of contrasts the, at times, inevitable clash of bands was once again at the fore as the Cursed Sun official launch of 'The Amygdala' EP in Limelight2 was almost in direct opposition to Rival Sons first appearance on Saturday, January 21st.

Thus, two different sets of audiences assembled, with only limited commonality, but with a similar alienation from the mainstream of what passes for popular music and culture: proponents of that would gather in the same venues later when the rockers and metalheads dissipated into the Belfast night.

Whether any of those who packed out Limelight1 for Rival Sons would have under other circumstances have been to The Distortion Project show is debatable - maybe another five or six.

As it was a healthy number for early Saturday evening were there when the double black metal introductory acts for the night were on stage.

Neamhni's stuttering start a few months back has solidified and tightened with the work of Martin and Gilliland much more in synch. Rosso is a commanding presence, if at times needing to develop some more stagecraft than just headbanging.

With just a few loose ends to knock off Neamhni's bleak visions are becoming more and more solidified.

Alike in genre only, Drakonis come replete, like Neamhni, in corpse paint. They also adorn the LL2 stage with various mic stands of demonic imagery. But that doesn't detract from these Lisburn blackened metallers.

With their EP 'As They Rot' as a firm foundation there is a solid set of songs that have been allowed to evolve in the live environment with Cass as commanding as ever centre stage. McMichael and Hewitt have a telepathic understanding of when to hit off each other's lead work and with new releases being planned their growth is assured.

Thrash metal to the fore, blades held high (not literally this time!) Scimitar bang out a range of songs that are familiar but also delving back to their earlier material. Jonny's glint in the eye delivery has the thrash tropes down to a 't' in the same way that Chris and Ryan have the rhythm section nailed down.

Allowing Jonny free reign for ever more explosive solo runs the structures of each Scimitar track remains solid, with just enough fluidity to avoid rigidity.

Cursed Sun have always taken the traditional metal, thrash and contemporary edges of metal and melded them into a full-on assault that live combines with the charisma of Mr Cassidy to bring already excellent music to a vibrant pulsation of all that is good about metal.

But, with the Sun clashing with the start of Rival Sons the shuffling between venues began - take in the first couple of Cursed Sun, nip into Limelight11 for a few Rival Sons, then back to LL2 to catch another couple of Cursed Sun.

As was expected the metal might of Cursed Sun was in full flow, with seemingly renewed depth and confidence from the release of the impressive 'The Amygdala'. Whether the release has given them renewed vigour, or just that there is a real coherence to the sound is a moot point; from a sampling of their show further attention will come their way.

The contrast in audience sizes was immediate upon going into Limelight1. Rival Sons had the place packed and pulsating. There was even more present than when Meshuggah had the venue rammed the previous Tuesday.

There was an almost religious devotion to the crowd's response by the time the first few songs had been hammered out, something the band seemed knocked out by, especially at the end of 'Torture' when the audience kept on with the refrain long after the band were about to end the song.

Jay Buchanan seemed almost overwhelmed by the response, as the rest of the band had grins almost as wide as the stage.

Fresh from a night supporting Sabbath this felt as much like an impromptu jam as it did a headlining show. The band took on the challenge of the set as if it was just another night in Long Beach, but one doubts if they have ever had such a warm response in California.

While the momentum had been building throughout the set, by the time 'Belle Star' was aired there was a palpable sense of occasion building, which continued throughout, and by the time they closed with 'Hollow Bones pt2' and 'Keep on Swinging' they had accomplished what they had set out to do: warn up the full set for their headlining shows across Europe and have a good time while at it.

On such an evening of musical contrasts it is hard to draw any real conclusions. All five bands have tremendous sets of songs, albeit across a range of genres, and all have talented musicians.

The main difference, of course, is that Rival Sons have label backing and PR support that draws airplay and sales. However, there is one nagging thought. If the fans of metal who can ram venues for the likes of Meshuggah remain largely absent for the likes of the DP shows. Rightly many will not be able to travel, and are maybe only fans of some types, but if even a few per cent more would part with a fiver, then the opportunity to grow would be afforded to bands, along with those in attendance having something to do on a Saturday other than watch TV and play old songs again. Okay, that is something of a controversial thing to note after such a good evening of rock and metal, but...ponder on that and wonder "what if..." should you ever want to step out of a weekend evening and have some fun without expectations.

Review by Jonathan Traynor
Pictures by Darren McVeigh

NEWS: Katatonia set May date for Belfast on Fallen Hearts tour

SWEDISH metal crew Katatonia are set to play Belfast on Saturday, May 13th, the latest Scando rockers to besiege the island -  a siege we, unlike the ninth century, welcome with our own horns raised high.

Almost 26 years since it began as a studio project Katatonia has emerged through various iterations, melding death, doom, to straightforward metal - and now they will bring their 'Fallen Hearts' tour to Limelight2.

With original members Jonas and Anders still very much at the creative helm expect a show delving back to their formative sounds right up to the modern dark rock.

Tickets, priced £22.50 (+bking fee) will be on sale this Friday from 10am. Let the melancholia commence!

LIVE REVIEW: Mesuggah and The Haunted are the heroes of dark metal delight in Belfast

NEVER mind djaent or melodic death or whatever - when Meshuggah and The Haunted played Belfast it was simply about the metal - and what a night off metal it was for aficionados: power, precision and dark entertainment.

This was an exemplary showcase of Swedish metal might presented by The Distortion Project that packed out the Limelight and left those emerging into the January night (Tuesday 17th) with a sense of having borne witness to something special.

The Haunted were making a long overdue return to Belfast and vocalist Marco Aro was immediately urging the gradually filling venue to come forward.

Despite a restricted stage space they were clearly enjoying the opportunity on stage with Ola Englund's lead work impressive to the foil of Jonas Björler (bass) and Patrick Jensen's rhythm guitar, while Adrian Erlandsson was impressive behind the kit, despite the occasional teasing from Marco.

'The Guilt Trip' and 'Bury Your Dead' were highlights of a tight set, but it was 'Hate Song' that drew the most acclaim at the end of the set. The Haunted have presence and a perception that they are there both to entertain and enjoy themselves while on stage.

Preparations for Meshuggah's début Belfast show held much promise for the show, and within moments of the band appearing it was clear that this was a special presentation with a, literally at times, startling light show.

As part of the tour backing 'Violent Sleep of Reason' this was a set that you would expect from such extreme musicians as Meshuggah - little banter, band members shadows for large segments outside the first few rows and a level of technicality few can match or dare to try.

Jens Kidman was almost a dark shade of intensity as they kicked into high gear from the off with 'Clockworks' and an unwritten assurance that this was to be a special night of metal terror.

Meshuggah can never be accused of being accessible, but for those in 'the know' the familiarity of the tracks was only matched by the expected excellence of Frederick Thorendal, Tomas Haake, Mårten Hagström and Dick Lövgren.

To describe the set as tight is an under-estimate of what was laid out before the audience. 'Perpetual Black Second' or 'Nosrtum' could be picked out among any of the tracks.

The sweeping beams of lights from the bottom of the stage, the occasional spotlighted band member, the backdrop and Tomas' impressive kit were an invitation to an immersive experience, where the extremities of human existence were thrust forward to contemplate, while screaming in adulation.

The closing duo of 'Dancers To A Discordant System' and 'Bleed' rounded off an evening that showed that metal, no matter what other term you wish to affix to it, has a power that reaches the inner, elemental core of meaning and also leave you delighted and exhausted.

Review by Jonathan Traynor
Photographs by Darren McVeigh of MetalplanetBelfast

ALBUM REVIEW: John Garcia Chills Out With His Second Solo Outing, 'The Coyote Who Spoke In Tongues'

THREE years after his eponymous solo album, John Garcia (ex -Kyuss, Slo Burn, Unida) returns with a very different beast, offering chilled out renditions of some well known classics as well as John Garcia’s solo work.

More acoustic and melodic than his previous album, this new release by John Garcia demonstrates a maturity in his vocals, although he still has a slight tendency to drift off key.

However, this is a very small criticism of a superb record. Not afraid to play with unexpected tempo changes, ‘The Coyote Who Spoke In Tongues’ is a very immediate album. No third or fourth listen is required before this becomes a favourite.The album kicks off at a pulsing pace with ‘Kylie’. With a memorable chorus, it’s a song that feels like an immediate classic. When you think you have it sussed, it puts on the brakes for a beautiful middle section.

 While less confident artists tend to front load their albums with the big, energetic numbers, John Garcia is so assured in the strength of his music that he is happy to take the foot off the gas on the second track ‘Green Machine’. It works and helps maintain the mood for the rest of the album. ‘Green Machine’ conjures up images of tumbleweeds and high noon stand-offs. It wouldn’t feel out of place on an album by those other storytellers, ‘Protomen’

‘Give me 250ML’ continues the loose, acoustic feel of the album. This track feels like John is playing to no one in a dressing room before hitting the stage. A simple but effective track.

Beginning with a catchy acoustic riff ‘The Hollingsworth Session’ continues the more relaxed approach that is unfolding with every song on this new Garcia recording.

A song that would sit comfortably on any 70s record, ‘Space Cadet’, unlike it’s title, feels very grounded. A perfect song for cracking open a few beers around a campfire

‘Gardenia’ has shades of ‘Zombie Eaters’ by Faith No More before it moves into a southern bluegrass final minute.

Unlike the other tracks on the album, ‘El Rodeo’ has an almost sinister opening. This song would fit perfectly on the soundtrack for the next season of ‘Westworld’. It is one of the more complex pieces on the record. However, it’s in this song that John’s vocal abilities seemed to be stretched too far, especially in the last section.

‘Argleben II’ begins gently and soon moves into one of the more memorable guitar riffs on the album. Like the rest of the recording it has a depth to it that creates a song that is more than the sum of its parts.

John’s guitar skills are beautifully evident in ‘Court Order’, the instrumental final track on the album. It is a very fitting way to close.

There’s no denying that ‘The Coyote Who Spoke In Tongues’ is a very confident record and definitely gives John Garcia another string to his bow.

If you are after an energetic record to bounce around your living room to then blast out John’s previous album ‘John Garcia’. If you are more in the mood for sitting in your rocking chair while sipping “lemonade” as the sun goes down, then stick this on and enjoy.

Review by Laurence Doherty

John is joined on the record by, Acoustic guitar: Ehren Groban, Percussions: Greg Saenz, Bass: Mike Pygmie