THRASH metal has been going for a long, long time - as the New Wave of British Heavy Metal made it across the pond to the good ole US of A it merged with West Coast punk and neo-classical structures to produce a new form of metal: led by the so-called Big Four.
With Metallica, Anthrax, Slayer, and Megadeth came a host of others like Exodus, Testament, Nuclear Assault, all exhibiting their own take on the thrash 'genre'.
Fast forward to 2013 and Saturday night (October 12th) at The Distortion Project. A collection of young bucks who were not a twinkle in their parents eyes when thrash was being born in 'Frisco and like minded-US cities. What can these young 'uns offer?
First up in the two act bill were Eviserator. Competent and with occasional flourishes of excellence their reliance on the early thrash days were evident. However, given the reception of the dozen or so on the 'dance' floor they are convincing the fans that need to be convinced.
As to musicianship there is no doubt that they can play, with Toner's lead work especially noteworthy. However, as to arrangements they need to take a step back from the thrash formula. We suggest someone hides their 'Tallica, Exodus and other thrash albums for a month or two, or at least until they write their next set of tracks.
Is this harsh? No. They are obviously lovers of the genre and are well capable of using this foundation to build into a competent - even good - outfit. Just dump the Slayer cover: it didn't work; there is enough in your own repertoire to show. If you want to do a cover do something off-the-wall, not re-treading the path so many have waled before.
Acid Age were meant to be launching their new album, Enter the Zomborg at The Distortion Project, but its unveiling has been put back a couple of weeks - but that didn't stop them unleashing their own unique brand of "hyper-thrash".
Jude is a charismatic frontman and an excellent shredder, with Jake's impressive bass playing anchored by Jason's furious drum work. The songs that kicked off the set were that bastard children of Gama Bomb and Stormtroopers of Death; fast, witty and humorous.
With John Roche of Gama Bomb guesting on the forthcoming album (together with Tony Portaro from New Jersey's Whiplash) the influences are right there on the stage for all to witness; although as Gama Bomb are doing less songs about zombies Acid Age appear to have picked up the torch of the undead, especially with the pleasing 'Zombie Sabbath'.
The so-called hyper thrash owes a lot to the punk legacy here in Northern Ireland, as well as the likes of Black Flag and Suicidal Tendencies, but incorporating enough excellence in delivery to showcase their talents.
But, it would be wrong to dismiss Acid Age as a one-trick pony; their nod to the NWOBHM shows that they understand the legacy that birthed thrash, with two or three tracks' structure nicely rounded amidst the mayhem.
All in all both Eviserator and Acid Age prove that thrash's day is not yet done; standard bearers such as Gama Bomb and Onslaught are keeping the flag hoisted and it is rather reassuring for this ageing thrash fan to see new blood coming through.
Enter the Zomborg will be released later this month on Punkerama Records.
Sunday, October 13, 2013
Wednesday, October 09, 2013
War ironing as tectonic plates shift in prophetic alchemy
IN his secluded chambers of the Supreme Metal Council near the Vatnajóull Glacier, Iceland, Geezer Butler has been muttering about many issues of concern: the production on the last Sabbath album, the misuse of the 'horns, and lately wondering if tectonic plate movement was his fault.
For tectonic plate movement is now being directly blamed by seismologists across the globe on Northern Irish band War Iron's lates ep release 'Of Prophecy and Alchemy'.
Butler has said to confidential sources that when he laid down the bass intro to NIB he had no idea the very earth would eventually be shaken by his inheritance.
Now, as 2013 draws towards in its autumn months whole continents are reverberating; plasma lakes are threatening to spew their fiery contents across land masses and entire species of whales have been left spasmodically washing up on beaches - all as a result of War Iron's double bass ultra-low frequency assault.
Title track of the new ep uses those two basses to bring slowed down, sludged out, deep vein throbbing; all resonating at a frequency that frankly would be intolerable to the inner ear if there was not some sort of structure, some sort of song, lurking within.
However, there is a brief flurry of something slightly faster than continental drift with their cover of The Naut's S.U.U.L. Coming from War Iron's formative years, when Marty and Baggy played with The Naut, this is marginally faster and flies by in the blink of a sloth's eye at less than four minutes...
Rounding off the three-track e.p is Angelgrinder, recorded live at Limelight2 in December last year. The song - and yes there is one there - shows that War Iron can produce that attack on your aural senses, and your sense of balance, within the confines of a live venue.
And, 'tis a wonder of any part of Ormeau Avenue is standing after these reverberations coursed through the foundations...
And here is the secret of good sludge: structure. Down-tune, play slowly is all well and good; but without a good structure of band and song it is just a low-end drone. War Iron's use of two basses (no namby pamby guitar widdling ) weilded by Ross and Dave, and the approach of changes in tempo - albeit small changes - that offers a unique take on heavy music.
From the birth of Sabbath in the late 60s there have been many descents down the musical scale, and many attempts to emulate some of the doom of Masters of Reality. The promise of War Iron is that one can chose to be a pretender or one can chose to be true sludge. On the evidence of this ep War Iron have chosen to be 'true sludge'.
Despite Geezer's reservations about planet wide destruction we know that the Supreme Metal Council shall engrave War Iron's Of Prophecy and Alchemy ep upon the sacred scrolls.
Of Prophecy and Alchemy's three tracks are available to listen to or download from wariron.bandcamp.com
A limited CD digi-pack version also available with a run of 100 only hand numbered with lyrics. (a nd yes you will need that lyric sheet!
For tectonic plate movement is now being directly blamed by seismologists across the globe on Northern Irish band War Iron's lates ep release 'Of Prophecy and Alchemy'.
Butler has said to confidential sources that when he laid down the bass intro to NIB he had no idea the very earth would eventually be shaken by his inheritance.
Now, as 2013 draws towards in its autumn months whole continents are reverberating; plasma lakes are threatening to spew their fiery contents across land masses and entire species of whales have been left spasmodically washing up on beaches - all as a result of War Iron's double bass ultra-low frequency assault.
Title track of the new ep uses those two basses to bring slowed down, sludged out, deep vein throbbing; all resonating at a frequency that frankly would be intolerable to the inner ear if there was not some sort of structure, some sort of song, lurking within.
However, there is a brief flurry of something slightly faster than continental drift with their cover of The Naut's S.U.U.L. Coming from War Iron's formative years, when Marty and Baggy played with The Naut, this is marginally faster and flies by in the blink of a sloth's eye at less than four minutes...
Rounding off the three-track e.p is Angelgrinder, recorded live at Limelight2 in December last year. The song - and yes there is one there - shows that War Iron can produce that attack on your aural senses, and your sense of balance, within the confines of a live venue. And, 'tis a wonder of any part of Ormeau Avenue is standing after these reverberations coursed through the foundations...
And here is the secret of good sludge: structure. Down-tune, play slowly is all well and good; but without a good structure of band and song it is just a low-end drone. War Iron's use of two basses (no namby pamby guitar widdling ) weilded by Ross and Dave, and the approach of changes in tempo - albeit small changes - that offers a unique take on heavy music.
From the birth of Sabbath in the late 60s there have been many descents down the musical scale, and many attempts to emulate some of the doom of Masters of Reality. The promise of War Iron is that one can chose to be a pretender or one can chose to be true sludge. On the evidence of this ep War Iron have chosen to be 'true sludge'.
Despite Geezer's reservations about planet wide destruction we know that the Supreme Metal Council shall engrave War Iron's Of Prophecy and Alchemy ep upon the sacred scrolls.
Of Prophecy and Alchemy's three tracks are available to listen to or download from wariron.bandcamp.com
A limited CD digi-pack version also available with a run of 100 only hand numbered with lyrics. (a nd yes you will need that lyric sheet!
Tuesday, October 08, 2013
Sharpened teeth bite down for Red Fang's latest release
FROM Portland, Oregon the bastard child of an unholy foursome consisting of the Deftones, Queens of the Stone Age, Clutch and Mastodon emerged kicking and screaming into the world demanding beer and distorted guitars -and thus Red Fang were born.
This creature has now stumbled into the light of its third-album, Whales and Leeches, a furious melange of stoner, progressive, hard rockin' metal. If using those phrases together confuse you, then we suggest you just stick to the Red Fang Beer Game...
Whales and Leeches is an accomplished compendium of tunes, from the furious driving pace of No Hope, to the slowed down sludge of Failure.
Everywhere you can hear a band straining at the leash, creative juices oozing from album opener Doen to closer, the mightily impressive Every Little Twist.
Too often bands like Red Fang get categorised in the most clichéd manner, and not just with the terms randomly flung about above. But dig a little beneath the tracks and there is much more going on; veering from incessant nagging riffs such as on Voices of the Dead, to stoner anthems such as Blood Like Cream and on to the slowed down complexity of Dawn Rising (star track from our point of view).
The involvement of Mike Scheidt (Yob) and Pall Jenkins (The Black Heart Procession) has certainly helped this record, but the production and mix lend the extra touch.
At times the tracks have a hypnotic roll, with Bryan Giles, Aaron Beam, David Sullivan and John Sherman welded together in a fierce determination to nail your arse to the floor.
Low bottom end with the weaving guitar and, at times, chanted vocals produce an album of ferocity and subtlety.
With Whales and Leeches Red Fang have introduced upon an unsuspecting world one of the definitive hard driving, stoner, heavy records of perhaps the decade so far. Bold claim? Listen to them and judge for yourself.
Whales and Leeches is released in the UK on October 21st
This creature has now stumbled into the light of its third-album, Whales and Leeches, a furious melange of stoner, progressive, hard rockin' metal. If using those phrases together confuse you, then we suggest you just stick to the Red Fang Beer Game...
Whales and Leeches is an accomplished compendium of tunes, from the furious driving pace of No Hope, to the slowed down sludge of Failure.
Everywhere you can hear a band straining at the leash, creative juices oozing from album opener Doen to closer, the mightily impressive Every Little Twist.
Too often bands like Red Fang get categorised in the most clichéd manner, and not just with the terms randomly flung about above. But dig a little beneath the tracks and there is much more going on; veering from incessant nagging riffs such as on Voices of the Dead, to stoner anthems such as Blood Like Cream and on to the slowed down complexity of Dawn Rising (star track from our point of view).
The involvement of Mike Scheidt (Yob) and Pall Jenkins (The Black Heart Procession) has certainly helped this record, but the production and mix lend the extra touch.
At times the tracks have a hypnotic roll, with Bryan Giles, Aaron Beam, David Sullivan and John Sherman welded together in a fierce determination to nail your arse to the floor.
Low bottom end with the weaving guitar and, at times, chanted vocals produce an album of ferocity and subtlety.
With Whales and Leeches Red Fang have introduced upon an unsuspecting world one of the definitive hard driving, stoner, heavy records of perhaps the decade so far. Bold claim? Listen to them and judge for yourself.
Whales and Leeches is released in the UK on October 21st
Have In Solitude finally realised their potential?
SWEDEN'S In Solitude have been in and around the scene for a while; one of those bands who have been bobbing along, occassionaly being tracked on the radar. Now with their latest album, Sister, it seems they have finally found a sound that they can claim as their own.
On their last release, The World. The Flesh. The Devil. their sound was at times derivative and despite their increasingly good live shows they were over-shadowed by supporting Grand Magus and Amon Amarth on their last outing to these shores.
However, Sister seems to be the moment in their career where the Scandanavians have managed to ascribe to themselves their own voice, their own identity and their own niche.
Produced by Martin 'Konie' Ehrencrona Sister has a more edgy, raw sound, unlike the polish of their second release. The Mercyful Fate and NWOBHM references are still there, but no longer dominate.
On Pallid Hands that 'voice' is clear. A Maiden, proto-thrash stomp with vocalist Pelle Ahman finding a pace of delivery that suits his unique intonations.
While their two previous releases had an almost faux-dark presence, this time they have managed to produce a more atmospheric, claustrophobic album.
The intro to Lavender is a perfect example of how the band's sound has matured, allowing aural space before the lead riffing and Ahman to step forward; Ahman in particular seeming to push himself further than on previous releases.
As always he has been enigmatic in his statements about the album. Here's what he said about Sister:
"It's time to release our third album, and things have never felt this clear and pervasive before. This is a feeling that has permeated our whole lives during the latest year of writing and recording this album, as well as digesting and dealing with its consequences."
"And it has been wonderful, overwhelming and utterly devastating. Which, in the world of In Solitude, are very positive things, and exactly what was required."
He continued: "It is a very special album for us, and I am very thankful and proud of my brothers (including our great friend, and producer, Martin Konie Ehrencrona), for this is truly the most visceral music we've ever made, and we can't wait for you to experience it too."
"You come without. And all falls within. There is a light in the world. There is a stone to the head."
No, we weren't at first sure what this means, but immerse yourself in this album and you (sort of) get what he's driving at.
Collaborations on Sister including Jarboe of Swans (on track Horses in the Ground) and Pelle Forsberg of Watain (on Inmost Negredo) have helped the band move on.
In particular Inmost Negredo is a track that sets this album apart from many dealing in the same territory. Described in the blurb as "near trance-like" there is a resonance of doom and an ambeince that makes for a really dark 8-minute closer; elements of soft rock, jazz licks and sludge merging in a nice opening before the night envelops in repetitive rhytmic hammering.
Inmost Negredo could be the track that defines In Solitudes future: it sets a tonality that nods to predecessors yet has its own firm identity.
Sister is the album where In Solitude have come of age; it is an album that, despite all its dark themes is an enjoyable, cathartic listen.
Sister is out now on Metal Blade.
On their last release, The World. The Flesh. The Devil. their sound was at times derivative and despite their increasingly good live shows they were over-shadowed by supporting Grand Magus and Amon Amarth on their last outing to these shores.
However, Sister seems to be the moment in their career where the Scandanavians have managed to ascribe to themselves their own voice, their own identity and their own niche.
Produced by Martin 'Konie' Ehrencrona Sister has a more edgy, raw sound, unlike the polish of their second release. The Mercyful Fate and NWOBHM references are still there, but no longer dominate.
On Pallid Hands that 'voice' is clear. A Maiden, proto-thrash stomp with vocalist Pelle Ahman finding a pace of delivery that suits his unique intonations.
While their two previous releases had an almost faux-dark presence, this time they have managed to produce a more atmospheric, claustrophobic album.
The intro to Lavender is a perfect example of how the band's sound has matured, allowing aural space before the lead riffing and Ahman to step forward; Ahman in particular seeming to push himself further than on previous releases.
As always he has been enigmatic in his statements about the album. Here's what he said about Sister:
"It's time to release our third album, and things have never felt this clear and pervasive before. This is a feeling that has permeated our whole lives during the latest year of writing and recording this album, as well as digesting and dealing with its consequences."
"And it has been wonderful, overwhelming and utterly devastating. Which, in the world of In Solitude, are very positive things, and exactly what was required."
He continued: "It is a very special album for us, and I am very thankful and proud of my brothers (including our great friend, and producer, Martin Konie Ehrencrona), for this is truly the most visceral music we've ever made, and we can't wait for you to experience it too."
"You come without. And all falls within. There is a light in the world. There is a stone to the head."
No, we weren't at first sure what this means, but immerse yourself in this album and you (sort of) get what he's driving at.
Collaborations on Sister including Jarboe of Swans (on track Horses in the Ground) and Pelle Forsberg of Watain (on Inmost Negredo) have helped the band move on.
In particular Inmost Negredo is a track that sets this album apart from many dealing in the same territory. Described in the blurb as "near trance-like" there is a resonance of doom and an ambeince that makes for a really dark 8-minute closer; elements of soft rock, jazz licks and sludge merging in a nice opening before the night envelops in repetitive rhytmic hammering.
Inmost Negredo could be the track that defines In Solitudes future: it sets a tonality that nods to predecessors yet has its own firm identity.
Sister is the album where In Solitude have come of age; it is an album that, despite all its dark themes is an enjoyable, cathartic listen.
Sister is out now on Metal Blade.
Congratulations to our Avenged Sevenfold ticket compettion winners
THE entries have been counted, the adjudicator has inspected them and the draw was made last night (October 7th) for the Belfastmetalheadserunited, rockradioni and MCD Avenged Sevenfold competition.
Congratulations to John and Finlay, who will each receive a pair of tickets to see the A7X team play with Las Vegas's finest, Five Finger Death Punch, and Device.
The trio are hitting the O2 in Dublin on 3rd December and we'll y'all down there.
Thanks to everyone who entered (if you haven't received an email by now you haven't won), and thanks to MCD for promoting the gig and providing the tickets for the winners.
Look forward to reading more about this gig and just why it is an important date for hard rock and metal on this island.
Congratulations to John and Finlay, who will each receive a pair of tickets to see the A7X team play with Las Vegas's finest, Five Finger Death Punch, and Device.
The trio are hitting the O2 in Dublin on 3rd December and we'll y'all down there.
Thanks to everyone who entered (if you haven't received an email by now you haven't won), and thanks to MCD for promoting the gig and providing the tickets for the winners.
Look forward to reading more about this gig and just why it is an important date for hard rock and metal on this island.
Sunday, October 06, 2013
Big Truck rages through Ahoghill
THE Diamond Rock Bar in Ahoghill is said to have a family feel to it, despite it being a rock venue that blazes out massive tunes from bands far and wide - and when Trucker Diablo kicked off their Trucktober tour lead singer/guitarist Tom Harte even had his mother present.
This tour is another important step for Trucker - with the first run of Songs of Iron CDs sold out (vinyl still available) and Classic Rock débuting the video for Maybe You're The One on Tuesday (8th October) they will once again see the Big Truck rolling on to more success.
The first date of the tour had Glaswegian rockers Attica Rage kicking off proceedings. Despite a tentative start the band grew more comfortable with the mid-tempo numbers allowing the melody to survive amidst the metallic assault.
Singer and guitarist Johnny Parr and lead guitarist Steve Bell are comfortable leading the line with support from Colin Wilson on bass and vocals and Richie Rage pounding out behind the kit.
Tracks from album 88mph were played with aplomb: coming at the end of the tour backing that release this came as no surprise.
Overall their set was rewarding and entertaining, but ending with two cover versions (Overkill and Paranoid) was probably an error as it detracted from their own songs.
By then the Diamond family was set-up for Trucker...
There can be no doubt that Trucker have melded together as a stronger more potent force since their first release (The Devil's Rhythm).
More recent album from Songs of Iron have been receiving very positive reviews and it was a declaration of confidence in that album that the majority of tracks on this date came from that release.
Taking the stage with a roar of Year of the Truck the band were quickly into the groove; the bottom end of monstrous sound not over-bearing songs' structures or the huge melodies in their choruses that are infectious in the best way.
Singles Drive and Rebel were given an outing, with Rebel and Red Light On driving the set along at a massive pace.
However, Trucker are not a one-dimensional beast. Tom and Simon keep the guitars and vocals ripping when needed, but equally sensitive tracks like Baby You're The One and the 'best song Skynyrd have written in years' Highway Radio are carried with a light, deft touch.
But Trucker are a unit - Glenn's bass and Terry's drums lend a weight and solidness to the entire ensemble, like a rumbling eighteen wheeler of rock.
Bulldozer and the aforementioned Year of the Rock are both an articulated lorry of riffs and huge basslines.
While Songs of Iron was to the fore - Shame on You and Rock Hallelujah particularly notable in the set - Devil's Rhythm was not forgotten.
Drink Beer, Destroy was the party anthem it always has been, but played at breakneck pace, while Voodoo and Juggernaut assaulted everyone in the room with their incessant rock attack.
Trucker Diablo are now setting forward on their Trucktober tour full of energy and when they hit their English dates and an appearance in France their can be no doubt audiences are in for a hard rockin' treat.
Tom, Simon, Glenn and Terry have always been a tight unit, but they have been incrementally growing on record and now their live sets have reached the next level.
The Big Truck is now knocking down all in their path. Jump on board or get flattened in its path.
This tour is another important step for Trucker - with the first run of Songs of Iron CDs sold out (vinyl still available) and Classic Rock débuting the video for Maybe You're The One on Tuesday (8th October) they will once again see the Big Truck rolling on to more success.
The first date of the tour had Glaswegian rockers Attica Rage kicking off proceedings. Despite a tentative start the band grew more comfortable with the mid-tempo numbers allowing the melody to survive amidst the metallic assault.
Singer and guitarist Johnny Parr and lead guitarist Steve Bell are comfortable leading the line with support from Colin Wilson on bass and vocals and Richie Rage pounding out behind the kit.
Tracks from album 88mph were played with aplomb: coming at the end of the tour backing that release this came as no surprise.
Overall their set was rewarding and entertaining, but ending with two cover versions (Overkill and Paranoid) was probably an error as it detracted from their own songs.
By then the Diamond family was set-up for Trucker...
There can be no doubt that Trucker have melded together as a stronger more potent force since their first release (The Devil's Rhythm).
More recent album from Songs of Iron have been receiving very positive reviews and it was a declaration of confidence in that album that the majority of tracks on this date came from that release.
Taking the stage with a roar of Year of the Truck the band were quickly into the groove; the bottom end of monstrous sound not over-bearing songs' structures or the huge melodies in their choruses that are infectious in the best way.
Singles Drive and Rebel were given an outing, with Rebel and Red Light On driving the set along at a massive pace.
However, Trucker are not a one-dimensional beast. Tom and Simon keep the guitars and vocals ripping when needed, but equally sensitive tracks like Baby You're The One and the 'best song Skynyrd have written in years' Highway Radio are carried with a light, deft touch.
But Trucker are a unit - Glenn's bass and Terry's drums lend a weight and solidness to the entire ensemble, like a rumbling eighteen wheeler of rock.
Bulldozer and the aforementioned Year of the Rock are both an articulated lorry of riffs and huge basslines.
While Songs of Iron was to the fore - Shame on You and Rock Hallelujah particularly notable in the set - Devil's Rhythm was not forgotten.
Drink Beer, Destroy was the party anthem it always has been, but played at breakneck pace, while Voodoo and Juggernaut assaulted everyone in the room with their incessant rock attack.
Trucker Diablo are now setting forward on their Trucktober tour full of energy and when they hit their English dates and an appearance in France their can be no doubt audiences are in for a hard rockin' treat.
Tom, Simon, Glenn and Terry have always been a tight unit, but they have been incrementally growing on record and now their live sets have reached the next level.
The Big Truck is now knocking down all in their path. Jump on board or get flattened in its path.
Are For Christ's Sake being discriminated against in metal because they are Christians?
FOR Christ's Sake are a band that are signed to a label, have a global distribution deal and yet they feel that they are frozen out sometimes in Northern Ireland: is it because they are Christians?
Musically For Christ's Sake are on the heavy side of extreme metal: they plough a path that is a contradiction in many ways, but in other ways their message matches perfectly with their personal belief.
To lay our cards on the table here, the owner and editor of this site, as well as two out of the other three contributors/correspondents are either atheists or anti-theists. However, rock, punk and metal in Northern Ireland has always turned a willing blind eye to cross-community differences, so why should that same indifference not be turned to a band who do not share our views?
There should be no intolerant attitudes in rock; apart from when discrimination, homophobia and racism rear their ugly heads. These values must be rejected out-of-hand.
But, For Christ's Sake feel they are at the receiving end of a type of prejudice because their profoundly held beliefs - especially as they prepare for the global release of their latest album, Apocalyptic Visions of Divine Terror.
"We are looking forward to our plans to promote this heavyweight release locally and internationally," said bassist Mark John Payne, speaking exclusively to Belfastmetalheadreunited and rockradioni.
"But we realise that to fulfill all our hope for the release that means we hope to be playing outside Northern Ireland as we get a much better reaction. No disrespect to anyone but the local scene is basically friends looking after friends - a clique if you will."
While given the diversity of the local scene as covered in these pages it is not a feeling that we share, but there is no doubt that it is something that Mark and the rest of For Christ's Sake feel, but which they pledge not to hold them back.
"We're not bitter about this, but we feel the metal scene goes through the same cycle of bands.
"And considering we are a signed band with a worldwide distribution deal in place, we feel we should get more of a look in."
Mark is adamant about the determination the band have for album which will hit the racks before the end of the year.
"The situation will not deter us one iota," he said. "We are bringing a beast of an album which will silence our critics!"
Be that as it may, whether it is the beast that For Christ's Sake promise - and on previous evidence it should be - there is no doubt that all acts, no matter the belief system they carve to, or lack of belief, should be given a chance to prove themselves.
Given the theme of the forthcoming album is loosely based upon the Book of Revelations we thought we'd end on this quotation from that self same book: chapter 14, verse three:
"And they were singing a new song before the throne and before the four living creatures and before the elders. No-one could learn that song except the 144,000 who had been redeemed from the earth."
Who among us will learn the 'songs' that For Christ's Sake bring on their Apocalyptic Visions of Divine Terror? Or will there be those that show their prejudice?
For Christ's Sake play at Hellowe'en Havoc at Belfast's Voodoo on November 1st.
Musically For Christ's Sake are on the heavy side of extreme metal: they plough a path that is a contradiction in many ways, but in other ways their message matches perfectly with their personal belief.
To lay our cards on the table here, the owner and editor of this site, as well as two out of the other three contributors/correspondents are either atheists or anti-theists. However, rock, punk and metal in Northern Ireland has always turned a willing blind eye to cross-community differences, so why should that same indifference not be turned to a band who do not share our views?
There should be no intolerant attitudes in rock; apart from when discrimination, homophobia and racism rear their ugly heads. These values must be rejected out-of-hand.
But, For Christ's Sake feel they are at the receiving end of a type of prejudice because their profoundly held beliefs - especially as they prepare for the global release of their latest album, Apocalyptic Visions of Divine Terror.
"We are looking forward to our plans to promote this heavyweight release locally and internationally," said bassist Mark John Payne, speaking exclusively to Belfastmetalheadreunited and rockradioni.
"But we realise that to fulfill all our hope for the release that means we hope to be playing outside Northern Ireland as we get a much better reaction. No disrespect to anyone but the local scene is basically friends looking after friends - a clique if you will."
While given the diversity of the local scene as covered in these pages it is not a feeling that we share, but there is no doubt that it is something that Mark and the rest of For Christ's Sake feel, but which they pledge not to hold them back.
"We're not bitter about this, but we feel the metal scene goes through the same cycle of bands.
"And considering we are a signed band with a worldwide distribution deal in place, we feel we should get more of a look in."
Mark is adamant about the determination the band have for album which will hit the racks before the end of the year.
"The situation will not deter us one iota," he said. "We are bringing a beast of an album which will silence our critics!"
Be that as it may, whether it is the beast that For Christ's Sake promise - and on previous evidence it should be - there is no doubt that all acts, no matter the belief system they carve to, or lack of belief, should be given a chance to prove themselves.
Given the theme of the forthcoming album is loosely based upon the Book of Revelations we thought we'd end on this quotation from that self same book: chapter 14, verse three:
"And they were singing a new song before the throne and before the four living creatures and before the elders. No-one could learn that song except the 144,000 who had been redeemed from the earth."
Who among us will learn the 'songs' that For Christ's Sake bring on their Apocalyptic Visions of Divine Terror? Or will there be those that show their prejudice?
For Christ's Sake play at Hellowe'en Havoc at Belfast's Voodoo on November 1st.
Thursday, October 03, 2013
From whence came the force of Tyr with Valkyrja
ADD a dash of Viking metal, sprinkle a smattering of Euro-power metal, mix in a dab of battle metal and finally knead through with a portion of folk metal and you'll have something close to Tyr's new release of Valkyrja; but not close enough to really get this release from the Faroe Island's finest rock exports.
The Faroe Islands archipelago has a tiny population or around 50,000 souls; a sovereignty of Denmark whose people are descended from Scandanavian and Scots and Norsemen who had settled around the Irish Sea. Thus our Irish, Northern Irish and Scots readers are partly to blame...
Tyr stand firmly as a reminder of the Viking heritage of the Faroe Islands; despite a history dominated by Christianity from the first Irish monks that landed there through to more recent settlements of Plymouth Brethern and the arrival in the 70s of Charismatic churches.
And it is from the Scandanavian and Norse myths that Tyr return to in each release; and this time it is the dichotomous relationship the warriors of old have with women that comes under the spotlight.
Valkyrja is an album tied together with the loose theme of how women affect men, but that's not to say that Tyr have 'pussied' out.
Trademark intense riffing merged with rampant solos and a nod towards folk rhythms in choruses this release is a high water mark for the band. Unlike many of their compatriots delving into the Norse mythos the vocals are clean and at times haunting.
From opener - and single release - Blood of Heroes through to closer Valkyrja this is a coherent and compact 11-track album held together not just by its lyrical theme, but with a musical thematic pulse.
While the first three tracks follow an almost traditional battle/folk metal thrust, Lay of Our Love's haunting balledic duet opens the doors for lyrics sang in Faroese, virtual tone poems and rampant declarations of Tyr's talent.
Founder member Henri Joensen stepped away from his axe (not that type of axe - we mean his six-string axe) and his mic to explain some of what inspired this epic tale of the warrior who leaves his 'earthly' woman to impress the Valkyrie in order that he may gain entry to the halls of Valhalla and the home of Freyja, goddess of love, sex, fertility, blood and war.
Behind the Norse theme is the age old struggles of men to impress women.
Joensen said: "The woman that the warrior leaves may represent the earthly women. Freyja, The Lady of the Slain, may represent the perfection of 'women' and the Valkyrie is the link between the two; taking men from earthly to godly women."
While careful listening (well to the majority of bits that are in English!) can reveal this tale, each track also stands alone on its merits - Another Fallen Brother and Mare of My Night being perfect examples.
Despite their humble origins in a community ravaged by economic woes due to the collapse of the fishing industry, Tyr have emerged as a band that musically straddles many stereotypes and many niche sounds that often shackle bands. Despite the Viking lyrical theme there is much here that will enthrall fans of NWBHM and folk metal, but more importantly for fans of all types of hard rock and metal.
And the clue as to why you will like this album lies in the bonus tracks on some editions of the release. The covers of Maiden's Where Eagles Dare and Pantera's Cemetary Gates. Both are relatively faithful to the original, but add flourishes to the vocals and guitar solos. This is not about re-inventing metal, but is really about adding Tyr's twist on the formula: a twist our editorial team endorse fully!
Official Video for Tyr's single Blood of Heroes from Valkyrja
The Faroe Islands archipelago has a tiny population or around 50,000 souls; a sovereignty of Denmark whose people are descended from Scandanavian and Scots and Norsemen who had settled around the Irish Sea. Thus our Irish, Northern Irish and Scots readers are partly to blame...
Tyr stand firmly as a reminder of the Viking heritage of the Faroe Islands; despite a history dominated by Christianity from the first Irish monks that landed there through to more recent settlements of Plymouth Brethern and the arrival in the 70s of Charismatic churches.
And it is from the Scandanavian and Norse myths that Tyr return to in each release; and this time it is the dichotomous relationship the warriors of old have with women that comes under the spotlight.
Valkyrja is an album tied together with the loose theme of how women affect men, but that's not to say that Tyr have 'pussied' out.
Trademark intense riffing merged with rampant solos and a nod towards folk rhythms in choruses this release is a high water mark for the band. Unlike many of their compatriots delving into the Norse mythos the vocals are clean and at times haunting.
From opener - and single release - Blood of Heroes through to closer Valkyrja this is a coherent and compact 11-track album held together not just by its lyrical theme, but with a musical thematic pulse.
While the first three tracks follow an almost traditional battle/folk metal thrust, Lay of Our Love's haunting balledic duet opens the doors for lyrics sang in Faroese, virtual tone poems and rampant declarations of Tyr's talent.
Founder member Henri Joensen stepped away from his axe (not that type of axe - we mean his six-string axe) and his mic to explain some of what inspired this epic tale of the warrior who leaves his 'earthly' woman to impress the Valkyrie in order that he may gain entry to the halls of Valhalla and the home of Freyja, goddess of love, sex, fertility, blood and war.
Behind the Norse theme is the age old struggles of men to impress women.
Joensen said: "The woman that the warrior leaves may represent the earthly women. Freyja, The Lady of the Slain, may represent the perfection of 'women' and the Valkyrie is the link between the two; taking men from earthly to godly women."
While careful listening (well to the majority of bits that are in English!) can reveal this tale, each track also stands alone on its merits - Another Fallen Brother and Mare of My Night being perfect examples.
Despite their humble origins in a community ravaged by economic woes due to the collapse of the fishing industry, Tyr have emerged as a band that musically straddles many stereotypes and many niche sounds that often shackle bands. Despite the Viking lyrical theme there is much here that will enthrall fans of NWBHM and folk metal, but more importantly for fans of all types of hard rock and metal.
And the clue as to why you will like this album lies in the bonus tracks on some editions of the release. The covers of Maiden's Where Eagles Dare and Pantera's Cemetary Gates. Both are relatively faithful to the original, but add flourishes to the vocals and guitar solos. This is not about re-inventing metal, but is really about adding Tyr's twist on the formula: a twist our editorial team endorse fully!
Official Video for Tyr's single Blood of Heroes from Valkyrja
Saturday, September 28, 2013
Horizon spanning 10-track epic from The Answer
THE gospel according to The Answer is simple - good times rock 'n' roll and with New Horizon the County Down foursome have hit the rock 'n' roll equivalent of a home run, a hat trick in a cup final, or a touchdown in the Super Bowl.
Four albums into their 13-year career and it would be easy for a band to coast...not so The Answer.
New management, new label and a new attitude have brought New Horizon storming into the forefront of 2013 releases; a hard rockin' blast of traditional blues and groove with a twist and balls proudly out.
It is a cliché when a reviewer says that a band's release marks a statement of intent, but take a moment to listen to album opener and title track New Horizon...
This is a song that shows a new dynamic to the band: sharper and focussed attitude but still with the trademark sound of The Answer. To put it another way, if New Horizon had been released in the rock heydays of the mid-80s LA record execs would be waving cheque books and masturbating at the thought of signing them...new label Napalm Records should be lying back enjoying collective orgasms at having them on their roster.
Throughout the album the sound feels newer, tighter, and for the first time since the debut release of Rise the live feel has been captured; producer Toby Jepson has managed to grab the four members of The Answer by their collective necks and wrung out of them what could be a defining moment in their career.
When we caught up with Cormac Neeson for an interview on September 3rd he told us how he felt about the release:
"I think it's out most focussed hard-hitting record so far and hopefully our audience will get it and get what we have to say."
Any fan of The Answer's previous work or any fan of straightforward hard rock will get what the band have to say.
When the album opens it comes as a little bit of a surprise - in the best possible way - the freshness of Paul Mahon's riffing and the rhythm section of Micky Waters and James Heatley have achieved that knife edge balance between looseness and being tight as a shark's arse.
Waters bass is a revelation. At the right pitch and with a perfect tone it provides pure drive to complement and enhance the rock solid Heatley throughout the album.
Mahon also appears to have taken stock of his always apparent talent and let loose with every shred of his range. From the funk/blues of Leave With Nothing through to fuzzed out solos and concise playing he is the foil to the passion of Neeson's passion, weaving patterns through riffs, off-beat tones and drawing meat from his six-strings.
Of the lead-up to the recording Mahon explains that the cumulative touring and playing to mega-audiences with AC/DC has led to the expansive but tight 10-track New Horizon.
"After all that time on the road, our songwriting’s so much tighter, all the fat has been stripped away and we’re much more direct. songs that we had in that vein seemed to go down with their
audiences, and we took all of that on board," he said.
Of course one could be forgiven for falling for the hype of a publicist's press release amidst the welter of information; but this is an album where the most effusive praise will still fall short of what this album deserves.
Even the down-beat track Call Yourself A Friend is uplifting when its meat kicks in. And the obvious anger of Somebody Else - with its pulsing high tempo vibe - provides a life-affirming song for every disaffected rocker on the planet.
Lead single Spectacular, with its message to be what you can be truly captures the dreams of youth, and how you can always live up to what you want, is a balls-out track that most rock acts would kill for. Listening to the lyrics makes the controversial video - banned by Youtube, but available at the end of this review - make sense.
Tracks like Baby Love Me - co-written with Cosmo Jarvis - keep the blues roots to the fore, through to the album closer, Scream A Louder Love showcase a band at the top of the game.
Neeson explained his approach to lyrics that are multi-layered and at the same time universal truths.
"I wanted to present my message like a Northern Irish guy should, with no frills and totally in your face,” he said.
No frills and totally in your face is what The Answer have always been, and on New Horizon they have captured the elusive elixir of pure hard rock, distilled into 10-track excellence.
New Horizon is released on 30th September on Napalm Records.
The Answer open their UK tour in Belfast's Limelight1 on October 11th! We'll see you there!
The unedited version of the Spectacular video is available to view here.
The 'clean' version is below:
Four albums into their 13-year career and it would be easy for a band to coast...not so The Answer.
New management, new label and a new attitude have brought New Horizon storming into the forefront of 2013 releases; a hard rockin' blast of traditional blues and groove with a twist and balls proudly out.
It is a cliché when a reviewer says that a band's release marks a statement of intent, but take a moment to listen to album opener and title track New Horizon...
 |
| The late Storm Thorgerson designed the cover for New Horizon |
This is a song that shows a new dynamic to the band: sharper and focussed attitude but still with the trademark sound of The Answer. To put it another way, if New Horizon had been released in the rock heydays of the mid-80s LA record execs would be waving cheque books and masturbating at the thought of signing them...new label Napalm Records should be lying back enjoying collective orgasms at having them on their roster.
Throughout the album the sound feels newer, tighter, and for the first time since the debut release of Rise the live feel has been captured; producer Toby Jepson has managed to grab the four members of The Answer by their collective necks and wrung out of them what could be a defining moment in their career.
When we caught up with Cormac Neeson for an interview on September 3rd he told us how he felt about the release:
"I think it's out most focussed hard-hitting record so far and hopefully our audience will get it and get what we have to say."
Any fan of The Answer's previous work or any fan of straightforward hard rock will get what the band have to say.
 |
| Photo by Carrie Davenport |
Waters bass is a revelation. At the right pitch and with a perfect tone it provides pure drive to complement and enhance the rock solid Heatley throughout the album.
Mahon also appears to have taken stock of his always apparent talent and let loose with every shred of his range. From the funk/blues of Leave With Nothing through to fuzzed out solos and concise playing he is the foil to the passion of Neeson's passion, weaving patterns through riffs, off-beat tones and drawing meat from his six-strings.
Of the lead-up to the recording Mahon explains that the cumulative touring and playing to mega-audiences with AC/DC has led to the expansive but tight 10-track New Horizon.
"After all that time on the road, our songwriting’s so much tighter, all the fat has been stripped away and we’re much more direct. songs that we had in that vein seemed to go down with their
audiences, and we took all of that on board," he said.
Of course one could be forgiven for falling for the hype of a publicist's press release amidst the welter of information; but this is an album where the most effusive praise will still fall short of what this album deserves.Even the down-beat track Call Yourself A Friend is uplifting when its meat kicks in. And the obvious anger of Somebody Else - with its pulsing high tempo vibe - provides a life-affirming song for every disaffected rocker on the planet.
Lead single Spectacular, with its message to be what you can be truly captures the dreams of youth, and how you can always live up to what you want, is a balls-out track that most rock acts would kill for. Listening to the lyrics makes the controversial video - banned by Youtube, but available at the end of this review - make sense.
Tracks like Baby Love Me - co-written with Cosmo Jarvis - keep the blues roots to the fore, through to the album closer, Scream A Louder Love showcase a band at the top of the game.
Neeson explained his approach to lyrics that are multi-layered and at the same time universal truths.
"I wanted to present my message like a Northern Irish guy should, with no frills and totally in your face,” he said.
No frills and totally in your face is what The Answer have always been, and on New Horizon they have captured the elusive elixir of pure hard rock, distilled into 10-track excellence.
New Horizon is released on 30th September on Napalm Records.
The Answer open their UK tour in Belfast's Limelight1 on October 11th! We'll see you there!
The unedited version of the Spectacular video is available to view here.
The 'clean' version is below:
Friday, September 27, 2013
Killing the Devildriver way
THERE are times when you play a new record and your reaction is 'meh, it's all right, maybe I'll give it another spin'. Then you play it again. Then you get to like it. Third time you love it. Fourth time you are pummelled into a blissful state of metallic glory.
Such is the case with Devildriver's latest release, the quite awesome Winter Kills.
At first it is a chaotic cacophony that upon more listenes coalesces in a couple of spins to coherent metal anarchy. After the full-on charge of opener Oath of the Abyss, Ruthless grooves like a bastard; swinging with the menace of a heavyweight boxer on amphetamines and so the pace continues.
For an optimistic kind of guy Dez Fafara and his merry band of metal compadres have released an album that is full of fire and menace.
And it is a huge step up from last release 'Beast'. As Fafara himself explains:
"The title of the album is all about rebirth," he says about Winter Kills. "I love to see things grown from seed. I love to see the dying off and the rebirth - that's why [after Coal Chamber] I had no problems starting a second band."
And to a certain extent this album does represent a re-birth with touring bassist Chris Towning now full time. His influence appears to be in an understated desire to make sure the rythm section - complete with drummer John Boecklin - keeps things nailed down; for all the flourishes and dexterity their job is to keep the groove grooving.
Desperate Times is evidence of Devil Driver's acquisition of yet more carefully constructed arrangements, and the influence of Towning and Boecklin is clear
Winter Kills has trademark DD opening with an insistent riff paving the way for the full-on assault.
The Appetite is as in your face as it gets, but with a set of harmony solos lending an edge to proceedings, digital dexterity delivering for Devildriver fans. This is where axe slingers Jeff Kendrick and Mike Spreitzer really let loose, and woe betide the doubters because here is more proof that subtlety and talent lie behind the full-on assault.
Fafara explains some of the ethos that went behind all of Devildriver's work and this album in particular.
“I come from a construction-worker background,” he said.. “I want bluecollar dudes to listen to my songs and be able to say, ‘Man, that’s exactly how I feel about today, my boss and the idiot I had to yell at.’
"Metal is a very empowering thing, the same way God is an empowering thing. For kids on the outside who don’t want to wear the polo shirt to school, they have their mystic in whatever singer they choose for their favorite band. And words can be that for you. I want to stress that I’ve never wanted to be all about the negative.”
And despite the aural attack on this release, and the at times lyrical rage, this is a positive album. Not only is there a senses of freshness, there is also a positive outlook; at times this is plain uplifting.
The sense of renewed daring is perhaps truly evident on the album closer, a cover of Awolnation's Sail. Devildriver have taken an electro-pop track and turned it into a trance like hymn to disaffection.
“I’ve always been a lyrics guy, and when I heard that song, I totally got it,” Fafara says. “[The metaphor of] sailing is totally about touring. I was on Ritalin for 12 years when I was a kid for my ADD, so I totally understand that line. I just fell in love with that song. I called the band and told them to call it up on the computer. They said, ‘You know what? Let’s attack this.’”
Despite Devildriver appearing to the ignorant as nothing more than Fafara's vehicle there is a cohesive force to the outfit.
With new label Napalm Records behind them this is perhaps Devildriver's own rebirth - stronger, and ready to test themselves; with the result that it is a rewarding listen. The last word therefore has to go to Fafara:
“I think people know they’re not going to get the same Devildriver record every time. We’re not going to follow the pack: That’s why our honesty keeps shining through.”
Well said sir, well said!
Winter Kills is out now on Napalm Rercords
Such is the case with Devildriver's latest release, the quite awesome Winter Kills.
At first it is a chaotic cacophony that upon more listenes coalesces in a couple of spins to coherent metal anarchy. After the full-on charge of opener Oath of the Abyss, Ruthless grooves like a bastard; swinging with the menace of a heavyweight boxer on amphetamines and so the pace continues.
For an optimistic kind of guy Dez Fafara and his merry band of metal compadres have released an album that is full of fire and menace.
And it is a huge step up from last release 'Beast'. As Fafara himself explains:
"The title of the album is all about rebirth," he says about Winter Kills. "I love to see things grown from seed. I love to see the dying off and the rebirth - that's why [after Coal Chamber] I had no problems starting a second band."
And to a certain extent this album does represent a re-birth with touring bassist Chris Towning now full time. His influence appears to be in an understated desire to make sure the rythm section - complete with drummer John Boecklin - keeps things nailed down; for all the flourishes and dexterity their job is to keep the groove grooving.
Desperate Times is evidence of Devil Driver's acquisition of yet more carefully constructed arrangements, and the influence of Towning and Boecklin is clear
Winter Kills has trademark DD opening with an insistent riff paving the way for the full-on assault.
The Appetite is as in your face as it gets, but with a set of harmony solos lending an edge to proceedings, digital dexterity delivering for Devildriver fans. This is where axe slingers Jeff Kendrick and Mike Spreitzer really let loose, and woe betide the doubters because here is more proof that subtlety and talent lie behind the full-on assault.
Fafara explains some of the ethos that went behind all of Devildriver's work and this album in particular.
“I come from a construction-worker background,” he said.. “I want bluecollar dudes to listen to my songs and be able to say, ‘Man, that’s exactly how I feel about today, my boss and the idiot I had to yell at.’
"Metal is a very empowering thing, the same way God is an empowering thing. For kids on the outside who don’t want to wear the polo shirt to school, they have their mystic in whatever singer they choose for their favorite band. And words can be that for you. I want to stress that I’ve never wanted to be all about the negative.”
And despite the aural attack on this release, and the at times lyrical rage, this is a positive album. Not only is there a senses of freshness, there is also a positive outlook; at times this is plain uplifting.
The sense of renewed daring is perhaps truly evident on the album closer, a cover of Awolnation's Sail. Devildriver have taken an electro-pop track and turned it into a trance like hymn to disaffection.
“I’ve always been a lyrics guy, and when I heard that song, I totally got it,” Fafara says. “[The metaphor of] sailing is totally about touring. I was on Ritalin for 12 years when I was a kid for my ADD, so I totally understand that line. I just fell in love with that song. I called the band and told them to call it up on the computer. They said, ‘You know what? Let’s attack this.’”
Despite Devildriver appearing to the ignorant as nothing more than Fafara's vehicle there is a cohesive force to the outfit.
With new label Napalm Records behind them this is perhaps Devildriver's own rebirth - stronger, and ready to test themselves; with the result that it is a rewarding listen. The last word therefore has to go to Fafara:
“I think people know they’re not going to get the same Devildriver record every time. We’re not going to follow the pack: That’s why our honesty keeps shining through.”
Well said sir, well said!
Winter Kills is out now on Napalm Rercords
Tuesday, September 24, 2013
Bringing the 80s Brimstone to 2013
IT was the decade that style forgot; a decade of floppy fringes, stupid baggy trousers, Boy George immitators and balaclavas were de rigeur for various terrorists alphabet soup named organisations. Amidst these fashion abominations rock 'n' roll rose, defiant: cocking its collection nose at these weaklings.
Despite the hard rock and metal's own fashion abominations (Poison, Motley Crue amongst others spring to mind) the music and the attitude was an antidote to the miserable gets into 'New Romance' and the perfect antibiotic to the destruction of industry by Thatcher and her ilk.
In 2013 we no longer have the Cold War politics of Reagan and Thatcher, but we do have the 'terrorist threat'. We don't have Thatcher, but we do have Tories in de facto control and selling off the country's assets like the Royal Mail.
Agree or disagree with the politics it feels that the time is ripe for the hard rockers and metalheads to rise again; cut-off denims, high tops and bullet belts are long overdue a return as fashion items and there is a need of a musical landcape on the scene that encompasses thrash, glam and all the glitterati attitude that bands in the 80s adopted.
Amidst the local rising stars Maverick seem to have been caught in a time warp, as if transported from the era of Cinderella, Faster Pussycat and Guns 'n' Roses to 2013. And that is no bad thing.
Their five-track ep released earlier this year (we're catching up on a backlog of reviews) Maverick make a statement of intent; a statement that this is our way, this is the 80s way, hop on the rollercoaster or piss off.
This is music that makes you want to cruise in the car, volume cranked and the wild abandon that comes with knowing a beer and a gig is a few short minutes away from you.
This is music that transports you to an era when this type of rock was pure escapism. And we need that now just as we did in the 80s.
That's not to say that this ep is flawless. While self-titled opener Maverick and closing track Easy Come Easy Go are tremendous songs, at times the production and mix seem a bit off. The cymbals are very priominent at the expense of the bottom end at times. Singer Davey Balfour has a unique voice, but needs to move to having his own identity, because the echoes of Tom Keifer are a little too noticeable.
Lyrics are a little too misogynistic at times - one of the more distasteful side of 80s rock that we should have moved on from.
Set those issues aside and put simply these are five tracks that are fun. Songs you can enjoy rocking out to.
With the statement of intent of 'Maverick' first to assault your aural senses with lead solos and the defiant cry "Stop us if you Dare" it is a quick rampage through the sleaze of 'Cat Got Your Tongue", the challenge to Satan on 'Helfire & Brimstone' before 'Top Heavy' punishes and 'Easy Come, Easy Go' rounds things up with a more considered attitude.
Already Maverick have carved out a place on Northern Ireland's live circuit, delighting fans who remember the 80s and those discovering the music of the era for the first time.
This is a collection of five songs that are a foundation to build upon for live shows and what we sincerely hope will be more releases.
Yep - as they say: "Fists in the air!"
Despite the hard rock and metal's own fashion abominations (Poison, Motley Crue amongst others spring to mind) the music and the attitude was an antidote to the miserable gets into 'New Romance' and the perfect antibiotic to the destruction of industry by Thatcher and her ilk.
In 2013 we no longer have the Cold War politics of Reagan and Thatcher, but we do have the 'terrorist threat'. We don't have Thatcher, but we do have Tories in de facto control and selling off the country's assets like the Royal Mail.
Agree or disagree with the politics it feels that the time is ripe for the hard rockers and metalheads to rise again; cut-off denims, high tops and bullet belts are long overdue a return as fashion items and there is a need of a musical landcape on the scene that encompasses thrash, glam and all the glitterati attitude that bands in the 80s adopted.
Amidst the local rising stars Maverick seem to have been caught in a time warp, as if transported from the era of Cinderella, Faster Pussycat and Guns 'n' Roses to 2013. And that is no bad thing.
Their five-track ep released earlier this year (we're catching up on a backlog of reviews) Maverick make a statement of intent; a statement that this is our way, this is the 80s way, hop on the rollercoaster or piss off.
This is music that makes you want to cruise in the car, volume cranked and the wild abandon that comes with knowing a beer and a gig is a few short minutes away from you.
This is music that transports you to an era when this type of rock was pure escapism. And we need that now just as we did in the 80s.
That's not to say that this ep is flawless. While self-titled opener Maverick and closing track Easy Come Easy Go are tremendous songs, at times the production and mix seem a bit off. The cymbals are very priominent at the expense of the bottom end at times. Singer Davey Balfour has a unique voice, but needs to move to having his own identity, because the echoes of Tom Keifer are a little too noticeable.
Lyrics are a little too misogynistic at times - one of the more distasteful side of 80s rock that we should have moved on from.
Set those issues aside and put simply these are five tracks that are fun. Songs you can enjoy rocking out to.
With the statement of intent of 'Maverick' first to assault your aural senses with lead solos and the defiant cry "Stop us if you Dare" it is a quick rampage through the sleaze of 'Cat Got Your Tongue", the challenge to Satan on 'Helfire & Brimstone' before 'Top Heavy' punishes and 'Easy Come, Easy Go' rounds things up with a more considered attitude.
Already Maverick have carved out a place on Northern Ireland's live circuit, delighting fans who remember the 80s and those discovering the music of the era for the first time.
This is a collection of five songs that are a foundation to build upon for live shows and what we sincerely hope will be more releases.
Yep - as they say: "Fists in the air!"
Monday, September 23, 2013
Win tickets to see Avenged Sevenfold!
THEY have had controversy and tragedy, but Avenged Sevenfold are now one of the top grossing acts in rock and metal and those generous folks at MCD are offering two of you lucky readers the chance to win a pair of tickets to see A7X play the O2 in Dublin on December 3rd.
Yes, Belfastmetalheadsreunited and rockradioni have got these two pair of tickets in our grubby mits and we know you want to see M Shadows and crew hit the stage backing their latest album Hail The King, backed by emerging contemporary metal band Five Finger Death Punch.
Charting at #1 in the US, UK, Ireland, Finland, Brazil and Canada, amongst other territories with Hail the King there can now be no doubt that A7X have reached the headty heights of rock superstardom.
Even a slagging off by Rob Flynn on social media of a couple of tracks from Hail The King has failed to stop their progress. Shadows played it cool, answered the jibes and spoke about his friendship with Flynn, defusing what could have been a story to plague them.
The rise of Avenged really dates from their second album, Waking the Fallen, when nibbling the charts and a successful slot on the Vans Warped Tour drew big label attention. Warner Bros won out and with City of Evil it seemed the world was opening up for the band - a consistent line-up, a move from the cul-de-sac of metalcore, and a worldwide tour.
However, that was all put to nothing with the tragic death of Jimmy 'The Rev' Sullivan. The band, shocked and hurt simultaneously completed the album Nightmare with Mike Portnoy, late of Dream Theatre behind the kit.
It was an album that was a mixed bag to be honest, despite stand-out songs like Afterlife. It consolidated success, and enabled the band to take stock.
Now with Arin Ilejay firmly established as drummer Hail to the King has a classic hard rock and metal vibe to it; no growling, no messing about. The influences of Sabbath, Metallica et al are clear for all to hear, but that's not necessarily a bad thing. After all Maiden's sound evolved from acts like Purple and Metallica's début owed a lot to Maiden, etc etc.
So - with that potted history drawn from experience, our own record collection and web sources (hey we're not proud!) y'all want to know how to win the tickets....
Simply answer this question:
Name the dynamic guitar duo from Avenged Sevenfold?
Send your answer here before October 7th.
Please note this competition is for tickets only - transport to the O2 is NOT included.
Usual rules apply: if you're not in you can't win; employees and contributors to Belfastmetalheadsreunited and rockradioni cannot enter; everyone else can as long as they are over 18 and...they are fans of A7X! We want real fans to win.
Yes, Belfastmetalheadsreunited and rockradioni have got these two pair of tickets in our grubby mits and we know you want to see M Shadows and crew hit the stage backing their latest album Hail The King, backed by emerging contemporary metal band Five Finger Death Punch.
Charting at #1 in the US, UK, Ireland, Finland, Brazil and Canada, amongst other territories with Hail the King there can now be no doubt that A7X have reached the headty heights of rock superstardom.
Even a slagging off by Rob Flynn on social media of a couple of tracks from Hail The King has failed to stop their progress. Shadows played it cool, answered the jibes and spoke about his friendship with Flynn, defusing what could have been a story to plague them.
The rise of Avenged really dates from their second album, Waking the Fallen, when nibbling the charts and a successful slot on the Vans Warped Tour drew big label attention. Warner Bros won out and with City of Evil it seemed the world was opening up for the band - a consistent line-up, a move from the cul-de-sac of metalcore, and a worldwide tour.
However, that was all put to nothing with the tragic death of Jimmy 'The Rev' Sullivan. The band, shocked and hurt simultaneously completed the album Nightmare with Mike Portnoy, late of Dream Theatre behind the kit.
It was an album that was a mixed bag to be honest, despite stand-out songs like Afterlife. It consolidated success, and enabled the band to take stock.
Now with Arin Ilejay firmly established as drummer Hail to the King has a classic hard rock and metal vibe to it; no growling, no messing about. The influences of Sabbath, Metallica et al are clear for all to hear, but that's not necessarily a bad thing. After all Maiden's sound evolved from acts like Purple and Metallica's début owed a lot to Maiden, etc etc.
So - with that potted history drawn from experience, our own record collection and web sources (hey we're not proud!) y'all want to know how to win the tickets....
Simply answer this question:
Name the dynamic guitar duo from Avenged Sevenfold?
Send your answer here before October 7th.
Please note this competition is for tickets only - transport to the O2 is NOT included.
Usual rules apply: if you're not in you can't win; employees and contributors to Belfastmetalheadsreunited and rockradioni cannot enter; everyone else can as long as they are over 18 and...they are fans of A7X! We want real fans to win.
The tribe of rockers and metallers always trumps the scenesters
THERE is a camaraderie about rock and metal fans that is beyond compare - and for the past several days that has been demonstrated time and time again...but the scenesters and their chequed designer shirts will never know how to give and receive respect. (More of that later.)
First let us rewind back a week or so. 'Twas a Saturday evening and all was well in the world. A healthy gathering of like-minded souls congregated in the vicinity of Ormeau Avenue, many graduating to the hallowed Distortion Project residency in Limelight1.
Once inside there was a four-band treat, at which many nodded in agreement at the mutual enjoyment.
This was a celebration of the launch of Gacy's Threads split 7" with Swiss monsters Colossus Fall.
Opening up was the rhinoceros like charge of Tusks. In your face, in your ears, in your way if you wanted a casual early evening pint, because this was an unrelenting, groove assassination on your senses. Outside Limelight1 casual drinkers and scenesters winced. Where there was calm once there was now mayhem; and it felt good. Tom was manic in this his second singing slot of the weekend, and more than aware of how 'under the weather' he was and how 'angry' he was at everything and everyone while he was on stage, despite being a model of congeniality off-stage.
As more and more people in checked shirts and coloured jeans gathered (hand in your mancard people!) for the early show with Jimmy Eat World in Limelight1 Lantern Gale came on two doors away. Self-proclaimed 'post-hardcore, melodic hardcore they quickly into the groove and the obligatory singer, Paul on the dance floor.
Post-hardcore and melodic post-hardcore has always been a slightly mystifying to us here at Belfastmetalheads. Apart from 36 Crazyfists and local act Escape Fails there has been a lack of coherence to 'post-hardocre' acts. Lantern for a Gale kicked up a noise but only held together with some of the melodic sections. Of note was the title-track of their ep Cut Throat Blues, which had more than an echo of the Cancer Bats but cleared the decks with a frenetic energy and an edge that left more than a few nodding their heads in appreciation.
As more and more pints were consumed - naturally - we broke our Fivewilldie cherry. First time seeing these guys from Cork and wow! Sludge, metal, doom, prog all mixed together in a wonderful brew of noise.
This is where the camaraderie of rock and metal was in clear evidence. This was a band unknown to more than half those present, but each person appreciated their effort in making the journey and their effort on stage. And what an effort it was.
With more groove than a 12" long player, more noise than a flag protest and more focused energy than a thousand Duracell Bunny Fivewilldie are a potent force. The homage to Sabbath was done perfectly with a modern take on the riffmeister's sound.
But, let's face it we were there to celebrate Gacys Threads split launch with Swiss Noisenicks Colossus Fall.
How come we can celebrate such a furious assault? There has been some recent research that listening to loud, aggressive music makes you happy. Well, f**k me pink, we already knew that!
And when Gacys Threads came on stage they made us happy. Furious, aggressive hardcore metal played with an intensity that was frankly scary at times - but scary in a good way.
Life Struck, Titans and the tracks from the split Plague Wielder and Salvation struck the assembled like a smash in the face by a knuckle-duster wielding thug.
Aaron Vance prowled the stage like a caged animal until let loose off the stage, rampaging and tearing loose. On this night in particular Gacys Threads were at a peak, rhythm rolling, guitars furious and an attitude that bound all in attendance together.
Contrast that with the crowd at Jimmy Eat World. Wandering two doors up from being pummeled by Gacys Threads and smiling faces we were immediately taken aback by the numpties there as it was an 'event' to be seen at rather than a gig to enjoy.
Would you rather actually watch performers and enjoy the effort they put in, or would you rather talk amongst yourselves?
For the vast, vast majority of rock and metal fans you pay your fee and enjoy the show. You do not talk, chat, compare styles, take selfies, watch the gig through your phone and keep on talking, and talking and talking....
While the Belfastmetalheads crew were divided over whether Jimmy Eat World were great or insipid it was difficult to make up one's mind when the people next to you are talking, or complaining about getting bumped into (it's a rock gig for Odin's sake not an opera!).
After the sheer exuberant joy of The Distortion Project Gacys Threads show (and the three superb acts with them) it left a slightly sour taste in the mouth.
Fast forward a few days. A double header - The Distortion Project were hosting four bands and Rockradioni were promoting a Motley Crue tribute band.
Unfortunately we missed the debut of '84 at Stiff Kitten, but there were smiles all round when Bakken brought the thrash - and grins were in evidence. Darkest Days and Sasquatch were awesome. This is a band that deserves more exposure!
As to exposure we saw a Scottish invasion in the form of Mair. Now we like a band that shows enthusiasm, and we like a band that enjoys being on stage, and we really like a crowd of people of people gathered together for the music, not to chitter and chatter.
Mair provided a refreshing take on groove metal, with Del's broad Glaswegian accent transmogrifying into a deep bellow, verging between Tom Araya and Howard Jones. Miranda's bass playing was outstanding, but her off-stage antics, running around the crowd while playing, egging on the audience kept the momentum flying during the set. The easy, between song banter, showed a cohesive unit leading the line. Scotland are lucky to have these crowd of glorious nutters. If Scotland gets independence will we need to show our passports to see them...
What can one say about Sinocence? They are players par excellence, with a fine sense of subtle songwriting. Noise and finesse, excellent playing and sheer talent. No Gods, No Masters Vol1 is an obvious platform to build upon as they march onwards.
Again this shows what a rock audience is about. Appreciating the band, acknowledging the effort and being genuinely entertained by the likes of Sinocence - and if you want to chat go outside and have a smoke or take in the fresh air.
Having been so thoroughly entertained smiling groups of people wandered amiably from the Stiff Kitten to The Empire. Genially chatting before hooking up with friends old and new before Screaming Eagles ripped apart the Botanic Avenue venue. Quite literally - in the same way that Gacys Threads and Sinocence rise to new heights - the Eagles lay it down. Three bands, three very different genres within the spectrum of rock and metal and three performances that earned admiration.
The Eagles seem to be growing with each performance, as if the spirit of DC, Cream and Free has inhabited all four band members.
And this returns to our main theme: when two or more are gathered together at the altar or metal, the tribe honours the music and upon completion of the music the congregation - whether in clusters of friends or at the bar contemplation and critiquing the tribe has a camaraderie no other genre has.
That particular evening concluded with Motley Crew UK, headed by the irrepressible Ash. While more entered into the spirit (get drunk and party!) there were others - Anto for example - who did not find it as appealing - yet no-one fell out over it, no-one took the hump.
No matter which genre of hard rock and metal there seems to be a genuine camaraderie, a general feeling that we are one tribe.
Yes, there are always a few numpties out there, who spoil it more for themselves than the people around them, and there bands that part ways due to 'musical differences' but in general it seems that the tribe holds together better than any other group of people. As Eamonn Nancrow says: "protestant, catholic, black, white, or Bangorian" rock 'n' roll transcends boundaries.
And a big hand to all the promoters and publicists, from Stephen Currie and Savour Your Scene through to MCD, from Derwin and the Diamond Rock Club crew, from James and the beloved Distortion Project to Shine and the Limelight, from all at the Voodoo through to Rockradoni - all deserve a hearty slap on the back for enabling bands to play for the benefit of the tribe.
First let us rewind back a week or so. 'Twas a Saturday evening and all was well in the world. A healthy gathering of like-minded souls congregated in the vicinity of Ormeau Avenue, many graduating to the hallowed Distortion Project residency in Limelight1.
Once inside there was a four-band treat, at which many nodded in agreement at the mutual enjoyment.
This was a celebration of the launch of Gacy's Threads split 7" with Swiss monsters Colossus Fall.
Opening up was the rhinoceros like charge of Tusks. In your face, in your ears, in your way if you wanted a casual early evening pint, because this was an unrelenting, groove assassination on your senses. Outside Limelight1 casual drinkers and scenesters winced. Where there was calm once there was now mayhem; and it felt good. Tom was manic in this his second singing slot of the weekend, and more than aware of how 'under the weather' he was and how 'angry' he was at everything and everyone while he was on stage, despite being a model of congeniality off-stage.
As more and more people in checked shirts and coloured jeans gathered (hand in your mancard people!) for the early show with Jimmy Eat World in Limelight1 Lantern Gale came on two doors away. Self-proclaimed 'post-hardcore, melodic hardcore they quickly into the groove and the obligatory singer, Paul on the dance floor.
Post-hardcore and melodic post-hardcore has always been a slightly mystifying to us here at Belfastmetalheads. Apart from 36 Crazyfists and local act Escape Fails there has been a lack of coherence to 'post-hardocre' acts. Lantern for a Gale kicked up a noise but only held together with some of the melodic sections. Of note was the title-track of their ep Cut Throat Blues, which had more than an echo of the Cancer Bats but cleared the decks with a frenetic energy and an edge that left more than a few nodding their heads in appreciation.
As more and more pints were consumed - naturally - we broke our Fivewilldie cherry. First time seeing these guys from Cork and wow! Sludge, metal, doom, prog all mixed together in a wonderful brew of noise.
This is where the camaraderie of rock and metal was in clear evidence. This was a band unknown to more than half those present, but each person appreciated their effort in making the journey and their effort on stage. And what an effort it was.
With more groove than a 12" long player, more noise than a flag protest and more focused energy than a thousand Duracell Bunny Fivewilldie are a potent force. The homage to Sabbath was done perfectly with a modern take on the riffmeister's sound.
But, let's face it we were there to celebrate Gacys Threads split launch with Swiss Noisenicks Colossus Fall.
How come we can celebrate such a furious assault? There has been some recent research that listening to loud, aggressive music makes you happy. Well, f**k me pink, we already knew that!
And when Gacys Threads came on stage they made us happy. Furious, aggressive hardcore metal played with an intensity that was frankly scary at times - but scary in a good way.
Life Struck, Titans and the tracks from the split Plague Wielder and Salvation struck the assembled like a smash in the face by a knuckle-duster wielding thug.
Aaron Vance prowled the stage like a caged animal until let loose off the stage, rampaging and tearing loose. On this night in particular Gacys Threads were at a peak, rhythm rolling, guitars furious and an attitude that bound all in attendance together.
Contrast that with the crowd at Jimmy Eat World. Wandering two doors up from being pummeled by Gacys Threads and smiling faces we were immediately taken aback by the numpties there as it was an 'event' to be seen at rather than a gig to enjoy.
Would you rather actually watch performers and enjoy the effort they put in, or would you rather talk amongst yourselves?
For the vast, vast majority of rock and metal fans you pay your fee and enjoy the show. You do not talk, chat, compare styles, take selfies, watch the gig through your phone and keep on talking, and talking and talking....
While the Belfastmetalheads crew were divided over whether Jimmy Eat World were great or insipid it was difficult to make up one's mind when the people next to you are talking, or complaining about getting bumped into (it's a rock gig for Odin's sake not an opera!).
After the sheer exuberant joy of The Distortion Project Gacys Threads show (and the three superb acts with them) it left a slightly sour taste in the mouth.
Fast forward a few days. A double header - The Distortion Project were hosting four bands and Rockradioni were promoting a Motley Crue tribute band.
Unfortunately we missed the debut of '84 at Stiff Kitten, but there were smiles all round when Bakken brought the thrash - and grins were in evidence. Darkest Days and Sasquatch were awesome. This is a band that deserves more exposure!
As to exposure we saw a Scottish invasion in the form of Mair. Now we like a band that shows enthusiasm, and we like a band that enjoys being on stage, and we really like a crowd of people of people gathered together for the music, not to chitter and chatter.
Mair provided a refreshing take on groove metal, with Del's broad Glaswegian accent transmogrifying into a deep bellow, verging between Tom Araya and Howard Jones. Miranda's bass playing was outstanding, but her off-stage antics, running around the crowd while playing, egging on the audience kept the momentum flying during the set. The easy, between song banter, showed a cohesive unit leading the line. Scotland are lucky to have these crowd of glorious nutters. If Scotland gets independence will we need to show our passports to see them...
What can one say about Sinocence? They are players par excellence, with a fine sense of subtle songwriting. Noise and finesse, excellent playing and sheer talent. No Gods, No Masters Vol1 is an obvious platform to build upon as they march onwards.
Again this shows what a rock audience is about. Appreciating the band, acknowledging the effort and being genuinely entertained by the likes of Sinocence - and if you want to chat go outside and have a smoke or take in the fresh air.
Having been so thoroughly entertained smiling groups of people wandered amiably from the Stiff Kitten to The Empire. Genially chatting before hooking up with friends old and new before Screaming Eagles ripped apart the Botanic Avenue venue. Quite literally - in the same way that Gacys Threads and Sinocence rise to new heights - the Eagles lay it down. Three bands, three very different genres within the spectrum of rock and metal and three performances that earned admiration.
The Eagles seem to be growing with each performance, as if the spirit of DC, Cream and Free has inhabited all four band members.
And this returns to our main theme: when two or more are gathered together at the altar or metal, the tribe honours the music and upon completion of the music the congregation - whether in clusters of friends or at the bar contemplation and critiquing the tribe has a camaraderie no other genre has.
That particular evening concluded with Motley Crew UK, headed by the irrepressible Ash. While more entered into the spirit (get drunk and party!) there were others - Anto for example - who did not find it as appealing - yet no-one fell out over it, no-one took the hump.
No matter which genre of hard rock and metal there seems to be a genuine camaraderie, a general feeling that we are one tribe.
Yes, there are always a few numpties out there, who spoil it more for themselves than the people around them, and there bands that part ways due to 'musical differences' but in general it seems that the tribe holds together better than any other group of people. As Eamonn Nancrow says: "protestant, catholic, black, white, or Bangorian" rock 'n' roll transcends boundaries.
And a big hand to all the promoters and publicists, from Stephen Currie and Savour Your Scene through to MCD, from Derwin and the Diamond Rock Club crew, from James and the beloved Distortion Project to Shine and the Limelight, from all at the Voodoo through to Rockradoni - all deserve a hearty slap on the back for enabling bands to play for the benefit of the tribe.
Friday, September 13, 2013
Motley comp winner and a mad Saturday of rock and metal
CONGRATULATIONS to Darren who was the first drawn for the Belfastmetalheadsreunited/Rockradioni competition for a pair of tickets to see Screaming Eagles and Motley Crew UK at The Empire tomorrow night (September 14t)
Thanks to all who entered and some tickets are still available on the door.
What a mad, bad and great Saturday it looks like being. Kicking off at the Stiff Kitten with The Distortion Project presenting a four-band line up. For a small fee you can see '84, Bakken, Mair and Sinocence.
With that appetiser it is a short stagger to the Empire for the Eagles and some remininsence of the 80s glory of the Crue.
All in all a night that come Sunday will require us all to KickStart Our Hearts to recover...
Thanks to all who entered and some tickets are still available on the door.
What a mad, bad and great Saturday it looks like being. Kicking off at the Stiff Kitten with The Distortion Project presenting a four-band line up. For a small fee you can see '84, Bakken, Mair and Sinocence.
With that appetiser it is a short stagger to the Empire for the Eagles and some remininsence of the 80s glory of the Crue.
All in all a night that come Sunday will require us all to KickStart Our Hearts to recover...
Saturday, September 07, 2013
Ouch! This hurts so good
THERE are times when metal hurts so good it is really enjoyable - such is the case for the Gacey's Threads split 7" with Swiss noisenicks Colossus Fall. This is hardcore metal as it was meant to be, screams, tortured guitars and a feeling you need one more listen to get it.
Stable fixtures of the local scene, Gacey's Threads this sees the Threads wear their torn hearts, bleeding on their ripped sleeves, pounding with agonised promise of a pummelling lest you relax at any time.
These two tracks - Plague Wielder and Salvation - translate on this release as a terror-inflicted torrent of noise, underpinned by a coherent creativity that is captured in the creature-like caterwauling of a crippled animal in a trap that you dare not approach lest you lose a limb.
Johnny and Currie drive the tunes forth, freeing Aaron and Blane to roam like rabid hardcore representatives of the radicalised populace.
Don't take a breather, because should you do Colossus Fall are on the flip side to lay down a wall of volume, with a slightly different take on the hardcore ethic.
Forget your picture postcard image of Alps, Lederhosen and yodeling, because these sound like five very angry young men, aggrieved by the dystopian world crowding on the borders of Switzerland...
Their two tracks equal Gacy's Threads passion and with another listen tend towards a slightly more proggy take on hardcore.
Overall this ambitious collaboration is a brave step for Savour Your Scene and their collaborators. Available as a (very) limited edition 7" yellow vinyl and streamed tracks this is one of those examples when DIY doesn't mean some twat on TV talking house re-decorating. Instead it means taking your soul and laying it bare for all to see and challenging anyone to tread towards the darkness you reveal.
The Belfast launch of this Split 7" takes place today (September 7th) at Limelight2.
You can purchase the 7" at the launch or visit Savour Your Scene records online.
.
Stable fixtures of the local scene, Gacey's Threads this sees the Threads wear their torn hearts, bleeding on their ripped sleeves, pounding with agonised promise of a pummelling lest you relax at any time.
These two tracks - Plague Wielder and Salvation - translate on this release as a terror-inflicted torrent of noise, underpinned by a coherent creativity that is captured in the creature-like caterwauling of a crippled animal in a trap that you dare not approach lest you lose a limb.
Johnny and Currie drive the tunes forth, freeing Aaron and Blane to roam like rabid hardcore representatives of the radicalised populace.
Don't take a breather, because should you do Colossus Fall are on the flip side to lay down a wall of volume, with a slightly different take on the hardcore ethic.
Forget your picture postcard image of Alps, Lederhosen and yodeling, because these sound like five very angry young men, aggrieved by the dystopian world crowding on the borders of Switzerland...
Their two tracks equal Gacy's Threads passion and with another listen tend towards a slightly more proggy take on hardcore.
Overall this ambitious collaboration is a brave step for Savour Your Scene and their collaborators. Available as a (very) limited edition 7" yellow vinyl and streamed tracks this is one of those examples when DIY doesn't mean some twat on TV talking house re-decorating. Instead it means taking your soul and laying it bare for all to see and challenging anyone to tread towards the darkness you reveal.
The Belfast launch of this Split 7" takes place today (September 7th) at Limelight2.
You can purchase the 7" at the launch or visit Savour Your Scene records online.
Friday, September 06, 2013
Suondgarden winners and another ticket competition to see Motley Crew UK
THE winners of tickets to see Soundgarden play Dublin's O2 have been drawn. Congratulations to Leah and Ryan.
If you haven't received an email you weren't lucky this time in this Belfastmetalheadsreunited, Rockradioni competition.
And thanks to MCD for supplying tickets to see this fantastic band on September 16th. If you didn't win then you can still head over to buy tickets here.
And don't say we're not good to you lot out there - we've another competition for you this week and more to come.
This week you can win tickets to see Motley Crew UK with the tremendous Screaming Eagles at Belfast's Empire on September 14th.
Just tell us the name of Motley Crue's second album.
Email your entries here before September 12th. Usual terms and conditions apply - the main one being if you're not in you can't win!!
And look out for another competition coming soon!
If you haven't received an email you weren't lucky this time in this Belfastmetalheadsreunited, Rockradioni competition.
And thanks to MCD for supplying tickets to see this fantastic band on September 16th. If you didn't win then you can still head over to buy tickets here.
And don't say we're not good to you lot out there - we've another competition for you this week and more to come.
This week you can win tickets to see Motley Crew UK with the tremendous Screaming Eagles at Belfast's Empire on September 14th.
Just tell us the name of Motley Crue's second album.
Email your entries here before September 12th. Usual terms and conditions apply - the main one being if you're not in you can't win!!
And look out for another competition coming soon!
The Lords of awesomeness have decreeed there be a thread of metal glory from Gacy's.
RIGHT you lot - pin back yer lugholes, strap in your wibbly bits and get ready for some awesomeness, for the lords of heaviness are unleashing their hardcore power...
When you have recovered from tonight's Voodoo bash with Asatralnaut, Altus, Bad Boat and Crazy Fuzz you will need some rest and recuperation.
For on Saturday afternoon there shall be a rumble of extreme noise eminating along Ormeau Avenue,
It's source? Limelight2. The reason? The launch of the Gacy Threads split 7". A collaboration with Swiss act Collossus Fall the four-tracker is available as a limited edition yellow vinyl with a download code.
Joining Gacy's Threads in this celebratory event of noise are Five Will Die, Lantern Gale and Tusks.
Presenting this is The Distortion Project. The event kicks off at 5pm. Door tax is extremely good value at £5. And with Jimmy Eat World playing an early show we will have two of the staff team deployed along Ormeau Avenue to generally enjoy the evening in the guise of reviewing it...
Review of the Split 7 to follow.
When you have recovered from tonight's Voodoo bash with Asatralnaut, Altus, Bad Boat and Crazy Fuzz you will need some rest and recuperation.
For on Saturday afternoon there shall be a rumble of extreme noise eminating along Ormeau Avenue,
It's source? Limelight2. The reason? The launch of the Gacy Threads split 7". A collaboration with Swiss act Collossus Fall the four-tracker is available as a limited edition yellow vinyl with a download code.
Joining Gacy's Threads in this celebratory event of noise are Five Will Die, Lantern Gale and Tusks.
Presenting this is The Distortion Project. The event kicks off at 5pm. Door tax is extremely good value at £5. And with Jimmy Eat World playing an early show we will have two of the staff team deployed along Ormeau Avenue to generally enjoy the evening in the guise of reviewing it...
Review of the Split 7 to follow.
Tuesday, September 03, 2013
New Horizon dawns for The Answer
THE Answer have long been local stalwarts, favourites at home and getting more and more recognition across the world with big name support slots - now they are ready for the next stage of their career.
With a new label - Napalm Records - and latest release New Horizon set for release at the end of September we caught up with front man Cormac Neeson in the congenial surroundings of a Belfast hostelry before he headed off on a UK and US promotional tour.
Despite the changes the band are upbeat about the next step in The Answer's success story.
"The vibe is very positive right now, we're starting to get good reviews of the album," said Cormac. "We think it's our best one so far, but I'm sure every band says that about every record but I genuinely mean that.
"I think it's our most focussed hard-hitting record so far and hopefully our audience will get it and get what we have to say."
But to get here has not been an easy journey so far The Answer. There have been a difficult few years and with a change of label and severing some ties the band has had to look closely at the next phase of their career.
"At the end of the Revival cycle - our last record - we had to make some tough decisions with our backroom staff and it was probably the first time in our careers that it didn't flow naturally," said Cormac.
"We had to alter the band's course and we parted ways with a few people we were close to, and for a brief moment you almost felt like a businessman making business decisions rather than a musician writing good songs and playing gigs. And that's not a nice feeling and we have to make sure this band thing works out because it [business 'stuff'] doesn't suit me!"
The result is the new album and he explained where they are now.
"We got over it and we channeled all of it into our new record and we think it is a better album for that. I suppose it's what any decent artist should do is use that as the fuel for their work."
One aspect of the character of the band that always shines through is The Answer's roots and their acknowledgement of their forebears in Northern Ireland.
"We're proud to be part of that tradition, with punk, metal, rock, blues, rhythm and blues and all that deserve a tip of the hat," said Cormac. "But we take that all on board and while we don't shy away from our roots we try to twist it into something new.
"And we make no bones about where we come from and what we've been listening to over the last 20 years."
And given that the band are born, bred and buttered in Northern Ireland, Cormac feels that he can reflect that.
"I feel that my Northern Ireland identity can make a band unique in the global market," he said. And as regards lyrics...
"For me by all means go ahead and singing about whatever aspect of Northern Ireland culture, society or whatever you want to sing about, it's part of what I throw into the pot. I'm not maybe as in your face as Stiff Little Fingers or bands like that but I don't try to sit on the fence."
When it came down to sitting down and writing the album the band took one bold step they have never done before.
"On this record, alongside the shake up of personnel we tried to shake up the writing process and the way we did things in the studio just to see where it led and if it hadn't worked out we could have gone back to what we have done for the past decade," he said.
"So for example this time we've co-written a few tracks with our producer Toby Jepson and co-written another track with a friend of ours called Cosmo Jarvis."
"The decision to co-write was a massive one for us because we're four strong minded people who are used to writing together and get into a rythm together and not pandering to anyone but the band.
"So to have a guy come in and say why don't you try this you're initially 'I wouldn't write a song like that in a million years' but then you give it a go and it's not far off the mark at all and once we put our stamp on it and as a result of that it's a much fresher album. There's a few songs on it that really hit the mark that would have taken us longer to achieve."
With the Limelight1 October 11th date on the cards as part of a wider tour thoughts are turning to the set.
"The main challenge is what to slot in from the new record and what older songs to put in for a balanced set.
"We've been rehearsing for the tour and every day we try a different set. We've that many songs we want to play every song but obviously we can't do that. It's like a jigsaw getting all the pieces together."
In promoting the tour and first single 'Spectacular' the band have become immersed in controversy with a video that was banned from Youtube because of its sexually explicit nature and scenes of smoking and drinking.
"Jesus, don't let my mother see it!" was Cormac's first comment, but he is pretty relaxed about the whole shebang.
"I see it as a true reflection of life. Just because the political correctness says you can't show smoking and drinking on television doesn't mean it doesn't go on. The video is about going to a party and having a good time and listening to some rock 'n' roll music. I mean its not any wilder than most parties I used to find myself in - maybe I don't go to enough of those any more. It's just a reflection about young people having a good time and nothing more and nothing less."
Nothing less than hard driving hard rockin' music is what The Answer deliver, and with this new focus and the channeling of energies the album - review coming soon - and tour promises to take the band to the next level.
New Horizons is released on September 30th on Napalm Records, with the tour kicking off in Limelight1 on October 11th - tickets available from all usual outlets.
The full audio of the interview will be broadcast soon on www.rockradioni.co.uk
With a new label - Napalm Records - and latest release New Horizon set for release at the end of September we caught up with front man Cormac Neeson in the congenial surroundings of a Belfast hostelry before he headed off on a UK and US promotional tour.
Despite the changes the band are upbeat about the next step in The Answer's success story.
"The vibe is very positive right now, we're starting to get good reviews of the album," said Cormac. "We think it's our best one so far, but I'm sure every band says that about every record but I genuinely mean that.
"I think it's our most focussed hard-hitting record so far and hopefully our audience will get it and get what we have to say."
But to get here has not been an easy journey so far The Answer. There have been a difficult few years and with a change of label and severing some ties the band has had to look closely at the next phase of their career.
"At the end of the Revival cycle - our last record - we had to make some tough decisions with our backroom staff and it was probably the first time in our careers that it didn't flow naturally," said Cormac.
"We had to alter the band's course and we parted ways with a few people we were close to, and for a brief moment you almost felt like a businessman making business decisions rather than a musician writing good songs and playing gigs. And that's not a nice feeling and we have to make sure this band thing works out because it [business 'stuff'] doesn't suit me!"
The result is the new album and he explained where they are now.
"We got over it and we channeled all of it into our new record and we think it is a better album for that. I suppose it's what any decent artist should do is use that as the fuel for their work."
One aspect of the character of the band that always shines through is The Answer's roots and their acknowledgement of their forebears in Northern Ireland.
"We're proud to be part of that tradition, with punk, metal, rock, blues, rhythm and blues and all that deserve a tip of the hat," said Cormac. "But we take that all on board and while we don't shy away from our roots we try to twist it into something new.
"And we make no bones about where we come from and what we've been listening to over the last 20 years."
And given that the band are born, bred and buttered in Northern Ireland, Cormac feels that he can reflect that.
"I feel that my Northern Ireland identity can make a band unique in the global market," he said. And as regards lyrics...
"For me by all means go ahead and singing about whatever aspect of Northern Ireland culture, society or whatever you want to sing about, it's part of what I throw into the pot. I'm not maybe as in your face as Stiff Little Fingers or bands like that but I don't try to sit on the fence."
When it came down to sitting down and writing the album the band took one bold step they have never done before.
"On this record, alongside the shake up of personnel we tried to shake up the writing process and the way we did things in the studio just to see where it led and if it hadn't worked out we could have gone back to what we have done for the past decade," he said.
"So for example this time we've co-written a few tracks with our producer Toby Jepson and co-written another track with a friend of ours called Cosmo Jarvis."
"The decision to co-write was a massive one for us because we're four strong minded people who are used to writing together and get into a rythm together and not pandering to anyone but the band.
"So to have a guy come in and say why don't you try this you're initially 'I wouldn't write a song like that in a million years' but then you give it a go and it's not far off the mark at all and once we put our stamp on it and as a result of that it's a much fresher album. There's a few songs on it that really hit the mark that would have taken us longer to achieve."
With the Limelight1 October 11th date on the cards as part of a wider tour thoughts are turning to the set.
"The main challenge is what to slot in from the new record and what older songs to put in for a balanced set.
"We've been rehearsing for the tour and every day we try a different set. We've that many songs we want to play every song but obviously we can't do that. It's like a jigsaw getting all the pieces together."
In promoting the tour and first single 'Spectacular' the band have become immersed in controversy with a video that was banned from Youtube because of its sexually explicit nature and scenes of smoking and drinking.
"Jesus, don't let my mother see it!" was Cormac's first comment, but he is pretty relaxed about the whole shebang.
"I see it as a true reflection of life. Just because the political correctness says you can't show smoking and drinking on television doesn't mean it doesn't go on. The video is about going to a party and having a good time and listening to some rock 'n' roll music. I mean its not any wilder than most parties I used to find myself in - maybe I don't go to enough of those any more. It's just a reflection about young people having a good time and nothing more and nothing less."
Nothing less than hard driving hard rockin' music is what The Answer deliver, and with this new focus and the channeling of energies the album - review coming soon - and tour promises to take the band to the next level.
New Horizons is released on September 30th on Napalm Records, with the tour kicking off in Limelight1 on October 11th - tickets available from all usual outlets.
The full audio of the interview will be broadcast soon on www.rockradioni.co.uk
Monday, September 02, 2013
While the boss is busy it's Vai time
By Zakk - Death Metal Correspondent
WITH the owner/Editor was bust reviewing the Steve Vai concert at the Mandella Hall (see his review for Metal Rules here) I was busy scribbling my thoughts down in the strange place in my brain normally reserved for deathly metal sounds.
The first thing to note is that established blogs and zines, like this one and Metal-Rules.com are too often not treated with the respect they deserve; after all a few paragraphs in a print magazine may, or may not be read, but on this blog and on zines like Metal-Rules they are almost certainly to be read and the links spread about on social media.
Such was the frustration on getting the passes that were ordered, but thanks to Mr Vai's people all was well in the end.
And what a show Vai put on - two and a half hours of sheer hard rocking guitar playing.
While I bow to the owner and editor of the sites prose, I shall put it more bluntly. As a sometime twiddler of the six-string the bag of tricks pulled out by Steve Vai was almost unparalleled. Never mind the widdlers on Youtube, this was the real deal.
Suffice to say that Vai is a great guitar god, but watching someone w**k over their guitar for any length of time can be boring; hence Vai made it a real rock show - lights, costume changes and a talented band behind his every move.
One thing that can be certain: every guitar player there will be vowing to get practicing, to try and emulate even 10% of what Steve can achieve.
So, head off to http://www.metal-rules.com/metalnews/2013/08/31/steve-vai-mandella-hall-belfast/ and read what the boss has to say and I'll try and figure out just how fast I can sweep pick a solo...
WITH the owner/Editor was bust reviewing the Steve Vai concert at the Mandella Hall (see his review for Metal Rules here) I was busy scribbling my thoughts down in the strange place in my brain normally reserved for deathly metal sounds.
The first thing to note is that established blogs and zines, like this one and Metal-Rules.com are too often not treated with the respect they deserve; after all a few paragraphs in a print magazine may, or may not be read, but on this blog and on zines like Metal-Rules they are almost certainly to be read and the links spread about on social media.
Such was the frustration on getting the passes that were ordered, but thanks to Mr Vai's people all was well in the end.
And what a show Vai put on - two and a half hours of sheer hard rocking guitar playing.
While I bow to the owner and editor of the sites prose, I shall put it more bluntly. As a sometime twiddler of the six-string the bag of tricks pulled out by Steve Vai was almost unparalleled. Never mind the widdlers on Youtube, this was the real deal.
Suffice to say that Vai is a great guitar god, but watching someone w**k over their guitar for any length of time can be boring; hence Vai made it a real rock show - lights, costume changes and a talented band behind his every move.
One thing that can be certain: every guitar player there will be vowing to get practicing, to try and emulate even 10% of what Steve can achieve.
So, head off to http://www.metal-rules.com/metalnews/2013/08/31/steve-vai-mandella-hall-belfast/ and read what the boss has to say and I'll try and figure out just how fast I can sweep pick a solo...
Astral Bitch transmitting from the Limelight....
WHEN it comes to Saturday evenings it is always a pleasant sojourn along to Ormeau Avenue to see what offerings James Loveday is presenting with The Distortion Project's weekly offering.
Perfectly timed to enjoy some early evening quaffing and riffage we made the long journey to the Limelight2 (well 30 minute journey...) as our owner/editor and death/black metal correspondent to sample the liquid and aural wares on offer for a paltry £5 door tax.
And it was a pleasantly heavy as the gates of hell evening, with a trio of bands playing as if they were Odyssey Arena headliners.
With an all-day, all ages gig underway at the T13 skate park it took a while for the audience to build to respectable levels, but many missed openers Midnight Transmission lay down a heavy, punk edged take on the hard rock genre. Plenty of stagecraft, nice moves and good songs to boot. At times the vocals were a bit lot in the mix, but otherwise a sound opener.
Rabid Bitch of the North kicked off their set with Your Misery. They then ploughed their way through seven tracks with Joe's beard and Rickenbacker bass leading the charge. With God Of Punishment and Help I'm Trapped in 1999 stand-out tracks: both of which saw Gerry laying down riffs and tight solos.
This was a real improvement on previous RBOTN sets we've seen. Whatever they're taking and whatever they are doing keep at it!
Technical issues saw a truncated Astralnaut set, but their heavy stoner, southern flavoured space groove saw the airing of three new songs, one of which has as yet not title.
The other new songs Ego Eccentric and Mac Fire blended with existing tracks such as Emerald Lord of Pleasure; the bottom end groove tighter than a shark's arse and free-flowing riffs weaving their way around the room like lizards of doom cruising for a victim...
So, The Distortion Project scores another gig for the team; three bands impress and improve their chops...what better way to spend a Saturday evening? Answers on a postcard....
Perfectly timed to enjoy some early evening quaffing and riffage we made the long journey to the Limelight2 (well 30 minute journey...) as our owner/editor and death/black metal correspondent to sample the liquid and aural wares on offer for a paltry £5 door tax.
And it was a pleasantly heavy as the gates of hell evening, with a trio of bands playing as if they were Odyssey Arena headliners.
With an all-day, all ages gig underway at the T13 skate park it took a while for the audience to build to respectable levels, but many missed openers Midnight Transmission lay down a heavy, punk edged take on the hard rock genre. Plenty of stagecraft, nice moves and good songs to boot. At times the vocals were a bit lot in the mix, but otherwise a sound opener.
Rabid Bitch of the North kicked off their set with Your Misery. They then ploughed their way through seven tracks with Joe's beard and Rickenbacker bass leading the charge. With God Of Punishment and Help I'm Trapped in 1999 stand-out tracks: both of which saw Gerry laying down riffs and tight solos.
This was a real improvement on previous RBOTN sets we've seen. Whatever they're taking and whatever they are doing keep at it!
Technical issues saw a truncated Astralnaut set, but their heavy stoner, southern flavoured space groove saw the airing of three new songs, one of which has as yet not title.
The other new songs Ego Eccentric and Mac Fire blended with existing tracks such as Emerald Lord of Pleasure; the bottom end groove tighter than a shark's arse and free-flowing riffs weaving their way around the room like lizards of doom cruising for a victim...
So, The Distortion Project scores another gig for the team; three bands impress and improve their chops...what better way to spend a Saturday evening? Answers on a postcard....
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