WHEN Annihilator released Feast last year the Canadian thrashers rightly received critical acclaim for delivering a contemporary thrash album, with all the bells and whistles thrown in. But now on its second bonus version is this flogging a dead horse?
Well in this case you take that dead horse, skin it and throw the worn leather and entrails to the zombies while you flee into the heart of the pit.
Within the sumptuous packaging - including 3-D cover art - you'll find not only the original Feast album, but a 15-track original recording of classic Annihilator songs and a DVD of Annihilator at Wacken in 2013.
If you haven't heard Feast yet, then rest assured this may be the Canuck's 14th studio album, but it is still fresh and relevant.
In writing and recording it they have thrown in everything you would associate with thrash, added fusion, a dark ballad and some outrageous punk/thrash as well as classic metal stylings. Had there been a kitchen sink in the studio it probably would have been tossed in as well.
Opening up with a triple thrash assault - highlighted by Smear Campaign - it takes an eclectic turn with the jazz/funk No Surrender which melds into a dark roustabout including an homage to Slayer with the cry "Please, God Help Me" before a wild solo outing from founder member Jeff Waters.
Then, with Danjo Jones backing the punk speed metal fury of Wrapped it takes a left turn with the darkly tender Perfect Angel Eyes.
Demon Code is a return to the thrash template, while Fight the World throws in the obligatory soft opening before heads down charge.
However, the real secret of Annihilator's ongoing success is summed up in the album closer One Fails, Two Rise, which has an epic feel in both production and arrangement, subsuming into its grooves the best of classic metal as well as thrash sensibilities.
Re-Kill, as the main bonus feature is a fresh take on many Annihilator's stellar tracks, with Dave Padden taking the vocal duties on all bar 21.
King of the Kill, Fun Palace, No Zone and Clown Parade are all on there. If you haven't yet experienced Annihilator this is a perfect way to get a 'best of...' collection.
Throw in the Wacken DVD and this is something for both those newly inducted into the Annihilator zombie collective and a worthy collector's edition.
This multi-featured release of Feast is now out on UDR.
Tuesday, February 25, 2014
Sunday, February 23, 2014
Triple terror from Spittin' Teeth, Defyed and By Conquest or Consent
SATURDAY evening - that time when the beige and vanilla people settle down to get ready, don their glad rags, watch crap television and sup their pre-drinks. But on the Ormeau Avenue in the dark recesses of Limelight2 The Distortion Project unleashed a triple terror hardcore and metal attack.
And, the beige and vanilla people will never know the joy of the all-out, balls out musical assault from Spittin' Teeth, Defyed and By Conquest or Consent; all three of which produced an evening of deep passion and smiles all round.
Spittin' Teeth opened up proceedings like the bastard sons of Stormtroopers of Death, Hatebreed and DRI. They managed to be both loose and enjoyable.
Flinging riffs and anger to the audience each interlude produced laughter as Dom confessed to being under the influence. Despite that there is an attitude here well worth cultivating further. Of particular note was the rhythm section, with drumming that pounded and splashed to add aural colour to the set
Defyed have grown up as a band in a relatively short period of time and they appreciate the need to be professional in how they approach their music. From the intro through to the closer this is a tight unit, mixing hardcore aggression with a precise musical approach reminiscent of mid-period Soulfly.
Wayne poured real passion into his singing. He's mobile and stamps out each beat, sweat oozing and his soul bared as the likes of Parasites (dedicated to all politicians and Vladimir Putin in particular on this evening).
Steve and Trev are beginning to have the telepathic understanding of each other that comes with rehearsal and live performances, while Kerian locks it all down.
Spit the Lies and Stick Tight had a real resonance amidst the noise.
This was the first time we have encountered By Conquest or Consent and it was a joy to see such a mélange of hardcore and metal, with the metallic edge being the most prominent.
Pete is a compelling frontman, and Michael looks like a full on metal guitarist, locked on to his Jackson, but the tracksuit bottoms revealing other influences.
Dom on bass (after six-string duties earlier for Spittin' Death) has it tightly bound and is a foil for Pete to play upon, while Jay and Pete bolster the sound.
This is a band with loads of potential and are really enjoyable to watch and listen to.
This Distortion Project offering showed that hardcore with a metallic twist is proof of the diversity of music Northern Ireland is producing and producing well.
One day the beige and vanilla people will walk away from their mass-produced nonsense of The Voice, X-Factor and the rest of the drivel and enjoy the release of pure locally produced passionate music.
And, the beige and vanilla people will never know the joy of the all-out, balls out musical assault from Spittin' Teeth, Defyed and By Conquest or Consent; all three of which produced an evening of deep passion and smiles all round.
Spittin' Teeth opened up proceedings like the bastard sons of Stormtroopers of Death, Hatebreed and DRI. They managed to be both loose and enjoyable.
Flinging riffs and anger to the audience each interlude produced laughter as Dom confessed to being under the influence. Despite that there is an attitude here well worth cultivating further. Of particular note was the rhythm section, with drumming that pounded and splashed to add aural colour to the set
Defyed have grown up as a band in a relatively short period of time and they appreciate the need to be professional in how they approach their music. From the intro through to the closer this is a tight unit, mixing hardcore aggression with a precise musical approach reminiscent of mid-period Soulfly.
Wayne poured real passion into his singing. He's mobile and stamps out each beat, sweat oozing and his soul bared as the likes of Parasites (dedicated to all politicians and Vladimir Putin in particular on this evening).
Steve and Trev are beginning to have the telepathic understanding of each other that comes with rehearsal and live performances, while Kerian locks it all down.
Spit the Lies and Stick Tight had a real resonance amidst the noise.
This was the first time we have encountered By Conquest or Consent and it was a joy to see such a mélange of hardcore and metal, with the metallic edge being the most prominent.
Pete is a compelling frontman, and Michael looks like a full on metal guitarist, locked on to his Jackson, but the tracksuit bottoms revealing other influences.
Dom on bass (after six-string duties earlier for Spittin' Death) has it tightly bound and is a foil for Pete to play upon, while Jay and Pete bolster the sound.
This is a band with loads of potential and are really enjoyable to watch and listen to.
This Distortion Project offering showed that hardcore with a metallic twist is proof of the diversity of music Northern Ireland is producing and producing well.
One day the beige and vanilla people will walk away from their mass-produced nonsense of The Voice, X-Factor and the rest of the drivel and enjoy the release of pure locally produced passionate music.
Saturday, February 22, 2014
Pain, tragedy and people in Lamb of Gods As The Palaces Burn
MARCH 6th. Put that date in your diary. You will want to make your way to the Queen's Film Theatre to see As The Palaces Burn, the Lamb of God documentary filmed by Don Argott.
On the surface this is just a metal documentary, but it is much more. This is a film about people, people's reaction to music and what happens to people when faced with personal tragedy and real life challenges.
We all know that Randy Blythe was acquitted of the manslaughter of Daniel Nosek, but that doesn't lesson the power of this film, or the tension as Blythe and his legal team prepare for court.
However, this isn't just a documentary about that incident. It is about the impact God have made, and the redemption that exists within the unifying force of heavy metal.
We see Randy Blythe by a river in Richmond confessing that he spent time with the homeless there; we see the humbleness of the band as they prepare for the Resolution tour.
And then the focus shifts and Argott's lens draws us to unlikely parts of the globe to find fans in Colombia; one fan - a taxi driver - who brings Argott to the grave of drug lord Pablo Escoban and the graves of his brothers and friends who were killed in the drug and gang wars.
The implication is clear: heavy metal and Lamb of God in particular saved him from a similar fate.
Then in the heart of traditional Indian culture Argott lets a female fan tell her story of social ostracism because of her tattoos and the fact that she is a singer in a metal band.
Argott captures the excited fans as they tell of 24 hour journeys; journeys of days and devotion across the sub-continent to see Lamb of God. With flashes of the band meeting fans and their relatively 'normal' home lives, so far it is a pretty unique documentary.
Then the arrest as their flight to Prague touches down.
With Blythe on remand and bail being set ever higher it would have been understandable if the shutters had come down on the filming, but no - Argott's given access to the most intimate proceedings in court and behind the scenes.
To see the band going through their rehearsal room to find items to sell to pay soaring legal fees is a reminder that the majority of metal bands don't have millions in the bank to throw around the place.
It has already been stated that Blythe showed conviction and courage to return to Prague to face the charges, when he could have hid behind legal machinations in the US to avoid the case.
The court room images are harrowing - watching the uncle of Nosek in court is painful, and Blythe's demeanour is no coached witness, but it is of a man who feels the pain of the Nosek family despite his innocence.
To say that the return of Lamb of God after the case echoes perfectly the title of Resolution is one of those clichéd journalistic phrases that rings true for a change.
Lamb of God and Argott have captured in film power: power in its portrayal of people; people in the band baring their souls; people in the crowd brought to life from the anonymity of the audience; people in pain; people facing a panel of judges; and, ultimately the fact that music unifies people.
March 6th, Queen's Film Theatre. Be there, it will be worth your time.
More information available at http://asthepalacesburn.com.
On the surface this is just a metal documentary, but it is much more. This is a film about people, people's reaction to music and what happens to people when faced with personal tragedy and real life challenges.
We all know that Randy Blythe was acquitted of the manslaughter of Daniel Nosek, but that doesn't lesson the power of this film, or the tension as Blythe and his legal team prepare for court.
However, this isn't just a documentary about that incident. It is about the impact God have made, and the redemption that exists within the unifying force of heavy metal.
We see Randy Blythe by a river in Richmond confessing that he spent time with the homeless there; we see the humbleness of the band as they prepare for the Resolution tour.
And then the focus shifts and Argott's lens draws us to unlikely parts of the globe to find fans in Colombia; one fan - a taxi driver - who brings Argott to the grave of drug lord Pablo Escoban and the graves of his brothers and friends who were killed in the drug and gang wars.
The implication is clear: heavy metal and Lamb of God in particular saved him from a similar fate.
Then in the heart of traditional Indian culture Argott lets a female fan tell her story of social ostracism because of her tattoos and the fact that she is a singer in a metal band.
Argott captures the excited fans as they tell of 24 hour journeys; journeys of days and devotion across the sub-continent to see Lamb of God. With flashes of the band meeting fans and their relatively 'normal' home lives, so far it is a pretty unique documentary.
Then the arrest as their flight to Prague touches down.
With Blythe on remand and bail being set ever higher it would have been understandable if the shutters had come down on the filming, but no - Argott's given access to the most intimate proceedings in court and behind the scenes.
To see the band going through their rehearsal room to find items to sell to pay soaring legal fees is a reminder that the majority of metal bands don't have millions in the bank to throw around the place.
It has already been stated that Blythe showed conviction and courage to return to Prague to face the charges, when he could have hid behind legal machinations in the US to avoid the case.
The court room images are harrowing - watching the uncle of Nosek in court is painful, and Blythe's demeanour is no coached witness, but it is of a man who feels the pain of the Nosek family despite his innocence.
To say that the return of Lamb of God after the case echoes perfectly the title of Resolution is one of those clichéd journalistic phrases that rings true for a change.
Lamb of God and Argott have captured in film power: power in its portrayal of people; people in the band baring their souls; people in the crowd brought to life from the anonymity of the audience; people in pain; people facing a panel of judges; and, ultimately the fact that music unifies people.
March 6th, Queen's Film Theatre. Be there, it will be worth your time.
More information available at http://asthepalacesburn.com.
Winners of Eric Church competition
CONGRATULATIONS to James and Finlay who have won tickets to see Eric Church at the Ulster Hall on February 25th.
After an exhaustive draw process (numbering the entries, putting them into a baseball cap and getting the metal mutt, a.k.a. the dog, to sniff out the winners) it now means that if you haven't got an email now then you're not a winner and will have to pay to see Mr Church.
Thanks to MCD who provided the winners and look out for more competitions in coming days on Belfastmetalheadsreunited and Rockradioni.
After an exhaustive draw process (numbering the entries, putting them into a baseball cap and getting the metal mutt, a.k.a. the dog, to sniff out the winners) it now means that if you haven't got an email now then you're not a winner and will have to pay to see Mr Church.
Thanks to MCD who provided the winners and look out for more competitions in coming days on Belfastmetalheadsreunited and Rockradioni.
Tuesday, February 18, 2014
Masterful Scots Man Must Die nail it on their latest release
IF you like crushing, technically superior death metal, with its roots in classic metal, and with a dystopian view of current affairs and tormented hatred at betrayals then you need not look further than Man Must Die.
The Scottish technocrats of controlled chaos platter, Peace Was Never An Option, is currently available on Grindscene Records and is a furious expression of death metal as a cause for cathartic celebration in anger.
Throughout this album there is a flavour of finesse to the musicianship as can be heard on some of the guitar work on The Hell I Fear, which also has a clean, spoken section that serves to focus the menace of the song and a coda that works to close the song in a manner appropriate to concluding such a fierce psalm.
It would be pretty much easy to pick out individual tracks on Peace Was Never An Option as there is not a weak song. Indeed, what this album shows is that the genre of death metal need not be a straightjacket. The so-called formula for death metal can be tweaked - just a little - and the result is a more rounded experience.
The album title comes from a song whose lyrical theme resonates in Northern Ireland and Glasgow - it is simply called Sectarian. A double bass rumble powers through the track, while guitars and base weave around the angry refutation of the sectarian culture that divides us.
Lines such as: "Why don't you open your eyes; this is destroying your life" and "You are shaped by your elder's flaws" show the passion expressed in this track.
To help listeners take a breath there is the instrumental Dissolution sitting midway through this 12- track triumphant march through hellish metal.
Despite the liberal theme of Sectarian, there is a reactionary lyric in the tearaway Abuser Friendly, which casts a cynical eye on the 'rights' of offenders - the only uncomfortable moment on then album as a point that can be made with some validity, it also strays a little close to 'Daily Mail' territory.
But it is least a eloquent expression of anger. And, there lies the secret of the album's power. Against the death metal drive there is intelligence on show; the musical prowess is a counterpoint to the intelligibly presented vocals. This is given full rein on Absence Makes The Heart Grows Stronger and The Price You Pay.
The eight and a half minute closer The Day That I Died is the distillation of the album's theme using an alchemy that pulls together a mid-paced track backed by drum flourishes, controlled guitar expressions and a sense of timing that few have met in recent years.
Peace Was Never An Option is out now on Grindscene Records and with our 8.5 out of 10 rating we suggest you invest in Man Must Die.
The Scottish technocrats of controlled chaos platter, Peace Was Never An Option, is currently available on Grindscene Records and is a furious expression of death metal as a cause for cathartic celebration in anger.
Throughout this album there is a flavour of finesse to the musicianship as can be heard on some of the guitar work on The Hell I Fear, which also has a clean, spoken section that serves to focus the menace of the song and a coda that works to close the song in a manner appropriate to concluding such a fierce psalm.
It would be pretty much easy to pick out individual tracks on Peace Was Never An Option as there is not a weak song. Indeed, what this album shows is that the genre of death metal need not be a straightjacket. The so-called formula for death metal can be tweaked - just a little - and the result is a more rounded experience.
The album title comes from a song whose lyrical theme resonates in Northern Ireland and Glasgow - it is simply called Sectarian. A double bass rumble powers through the track, while guitars and base weave around the angry refutation of the sectarian culture that divides us.
Lines such as: "Why don't you open your eyes; this is destroying your life" and "You are shaped by your elder's flaws" show the passion expressed in this track.
To help listeners take a breath there is the instrumental Dissolution sitting midway through this 12- track triumphant march through hellish metal.Despite the liberal theme of Sectarian, there is a reactionary lyric in the tearaway Abuser Friendly, which casts a cynical eye on the 'rights' of offenders - the only uncomfortable moment on then album as a point that can be made with some validity, it also strays a little close to 'Daily Mail' territory.
But it is least a eloquent expression of anger. And, there lies the secret of the album's power. Against the death metal drive there is intelligence on show; the musical prowess is a counterpoint to the intelligibly presented vocals. This is given full rein on Absence Makes The Heart Grows Stronger and The Price You Pay.
The eight and a half minute closer The Day That I Died is the distillation of the album's theme using an alchemy that pulls together a mid-paced track backed by drum flourishes, controlled guitar expressions and a sense of timing that few have met in recent years.
Peace Was Never An Option is out now on Grindscene Records and with our 8.5 out of 10 rating we suggest you invest in Man Must Die.
Sunday, February 16, 2014
Quare craic with The Quireboys and the Ajenda in Ahoghil
FOR those not familiar with the Northern Irish and north Antrim vernacular 'quare craic' can be loosely interpreted from the bastardised Ulster Scots and Gaelic as 'a good time' - and a good time was seemingly had by all at the Diamond Rock Club in Ahoghill as The Quireboys and Ajenda rocked acoustically.
Attitude is everything when it comes to rock 'n' roll, and with stacked amplifiers and bass amps removed stripped down acoustic sets means it is songs and attitude that carry a band through - both local heroes Ajenda and The Quireboys proved they have attitude to spare.
Ajenda are riding high on the crest of a wave with a successful 2013 now dawning into a promising 2014 as they told us when they were preparing for this gig. (Hear the interview here.)
The four-piece quickly hit rhythm with an impressive selection from their previously released eps and début album Unrecognisable.
While the instrumental Olympus Monz showcased the musical spine in the band, the songs proved their resilience when Jenny's voice was given full rein with Gav's flourishes flowing easily around the tracks.
Stand-out songs - which were already well-known to many of the crowd - were Tattoo, Heaven's Tears and the most recent release from Unrecognisable, Hatred and Greed.
The Ajenda sound adapted well to the acoustic setting, coming across as a delicate blend of laid-back and powerful.
And, when The Quireboys hit the stage it was an equally delicate blend: teetering on the edge of chaos and outstanding performance. Case in point is the focus of the band, Jonathan Gray - better known as Spike. Despite being clearly 'under the weather' this was a pure professional performance.
Routine banter was interspersed with local references to keyboardist Keith Weir's Tandragee, County Armagh roots...and potatoes.
But when the songs flowed this was aural honey. The Quireboys performed with the looseness of a band playing as if they were resident house act and the tightness only achieved by touring and the intricate interplay of professionals.
Guy and Keith managed to keep a boogie woogie 12-bar rock 'n' roll ethos resounding through what for many in the crowd were the mainstay rock themes of their younger years.
From earlier hits through to tracks from last year's Beautiful Curse (Mother Mary particularly noteworthy) The Quireboys have a back catalogue worthy of the international superstars they always deserved to be, and more recent songs that are as instantly memorable.
As Spike told us after the show Beautiful Curse is close to equalling, if not surpassing, sales of their first album, proving their relevance and the sustainability of rock.
Of course There She Goes Again, Hello, 27 Years, Whippin' Boy, 7 O'clock and I Don't Love You Anymore were among the most familiar and most well-received tracks.
But the strength of all aspects of the band was revealed by the poignant love song, Beautiful Curse. Delivered with passion and with a chorus that resounded across the packed audience.
With a new album from The Quireboys with an expected release in June of this year he evidence is that the band will continue to deliver on that promise of chaos balanced with creative and musical excellence.
Attitude is everything when it comes to rock 'n' roll, and with stacked amplifiers and bass amps removed stripped down acoustic sets means it is songs and attitude that carry a band through - both local heroes Ajenda and The Quireboys proved they have attitude to spare.
Ajenda are riding high on the crest of a wave with a successful 2013 now dawning into a promising 2014 as they told us when they were preparing for this gig. (Hear the interview here.)
The four-piece quickly hit rhythm with an impressive selection from their previously released eps and début album Unrecognisable.
While the instrumental Olympus Monz showcased the musical spine in the band, the songs proved their resilience when Jenny's voice was given full rein with Gav's flourishes flowing easily around the tracks.
Stand-out songs - which were already well-known to many of the crowd - were Tattoo, Heaven's Tears and the most recent release from Unrecognisable, Hatred and Greed.
The Ajenda sound adapted well to the acoustic setting, coming across as a delicate blend of laid-back and powerful.
And, when The Quireboys hit the stage it was an equally delicate blend: teetering on the edge of chaos and outstanding performance. Case in point is the focus of the band, Jonathan Gray - better known as Spike. Despite being clearly 'under the weather' this was a pure professional performance.
Routine banter was interspersed with local references to keyboardist Keith Weir's Tandragee, County Armagh roots...and potatoes.
But when the songs flowed this was aural honey. The Quireboys performed with the looseness of a band playing as if they were resident house act and the tightness only achieved by touring and the intricate interplay of professionals.
Guy and Keith managed to keep a boogie woogie 12-bar rock 'n' roll ethos resounding through what for many in the crowd were the mainstay rock themes of their younger years.
From earlier hits through to tracks from last year's Beautiful Curse (Mother Mary particularly noteworthy) The Quireboys have a back catalogue worthy of the international superstars they always deserved to be, and more recent songs that are as instantly memorable.
As Spike told us after the show Beautiful Curse is close to equalling, if not surpassing, sales of their first album, proving their relevance and the sustainability of rock.
Of course There She Goes Again, Hello, 27 Years, Whippin' Boy, 7 O'clock and I Don't Love You Anymore were among the most familiar and most well-received tracks.
But the strength of all aspects of the band was revealed by the poignant love song, Beautiful Curse. Delivered with passion and with a chorus that resounded across the packed audience.
With a new album from The Quireboys with an expected release in June of this year he evidence is that the band will continue to deliver on that promise of chaos balanced with creative and musical excellence.
Saturday, February 15, 2014
A Cappella metal? Hear it the Van Canto way
OKAY - there are many types of metal lurking out there in the wilderness, from classic to industrial, from jazz to technical, from death to black, all shades of metal is there or thereabouts in our iTunes accounts or are CD collection. But A Cappella metal? That's just on the outer edge.
However, German sextet Van Canto have proved on this their fifth album Dawn of the Brave that the absence of guitar and bass is no hindrance to the development of this 'genre' of metal.
With only a drummer to add instruments this is frankly way, way out of our comfort zone, with only the familiar sounds of The Final Countdown and Paranoid keeping our sanity grounded.
Unfortunately the cover versions are the weakest part of this release from Van Canto (the less said about Holding Out For a Hero the better). Their own material has a more majestic sweep; the covers may work as live novelties, but on an album they are intrusive in this otherwise fine set of tunes.
Badaboom - the lead off release from Dawn of the Brave - is amongst the strongest of the tracks along with Unholy and My Utopia.
The album was mixed by Ronald Prent whose previous credits include Manowar and Rammstein. And, is perhaps through his efforts that there is something of the symphonic about this release apart from the obvious effect of the vocal efforts. He provides a dynamic to the sound.
That symphonic effect is backed by artwork that is based on superhero concept and visual design.
The blurb that accompanies this release comes complete with the claim that you don't need electric guitars for heavy music. Somehow we'd like to see some guitars in the mix to add to the texture, but perhaps that may not distinguish the sound sufficiently in a crowded market.
However, German sextet Van Canto have proved on this their fifth album Dawn of the Brave that the absence of guitar and bass is no hindrance to the development of this 'genre' of metal.With only a drummer to add instruments this is frankly way, way out of our comfort zone, with only the familiar sounds of The Final Countdown and Paranoid keeping our sanity grounded.
Unfortunately the cover versions are the weakest part of this release from Van Canto (the less said about Holding Out For a Hero the better). Their own material has a more majestic sweep; the covers may work as live novelties, but on an album they are intrusive in this otherwise fine set of tunes.
Badaboom - the lead off release from Dawn of the Brave - is amongst the strongest of the tracks along with Unholy and My Utopia.The album was mixed by Ronald Prent whose previous credits include Manowar and Rammstein. And, is perhaps through his efforts that there is something of the symphonic about this release apart from the obvious effect of the vocal efforts. He provides a dynamic to the sound.
That symphonic effect is backed by artwork that is based on superhero concept and visual design.
The blurb that accompanies this release comes complete with the claim that you don't need electric guitars for heavy music. Somehow we'd like to see some guitars in the mix to add to the texture, but perhaps that may not distinguish the sound sufficiently in a crowded market.
Friday, February 14, 2014
On the cusp - after an impressive 2013 could 2014 be Ajenda's break out year
2013 proved to be a phenomenal year for Carrick-based Northern Ireland rockers Ajenda. It saw the release of début album Unrecognisable and tours across Europe.
This year they have already released a single off the album that is receiving global airplay.
We caught up with the four-piece as they got together for the final rehearsal ahead of an acoustic support slot with The Quireboys at the Diamond Rock Club, Ahoghill - and in this interview they reveal that they have snagged a track on the cover-mount of the March Classic Rock and so much more.
Click here to listen to the full interview.
Saturday night's gig with The Quireboys is sold-out, but look out for more Ajenda gigs soon!
This year they have already released a single off the album that is receiving global airplay.
We caught up with the four-piece as they got together for the final rehearsal ahead of an acoustic support slot with The Quireboys at the Diamond Rock Club, Ahoghill - and in this interview they reveal that they have snagged a track on the cover-mount of the March Classic Rock and so much more.
Click here to listen to the full interview.
Saturday night's gig with The Quireboys is sold-out, but look out for more Ajenda gigs soon!
Thursday, February 13, 2014
Beautiful noise from Baleful Creed.
AFTER releasing three eps Belfast's Baleful Creed have pulled together 10 tracks from those releases to launch a full length album - and what a collection it is.
And the tracks as a collection all make even more sense pulled together as one release with the blend of Sabbath style riffs, southern metal groove and powerful choruses working as one.
Where before the Baleful Creed songs were all excellent - especially live - they sat often in isolation from each other coming as they did from disparate releases.
Now this album is a platform that they can build from to take this four-piece to the next level of success.
Kicking off with the driving self-titled song as a statement of the band's commitment, the following song - Autumn Leaves - is where the soul of the band lies: darkness and light as a contrast and a tale that would be spine-chilling if related as a film.
That contrast lies at the heart of Baleful Creed's unique selling-point: where some other bands across the UK, Europe and the USA sometimes slavishly draw on their influences Creed meld them together like demented musical welders.
Illuminati, the afore-mentioned Autumn Leaves, Misanthrope, Double FS and Thorazine are stand-outs in this overall excellent collection.
It is the combination of musicianship and song-writing that has produced this album. Fin Finlay's vocals, supported by drummer Mark Stewart's singing on Misanthrope and backing vocals are the obvious sound that draw casual listeners; but dig beneath for a little longer and Fin and John Allen's guitars weave an aural soundscape, with Stephen Fleming's bass holding the tenuous grip that prevents it all from drifting apart.
Fin and John's inter-weaving guitars, riffing and superb solos are the outworking of the magic: they provide the atmosphere that make the songs come alive.
Simply called Baleful Creed this is an album that is worth the investment - whether from the four-piece's Bandcamp page - or better still as a physical album to sit on your racks, where it will take a worthy place.
And the tracks as a collection all make even more sense pulled together as one release with the blend of Sabbath style riffs, southern metal groove and powerful choruses working as one.
Where before the Baleful Creed songs were all excellent - especially live - they sat often in isolation from each other coming as they did from disparate releases.
Now this album is a platform that they can build from to take this four-piece to the next level of success.
Kicking off with the driving self-titled song as a statement of the band's commitment, the following song - Autumn Leaves - is where the soul of the band lies: darkness and light as a contrast and a tale that would be spine-chilling if related as a film.
That contrast lies at the heart of Baleful Creed's unique selling-point: where some other bands across the UK, Europe and the USA sometimes slavishly draw on their influences Creed meld them together like demented musical welders.
Illuminati, the afore-mentioned Autumn Leaves, Misanthrope, Double FS and Thorazine are stand-outs in this overall excellent collection.
It is the combination of musicianship and song-writing that has produced this album. Fin Finlay's vocals, supported by drummer Mark Stewart's singing on Misanthrope and backing vocals are the obvious sound that draw casual listeners; but dig beneath for a little longer and Fin and John Allen's guitars weave an aural soundscape, with Stephen Fleming's bass holding the tenuous grip that prevents it all from drifting apart.
Fin and John's inter-weaving guitars, riffing and superb solos are the outworking of the magic: they provide the atmosphere that make the songs come alive.
Simply called Baleful Creed this is an album that is worth the investment - whether from the four-piece's Bandcamp page - or better still as a physical album to sit on your racks, where it will take a worthy place.
Sunday, February 09, 2014
Win tickets to see Eric Church - the real country music man
TO all of you who queued to see the safe, clean cut Garth Brooks in a soulless, outdoor arena...you're missing out on the real contemporary country sound Eric Church - but we here at Belfastmetalheadsreunited and Rockradioni have teamed up with MCD to offer you the chance to win one of two pair of tickets.
So, what the hell are we on a metal, hard rock and punk site doing offering you tickets to see Eric Church? Well he is the real deal - no faux stetsons, no yee haws, simply a man with great songs and a drunk-ass attitude.
He's already had mainstream success and blew away the final night crowd at Metallica's Orion festival.
Aviator shades, baseball cap and odes to hard living and booze Church is like a redneck with talents, a metalhead playing country and a set of songs that have crossed-over from the Memphis halls to arenas.
Playing the Ulster Hall on 25th February you can expect songs like Jack Daniels (the bourbon he says is "both his savious and his executioner") I'm Gettin' Stones, Creepin', Homeboy, Guys Like Me, Smoke a Little Smoke, and his mega-hits Springsteen and Drink In My Hand this could be one of the defining gigs of 2014, which will see a mixture of country fans, rockers, metallers, punks and those with a generally outlaw attitude.
If you haven't already got your tickets (a snip of £27.50) you can win onetickets of a pair of by simply answering this simple question: What was the title of Church's last album?
Send yout entries here before midnight 19th February. Good luck and remember the usual terms and conditions apply...the first one being: if you're not in you can't win!
So, what the hell are we on a metal, hard rock and punk site doing offering you tickets to see Eric Church? Well he is the real deal - no faux stetsons, no yee haws, simply a man with great songs and a drunk-ass attitude.
He's already had mainstream success and blew away the final night crowd at Metallica's Orion festival.
Aviator shades, baseball cap and odes to hard living and booze Church is like a redneck with talents, a metalhead playing country and a set of songs that have crossed-over from the Memphis halls to arenas.
Playing the Ulster Hall on 25th February you can expect songs like Jack Daniels (the bourbon he says is "both his savious and his executioner") I'm Gettin' Stones, Creepin', Homeboy, Guys Like Me, Smoke a Little Smoke, and his mega-hits Springsteen and Drink In My Hand this could be one of the defining gigs of 2014, which will see a mixture of country fans, rockers, metallers, punks and those with a generally outlaw attitude.
If you haven't already got your tickets (a snip of £27.50) you can win onetickets of a pair of by simply answering this simple question: What was the title of Church's last album?
Send yout entries here before midnight 19th February. Good luck and remember the usual terms and conditions apply...the first one being: if you're not in you can't win!
Tuesday, February 04, 2014
Secret Area 69 location revealed by NASA Assassin in début stormer release
AROUND the late fifth century conventional historians relate that a boat carrying Fergus, son of Erc of Armoy ran ashore on a volcanic dyke after establishing a kingdom in Scotland. The old name for this rock has since become known as Carrickfergus - or the Rock of Fergus.
What historical records don't say is that Fergus deliberately ran his boat ashore to stake claim to the biggest secret in the western world - what today we can reveal is known to secretive cabals as 'Area 69' - a dark alien presence in the bedrock....
Once the preserve of black ops teams and covered up for centuries by misinformation and outright lies, Northern Ireland band NASA Assassin have gambled their careers (and maybe their immortal souls) to lay bare the secret kept within the walls of the Norman castle which dominates the shoreline.
Built in 1177 by John de Courcy the middle ages saw the town and castle subject to fights over who would possess the secret within the volcanic bedrock.
While the town around the castle was sacked and captured by various factions the castle never fell, its duty as a bulwark against discovery always complete. Seemingly the force the castle guards only ever allowed people of pure lineage to take possession of it.
De Lacy, MacDonnell, Sir Arthur Chichester, William of Orange and most recently heir to the Windsor throne, Prince William are among them, and religious affiliation seems to matter to none of these. Its protectors have included US Rangers, who under cover of preparing for 1944's D-Day landings in Carrick added more defences to the ancient rock.
Selling power of raise customs to the upstart town Belfast in 1637 was another attempt to distract attention from the forces ebbing throughout the town. As was the 1711 attempt by a judge to acquit eight women in Ireland's last witchcraft trial - their lenient sentences an indication that the conspiracy to keep secret the ancient powers was known only to a select few.
Now in 2014, under the cover of a special forces team called the Northern Ireland Environment and Heritage Service thousands of souls are scanned and captured from 'tourists' coming from across the globe enticed inside the castle walls, only to experience a brief moment of disorientation when the forces grab hold of their inner spirit. Thus a database of the inhabitants of the planet is being collated.
Only a select few in the space agency NASA, members of Stargate SG1 and a few key government departments know of this and it is only the courage of NASA Assassin that is now exposing the world to the danger through the messages within their album....
[At this point the owner/editor of the site wrestled himself to the floor, punched himself in the face and reminded himself he was meant to be reviewing the fucking album!]
Ahem....sorry about that, was just expressing my concern for the future of the human race being placed in the hands of the faceless bureaucrats...
Anyhow, NASA Assassin have been kicking around venues for a while now, led by the enigmatic Watcher, dropping their sonic attack on unwary souls across the land.
With the release of the album Area 69 (complete with cover art of an alien ship hovering over Carrickfergus Castle...) the NASA Assassin sound has been distilled into its most primal brutal form.
While some of the tracks have previously appeared on an e.p. this is 10-track tour de force of heaviness. Imagine an alleyway with Rage Against The Machine, The Mars Volta, QOTSA and Hawkwind being assaulted by a crowd of Belfast Punks...the resulting sound would be reminiscent of what NASA Assassin have produced.
In the grooves of Area 69 you will find apocalyptic visions ("The writings on the wall, the human race will fall" from the song NASA Assassin) and Lambeg drums (Mystified).
There is an elegant insanity in this set of recordings, effects laden guitars when necessary from StevieDog and Jeff Quargle (!) and rampant bass from Aidy Fudge, all barely kept in check by Rab Rokkett's drumming.
For all the wall of noise approach there is no doubt that amidst the madness there is real talent here musically and in the eclectic lyrics. Sexy Nervous Breakdown's chorus is a case in point, as is the closer to the album Super-Collider, which tails off with a subtle repetition and refrain..."If you've got this feeling, Fade Away"
The album is packed with stellar tracks, plundering genres and producing a sense of intensity that is strangely hypnotic draw (subliminal messages drawing us to Carrick Castle?) .
Yet, there is also a sense that the obvious musical wit and lyrical humour is a knowing nod to an audience that is in on 'joke'. (Not that we find the power within the volcanic bedrock of Carrick a joke!)
In the liner notes there is this offer "To be kept up to date on all NA activity or offer The Watcher a lift go to www.facebook.com/NASAASSASSIN." Yes - offer a lift....
At times there is a fine line between the insanity of NASA Assassin and the genius of their musical vision. We are erring on the side of genius...
In the meantime we'll be keeping a very close eye on the comings and goings at Carrick Castle....
NASA Assassin support Trucker Diablo at the Diamond Rock Club this Saturday, February 8th, and officially launch the album in Belfast at The Empire Music Hall on February 21st.
What historical records don't say is that Fergus deliberately ran his boat ashore to stake claim to the biggest secret in the western world - what today we can reveal is known to secretive cabals as 'Area 69' - a dark alien presence in the bedrock....
Once the preserve of black ops teams and covered up for centuries by misinformation and outright lies, Northern Ireland band NASA Assassin have gambled their careers (and maybe their immortal souls) to lay bare the secret kept within the walls of the Norman castle which dominates the shoreline.
Built in 1177 by John de Courcy the middle ages saw the town and castle subject to fights over who would possess the secret within the volcanic bedrock.
While the town around the castle was sacked and captured by various factions the castle never fell, its duty as a bulwark against discovery always complete. Seemingly the force the castle guards only ever allowed people of pure lineage to take possession of it.
De Lacy, MacDonnell, Sir Arthur Chichester, William of Orange and most recently heir to the Windsor throne, Prince William are among them, and religious affiliation seems to matter to none of these. Its protectors have included US Rangers, who under cover of preparing for 1944's D-Day landings in Carrick added more defences to the ancient rock.
Selling power of raise customs to the upstart town Belfast in 1637 was another attempt to distract attention from the forces ebbing throughout the town. As was the 1711 attempt by a judge to acquit eight women in Ireland's last witchcraft trial - their lenient sentences an indication that the conspiracy to keep secret the ancient powers was known only to a select few.
Now in 2014, under the cover of a special forces team called the Northern Ireland Environment and Heritage Service thousands of souls are scanned and captured from 'tourists' coming from across the globe enticed inside the castle walls, only to experience a brief moment of disorientation when the forces grab hold of their inner spirit. Thus a database of the inhabitants of the planet is being collated.
Only a select few in the space agency NASA, members of Stargate SG1 and a few key government departments know of this and it is only the courage of NASA Assassin that is now exposing the world to the danger through the messages within their album....
[At this point the owner/editor of the site wrestled himself to the floor, punched himself in the face and reminded himself he was meant to be reviewing the fucking album!]
Ahem....sorry about that, was just expressing my concern for the future of the human race being placed in the hands of the faceless bureaucrats...
Anyhow, NASA Assassin have been kicking around venues for a while now, led by the enigmatic Watcher, dropping their sonic attack on unwary souls across the land.
With the release of the album Area 69 (complete with cover art of an alien ship hovering over Carrickfergus Castle...) the NASA Assassin sound has been distilled into its most primal brutal form.
While some of the tracks have previously appeared on an e.p. this is 10-track tour de force of heaviness. Imagine an alleyway with Rage Against The Machine, The Mars Volta, QOTSA and Hawkwind being assaulted by a crowd of Belfast Punks...the resulting sound would be reminiscent of what NASA Assassin have produced.
In the grooves of Area 69 you will find apocalyptic visions ("The writings on the wall, the human race will fall" from the song NASA Assassin) and Lambeg drums (Mystified).
There is an elegant insanity in this set of recordings, effects laden guitars when necessary from StevieDog and Jeff Quargle (!) and rampant bass from Aidy Fudge, all barely kept in check by Rab Rokkett's drumming.
For all the wall of noise approach there is no doubt that amidst the madness there is real talent here musically and in the eclectic lyrics. Sexy Nervous Breakdown's chorus is a case in point, as is the closer to the album Super-Collider, which tails off with a subtle repetition and refrain..."If you've got this feeling, Fade Away"
The album is packed with stellar tracks, plundering genres and producing a sense of intensity that is strangely hypnotic draw (subliminal messages drawing us to Carrick Castle?) .
Yet, there is also a sense that the obvious musical wit and lyrical humour is a knowing nod to an audience that is in on 'joke'. (Not that we find the power within the volcanic bedrock of Carrick a joke!)
In the liner notes there is this offer "To be kept up to date on all NA activity or offer The Watcher a lift go to www.facebook.com/NASAASSASSIN." Yes - offer a lift....
At times there is a fine line between the insanity of NASA Assassin and the genius of their musical vision. We are erring on the side of genius...
In the meantime we'll be keeping a very close eye on the comings and goings at Carrick Castle....
NASA Assassin support Trucker Diablo at the Diamond Rock Club this Saturday, February 8th, and officially launch the album in Belfast at The Empire Music Hall on February 21st.
Monday, February 03, 2014
Viking onslaught in August as Amon Amarth set for Limelight date
SWEDISH metal monsters are set to appear at Belfast's Limelight1 on 12th August as part of their pillage across Europe in the summer of 2014.
Returning to these shores, tickets for the show, priced £25 are on sale this Friday.
And, in case you need reminding how good these Viking melodic death metallers really are, here's our review of their latest album.
No support announced as yet - but this one means horns held aloft...drinking horns that is!
And, trivia fans may wish to note that this gig will be exactly a year since Lamb of God played Limelight1....
And here's a wee treat for you - Amon Amarth's video for Father of the Wolf - other bands do a few wee clips here and there and some set-up...these Swedes produce a 10-minute epic with CGI undead armies...
Returning to these shores, tickets for the show, priced £25 are on sale this Friday.
And, in case you need reminding how good these Viking melodic death metallers really are, here's our review of their latest album.
No support announced as yet - but this one means horns held aloft...drinking horns that is!
And, trivia fans may wish to note that this gig will be exactly a year since Lamb of God played Limelight1....
And here's a wee treat for you - Amon Amarth's video for Father of the Wolf - other bands do a few wee clips here and there and some set-up...these Swedes produce a 10-minute epic with CGI undead armies...
Sunday, February 02, 2014
Rock storm at RockD with Screaming Eagles, Maverick and Baleful Creed.
WHEN it comes to hard rock Northern Ireland has a bonteous collection of bands that really are at the top of their game - and on the first RockD of 2014 a triple header shook the foundations of Limelight2 on Saturday February 1st.
This was a reunion of the bands who competed in Highway to Hell with Screaming Eagles, Maverick and Baleful Creed. Sinoncence were unable to join their hard rock compadres owing to an injury to their drummer.
Despite that disappointment this line-up, promoted by James Loveday's Distortion Project, showcased some of the tremendous talent that this small country offers.
Baleful Creed opened proceedings with a rousing balls out set - hard and heavy southern grooves and deep Sabbath style riffs.
From Hex to Autumn Leaves to self-titled Baleful Creed, this was a set that snarled like an alligator in the Lousiana swamps. Allen's soulful solos more than equalled by Finlay's riffing. Finlay's vocals were complemented by backing from drummer Stewart,while Fleming nailed each and every bass run.
There was a dark elegance to this collection of tunes, with Thorazine a stand-out.
Maverick were playing their last gig before laying down their début album - and they set about their set with purpose and a joy in their art.
From the declaration that they are indeed Maverick the five-piece pounded the boards with Davey Balfour leading the crowd a merry dance like a hard rockin' pied piper trapped in the 80s but bursting into the 21st Century.
With new tracks and existing material off their existing e.p. this was a stormer - even new guitarist Richard Cardwell shredded despite only being with the band a short time.
Successful Highway to Hell winners Screaming Eagles were fresh from their support slot with The Answer last week; and they have have honed their set to a fine edge.
Fry's vocals powerful and soulful throughout with McAlleenan's guitar work shredding and soloing throughout with Lily and Cruikshank anchoring the whole set.
Devil in the Dust tuned down southern vibe quickly rattled into Fight the Fire as mid-set highlights, while set closer Rock 'n' Roll Soul epitomised the effort the band put into their work.
All three bands on display are pure examples of what Northern Ireland can offer. With Million$Reload, Payola, Zombified and Terminus playing elsewhere in the city on Saturday night there is no clearer evidence that Northern Ireland, right here, right now is the heart and soul of rock and metal nirvana.
This was a reunion of the bands who competed in Highway to Hell with Screaming Eagles, Maverick and Baleful Creed. Sinoncence were unable to join their hard rock compadres owing to an injury to their drummer.
Despite that disappointment this line-up, promoted by James Loveday's Distortion Project, showcased some of the tremendous talent that this small country offers.
 |
| Fin Finlay - Baleful Creed |
From Hex to Autumn Leaves to self-titled Baleful Creed, this was a set that snarled like an alligator in the Lousiana swamps. Allen's soulful solos more than equalled by Finlay's riffing. Finlay's vocals were complemented by backing from drummer Stewart,while Fleming nailed each and every bass run.
There was a dark elegance to this collection of tunes, with Thorazine a stand-out.
.JPG) |
| Maverick demanding your presence |
From the declaration that they are indeed Maverick the five-piece pounded the boards with Davey Balfour leading the crowd a merry dance like a hard rockin' pied piper trapped in the 80s but bursting into the 21st Century.
With new tracks and existing material off their existing e.p. this was a stormer - even new guitarist Richard Cardwell shredded despite only being with the band a short time.
.JPG) |
| Screaming set from Screaming Eagles |
Fry's vocals powerful and soulful throughout with McAlleenan's guitar work shredding and soloing throughout with Lily and Cruikshank anchoring the whole set.
Devil in the Dust tuned down southern vibe quickly rattled into Fight the Fire as mid-set highlights, while set closer Rock 'n' Roll Soul epitomised the effort the band put into their work.
All three bands on display are pure examples of what Northern Ireland can offer. With Million$Reload, Payola, Zombified and Terminus playing elsewhere in the city on Saturday night there is no clearer evidence that Northern Ireland, right here, right now is the heart and soul of rock and metal nirvana.
Saturday, February 01, 2014
Grand Magus truly prove they have the Triumph and Power
SWEDISH and proud, loud and proud, Grand Magus have become a force to be reckoned with following the masterpiece The Hunt - but how do you follow that? Simple just unleash the Triumph and Power a riff nirvana par excellence.
Drawing from classic rock, the New Wave of British Heavy Metal and their own Scandanavian roots this is a feast of tunes. While many of the fellow countrymen have become more and more intricate to the point they are disappearing up their arses, Grand Magus have proved that metal does not need the musical waffle.
JB Christofferon has masterminded another release in which the music is to the fore; no messing about just heads down hard working metal.
Title track Triumph and Power is anthem that will have fists pumping while closer Hammer Will Bite is a balls out metal track.
The Viking lyrical twist does not seem out of place amidst the songs - instead decidely appropriate in songs that would shatter Ice Giants...
Doffing the cap to their influences there is a reference to the Blue Oyster Classic Black Blade on Steel Versus Steel, and The Naked Dead has Judas Priest stamped over the riffs and the space
However, Grand Magus are about homage to the past, doffing their helmets to their forebears in music and adding a new, fresh interpretation to heavy metal.
There is not a weak track here as JB, Fox (bass) and Ludwig (drums) track by track produce a sensational ten tunes that compel the listener to bang their heads.
In Studio Sweetspot, with producer Nico Elgstrand and engineer Staffan Karlsson the fuss and then frills have been stripped away to conjure up a clean, powerful album. Even on the dramatic Ymer just the right amount of production has been added: to paraphrase the nursery rhyme, not too 'hot', not too 'cold' just righ as the snare drums merge the intrumental into the Hammer Will Bite.
Damn this album is good, very, very good. It's out now on Nuclear Blast - just buy it, buckle yourself and as Derry's finest Triggerman say let "The Riff Hold Sway"!
Drawing from classic rock, the New Wave of British Heavy Metal and their own Scandanavian roots this is a feast of tunes. While many of the fellow countrymen have become more and more intricate to the point they are disappearing up their arses, Grand Magus have proved that metal does not need the musical waffle.
JB Christofferon has masterminded another release in which the music is to the fore; no messing about just heads down hard working metal.
Title track Triumph and Power is anthem that will have fists pumping while closer Hammer Will Bite is a balls out metal track.
The Viking lyrical twist does not seem out of place amidst the songs - instead decidely appropriate in songs that would shatter Ice Giants...
Doffing the cap to their influences there is a reference to the Blue Oyster Classic Black Blade on Steel Versus Steel, and The Naked Dead has Judas Priest stamped over the riffs and the space
However, Grand Magus are about homage to the past, doffing their helmets to their forebears in music and adding a new, fresh interpretation to heavy metal.
There is not a weak track here as JB, Fox (bass) and Ludwig (drums) track by track produce a sensational ten tunes that compel the listener to bang their heads.
In Studio Sweetspot, with producer Nico Elgstrand and engineer Staffan Karlsson the fuss and then frills have been stripped away to conjure up a clean, powerful album. Even on the dramatic Ymer just the right amount of production has been added: to paraphrase the nursery rhyme, not too 'hot', not too 'cold' just righ as the snare drums merge the intrumental into the Hammer Will Bite.
Damn this album is good, very, very good. It's out now on Nuclear Blast - just buy it, buckle yourself and as Derry's finest Triggerman say let "The Riff Hold Sway"!
Friday, January 31, 2014
Killswitch Engaged by Battlecross and Menshevik in Belfast
AN AUDIENCE, pumped and primed by support acts Menshevik and Battlecross greeted headliners Killswitch Engage as returning heroes to a packed Limelight1 on Belfast's Ormeau Avenue on Thursday night (30th January). But that is only half the story.
While the sold out show always promised to be a stormer it carried a mix of styles - not least by the headliners - that managed to reach out to most present.
Menshevik - presumably named after the early 20th Century Russia revolutionaries - brought a punk/hardcore flurry fighting for attention of the audience gradually making their way into the venue.
A powerful vocal attack from Dempsey - complemented by his ventures off the stage - was only held in check with the solid performances of Pitcher (guitar), Hawcroft (bass) and MacDonald (drums).
Their politically driven hardcore/punk attitude might have been at odds with some of the metal fans in attendance, but it would be hard to fault their commitment and their desire to win over new followers.
If Menshevik were the hardcore in the metalcore of the headliners, there is no doubt that Battlecross brought the metal.
It was a searing set of swaggering thrash, sounding like the souls of a thousand thrash acts had been harnessed to showcase the Detroit crew's dedication.
Drawing from last year's release War of Will the quintet are clearly on a mission to win over fans across the UK and Europe.
Force Fed Lies, My Vaccine, and Beast summed up their attack, as Kyle Gunther stalked the stage with his mannish facial hair shaming many a male present. And his growl had the right balance of menace and tunefulness to carry the crowd.
Indeed, while it was clear that many there already knew the band's material they certainly drew more into the Battlecross fold through the sheer exuberance they displayed in their craft.
Hiran (interview coming soon) and Tony kept things balanced in the twin guitar attack, while Dan was all exuberance on bass, yet locked into touring drummer Adam throughout the time changes.
As they exited with Push, Pull, Destroy it was clear this is a metal band that are destined to be very well received when they play Download later this year.
Also scheduled for a Download slot are Killswitch Engage - a band that have emerged in recent years with a potency many might have felt had begun to fade. Not so. Disarm The Descent proved they are still a potent and leading force in what is an increasingly crowded metalcore scene.
Jesse Leach is clearly enjoying himself, reveling in the new material and delivering blistering interpretations of older songs.
Adam Dutkiewicz delivered his usual codology, belying the real talent he has in his arsenal, despite being more sartorially subdued than in previous years.
Always, In Due Time and The Turning Point sat comfortably with so-called classics; and it is apparent that the audience was here to hear all the songs new and old. The Disarm the Descent material already well known and lyrics were shouted back to Leach.
Touchingly Always was introduced by Leach as a tribute to all those no longer with us, saying "I know there has been a lot of conflict here" as he raised a glass. That was all that was needed to be said and he put it in a fine...
It was Leach's first visit to Belfast (and indeed any part of Ireland north or south) but the rousing welcome was more to do with his onstage personality, oozing charisma as well as professionalism and passion.
That's not to say that Leach and Dutkiewicz were the only stars in the band.
Joel Stroetzl, Mike D'Antonio and Justin Foley, form the core of Killswitch; they are the power behind the hardcore and the rhythm of metal.
Rose of Sharyn, My Last Serenade and encore My Curse are now elevated by this line-up beyond crowd pleasers to classics for the children of the 90s and many older fans drawn to the Killswitch cause.
They are now a band assured of a fanbase; and a fanbase that may yet grow further. They represent the finest parts of what is labelled metalcore, yet they have evolved beyond mere labels.
While the sold out show always promised to be a stormer it carried a mix of styles - not least by the headliners - that managed to reach out to most present.
.JPG) |
| Menshivik - Let the revolution begin |
A powerful vocal attack from Dempsey - complemented by his ventures off the stage - was only held in check with the solid performances of Pitcher (guitar), Hawcroft (bass) and MacDonald (drums).
Their politically driven hardcore/punk attitude might have been at odds with some of the metal fans in attendance, but it would be hard to fault their commitment and their desire to win over new followers.
If Menshevik were the hardcore in the metalcore of the headliners, there is no doubt that Battlecross brought the metal.
It was a searing set of swaggering thrash, sounding like the souls of a thousand thrash acts had been harnessed to showcase the Detroit crew's dedication.
Drawing from last year's release War of Will the quintet are clearly on a mission to win over fans across the UK and Europe.
 |
| Let the Battlecross adulation begin |
Indeed, while it was clear that many there already knew the band's material they certainly drew more into the Battlecross fold through the sheer exuberance they displayed in their craft.
Hiran (interview coming soon) and Tony kept things balanced in the twin guitar attack, while Dan was all exuberance on bass, yet locked into touring drummer Adam throughout the time changes.
As they exited with Push, Pull, Destroy it was clear this is a metal band that are destined to be very well received when they play Download later this year.
|
| Dutkiewicz attempts to swallow mic while undertaking backing vocals |
Jesse Leach is clearly enjoying himself, reveling in the new material and delivering blistering interpretations of older songs.
Adam Dutkiewicz delivered his usual codology, belying the real talent he has in his arsenal, despite being more sartorially subdued than in previous years.
Always, In Due Time and The Turning Point sat comfortably with so-called classics; and it is apparent that the audience was here to hear all the songs new and old. The Disarm the Descent material already well known and lyrics were shouted back to Leach.
 |
| Leach giving it all to Belfast |
It was Leach's first visit to Belfast (and indeed any part of Ireland north or south) but the rousing welcome was more to do with his onstage personality, oozing charisma as well as professionalism and passion.
That's not to say that Leach and Dutkiewicz were the only stars in the band.
Joel Stroetzl, Mike D'Antonio and Justin Foley, form the core of Killswitch; they are the power behind the hardcore and the rhythm of metal.
Rose of Sharyn, My Last Serenade and encore My Curse are now elevated by this line-up beyond crowd pleasers to classics for the children of the 90s and many older fans drawn to the Killswitch cause.
They are now a band assured of a fanbase; and a fanbase that may yet grow further. They represent the finest parts of what is labelled metalcore, yet they have evolved beyond mere labels.
All photos copyright Belfastmetalheadsreunited/Nadia Traynor
Tuesday, January 28, 2014
Are Reel Big Fish and Less Than Jake relevant?
AS we warm-up for tomorrow night's (Wednesday, 29th January) pop/ska punk celebratory evening with Reel Big Fish and Less Than Jake in Limelight1 it is a fair point to ask whether the whole pop punk schtick is relevant in 2014.
For those of you who were watching the TV rock music channels time through your own choice or because your children were watching it these three bands were perennial favourites, with witty videos and downright catchy tunes. At the very least they were better watching than the chart shows...
In a brief period with major labels Reel Big Fish and Less Than Jake produced a string of hits, from RBF's cover of 'Take On Me' through to LTJ's anthemic 'Gainesville Rock City'.
However, to a certain extent they were over-shadowed by label's attention spans and more aggressive marketing of West Coast pop punk in the shape of The Offspring and Blink 182.
Before being written off both bands shook themselves down and re-emerged with a series of recordings that stand strong in comparison with earlier recordings from the Fish's Candy Coated Fury to Jake's See The Light; both of which show the bands have matured as songwriter's without losing the 'fun with a slap' which should be at the core of pop punk.
But why are these acts worthy of lines in a blog/RRNI article which is avowedly metal, rock and punk?
For a start those who recall the heady days of early punk in Northern Ireland may note that the punk of those days was more Ramones than Pistols. From The Undertones pure pop infused 'punk' through to Stiff Little Finger's cover of Bob Marley's Johnny Was, The Specials' Doesn't Make It All Right and the horn section on Silver Lining there has been a ska punk overtone to Northern Ireland's punk scene. And, that is only to mention the two best known bands from that era.
So, in many ways Reel Big Fish and Less Than Jake are not so much playing in Belfast, but coming to the spiritual home of pop/ska punk. All of which makes them relevant to a Northern Ireland audience and to fans who are prepared to take the blinkers off...
Tickets, priced £23, are still available for tomorrow night's show. Doors open at 8.00pm
For those of you who were watching the TV rock music channels time through your own choice or because your children were watching it these three bands were perennial favourites, with witty videos and downright catchy tunes. At the very least they were better watching than the chart shows...
In a brief period with major labels Reel Big Fish and Less Than Jake produced a string of hits, from RBF's cover of 'Take On Me' through to LTJ's anthemic 'Gainesville Rock City'.
However, to a certain extent they were over-shadowed by label's attention spans and more aggressive marketing of West Coast pop punk in the shape of The Offspring and Blink 182.
Before being written off both bands shook themselves down and re-emerged with a series of recordings that stand strong in comparison with earlier recordings from the Fish's Candy Coated Fury to Jake's See The Light; both of which show the bands have matured as songwriter's without losing the 'fun with a slap' which should be at the core of pop punk.
But why are these acts worthy of lines in a blog/RRNI article which is avowedly metal, rock and punk?
For a start those who recall the heady days of early punk in Northern Ireland may note that the punk of those days was more Ramones than Pistols. From The Undertones pure pop infused 'punk' through to Stiff Little Finger's cover of Bob Marley's Johnny Was, The Specials' Doesn't Make It All Right and the horn section on Silver Lining there has been a ska punk overtone to Northern Ireland's punk scene. And, that is only to mention the two best known bands from that era.
So, in many ways Reel Big Fish and Less Than Jake are not so much playing in Belfast, but coming to the spiritual home of pop/ska punk. All of which makes them relevant to a Northern Ireland audience and to fans who are prepared to take the blinkers off...
Tickets, priced £23, are still available for tomorrow night's show. Doors open at 8.00pm
Sunday, January 26, 2014
Lamb of God documentary set for Belfast screening at QFT
LAMB of God's documentary, As The Palaces Burn, is to be screened at Queen's Film Theatre, Belfast as part of a nationwide screening in 70 theatres in UK and Ireland.
As The Palaces Burn was conceived to be a documentary focused on the power of music and its impact on cultures around the world and its ability to bring people together of all nationalities regardless of religious and political differences.
But as filming was about to be completed Randy Blythe was arrested in the Czech Republic and charged with the murder of a fan, which he was later acquitted of. With exclusive access, the filmmakers got to see inside the singer's 38-day imprisonment, his release and the band's return to the stage.
Watch the trailer and get tickets visit http://asthepalacesburn.com.
As The Palaces Burn was conceived to be a documentary focused on the power of music and its impact on cultures around the world and its ability to bring people together of all nationalities regardless of religious and political differences.
But as filming was about to be completed Randy Blythe was arrested in the Czech Republic and charged with the murder of a fan, which he was later acquitted of. With exclusive access, the filmmakers got to see inside the singer's 38-day imprisonment, his release and the band's return to the stage.
Watch the trailer and get tickets visit http://asthepalacesburn.com.
Cacophony of creative chaos from Behemoth on monster album 'The Satanist'
WHEN the term Extreme Metal is bandied about one band's name always springs to mind - Behemoth.And despite various tribulations, not least Nergal's battle with leukaemia, they have emerged with quite simply one of the best examples of the genre in a tremendous new album.
The Satanist is the band's tenth album, and it is a beast of a platter - filled with the brutality of death metal and the complexity of black metal; a brilliant concoction of the essence of Behemoth.
More measured and mature in this case does not mean a mellowing in the Behemoth vision. The ominous opener, Blow Your Trumpets Gabriel bristles with evil intent, Nergal growling as Inferno pounds as Orion (bass) and Seth (guitar) weave dark spells.
Indeed it is Inferno that is an anchor amidst the cacophony of creative chaos throughout the album.
In the fires of creation Ora Pro Nobis Lucifer is a remarkable testament to the blackened metal that Behemoth have produced.
Title track The Satanist is a menacing ode to the dark side, but Nergal is clear when he says that each fan can take what they wish from his metaphors of evil - but is the literary nature of such dark imagingings pretentious?
"To me it's not pretentious at all," said Nergal. "It's very straight up, very sincere and a devastating conquering statement. There's no compromise or bullshit or gimmicks.
"What I love about it is that it just speaks for itself. On one hand it's a very black and white title: 'The Satanist; is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again as with everything else you put a hundred people together and ask them what the name 'The Satanist means t them and you're going to hear a hundred different opinions which thay can discuss and fight over."
For a tenth album from the Polish quaret it bristles with creativity, with all parts knitted together, no less than on Beh Sahar. But what does it all mean?
To emerge with such a tremendous album after Nergal's illness is a statement of the band's unity and purpose, but the future was in doubt for a long time as the front man fought leukaemia.
With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation.
“I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know," he said.
"I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier, and since then I started to «focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference.”
What exactly Behemoth have achieved on The Satanist is weirdly life affirming for a band with such dark intent. The playing is peerless, the mood black and the lyrics powerful: in the context of what can be seen as at times jaded and hackneyed scene Behemoth have achieved a remarkable album.
They are Behemoth and they are from the Pagan Vastlands, and for that we should be thankful.
The Satanist is released on Nuclear Blast on January 31st.
Additional editorial input on this review from Zakk T.
The Satanist is the band's tenth album, and it is a beast of a platter - filled with the brutality of death metal and the complexity of black metal; a brilliant concoction of the essence of Behemoth.
More measured and mature in this case does not mean a mellowing in the Behemoth vision. The ominous opener, Blow Your Trumpets Gabriel bristles with evil intent, Nergal growling as Inferno pounds as Orion (bass) and Seth (guitar) weave dark spells.
Indeed it is Inferno that is an anchor amidst the cacophony of creative chaos throughout the album.
In the fires of creation Ora Pro Nobis Lucifer is a remarkable testament to the blackened metal that Behemoth have produced.
Title track The Satanist is a menacing ode to the dark side, but Nergal is clear when he says that each fan can take what they wish from his metaphors of evil - but is the literary nature of such dark imagingings pretentious?
"To me it's not pretentious at all," said Nergal. "It's very straight up, very sincere and a devastating conquering statement. There's no compromise or bullshit or gimmicks.
"What I love about it is that it just speaks for itself. On one hand it's a very black and white title: 'The Satanist; is like a fucking nail through the hand of Jesus Christ, period. No more, no less. But then again as with everything else you put a hundred people together and ask them what the name 'The Satanist means t them and you're going to hear a hundred different opinions which thay can discuss and fight over."
For a tenth album from the Polish quaret it bristles with creativity, with all parts knitted together, no less than on Beh Sahar. But what does it all mean?
"There’s
a lot of symbolism and reflections and impressions in there, and it’s using
millions of metaphors to express a certain very sinister and very captivating
atmosphere, but there are no answers," said Nergal People always like to have a deeper
insight into what we do, but that’s not what we want to give with this record.
"The way I see it is that between us we can make a huge fucking pyre and set the
world on fire, but what we’re doing is just giving you the matches, giving you
the spark, what you want to do with it is up to you. Personally, if I sat down
with the lyrics in front of me I too would probably come up with a lot of
different interpretations and concepts, it’s a never ending process, and that’s
exciting to me.”
With the search for a bone marrow donor ultimately successful Nergal underwent a transplant, leaving the hospital after six months and beginning down the long road to rehabilitation.
“I knew I was pretty much fucked and there was a battle to be won, and I had no fucking idea if it was going to take six months or twelve months or maybe four years, because with cancer you never know," he said.
"I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier, and since then I started to «focus on the right things. I could be determined, I could have discipline, I could have faith, but everything else is not under my control, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast, and that I was really strong and very determined to get back into shape made a real difference.”
What exactly Behemoth have achieved on The Satanist is weirdly life affirming for a band with such dark intent. The playing is peerless, the mood black and the lyrics powerful: in the context of what can be seen as at times jaded and hackneyed scene Behemoth have achieved a remarkable album.
They are Behemoth and they are from the Pagan Vastlands, and for that we should be thankful.
The Satanist is released on Nuclear Blast on January 31st.
Additional editorial input on this review from Zakk T.
The Answer awe Ahoghill with searing Screaming Eagles
THE Answer are a product of their environment, and that environment is in front of a live, awestruck audience, and there is no more an adulation than they receive in Ahoghill's Diamond Rock Club.
Last night (Saturday 25th January) the quartet of hard rockin' troubadors were on stage kicking the kinks out of their set before heading out on a lengthy 'Road Less Travelled Tour', which as Cormac explains in the interview below will see them play venues that many bands miss out on tour schedules across the UK and Ireland.
He also explains how they are mixing things up, trying new interpretations of songs. Click the man's name to go to the Soundcloud file and hear all the frontman's thoughts ahead of the tour and six-string slinger Paul's thoughts: Cormac
Part of the plans for the tour as Cormac explained is to give local bands exposure and throughout the tour in Northern Ireland and Ireland will see a different support act every night.
Tonight at the Diamond Rock the Screaming Eagles hit the stage as if they had a point to prove - a point that many of the audience know all too well. A commitment to hard rocking blues infused power that has seen them win through on the Highway to Hell challenge which has earned them a prestigious slot at Hard Rock Hell. (Next week the Northern Ireland winners and contestants - The Screaming Eagles, Sinocence, Maverick and Baleful Creed will play at RockD in Limelight 2.)
With début album From the Flames well known to most of the audience, those not already fans of the 'Screagles' were quicky won over. Fight the Fire, Devil in the Dust, and Rock 'n' Roll Soul stood out in a well balanced set.
The key to real hard rock success is to play as if you are in front of a stadium crowd, no matter which stage you are on. The intimate Diamond setting saw Chris's dominant vocals and stage presence soar with Adrian's licks and moves showing a real winning attitude. Nailed down with Ryan and Kyle's rhythm section this was a simply searing show.
Playing to a sold out crowd is nothing new to The Answer, but when it is in a venue such as the Diamond there is a vibrant atmosphere, almost alive with an electric charge reeling across the heads of the crowd as they were awed by Cormac and his fellow rockers.
Kicking off with a surprise version of The Road Less Travelled the set quickly kicked into a high gear with the title track of the album New Horizon, a life affirming piece of excellence that sees almost the entire crowd singing along/.
While this shows was to road test new arrangements and the pace of the set, it also once again showed that the County Down have a lengthy set of material to draw upon, its breadth not diminshing the quality of the material.
However, no matter how great The Answer are on recordings (and they consistently are) they are a band that explode with a beautiful alchemy when they tread the boards. And with a cover of Rory Gallagher's Cradle Rock thrown in it was a night of celebrating the craft that is in all good rock.
With Cormac a cross between a yeti, tigger and the emobdiment of every great singer brought into one superb package, Paul and Micky traded rhythms and licks, with Paul's soloing and freedom to explore new approaches a feature of the show.
James's drums have always been pounding, and as Cormac explained before the show their (see interview above) 'heaviest song' Concrete kicked off with a well-timed drum solo before this slab of heavy rock theatened to shake the Diamond to its foundations as well as most of the village.
A new slower paced Nowhere Highway, the ode to youth that is Spectacular, Under the Sky and Dead of Night all raising the temperature, Memphis Blues was akin to a jam session to allow a short breather for the audience..
But as with everything on a warm-up show something inevitably goes awry - a missing slide for Paul's guitar meant the band's first attempt at Preaching was aborted - but with a storming version of Demon Eyes Cormac's trademark crouch on the floor with the audience still went ahead.
When it seemed the show was all but over, the slide was discovered and Preaching got underway, and every vocal chord in the Diamomd strained to join Cormac as he once again joined the audience in the middle of the floor to round off what was simply a demonstration of just how far The Answer have come. Great people, great musicians, a great performance - the audiences on the 'Road Less Travelled Tour are in for a hard rock treat.
Last night (Saturday 25th January) the quartet of hard rockin' troubadors were on stage kicking the kinks out of their set before heading out on a lengthy 'Road Less Travelled Tour', which as Cormac explains in the interview below will see them play venues that many bands miss out on tour schedules across the UK and Ireland.
He also explains how they are mixing things up, trying new interpretations of songs. Click the man's name to go to the Soundcloud file and hear all the frontman's thoughts ahead of the tour and six-string slinger Paul's thoughts: Cormac
Part of the plans for the tour as Cormac explained is to give local bands exposure and throughout the tour in Northern Ireland and Ireland will see a different support act every night.
Tonight at the Diamond Rock the Screaming Eagles hit the stage as if they had a point to prove - a point that many of the audience know all too well. A commitment to hard rocking blues infused power that has seen them win through on the Highway to Hell challenge which has earned them a prestigious slot at Hard Rock Hell. (Next week the Northern Ireland winners and contestants - The Screaming Eagles, Sinocence, Maverick and Baleful Creed will play at RockD in Limelight 2.)
With début album From the Flames well known to most of the audience, those not already fans of the 'Screagles' were quicky won over. Fight the Fire, Devil in the Dust, and Rock 'n' Roll Soul stood out in a well balanced set.
The key to real hard rock success is to play as if you are in front of a stadium crowd, no matter which stage you are on. The intimate Diamond setting saw Chris's dominant vocals and stage presence soar with Adrian's licks and moves showing a real winning attitude. Nailed down with Ryan and Kyle's rhythm section this was a simply searing show.
Playing to a sold out crowd is nothing new to The Answer, but when it is in a venue such as the Diamond there is a vibrant atmosphere, almost alive with an electric charge reeling across the heads of the crowd as they were awed by Cormac and his fellow rockers.
Kicking off with a surprise version of The Road Less Travelled the set quickly kicked into a high gear with the title track of the album New Horizon, a life affirming piece of excellence that sees almost the entire crowd singing along/.
While this shows was to road test new arrangements and the pace of the set, it also once again showed that the County Down have a lengthy set of material to draw upon, its breadth not diminshing the quality of the material.
However, no matter how great The Answer are on recordings (and they consistently are) they are a band that explode with a beautiful alchemy when they tread the boards. And with a cover of Rory Gallagher's Cradle Rock thrown in it was a night of celebrating the craft that is in all good rock.
With Cormac a cross between a yeti, tigger and the emobdiment of every great singer brought into one superb package, Paul and Micky traded rhythms and licks, with Paul's soloing and freedom to explore new approaches a feature of the show.
James's drums have always been pounding, and as Cormac explained before the show their (see interview above) 'heaviest song' Concrete kicked off with a well-timed drum solo before this slab of heavy rock theatened to shake the Diamond to its foundations as well as most of the village.
A new slower paced Nowhere Highway, the ode to youth that is Spectacular, Under the Sky and Dead of Night all raising the temperature, Memphis Blues was akin to a jam session to allow a short breather for the audience..
But as with everything on a warm-up show something inevitably goes awry - a missing slide for Paul's guitar meant the band's first attempt at Preaching was aborted - but with a storming version of Demon Eyes Cormac's trademark crouch on the floor with the audience still went ahead.
When it seemed the show was all but over, the slide was discovered and Preaching got underway, and every vocal chord in the Diamomd strained to join Cormac as he once again joined the audience in the middle of the floor to round off what was simply a demonstration of just how far The Answer have come. Great people, great musicians, a great performance - the audiences on the 'Road Less Travelled Tour are in for a hard rock treat.
Saturday, January 25, 2014
Motörhead Cancels Spring European Tour.
THE following is a statement released today by the band's PR representatives on behalf of the band at 11:30am announcing that Motorhead have cancelled their Spring Tour.
'It is with great regret that Motorhead has to announce the cancellation of their European tour, scheduled to start February 2014. Many concerted, dilligent and focused efforts were made by the founding member, and international icon, Lemmy Kilmister to deal with a range of health issues relating to diabetes.
'While there gas been undoubted progress, Lemmy and the band were advised by doctorrs that it was still to soon to resume full touring activities, and so for the good of the future, the band and Lemmy reluctantly agreed to cancel.
'No-one is hrting more over this than Lemmy, and he feels the aggravation and inconvenience of every ticket, and every method of transportation, already paid for by loyal fans in anticipation of the tour. Being a road warrior of 50 dedicated, non-stop years, it is equally distressing for him to be unable to occupy the top louge of the trust tour bus, but Lemmy recognises that his long term health must win.
'It goes without saying that Lemmy profusely apologises for inconvenience caused, but he does want everyone to know that he is continuing on the roiad to a full recovery, and that the prognosis long term is very good.
'Fans have shown tremendous support for Lemmy, and it has meant so much to him. As he told Rolling Stone: "Oh, man, the fans weer unbelievable when I got sick," he said. "No bitching. It was all 'Talke your time, get better. Don't worry, we'll wait for you. Get well".'
Rome was not built in a day...like Lemmy's health. But there is some strong light at the end of the tunnel here...we thank you so much for your continued love, support and understanding.'
End of Statement
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