COMIN' ATCHA: Remember last year? Remember the Quireboys acoustic Diamond show? It's coming back

FOR those of you able to cast your mind back a year or so ago, you may, or may not recall the night the Quireboys brought their Unplugged and Personal acoustic tour to Ahoghill Rock City's very own Diamond Rock Club.


Well, it seems that Spike, Paul, Keith and Guy are, after an incredible 30th Anniversary World Tour, and by popular demand after last year's highly acclaimed unplugged tour, The Quireboys are pleased to announce a very intimate string of evenings early 2015.

This is a great chance for all Quireboys fans nationwide to experience an audience with the madmen - in the very best sense of the word - in a very unique and laid back surrounding.


The night will involve all the classics, rarities, surprises as well as a selection of new material, played in unplugged arrangements as well as the all to famous QB banter and stories to create a very unique evening .

It may be only Rock n Roll, but even good old R'n'R has it's special moments and this is certainly one not to miss.


The Quireboys play The Diamond on the very last night of the tour, March 28th. Tickets from the Diamond Bar, or from We Got Tickets (who also have beer bus tickets for sale).
 

NEWS: Brent gets ejected; Monster Truck and Korpiklaani album artwork

DO you remember when Mastodon played Belfast? One helluva show. Right? Well Brent Hinds has been trying to get into the Geezer Butler roll of honour by getting kicked out of the Grammys at the weekend.

Why was he ejected? Read the story here.

 

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Unleashing a Monster

The Nickelback tour has not as yet confirmed a Belfast date, but for those that decide to make the journey across the North Channel they will see Canuck rockers Monster Truck open proceedings.

Guitarist Jeremy Widerman said: "What a peculiar and exciting experience it is to be simultaneously working on our new record and preparing for another trek across UK/Europe. We couldn't possibly more excited to share the big stage with Nickelback and make our third trip overseas!"

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Korpiklaani's new release artwork unveiled

In anticipation of their forthcoming new album, Finnish folk metal superstars KORPIKLAANI have revealed the cover artwork for ‘Noita’.The artwork was done by Jan Yrlund from Darkgrove Design, who has created all the Korpiklaani covers in recent years. 
 
‘Noita’ was recorded at Petrax Studio with Aksu Hanttu handling production, recording and mixing again. It will also be the first KORPIKLAANI album to  feature the new accordion player Sami Perttula, who has been playing a very active role in the folk arrangements along with fiddler Tuomas Rounakari.

KORPIKLAANI are set to play Bloodstock Festival in Catton Park, Derbyshire this August alongside ENSLAVED, SEPULTURA, OVERKILL, SABATON and more. Buy your tickets here: http://bit.ly/Bloodstock2015  

ALBUM REVIEW: German folk/pagan metal from Finsterforst explores the dark forest mythos

THERE is something dark and compelling about an album that builds upon the myths of the dark places where men feared to tread; yet needed to face for food and for the challenges they must endure.

These are the themes explored by Finsterforst on their fourth full length release 'Mach Dich Frei'. And this is no easy listen, just like the mythos they tap from, the themes are many and the sweep of the tales is magnificent.

The 14 minute plus of 'Schicksals End' covers a range of styles, while remaining rooted in metal. The incantation type riffing, the symphonic elements, and the consistent plague upon unwary ears.

Equally 'Zeit Fur Haas' kicks off with an almost traditional metal riff, before lurching through Johannes Joseph's clean vocals as a counterpoint to Oliver Berlin's gruff guttural style.

But, while even the most devoted fan of cookie monster vocals will come to know each word of their favourite bands unless they can speak German the themes are impenetrable. It is over 30 years since I sat my German 'O' Level (in the days before GCSEs, when we had real exams) yet barely a word from this release can be understood.

That said, keeping true to your roots is obviously precious to Finsterfrorst in the same way Skalmold sing in Icelandic to retain authenticy.

The seven members of Finsterforst have, on this release plunged into the depths of Germanic folklore, using metal, folk and pagan themes to reach a musical peak, none more so than on the title track, which sees Simon Schillinger and David Schuldis weave dark sonic landscapes across the song, with Sebastian Scherrer's keyboard work allied with Joseph's choral vocals offering the light to the darkness.

But to strike at the heart of this album the finale is the almost 24 minute epic track, 'Finsterforst'. Here the varied elements of the band come together: guitars, accordion, drone like vocalisations, acoustic guitar, and heaviness in lead-like quantities.

Finsterforst push the folk/pagan boundaries on this release; at times coming across like medieval chants, but they never forget it's about the power of metal to inspire the imagination.

We could give this a higher rating, but as we can't understand a word, we can only say that musically fans of heavy folk metal should check this out

 

Review by Jonny

 

 

LIVE REVIEW: Sick Of It All bring NY hardcore to Belfast backed by By Any Means and Murdock

THE world of hardcore can be impenetrable to those who stand outside looking in, a wall of aggressive music and full on rage on the vocals. But immerse yourself in it and suddenly it all makes sense.

The catharsis to those unwilling to sound their own rage, the power electrifying anger, and beneath it all a crowd of people standing for what they believe.

On February 2nd, 2015 in Belfast's Limelight2 hardcore breathed its fiery retort to society as New York's Sick Of It All bellowed out their rants of musical might.

Opening the evening's proceedings were Dublin act Murdock, who put in a straightforward performance, which lacked a bit of punch. They need to tighten up their onstage performance and arrangements if they are to reach the next level.

But Belfast's By Any Means are already reaching new heights. Despite being without a singer for a while they have been able to bring back CC for these shows.

His work rate on stage was, as always phenomenal, raging and mobile, leaping off the stage, full of venom, encouraging those familiar with their songs to join in; members of the crowd singing in unison to hardcore anthems such as 'Built On Respect', and getting Defyed frontman, Wayne on stage to join in the merriment.

From the moment Sick Of Iit All rolled on to the stage they owned the venue, owned the crowd and brought smiles and roars in equal measure. Lou and Pete in perfect synch wit Craig and Armand as they set off with 'Good Looking Out' and 'Sound the Alarm' - the latter from their most release 'Last Act of Defiance'.

Throughout the 20-plus sing set Sick Of It All delivered on all levels, with Lou cajoling the crowd ti ever higher levels, such as introducing 'Sanctuary' as a "love song".

The passion they displayed throughout the set was not only admirable, but it was contagious.

The likes of 'Clobbering Time', 'Death or Jail', 'Machete', 'Step Down' were all delivered bang-on and the whole thing ran like clockwork chaos captured in 3-D screamage.

Dispensing with the nipping off stage before the conclusion Sick Of It All ended on a high with 'Us vs. Them'.

There is no-one who can doubt that Sick Of It All are amongst the old school hardcore bands that have maintained their energy and have not waned or let their rage die into embers; they are the very model of how to keep the anger fresh and still enjoy every second on stage.

Review by Jonny

Pix by Darren McVeigh (MetalPlanet Belfast)

ALBUM REVIEW: Potty mouth punk thrash from Gehannah on Metal Police

BACK in the distant past - well the 80s anyway - a movement grow up around the US, a movement called thrash metal. It took punk, metal, the UK's NWOBHM and classical music into a melting pot.

When it spread like a virus throughout Europe, inspiring a horde to adopt and adapt the form to new forms and an evolutionary process saw many bands take a variety of paths along that evolutionary trail.

In 1992, when the Scandinavian scene was dominated by death and black metal Swedish thrashers, Gehannah  stuck a single finger up to the genre police and began a career of chaos around Europe.

Aftsr ploughing through the years on the circuit Gehennah - not to be confused with Gehanna - the band had a period on hiatus. But now in 2015 they're working on a new album. Until then we have an extended ep release in the shape of 'Metal Police' a release that sees four new songs, six re-recorded tracks, and two more songs from the Metal Police session.

There is an inherent silliness around this band: they are stuck in a rut of pure stupidity with songs like 'Fuck 'em All' and '666 Drunks and Rock 'n' Roll'.

But when they hit stride the unit from Forshaga and Karlstad in Sweden can unleash songs that suck you into a sensation where belief is suspended and arms are thrust into the air, with pints being drunk and a party goers run riot.

'Bitch with a Bulletbelt' and 'Carve off your Face (And Shove it Up Your Ass)' are pure silly thrash enjoyable tracks.

As the band prepare to release their fourth studio album the collective of Mr Violence (vocals), Ron  Stringburner (guitar), Hellcoop (drums) and Charley Knucklebuster (bass) sounding healthy and defiant.

If you can look past song themes as espoused on closer 'Piss Off, I'm Drinking' and soak up the attitude of your favourite then this is for you.

Review by Jonny

'CRUSADE Zero' the ninth album from Polish blackened death metal veterans Hate and their first since the unfortunate death of bassist Slawek "Mortifier" Arkangelsky.

 

The album consists of eleven tracks, a number of which are short instrumentals. It starts with 'Vox Dei (A Call From Beyond)' which is an eerie effects laden intro that builds up the listeners tension as to what is to follow. Instead of tearing your face off the next track 'Lord Make Me an Instrument of Thy Wrath' is a short instrumental piece. It is heavy, yet melodic and sets the tone for the following fifty minutes.

 

Most of the songs on this album clock in around the six minute mark and tempos change numerous times during each track from mid paced and grinding to fast and furious death metal. It is refreshing to hear a death metal album that does not rely on speed for speed's sake.

 

Two tracks that standout on this album are 'Leviathan, which has an almost call and response introduction with the mantra "Abyss born leviathan" being repeated at the start and throughout the song. The song is six and a half minutes of churning death metal, yet surprisingly catchy.

 

The other track that stands out for praise is Valley of Darkness. Again this song is six minutes of death metal but due to an Arabic/Eastern flavour to the guitar lines it stands out from the rest of the album.

 

This is an exceptionally well produced album and the playing is top notch throughout. New drummer Pawel "Pavulon" Jaroszewicz plays a blinder throughout and his imaginative rolls and fills really add to the feel of the music and his double bass work could punch holes through walls. At times his drumming has an almost tribal feel to it yet he is not afraid to rely on blast beats when the music calls for it.

 

Guitarist/Vocalist Adam "ATF Sinner" Buszko and guitarist Konrad "Destroyer" Ramotowski also deserve praise. The vocals are deep and guttural throughout yet come across quite clearly and for the most part the lyrics can be easily enough made out.

 

The guitars are crisp and cleanly produced. Riffs are often mid paced and this adds to the claustrophobic feel of the album.

 

Despite being a death metal album through and through the band are not afraid to inject melody where it is required, this is a nice touch and stops the album from being one dimensional. The solos are well structured and melodic.

 

The song titles let you know exactly where Hate are coming from. Songs such as Dawn of War, Hate is the Law along with the aforementioned Leviathan and Valley of Darkness pour bilious hate and scorn upon organised religion and mankind in general. It would appear that .Poland's strict anti blasphemy laws inspire bands such as Hate rather than put them off.

 

All in all then Crusade Zero is a top quality blackened death metal album that should appeal to fans of the genre. If you have no interest in blasphemous death metal stay well clear.

 

Review by Gavin O'Conor

LIVE REVIEW: Noise attacks in the Voodoo from Zlatanera, Slomatics and The Hornets

THERE was a weird arrangement for Slomatics 10th Anniversary gig in the Voodoo - because the openers, Zlatanera had the longest set, and The Hornets closed the gig with the shortest set...nevertheless it was storming night of - well, heaviness.

All three acts have a different take on heavy music on Friday, 30th January; but each complimented each other in a strong, muscular evening appreciated by a raucous, beer-fuelled crowd.

Zlatanera's set is balanced and already familiar to many of the crowd. By the second song, 'Holy Man's Crook' the crowd down the front had swelled, singing along with Andy.

In many ways a set that includes a three-song tribute to Satan ('Master of Ceremonies', A Bad Case of The Devil', 'Idle Hand Sataniser') song titles like 'Hooked, Kicked, Hooked Again' and Advance of the Clodhopper' could be written off as whimsical. But it is not.

They are dedicated to providing an atmospheric experience, with depth to their heavy vibes, nods to Sabbath and Down with a dry humour...for exampling dedicating 'Hooked...' to 'Skag'.

Steadily and surely improving Zlatanera - introducing new song 'Delirium Tremens' - they have the potential to reach beyond their current status.

Slomatics 40-minute set was an intense wall of articulate, almost avant garde aggressiveness. But the dexterity of the playing (all set lists are below) was both entertaining and challenging in a good way.

David, Chris and Marty have given themselves 'a long description' as being "heavy, heavy rock', something they proved on 30th January in bucketloads.

With a punk, thrash, metal The Hornets roared through their 30-minute set in a furious fashion - roars and rocking, blackened punk and an aural assault that

There is a furious anger to the set, in a good way, that delivers smiles and headbanging in equal measure - and that's no bad thing.

Overall, three bands bashed out a brilliant night of entertainment - as Zlatanera said: "beers and riffage" - a recipe all can enjoy

Review & pics by Jonny

Setlists

NEWS: And So I Watch You From Afar announce a Belfast date and unleash a single from new album

Today And So I Watch You From Afar (ASIWYFA) premier their new single, ‘Run Home’ with DIY Mag. The track comes from the quartet’s new album ‘Heirs’, due out 4th May 2015 via Sargent House - and they have announced they will play the Mandela Hall on June 20th

This will be the band’s fourth full length album following on from their acclaimed release ‘All Hail Bright Futures’.

Heirs is a  personal and meaningful release. “Its central theme is about the inheritance of ideas,” the band says. “In that we’re all heirs to other peoples’ passion, which in turn inspires ourselves.”

“We started making the album while touring in 2013,” guitarist Rory Friers explains. “We would be recording demos in our hotel rooms, back stage and we would even hire out rehearsal rooms during days off.”

Being the first album with guitarist Niall Kennedy (who joined as a touring member in 2012), the band took half a year off from the road and working nearly every waking moment together in their rehearsal room. Friers and Kennedy, along with drummer Chris Wee and bassist Johnathan Adger amassed about 30 new songs, which were then whittled down to 15 tracks. Of those 15, only 10 songs made the final cut, carefully selecting those that best represented the ideas and feelings the band wanted to express with the album.

“It’s called Heirs as a tribute to a lot of new people who came into all our lives during the writing and recording of the album — lots of nephews and Johnny had a daughter, Eisa,” Friers explained. “It seems like the songs soaked up all those feelings we had during the writing.

"Because making the album was such an intentionally intense and full time experience none of us where listening to much other music or even experiencing much else outside of it. So, it feels like a very pure representation of what happens when these four people decide to make music together. It was a very intense time and the record has been shaped by that.”

Listen here to get a taste of the new sound.

Comin' soon -the Ensiferum new release One Man Army; new song out there now

With the release of One Man Army, the forthcoming new studio offering from Finnish folk metal collective, ENSIFERUM, now just two weeks away, today Loudwire offers up "Heathen Horde," for public consumption.

Captured by award-winning producer Anssi Kippo (Children Of Bodom, Impaled Nazarene, Entwine etc.) at Astia-Studios in Lappeenranta, Finland, the predominantly analog-recorded One Man Army wields eleven tracks of the band's signature synthesis of Viking, folk and power metal swathed in fantastical themes of Scandinavian lore.


Already reaping critical acclaim from media outlets globally, Metal Hammer gushes of the record: "ENSIFERUM have produced their most polished album to date; one that bulges with bombast and rages with frostbitten grit… these northern sword-wielders are close to finding the perfect recipe for taking folk into the mainstream of metal - all without losing a shred of authenticity."

Notes Loudwire, "ENSIFERUM has become one of folk metal's finest acts, experiencing a huge surge in popularity during the last few years. ENSIFERUM's music awakens one's inner warrior… it's a pity fighting to the death with swords and battle axes is illegal nowadays."

Sample "Heathen Horde" at loudwire.com.


Never mind what these sites say - we'll be posting our review here pretty soon....

INTERVIEW: Rabid Bitch of The North on 2014 and future - exciting - plans. Oh, and drinking Bucky with Portrait

WHEN it comes to re-births they are few and far between – all too often bands dwindle and fade away, but hairy metal crew Rabid Bitch of the North have seen the past two years as something of a phoenix-like rise from their early roots.

Currently out on a UK tour with Swedish metallers, Portrait, (review to follow) the band knows that the past 12 months in particular were spectacular.  We caught up with the band and quizzed them about it.

“2014 Was indeed our biggest ever year, so far!”he said. “With so many opportunities fired at us, it’s hard to pick out any one thing, but I suppose being invited along to play at ‘Bloodstock Open Air Festival’ was a pretty big one, along with being invited to play at our first ever ‘Siege of Limerick Festival’, asked to play at the first ever ‘No Sleep ‘till Dublin Festival’ and being invited to join ‘Alone Records’ from Greece to put out a few releases with them.

Looking back seemingly took the guys quite some time to recall all that went down...

“All [were] landmarks in our history and strong friendships gained from each.

“Playing at ‘Bloodstock’, ‘Siege’ and ‘No Sleep’ were all unforgettable and we have amazing memories from our experiences at every one.

“We have yet to experience what our friends in Greece have lined up for us, but we’re eager to get over there and meet them. Also, getting to meet and support ‘Tim Ripper Owens’ was a massive thing for us in 2014, as we are all immense fans of his. He was a true gentleman to us and gave us some great advice!”

It was also the year that saw the release of ‘Defending Two Castles’ cassette single. But why in the name of Satan release a cassette tape?

Together Joe, Gerry and Chris explained:  “We put out a CD a few years ago and no one bought it. We were then told by those in the know and a few others, that we would have shifted more of our first EP had it been on a different format i.e vinyl or tape

“Initially it was suggested that we do a vinyl first, however, it just worked out better financially to release a cassette tape instead, which then went on to sell 300 units!!!  Which we are very happy about!

“It baffles us slightly that an old format like that attracts anyone but people still seem to like tapes and there is a certain underground audience who like an analogue copy of their music as well as digital. There may be a certain element of format snobbery with that, but who cares, we’re just glad people were interested and wanted to buy the single.

“We wouldn’t say no to another tape in the future, it’s cheap, its fast and people all around the world bought one.”

The release also saw RBOTN use pop-up stands, and cut-outs on-stage; something too few local acts do. they agreed that it is something essential to bands.

“ No effort, no logo and no individual style appear to be all the rage at the minute, we like to go against that and reflect our personality and originality through our music, image, art work and stage presence,” they said. “It has to be more than a banner with a logo, it has to have some personality and meaning to what we’re doing at the minute.

“Like the cut out castles and knight which we made to reflect the release and time period of our ‘Defending Two Castles’ cassette. Future releases will have their own themed stage props and imagery to help create an atmosphere and give personality to what we’re doing.

Seeing as it was the band who mentioned the future we wanted to know more about the plans for 2015 once they complete the Portrait tour...

“In 2015 we plan on taking the band further a field and out of the U.K. Where we are going yet is still in the works but there is a definite need for a passport this year which we are all really pleased about.

“On top of that we are releasing a brand new 7inch single which will mark our first vinyl release. This will be released by ‘Alone Records’ (Greece). There will also be a re-release of our first EP on CD again but this time it will include extras, such as our first ever live demos from the garage days.

“Towards the end of the year we may have something else up our sleeve to put out but we will have to see how things go. We are going to be very busy with live dates you see, one of which will be the ‘Siege of Limerick’ again, but you never know. There could be a follow up single come out close to Christmas.

Jeez guys – workaholic a bit! But at least they kicked off with the Portrait slot, something of a ‘perfect match’.

“The Swedish have been doing things right in the world of heavy metal for a long time now (Grand Magus/Wolf/Enforcer/Oz/Gotham City/loads more too) and it is great to be touring Ireland and the U.K with one of their big guns as of late,” said Joe.

“Portrait have been rising to new heights with this line up and their latest album. For RBOTN it is a great chance to expose a new fanbase to what we have to offer.

“Last time we played on a bill with Portrait and Age of Taurus and it was quality. From what I remember of that (Buckfast heavy) night, they wanted to keep the party going into the small hours and beyond! It will be a fun, messy occasion on the road and a ‘vicious bite to the jugular’ type of year ahead.”

And with that they signed off with: “Heavy times ahead.”

Rabid Bitch of the North are one of the current crop of Northern Ireland bands who are stretching their limbs, reaching further afield and wanting to spread the word that NI Metal and Rock is amongst the best out there!

 

COMPETITION WINNER: Placebo

CONGRATULATIONS to Adrian (email should be in your inbox now) who has managed to snag two tickets to see alt-rockers Placebo at the Waterfront Hall on 26th February by correctly answering the really 'tough' question.


His answer that Stefan Olsdal is the band's bassist got Adrian his tickets.


Thanks to everyone who entered - now get off your asses and get your own tickets. Usual outlets blah, blah, blah. What! You don't know where to get tickets? Seriously folks - there is this thing called 'Google' you can use!

LIVE REVIEW: Existensial eperience as Tyr and Sabaton roar

THERE are times when the hallowed turf that is the beer-soaked floor of many a venue comes close to an almost existential experience; when the roar of the crowd, and the passion of the audience raises the temperature of even an impartial observer rises to almost unbearable levels.



When Sabaton, Korpiklaani and Tyr appeared in Belfast a significant number of the audience had been recovering from a hangover from Saxon the night before in the same venue [Limelight1] - nevertheless it was a triumphant night for the trio of acts.



There was no doubt that many were there solely for Sabaton, egged on by the excitement of seeing Sabaton's tour bus emblazoned by the 'Heroes' artwork.



It is a significant tribute to Tyr that they attracted a sizeable early audience, and by the powers of Odin they rose to the occasion.  Evolutionary songs rose from the mythos of Nordic legends.



From 'Blood of My Heroes' they engaged everyone, with the heavy melodies of the likes of 'Mare of My Night' and 'Sinklars' showcasing Tyr's ability to take the template and raise it to new levels; the Faroese five-piece producing a fantastic set.



On the flip side the promise of a party Korpiklaani fell flat. Their anthems and rousing drinking chants seemed ailing; the audience seemingly exhausted after Tyr's set.



But there was significant time to recover....



In fact a screw-up with their sound kit meant a lengthy delay before Sabaton took to the stage...which ironically saw a lot of Tyr t-shirts sold


But then again Sabaton can be a force of  nature...



Drawing on both older material and newer songs such as the '7734' come across as old friends...



And, what Sabaton provide is a show - music and stagecraft in synergy, from the moment that the strains of 'The Final Countdown' and 'March to War' herald their arrival Joakim and his troubadours of terror raise the temperature in the Limelight.


Despite the liveried tour bus and lorry, the serious attire, the well-researched lyrics and on-stage professionalism, Sabaton are determined - throughout the tour, not just in Belfast - to provide a little fun for all.


For every historical ode such as 'Carolus Rex' or 'Soldier of Three Armies' the band equally toss a bucket of fun as the evening progresses: from a quick burst of 'YMCA' through to a medley of snippets from 'Smoke On the Water' and 'Master of Puppets'.


What oozes from Sabaton is the sheer class of the band on stage. Like Tyr they rise above the mundane tour schedules that see the same songs performed by them on each night to perform, not like marionettes, but like the 'Heroes' that they celebrate on this tour.

Visigoth album out today

SALT Lake City Utah's Visigoth released their debut album The Revenant King today on Metal Blade Records. In conjunction with the release the band has partnered up with Bloody-Disgusting.com for an exclusive premiere of the video for the title track The Revenant King. Check out the stream of the Dave Brodksy directed clip here.

Visigoth explained shooting the video: "This video was made in true DIY fashion. Almost all of the props and costumes were provided by us and our friends, and the actors in the narrative portion of the video are actually all friends of ours (Jason Stock, who plays the Usurper, works at the Wasatch/Squatter's co-op brewery with our drummer Mikey and can be seen on the bottle label for Hop Rising, the Squatter's signature double IPA; Jason Tarpey, who plays the King, is not only a good friend of ours but is also the singer for Eternal Champion, one of my favourite current US heavy metal bands; and Paul Black, who plays the Advisor, is a good buddy of ours and is the vocalist of local Salt Lake City metal band Turned to Stone).

“The outdoor shots were filmed in Oakley, a small rural mountain town in Utah. It was frigid cold out when we shot the narrative portion - Jason T's chainmail was freezing onto his skin by the end of it! The band performance shots were filmed in the Wasatch Brewery warehouse with nothing more than a minimal lighting rig and a fog machine provided by our buddy Brock Grossl (who used to play in Salt Lake City's now-defunct speed metal maniacs Castleaxe).

In Visigoth's realm, there are no frills, no gimmicks; there is only heavy metal. Read why we think so in our review here. However, we have to say on reflection that this is a track that has more than a hint of Grand Magus about it…not that is necessarily a bad thing!

After signing with Metal BladeV isigoth recorded The Revenant King. The collection of heavy metal tracks was engineered, mixed, and produced by Andy Patterson at Boar's Next Studio in Salt Lake City. Alan Douches at West Westside handled mastering.

Visit http://www.metalblade.com/visigoth to pick up a copy of the album. You can also order the CD here and a special bundle package including a t-shirt here.

For More Info Visit:
https://www.facebook.com/visigothofficial
http://www.metalblade.com/visigoth 

ALBUM REVIEW: Bombastic Blind Guardian blow away the power metal cobwebs

LET'S face it, right up front, no waffling, no bullshit - power metal can disappear up it's own ass; filled with pomposity, pretentiousness and prat-ishness. Thankfully, on 'Beyond the Red Mirror; a bombastic Blind Guardian avoid the traps of the cliché and complacency.

Of course, that doesn't mean that they are attempting to re-invent the wheel - they're just making it run smoother.

From their formative 'speed metal' days Blind Guardian have natured, grown and became pioneers of the power metal vanguard; with symphonic, multi-layered, magnificence.

While their 2010 release 'At The Edge of Time' was a massive success for Blind Guardian commercially (number two in Germany's album charts, and entering the US Billboard charts) we tended to view it as a bit 'meh'

But, the main attribute of Blind Guardian is that they refuse to stand still.

Guitarist André Olbrich said: "We want to surprise and impress with our music. Nowadays, music tends to be arbitrary and predictable. But we want to keep developing our music."

And, predictability is not something Blind Guardian do...three classical choirs (from Prague, Budapest and Boston) and two 90-strong orchestras make for a heady mix.

Yes, they've been there before...

"Seeing how orchestra songs come alive is a very special and intense moment for us," said Blind Guardian vocalist & lyricist Hansi Kürsch. "Thanks to ‘Sacred Worlds" and ‘Wheel Of Time’ [from 2010’s 'At The Edge Of Time' album], I can say that we have learned a lot about scoring, recording, and mixing when it comes to such music. You will notice a great improvement when you listen to the final result of this adventurous trip we have started so long ago."

The result is a ridiculous raucous romp - technical dexterity married with lyrics that verge on the hilarious (take 'Ashes of Eternity': "Now, Raise the flag, The war seems over, And bow your head, at dawn they shall be murdered").

Despite that, from the nine and half minute opener, 'The Ninth Wave' to the nine and half minute closer 'Grand Parade' this is simply a glorious album to lose yourself within: tracks like the 'At the Edge of Time' have a magisterial quality few can equal.

Songs such as 'The Throne' and 'Sacred Mind' have a presence and feel about then that, when listening very loud, or over headphones, transport from the mundane.

The very existence of Blind Guardian after so many years defies the mainstream mundane mendacity of a media obsessed with the latest fad: and to a certain extent the metal magazines that waffle around the latest trend.

From 1995 Blind Guardian have raised a single finger to convention; they are unfashionable, and for that very reason they are glorious.

'Beyond The Red Mirror' is proof that when you take the time and energy you can surpass expectations, raise the game and kick clichés into touch.

More orchestras, more choirs, more layers: Blind Guardian take all that, wrap it up in a self-conscious take on the genre they helped invent.

Review by Jonny

NEWS: ASIWYFA announce new album and tour

NORTHERN IRISH math rockers And So I Watch You From Afar (ASIWYFA) have announced their return with their new forthcoming album ‘Heirs’. This will be the eclectic quartet’s fourth full length album following on from their critically acclaimed album ‘All Hail Bright Futures’.


The PR blurb reads:

"ASIWYFA have applied to their forthcoming new album ‘Heirs’ the same rigorous work ethic that has seen them touring nearly non-stop all over the world in recent years. ‘Heirs’ is both the band’s most painstakingly created album as well as its most personal and meaningful: a central theme about the inheritance of ideas, in that we’re all ‘Heirs’ to other peoples’ passion which in turn inspires ourselves.


"Many new lives, new imperatives and invigorated perspectives helped shape the 10-song album borne of over 30 tracks written in prolific isolation over 6 months in the band’s Belfast, Northern Ireland home. It’s a work of deep focus and adventurous abandon that reaches to the heart of artistic expression.

"In support of their forthcoming album, ASIWYFA have also announced a 31-date tour to start this spring with label partners Mylets, covering the UK, and much of Europe. Over the past 5-years  ASIWYFA less common tour stops such as China, Russia, Ukraine and Belarus. This tour will see the band play 4 UK shows in Glasgow, Manchester, Bristol and London before heading to Europe.

‘Heirs’ is due out on 4th May 2015 and will be released via Sargent House (home to the likes of Russian Circles, Boris, Chelsea Wolfe, and Tera Melos).


No news of Northern Ireland dates yet.

ALBUM REVIEW: Bonafide strip it down to damn fine essentials on Denim Devils

SWEDEN - like all the Scandinavian countries seem to have an excess of bands, pounding out a range of metal and rock genres - and leading the hard rock charge from Malmo are Bonafide, who have just released a stormer of an album in the shape of 'Denim Devils'.

There is always a case for heads down rock 'n' roll fun and Pontus Snibb and his compadrés deliver that in shedloads on the 12 tracks on this OffYerRocka release. Damn  - it's hard not to raise a pint to their efforts.

They take the basic hard rock template and give it additional umph - just listen to 'Get A Grip' and the riff melds into a melodic chorus to die for, and a sweet as a six-string nut measured solo.

Their last release 'Bombo' is a hard act to follow, but somehow they have managed it. All the songs were penned by Snibb, and recorded in bassist Martin Ekelun's own studio.

Snibb echoes our sentiments when he said: "This record has a tougher live vibe and sound than the previous one, as it was recorded almost live in he studio.

"We wanted to get as close to a live show as possible - to capture that magic that happens on stage when everything's coming together."

Throughout that live vibe stays to the fore on the likes of '50/50' and 'One Kiss';  a track Snibb said: "I recall thinking about Foo Fighters meets Weezer when I wrote that song last spring."

That is perhaps to under-estimate a great track; but then again the track prior to that, is Airbourne, DC, and The Answer all wrapped up in four minutes of sheer fun - 'Rock 'n' Roll Lifestyle' is a balls to the wall rocker: never mind the clichés, when a song is this much fun it's best to take those clichés and enjoy every second.

But that might suggest that Bonafide are one-dimensional in their take on hard rock. Quite the reverse. From the tender 'Missing You' (which is excellent!) through to the measured 'The Game' and closer 'This Ones for You'.

That song is a tribute to fans, and as every fan who has seen Snibb, Rosell, Ekelund and Matson live will know that they push every fibre of their rock 'n' roll dark hearts into performing for fans.

Bonafide are the sort of band that the mainstream media - and the rock media - tend to ignore in the UK. That's their loss -  because those in the know appreciate that Bonafide are part of a market they'll never understand, while we in the know glory in it. Denim Devils? A damn fine album from a damn fine band.

Review by Jonny

ALBUM REVIEW: Middle eastern death metal from Voice of the Soul on atmposheric Catacombs

THERE is a healthy metal scene in the middle east and Arabian Peninsula - that often slips under the radar for a number of reasons, not least the authoritarian regimes that populate the ruling classes.

But, despite that Beruit and Dubai death metallers Voice of the Soul have managed to produce a beautifully atmospheric and deadly release in the shape of 'Catacombs'.

By the time you reach third track 'Pendulum' you could be forgiven for thinking that this is a good and technically well crafted death metal, but that is just to lull you into a false sense of comfort, before the unsettling atmosphere kicks in.

A trio of songs - 'Quarantine', 'Cold Rupture' and 'The Mist' leave you with tingles up and down the spine. 'Quarantine' is the most conformist to the death metal, but it has a real sense of the grandiose, with tension throughout. As a meaty riff three minutes in it switches down a gear for a repetitive section reminiscent of Gojira before a stunning section, well arranged and paced to perfection.

Kareen Chehayeb's deathly growls give way to a gently picked outro that sets the scene for the piano section that opens 'Cold Rupture', notes from the keys carefully arranged over a synth backdrop that makes the song strangely eerie before a Kareem and fellow axe man Monish Shringi work through a haunting set of arrangements, before a set of clean singing that echoes the musical texture.

Rudy Fares, bass has just the right amount of backing before Kareem's growls come in to add to the tension.

Producer, Hadi Sarieddine's piano playing and arrangement on this is simply fantastic.

The third of the trio, 'The Mist', once again has the piano laying down notes that add tension, in a slightly unsettling three minutes.

From there it is a gallop to the finish as the gentle minute of 'Perdition' gives way to full-on technical death metal that is reminiscent of early Opeth without it being a copy-cat track. There is enough going on here to go back time and time again to listen to the layers contained within.

The six-minutes of 'Defiled' give a slowed down death metal vibe, but with a groove to it few of that ilk can manage and a set of solos that have dark melody and real power

Album closer 'Images Subside' is real proper coda to the offering, with a sense of almost traditional metal; slices of piano weaved into it at times and Kareem growling with Egan O Rourke from Daylight Dieadding clean vocals before a guitar section that harkens back to the glory days of NWOBHM -  real triumph to close 'Catacombs'.

This is an album we came to, expecting very little, from a relatively unknown (in the UK at least) band. But after a couple of listens it screams potential. Now with a Bassem Farra added as a bassist (live only) they should take the opportunity to stretch themselves to the next level on tour.

'Catacombs' is available as a digital release in the UAE, and will be released in March on Hells Hammer and in India via Transcending Obscurity.

 

Review by Jonny

COMIN' ATCHA: Mastodon fan Bill Bailey brings his comedy chaos to Belfast

QI REGULAR, Mastodon fan, headliner at Sonisphere and a comedian, are just some of the credentials of Bill Bailey is bringing his critically acclaimed 'Limboland' show to Belfast.




Yes, I know we very rarely do 'stuff' about comedians, but c'mon it's Bill Fuckin' Bailey!




He will be playing the Ulster Hall slot on October 4th. And, he claims to love playing Belfast - and sums up the crowd for comedians and rock and metal acts.




He said: "I always have a great time in Belfast and had to bring my new 'Limboland' show to the Ulster Hall.




"It's one of the best comedy rooms the world and seems to draw some of the best hecklers and nutters to it.


"See you in October!"


Right - that's plenty of time to work on your heckling and we know that we're all nutters anyway!

ALBUM REVIEW: Khaos transcend hard rock clichés with strong emotional undercurrent on Risen

TO be honest with you, Constant Reader, we have struggled to get to grips with the Khaøs release 'Risen' for some weeks now. They tread a fine line of powerful hard rock and strident objectionable resolve and schmaltz as they emerge from land-locked Switzerland.

Take for example the transition from the full-on, almost metal, roar of  'Crisis Factor' to 'Exalted', a song Danny Vaughn would be proud to have penned.

Finding a 'right way' to classify the sound of Khaøs for readers is pretty difficult - but that doesn't mean this is a poor album. Quite the reverse - it is polished, accomplished and eminently listenable for all hard rock fans.

Frontman Chandler Mogel has a sublime voice for this type of music, reaching heights and exploring vocalist's darkest underbelly on the likes of the angry stomp of 'Loaded Question'.

This is no 'cock and pussy' hard rock, dripping with clichés and innuendos. There is substance behind all the hard rock/classic rock flourishes and melodies.

Guitarist Mark Rossi said: “The subject matter transcends individual boundaries, hearkening to darker scenarios yet striving for resolution. The lyrical approach follows a trend of maintaining hope while facing difficulty and conflict. All the evil of mankind cannot suppress the people if they won’t let it. Aside from the lyrics and tone, the project’s unifying element is one of hard rock expression, which defies definition with every song.”

Frontman Chandler Mogel (also of Outloud & Chrome Public) added: “Musically and lyrically ‘Risen’ is a continuation from ‘Rising’, which was just a taste but began to touch on some of the deeper subject matter that I wanted to develop further into my writing;

"I had also been writing some Outloud songs with deeper meanings but for me it wasn't really working in that setting. I knew I needed a different approach musically for it, and Khaøs seemed like the right fit so I channeled this focus there. I wanted an outlet to really convey problems with society, personal struggles, mental mechanisms, and the reasons for all of this. As always I leave the lyrics open to interpretation from the listener as each person will take something different from them, but these are general themes that are prevalent here.”

For all of that 'Hung The Moon' is a beautiful song. Boy bands, pop I

impresarios and greedy label executives would sell their first born to get the rights to this if they ever heard it.

Rossi's sensitive touch adds pathos and bathos in equal quantities.

But the potential problem we have with Khaøs is exactly the disconnect between the music and lyrics. Too often a song that could have been 'boy meets girl and they fuck' ends up almost proselytising about the state of society in 2015.

Set that aside and what you have is an album with a Janus touch. One side of the face is an excellent take on hard rock, while on the other hand there are lyrics to challenge.

Overall - the weeks that we spent getting to know Khaøs output on Risen was worth it.

Review by Jonny