Archive for the ‘Metal’ Category

Seattle’s Metal Church are an interesting band, hard to place. They can sound like a mixture between (fellow Seattle band) Queensryche and early Savatage at times, basically writing Thrash Metal at other times and writing big ‘80s Power Ballads at other times.

The previous album was a bit more serious and proggy. The one before that was their thrashiest of the early records and the one after this goes a bit stripped down. They cover a lot of ground, but I like all of their solid and diverse first five albums more or less equally.

Well, with one exception. Their fourth album, 1991’s The Human Factor is by far and away my favourite. This album is an absolute stand out. I don’t know what happened here, if it is the production, the song writing, or the performance, but this album just utterly smokes.

The album is consistent from beginning to end in a way that makes it hard to choose highlights. There is the ridiculously catchy hard rock single ‘Date With Poverty’ with memorable guitar hooks, there is the furious blood pumping Thrash attack of ‘The Final Word,’ ‘The Fight Song’ and ‘Flee From Reality.’ The opener ‘Human Factor’ has the same confidence of Symbol Of Salvation era Armored Saint.

Lyrically the album is really interesting too. ‘In Mourning’ is similar to Sacred Reich’s ‘Who’s To Blame?’ in the Metal-doesn’t-cause-suicide theme. ‘The Final Word’ seems to be a patriotic song about the good sides of America, ‘Date With Poverty’ is a socially aware track.

Musically, the album is utterly bombastic. The Marshall/Wells guitar team fill the album with a barrage of riffs and solos. The Erickson/Arrington rhythm section is on point. But the real star here are Mike Howe’s incredible vocals. The man has ‘some serious lungs on him’ as they say, an utter superstar vocal performance that elevates the record far above the competition. I mean as much as I have been big-ing up the album’s heavier moments, on ‘Agent Green’ (which seems to be an attempt to improve upon the popular ‘Watch The Children Play’ from the previous album) he sounds almost like Geddy Lee at times.

Overall; this album is great album in every way. It sounds great. The songs are great and the performances are particularly great. I would absolutely recommend this to any fan of Hard Rock, Metal.

I remember when Baroness first broke out, they were quite sludgy and while not inaccessible, certainly not quite radio-friendly either. Early albums like Red Album and Blue Record mixed Thin Lizzy clean guitar with thick stoner-sludge and swampy vocals. I remember also, when they dropped their double album ‘Yellow And Green’ and they went from a band I liked a bit due to a slight Mastodon similarity, to a band I really cared about and actively followed.

To date, I still think of Yellow & Green as an utter masterpiece and that it was one of the best albums by anyone I care about to be released that year. Its when the band really stepped out of any other band’s shadows or any one subgenre’s constraints and just went everywhere they wanted all at once…. The follow up Purple was near as good, trying (and succeeding) to condense the sprawling mix of styles, tempos and timbres of the very diverse double album into one single straight-up rock record with flavours from everything the band had done before but a focus on being succinct and accessible (without sounding too far from their more metallic roots of course).

With their new album, Gold & Grey, the band are leaning a bit back more into Yellow & Green’s experimental territories. There is a focus on diversity here. Succinct is not a word I’d use to describe this. This album seems to be reveling in the freedom to do everything and anything. ‘Seasons’ for example has spidery guitar lines that wouldn’t feel out of place on a King Crimson album, mixed with a strange lo-fi noisy production job that makes it sound like some Sonic Youth style art rock piece, but then there are also blast-beats in their briefly to bring back the metal. Sometimes it goes full prog, with ‘Sevens’ sounding like mid period Camel. ‘Broken Halo’ has some lovely bridges that I can see crowds loving when this material is toured live, but goes a bit Yes during the solo.  

There are also quite a few brief quiet, sombre, slow numbers across the album’s 17-track duration. ‘Blankets of Ash’ for example is a nice sounding acoustic guitar interlude over some creepy foreboding soundscape. ‘Crooked Mile’ is a jangly acoustic number that sounds more like an intro than a full blown tune of its own. ‘Assault On East Falls’ sounds like the music from a dream sequence in a Japanse videogame.

You can hear a bit more Radiohead and a bit less Red Fang in the DNA at times I guess (the intro to ‘Tourniquet’ or for example), but that being said there are still enough big fat choruses and catchy hooks to keep the sing-along feel of Purple. The album opener ‘Front Toward Enemy’ for example is just a foot down melodic rocker to get the blood pumping. The chorus to the single ‘Throw Me An Anchor’ is almost as catchy as something like ‘Take My Bones Away’ or ‘Shock Me’ from previous albums. ‘I’ll Do Anything’ sounds like it could be used to advertise the Olympics. Its like if Bon Iver took happy pills and wanted to inspire people to action.

Singer John Dyer Baizley’s rich voice really sets this band apart from the crowd, and when he really leans into the big melodies, it is proper 360 degree helicopter shots on a cliffside stuff. He has such a powerful and evocative voice that can make any line sound immensely meaningful and majestic.  

Considering the line-up change between albums, it still sounds totally like Baroness. You may not have had female backing vocals back on Blue Record but the way John and Gina’s vocals blend and mesh together just sound right.

The album isn’t without its flaws however. The production seems to be quite controversial based on all people I’ve seen complaining on social media. It is also a bit tough to swallow in one go, sitting somewhere between standard and double album length. (Its only an hour, but with 17 tracks there is a lot of different moods, directions and sounds to digest and so it takes up more brainpower than your typical 10-14 track album. If you just wanted an album of ‘Shock Me’ clones, something like ‘Can Oscura’ might be a bit off-putting for example). You couldn’t just slap this on in the background once and love it forever, it’s a grower that you’ve got to give a lot of attention to. That being said, these are minor flaws at the most. I didn’t really consider the production notable until it was pointed out to me by others, and usually an album being a grower at the start leads to an album you’re still loving years later rather than an album that would lose its flavour as fast as chewing gum if it popped right away.

Maybe if you were only into the band for the heaviness of the early days, this album won’t suit you. If you liked the last two albums though, this album is very much going to be right up your street. Its softer, proggier and more considered than it is bludgeoning and meaty. It’s a bit more ponderous than direct and rocking. But it is definitely worth checking out, sticking on repeat and loosing yourself in. It’s an odyssey of new worlds to glimpse, it’s a journey to get lost on. You might not want to head-bang, but you’ll never be bored.

2018’s Unheavenly Creatures, (or to give it its full title ‘Vaxis – Act I: The Unheavenly Creatures’) is modern prog masters Coheed And Cambria’s  9th full-length studio album. It follows up from their 2015 record The Color Before The Sun, which departed from their Amory Wars concept album series, and Unheavenly Creatures sees the band return once more to their sci-fi comic book concept.

Don’t worry if you haven’t been following the story, which is already out of order with various prequels and side stories, as the songs are that catchy anyway you don’t have to follow the story as closely as some other concept albums. It’s a nice touch if you are paying attention, but the band have always been more than just a story, they aren’t a gimmick band and the music, vocals and sound have always been just as noteworthy as the concept.

Musically; The Color Before The Sun was also a bit of an evolution which saw some new territories covered, with big stadium rock riffs and bubblegum melodies. Unheavenly Creatures incorporates parts of that, while also leaning more on the style the band were going for on the two Good Apollo albums from 2005 and 2007.

The vocals, the production and lead guitars are all superb and continue the long tradition of interesting and memorable songs that are easy on the ear, but come across as progressive when you look at them more closely. The band have all the hooks of the catchiest pop punk bands, all the solos of the catchiest NWOBHM guitar masters and an ear for production that always makes them sound humongous. This album is no exception. Just listen to the powerful opener ‘The Dark Sentencer,’ when Claudio sings ‘‘Kiss your lover with that filthy mouth you fucking monster’’ you just want to scream along with it like you’re on top of a cliff in the November Rain video.

That being said, its not an instant album, in fact it is 79 minutes long, so there is quite a lot to get through and it can take a lot of spins to really sink your teeth in to, but there is a lot to love if you are willing to give it the time.

For a band who, in my opinion, haven’t released a bad album yet, it can be quite hard to make a recommendation to an outsider. That being said, the general public would seem to suggest Year Of The Black Rainbow and The Afterman Descension from 2010 and 2013 respectively are the band’s least impactful works, whereas the public would advise In Keeping Secrets Of Silent Earth 3 and the lengthily titled Good Apollo, Tonight I’m Burning Star IV, Volume One: From Fear Through The Eyes Of Madness (commonly just called ‘4’ or ‘Good Apollo’ for ease)  are the ones to check out first… at this point I can’t really imagine not loving a Coheed album, but just in case, I would say don’t pick this as your first one. Pick up 3, 4 and Afterman Ascension at a minimum before getting this one.    

Once you are an established fan though; this is not an album you want to miss. Some of these choruses will bounce around your head for days. Some of the guitar lines are as memorable as the average band’s choruses. The first four songs alone have more memorable moments than most albums.  In fact, take any four songs in a row, the first four, the last four, any four in between. Even the slower moments like ‘Queen Of The Dark’ pop on this. If you want to dip your toes in, some of the highlights include ‘True Ugly,’ ‘All On Fire,’ ‘Toys,’ and ‘Unheavenly Creatures.’

Queensrÿche have been on a hell of a hot streak since they got former Crimson Glory frontman Todd La Torre in and started a band called Rising West, playing material from Queensrÿche’s first EP and first 4 albums, following the departure of their long time legendary singer Geoff Tate.

When they changed their name from Rising West back to Queensrÿche, and released their self-titled album in 2013, (with great tracks like ‘Where Dreams Go To Die,’ ‘Redemption’ and ‘Vindication’), it was an utterly excellent batch of material and the ensuing live shows saw the band energised and revitalised in one of the best late-career renaissances in the history of Metal (up there with the likes of Kreator and Accept for later-year triumphs). The following album Condition Human was a strong follow-up that kept up the quality.

As you can imagine, their third album since this revitalisation, 2019’s The Verdict, is my most anticipated album of this year. When they dropped the pre-release tracks, such as ‘Man The Machine,’ ‘Dark Revierie’ and ‘Blood Of The Levant’ it was every bit as good, if not better, than Condition Human’s pre-release tracks like the excellent ‘Arrow Of Time’ and ‘Hellfire.’

With all these expectations I had built up in my head, I was fearful I had built it up too much and set myself up for disappointment.

After having listened to it both via streaming while I waited for the postman, and on CD repeatedly after delivery, I am happy to inform you that not only is it not a disappointment, but rather it is the best Toddryche album to date. Arguably the band’s best album in a very long time at all, Todd or no Todd.

Even from myself, who doesn’t dislike any Queensrÿche album, (even the controversial ones), this ranks easily in the top half of their discography, top quarter even! I hate statements like “it’s the band’s best album since…’’ but in this case, it really feels true.

The production, (once again by ‘Zeuss’) is brilliant. All instruments are clear and distinct, you can hear the bass at all times, you can separate each guitar from each-other and the drums sound fat and powerful. Speaking of drums; Now that singer Todd La Torre is also playing drums this time around as well as his singing duties while classic drummer Scott Rockenfield is on paternity leave, you also get some drum styles you don’t usually hear on a Queensrÿche album. (Have a quick listen to ‘Launder The Conscience’ and ‘Light Years’ and listen to the beats to see what I mean).

The press prior to this saw Whip telling everyone that this was their heaviest and most progressive album in a while. Usually statements like that are always wrong. Strangely though, again, in this case, it really feels true.

There are some nice heavy moments on here; such as the aforementioned pre-released tracks, ‘Man The Machine and ‘Blood Of The Levant’ as well the very crunchy ‘Inner Unrest’ amonst others, and furthermore, there are some great proggy moments; such as ‘Bent,’ ‘Portrait’ and ‘Inside Out.’ There’s moments that recall the middle-eastern vibes of their American Soldier and Tribe albums, there’s some of the bass-driven textured stuff like their underrated Operation Mindcrime 2 album, and there’s some of the trippy expansive stuff reminiscent of their Promised Land album.

As well as the heavy and proggy stuff, there is just loads of great, catchy, accessible Hard Rock meets Heavy Metal material that has been the core thing tying all of the band’s albums together to date. You can hear bits that sound like the last two albums, like calssic material such as Rage For Order and all sorts of new things as well.

There’s so much great bass guitar parts and lots of space for Todd to show off his impressive vocal range. Album upon album he pushes it further, showing off more and more styles and becoming more of his own thing and moving away from the Geoff Tate style, but still staying close enough that it always sounds quintessentially Queensrÿche. (Take that vocal style and mix it with those really distinctive guitar leads, and you’ve got Queensrÿche in a bottle.)

Overall; its yet another strong Queensrÿche album, but more than that, it is an interesting album, with a strong production, a great range of material, and some of their honestly best material in years, even if they have already been on a very strong run.

I went to go see Parkway Drive with Killswitch Engage live in Cardiff Motorpoint Arena tonight, (February 1st 2019). It was my second time seeing Parkway, after they decimated Download Festival and were so powerful that they made Guns N’ Roses, even with all their money and with Slash and Duff back in the band, still pale in comparison. It was my third time seeing Killswitch, who I had seen supporting Bullet For My Valentine on Incarnate and Headlining over Trivium on Disarm The Descent.

I wasn’t sure if the gig was going to go ahead though, as it had been snowing prior and I was afraid (given that we live in Britain and they close down all the schools if a snowflake looks at them funny) that it might be called off, but luckily by the time I needed to leave, the roads were clear. (This must sound funny to my Canadian readers, but seriously, google ‘frozen Britain’ and see what the British reaction to snow is like).

Rather than arrive late and hang at the back like I did for Architects a few weeks ago, I new I had to be in the front row. Parkway at Download had whetted my appetite, and I needed more.

So I got there just as doors opened and didn’t have to queue in the post snow chill, but got to walk right to the front without any trouble at all.

The speakers usually play the same few songs at all the gigs I go to. Walk by Pantera, Snap Your Finger Snap Your Neck by Prong, Sad But True by Metallica, Psychosocial by Slipknot.

Not this time. They played some obscure hardcore punk. I couldn’t pin point anything I recognized from my meager 20-30 album Hardcore punk collection. I am not an expert, but I heard something that sounded like or was early Suicidal Tendencies (pre-Thrash) and something that sounded like but probably wasn’t Black Flag.

Not important, but just, different that basically every concert I’ve went to since 2012.

To open the evening where Deathcore lads, Thy Art Is Murder. Their front-man announced he regretted eating fruit around the start, and ended up barfing on stage around the end. He was a weirdly unprofessional burping, farting lads lad who was very charming, like how Orange Goblin‘s singer won me over with his topless enthusiasm a few months ago. Their music was Deathcore, which I am not too familiar with, but I know Metalcore, and I know Death metal, and its basically a mixture of that. There were death growls and blast beats, but there were beat downs and grooves. They were fun enough, and their guitarist has a fun sweeping style of leads/solos that reminded me more of Periphery or Dream Theater (or the Periphery song with John Petrucci from Dream Theater guesting on it). The drummer was very fun to watch, he was very inventive as a blast beater, and did it in more ways than I knew existed, and alternated hands and speeds and cymbals the way Tommy Lee would for a rock beat. They even had a catchy bit in ‘Puppet Master’ where the intro sounded a bit like Lamb Of God‘s ‘Redneck’ gone evil.

I enjoyed them. A much better support band than Beartooth had been last time. I’d be happy to see them again. A heck of a lot more than Asking Alexandria had been at Download. Generally, one of the better modern bands I’ve seen supporting people I like, but whom I didn’t know the support act beforehand.

It takes strength of the mind

Then the room got a bit fuller. After a Thin Lizzy ‘Boys ‘Back In Town intro; metalcore legends Killswitch Engage took to the stage. I have written before about how utterly majestic KSE are live, and how captivating it is when a whole room full of people sing ‘The End Of Heart Ache’, with its big long…

”This distance
This disillusion
I cling to memories
While falling
Sleep brings release
And the hope of a new day
Waking the misery
Of being without you”

…all done in perfect time, in its entirety. As a music fan it is one of the purest joys you can experience. Its crazy how good it makes you feel. And the band are always such fun, with Adam D clowning around like a hyperactive toddler making better masturbation jokes than Blink 182 ever did and brightening up the room with his infectious sense of fun and his big smile.

You knooooooooow me, you knooow me all too well!

I’ve also said before that Jesse is one of the, if not the, greatest live singers in the genre. Almost no-one can sing cleans that well live. He is a master of this type of music. Sam Carter, Ashe O’Harra and Jesse Leech are probably the best clean singers I’ve ever seen with my own two eye. Up there with Maynard incomparable James Keenan.

They played a set-list that was mostly greatest hits (Rose Of Sharyn, My Curse, End Of Heart Ache, All In Due Time, My Last Serenade) with a few early numbers (Fixation On The Darkness, Breathe Life) and it was more compact than any other time I’d seen them but no less potent.

The crowd seemed to really, really love ‘Always’ too, and Jesse doing the very last line while the band were all silent was some Freddie Mercury level skills. They played the two best songs off the new album too, (‘Hate By Design’ and ‘Strength Of The Mind’) which are even better live than on record, with more of a crushing Pantera groove to them.

Darkness will give way to light

Speaking of better live; ‘My Last Serenade’ is so, so good live. Joint with ‘End Of Heartache’ for the most audience participation (and augmented by all the fun guitar squeals and extra shenanigans) it is just excellent live in every way. And of course, they finished on my favourite Killswitch song, the fantastic ‘All In Due Time’ which turned me from a Jesse-reunion skeptic into the kinda guy who goes and sees em three times even though I don’t go to that many gigs.

Building a revolution to heal nations

If it was over then, it would’ve been enough. A solid opener, and mighty Killswitch doing themselves proud with a perfect set-list, excellent performance and decent sound & lighting. That would’ve done me nicely as a gig.

But I wasn’t ready for what happened next.

Now, I’ve banged on and on in this blog numerous times about how good Parkway were at download festival, and if you’ve met me in real life I’ve probably talked about how Ire is a modern classic that deserves to have the reputation sort of The Blackening has. You’ll have noticed the new album Reverence was high in my most played albums and highly ranked in my end of year list for this year just gone.

Well, that’s about to get a whole to more, because I have just seen. The. Best. Show. Of my whole life. No qualifications. No caveats. No exceptions.

I am not been hyperbolic. I am not exagerating. This was the best concert I have ever seen in every way. Visually, muscially, sonically, intangiable x-factor magiaclly. It was absolute bliss.

The set-list leaned heavily on the newest two albums, with just one song from Atlas and Deep Blue each, and two songs from Horizons, but otherwise all newer stuff since the change in direction.

The sound was immense, and the cruch and chug of big riffs like ‘Absolute Power’ or ‘Crushed’ was immense and made you pull that satisfied ”riff face” even harder than usualy. My view was perfect for most of the show, with a spot where I could see every member and even every cymbal on the drum kit. And the band’s performance was so bombastic, confident and commanding that it felt like witnessing something truly extraordinary.

The way Winston would sweep his hands or stomp his feet, or when he got topless and the end and would throw fists, always timed to some musical highlight like a conductor or film director was so entertaining. He is such a fucking golden rock star like we were back in the 1980s again. Having only been born as the ’80s died, its great someone is that for this generation and I don’t just have to read about it in old books.

The crowd were so into it, doing a gigantic circle pit during ‘Idols and Anchors’ and clapping along to the drumbeat in ‘Writings On The Wall’ like it was ‘We Will Rock You’ by Queen. They sang out not one or two but five or six songs guitar lines like when you see footage of Maiden or Megadeth playing South America. It was a brilliant vibe.

And that’s all without mentioning the fucking sheer spectacle of it all. If you haven’t been paying attention, it might be surprising to learn that Parkway Drive have become one of the most explosive live bands of the modern era. (Or any era).

The evening started with a dubstep or electronic noise while various lights were going off on the empty stage, with crazily loud concussion bombs going off to match the ‘the truth drops like a bomb’ lyrical theme.

Behind use, we could feel heat. Then in unsion we turned and saw that the mixing desk behind the crowd had pyro on it. And then the band, marched through the middle of the crowd, carrying flaming torches like a strange religious ceremony until they got up on stage. Then, wearing matching black outfits like some kind of Apple technology expo, they moved in choreographed and weirdly alien or robotic unison until the music really kicked in after the intro.

Crushed by the fist of god

Attention, attention, welcome to the stage

The first few songs they played in a tasteful white lighting set up. But it just got bigger and bigger.


You never miss your shadow
Till you’re alone, alone in the dark

There were various lights. And then there was smoke. And then there were fire balls. And then there were towers of fire. And then there were rows of fire. And then there were hydrolic platforms going up and down. And then there was a string quartet.

And we all go to heaven in a little row boat

Let’s get this straight, while you’re listening


And then there was an acoustic moment somehow behind the audience again. Then there was mini fire works. Then lights, lasers and fire together. Then well timed concussion bombs, like literally going ‘bang bang bang’ when Winston sang ‘bang bang bang’ in ‘Absolute Power.’ There was a Kiss-esque shower of sparks from the ceiling bouncing off their heads.

We’ve been waiting for the sky to fall!

At one point he came out with a bottle, and a rag in it, and set it on fire for real with a real lighter, and tossed it onto a big floating PWD shield, and there was really well timed explosives that made it look like he blew it up. And they just kept adding in more and more pyro and explosives until it looked like the whole building was on fire, and Winston would sweep his hands and flames would match the directions, such as during ‘Crushed.’

The truth drops like a bomb
Bang, Bang, Bang, drop the hammer of conscience


Between the spark and the ember
You are smoke threading the wind

Messages written within our columns of fire
No life blooms from the ashes of ire

Slayer had more pyro than I expected on their Farewell tour, but this made them look like a bar band with a packet of sparklers. It was almost Rammstein levels. At one point they had everything going off all at once in complete strobe light sensory overload destined to trigger epilepsy and PTSD sufferers in a way I would genuinely advise them not to attend due to. Absolute bloody war. I’m surprised health and safety let them get away with it to be honest.


Burn your heaven, flood your hell

Bombastic doesn’t do it justice. It was so well thought out and planned, cribbing all the best ideas from Motley Crue and Kiss and updating them with touches of Maiden and Rammstein and Tool but somehow feeling like a really cohesive and excellently orchestrated performance piece than a cobbled together greatest hits of concert ideas, the spectacle side of things was off the charts.

And all that being said, if they had have came out in day clothes and played the same set in an empty room with not so much as dry ice or a single light, it would’ve still been the best concert I saw in the last decade purely on the utter majesty and perfection of the performance. Songs like ‘Vice Grip’ are so goddamn triumphant sounding that when you see it live you feel like your team won the world cup. Songs like ‘Wishing Wells’ and ‘Chronos’ are so well constructed that you feel like a tween discovering the love of music for the first time. Songs like ‘Wild Eyes’ and ‘Karma’ are sing along fun that you just don’t have enough of as an adult. And best of all, ‘Bottom Feeder’ and ‘Crushed’ just level the place. When he sang ‘Now snap your neck to this’ and the payoff riff after the build up came in I got the kind of euphoric rush normally exclusive to a wedding day or the birth of a child. Ok, that’s a bit of an exaggeration, but the best part is…not by much!

Speaking of the birth of children. This will probably be my last concert for a while. Ozzy with Judas Priest got cancelled due to Ozzy’s ill health (just like my first ever Ozzfest, Ozzy didn’t play due to a quad bike accident.). My son is going to be born just a few months before Kiss say farewell and Download rolls around again so as much as I love music I’m not traveling for any of that this year, and so far nobody seems to be playing in between now and then.

As a last concert for a while, possibly of the year, I could not have asked for a better one. Hands sown the best concert of my life so far. If you ever get the chance to see Parkway live I advise and border on demand that you go. I hope to high heaven that they release a live DVD from this tour. This is how live music is done!

Until next time…

I went to go see Architects at the Cardiff Motorpoint Arena last night (Friday 18th January 2019) with support from BearTooth.

I had to work so didn’t get there in time for the opening act, Polaris. I’ve never been into Polaris though, so it wasn’t too much of a disappointment (even if that sounds a bit rude). I had heard of BearTooth before, and had checked out a few of their songs on Spotify/Amazon Music over the years due to a podcast I like talking about them a few times, but wasn’t really familiar with them overall.

I decided, due to late arrival and back ache, not to bother getting right up to the front, and stood as close to the back as was possible. No moshing and crowd surfing for me. I had loads of space and wasn’t bustled around too much. It was nice being right up near the front for Slayer and Anthrax, but I wasn’t in the mood to be smashed around tonight and just wan’t to look at and listen to the live band.

BearTooth sounded a lot more raw and natural live than of what I vaugley remember about their recorded output, from what I sort of remember they were a bit wet and overproduced and a bit electronic. Live it was less wet and more natural, but still generic melodic metalcore. I feel they’re a little late for me to really fall in love with them.

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All the metalcore slots in my brain are taken up by the likes of Shadows Fall and Chimaira and Killswitch Engage and don’t really feel like there’s that much more I can get into. When I saw a few more modern melodic metalcore bands at Download Festival, like the forgettable Black Veil Brides and  Asking Alexandria or even the quite good Bury Tomorrow, I felt like I’ve had my fill already. Beartooth similarly offer nothing new, and didn’t win me over enough to go buy any of their albums, but where pleasant enough while they were on.

Their singer was very enthusiastic and called out specific riffs to pay attention to and seemed to be enjoying it. The sound for them wasn’t so good though, and you couldn’t really make out the vocals.

Then after a brief interlude with bands like Limp Bizkit and Rammstein played over the sound system, the main event, Architects took to the stage.

I’d seen them live before, back when I lived in Manchester, on the Lost Forever // Lost Together cycle. I really wanted to see them on the All Our Gods Have Abandoned Us cycle too but it was sold out when I got to the counter to buy tickets (should’ve bloody done it online in hindsight!).

I got into Architects when Hollow Crown was their newest album, but I feel like they’ve been getting better over time, and I’d take albums like Daybreaker, All Our Gods’ and even the controversial The Hear And Now over earlier albums like Ruin or Hollow Crown. Lucky for me, the set-list last night was almost entirely off their new album Holy Hell, and the previous two albums Lost’ and Gods’ (as well as one single track off of Daybreaker), which made it quite a different set-list than the last time I saw them, with 12 songs tonight I didn’t see last time (I quite like it when bands do that).

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Last night’s setlist was:

  1. Death Is Not Defeat

  2. Modern Misery

  3. Nihilist

  4. Broken Cross

  5. Holy Hell

  6. Royal Beggars

  7. Gravedigger

  8. Mortal After All

  9. Downfall

  10. Naysayer

  11. These Colours Don’t Run

  12. A Match Made In Heaven

  13. Hereafter

  14. A Wasted Hymn

  15. Memento Mori

  16. Gone With The Wind

  17. Doomsday

I really, really enjoyed ‘Gone With The Wind,’ ‘Downfall’ and ‘Doomsday’ especially, they worked so well live. If you haven’t heard of the band before and you wanted to check them out, they would be good tracks to try out.

Some people online have said the sound wasn’t good, but from where I stood last night, it sounded pretty good to me. A lot better than BearTooth. You could hear everything, each cymbal, all the vocals, every riff was clear (Except in the really heavy parts, like the start of ‘Nay Sayer’).

Sam was very grateful in the stage banter, repeatedly thanking the crowd and pointing out how they used to be in smaller venues and how cool it was to get to play somewhere this big. (He thanked the crowd so much, he ironically called himself a broken record numerous times, so that shows you how much it was!).

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Performance wise, they were top notch. Flawless. Can’t say enough good things about them. Sam’s clean vocals are almost record-perfect live which is impressive as hell and something his peers aren’t half as good at.

The production was really good too. Fire balls. Steam cannons. Confetti Cannons. Confetti from the roof. Lights. Lazers. Video footage of trippy wolves and falling bodies and mountain-scapes. A lot of variety and really well sequenced and well timed. There were lazers coming out above the crowd as well as strobes on stage and interestingly laid out lights and beams on stage. Sometimes all of it was going off at the same time, Very entertaining. It was halfway between the time I saw Tool in Dublin and the time I saw Killswitch in Manchester.

 

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There was also a bit where they had a bit paying tribute to late guitarist Tom Searle, and had a nice speech about how his brother, drummer Dan Searle got the band back together when they were all bereaved. It was really nice, and the had a ‘T // S’ in a heart up on the screen.

It was a very good evening, which is good, because I almost didn’t go. I had a difficult day at work, had a massive headache, had just got new glasses and hadn’t got used to driving in them yet, and a bunch of other lame-o excuses, but the gist of it is I wasn’t in the mood. I was very tempted to just skip it, but I remember how good Architects were last time, and I’d heard they had a really good production this time around, and I really like their newer three albums. Getting in and out of Cardiff was nice and easy too, even though it was a Friday night, the streets were quiet and the roads were pretty empty and it was no hassal with the travel.

Good night. Next up for me concert-wise; is also an evening of Metalcore: Killswtich Engage and Parkway Drive at the venue is February, and that’s going to be madness, if tonight’s production was good, I can’t wait to see the upside down flaming drum-kit like at Download Festival, but at their own show, in a more controlled environment than a festival. Can’t wait.

Monster Magnet – Mindfucker

Posted: November 21, 2018 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews, Rock, Rock Studio
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375382aMindfucker is the tenth proper full-length studio album (if you aren’t counting redux albums and compilations). It was released on Napalm Records and released in 2018, 5 years after Last Patrol, which was the longest gap the band have had between albums to date, but the line-up stayed the same as last time.

To my mind, Monster Magnet have never made a bad album. Even their least popular album, 4-Way Diablo has my favourite ever Monster Magnet song (‘Wall Of Fire’) on it. But I do have to say that this album has been out for over half a year now and try as I might, I just can’t get into it.

Now there’s nothing majorly wrong with it per sae. It is well produced. The songs are pleasant. Nothing overstays its welcome. Nothing is bad or stupid. Nothing sounds wrong or doesn’t fit the band’s style. Everything is functional. But that’s it.

Usually, there are major moments to write home about. There are usually lyrics that make me want to tell my friends about. There are usually riffs that I want to air guitar to. There are usually inventive things the band haven’t done before. There’s usually more joy in the performance. Generally, there’s usually…more.

That’s not to say the album is worthless, ‘Brainwashed’ for example is very fun, and sounds like its tapping into the same jangly ’60s influence that ‘Dreaming Of You’ by The Coral is, only faster. ‘Want Some’ has some energy to it and would be your typical Monster Magnet rocker that they have pumping out since the fifth album. The opener and the title track are passable too.

The thing is though, its not enough. Its just an ok album. Perfectly fine. If it was your first Monster Magnet album you’d probably like it. But then when you get the other records, and you hear ‘Kiss Of The Scorpion,’ or ‘See You In Hell’ or ‘Black Balloon’ afterwards, then you’d probably shit a brick! ”Wow, how did that ok band release such amazing material!?” you would find yourself asking.

If you love the band and have to have everything they put out. Sure get it. If you just want to support the band and keep them on the road, get it. If you have limited funds and can only afford to buy the best, then maybe skip this particular entry in the history of the bull god. This band have released some of the best material in the genre ever, and you should start with their better material first.