Archive for the ‘Rock Studio’ Category

220px-Vol_cover.jpgMy whole Summer this year has been about Volbeat. I started off with Outlaw Gentlemen’ and moved on to Seal The Deal’ and the next album I got was 2010’s Beyond Hell/Above Heaven as a very appreciated birthday gift.

The album is notably less slick, sheened and stadium sized than the two albums that followed it, but is on the way there. There is some really heavy material on here, such as ‘7 Shots’ and ‘Evelyn’ which have guest appearances from Kreator’s Mille Petroza and Napalm Death’s Barney Greenway respectively. The best song on the album in my opinion is undoubtedly the muscular groove metal track, ‘A Warrior’s Call’ which is totally crushing and memorable, a real fist pumping song if ever there was one. The chorus even sports the line ‘Let’s Get Ready To Rumble.’

Its not all heaviness though, Volbeat are famously diverse. The catchy single ’16 Dollars’ for example sounds like country music was the prime influence, and ‘Magic Zone’ could be a Green Day song. Its a very interesting album in that regard. There’s several songs that could be by totally different bands but somehow it all flows together seamlessly.

The album closer ‘Thanks’ is pretty noteworthy, sounding as it does a bizarre mixture of Rancid, Metallica and the theme tune from King Of The Hill. Its memorable ‘woah-oh-ah-oh’ lines and lyrics about being in Volbeat make for one seriously entertaining listen.

As with all the band’s albums I’ve tried so far, you can listen to it over and over again. A long drive or a week of commuting can be pleasantly enlivened with this record on repeat. If you have any interest in the band, don’t delay, get up on this and get ready to smile.

Clutch – Book Of Bad Decisions Review

Posted: September 10, 2018 by kingcrimsonprog in Metal - Studio, Music Reviews, Rock, Rock Studio
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SharedImage-81725Clutch at this point can unarguably be seen as something of an ‘old reliable’ at this point. It can be argued that the band just do not release bad albums these days and pretty much if you’ve liked any of the band’s recent albums, you are probably going to like this one.

That being said, they aren’t too repetitive and they do evolve over time and each album has its own identity and each cluster of albums has a certain flavour.

The last two albums; Earth Rocker and Psychic Warfare have been two of the bands hardest, most streamlined, direct albums to date and this time the band seem aware that this may not have been what fans of the older albums like Elephant Riders and the self-titled wanted, so this time around instead of battering you over the head with the hardest songs straight away, they open up with some more laid back Stoner Rock song. Its a bit more armchair than thrill-ride for the first three tracks, for those of you who were missing the band being more hazy. Combined with the less polished, looser production style (that hi-hat sound and muddier guitar tone has something in common with their Jam Room album to my ears).

That’s not to say it is a full return to the old days; its more of a balancing act between that, the recent material and also pushing new ground. There are a few tunes on here which retain the breakneck rocking and clear focus of Earthrocker; ‘Weird Times,’ ‘Paper & Strife’ and the Tony Iommi wetdream of ‘A Good Fire’ keep things direct and punchy.

In terms of newer ideas, ‘In Walks Barbarella’ sounds exactly like its most memorable lyric ”weaponised funk” – it is full of full on 1970s Starskey & Hutch sounding funk overtones.

Lyrically, the record is just as fun and interesting as ever, with some brilliant lines, such as in the pre-released ‘How To Shake Hands’ where Neil tells us that when he becomes president, ”First thing I’m gonna do is go for a ride on a UFO, put Jimmi Hendrix on the $20 bill and Bill Hicks on a 5-note,” as well as ‘Hot Bottom Feeder’ which is basically a recipe and when the Neighbours in ‘Paper & Strife’ are reportedly ”clearly raging communists.”

The last few albums have had man-of-the-match awards for drummer JP Gaster and Frontman Neil Fallon, but the real hero of this album is guitarist Tim Sult, who seems to on a mission to display as wide a range of styles of guitar solo as possible. There’s so many different vibes to his leads and solos on the record, from melodic to flashy to effects-laiden and everything in between.

Because Clutch are so consistent, it is really just a matter of personal taste which albums are your favourites. This album is no disappointment. For my tastes, its somewhere in the middle, better than for example Jam Room but not quite as transcendent as say, the last two albums, or the fan favourites like Blast Tyrant, but fairly close and absolutely worth checking out.  There are many songs on here I really can’t wait to see live and wouldn’t ever want to make a Clutch playlist or compilation without ever again. If you aren’t sure if the album is for you, check out ‘Ghoul Wrangler’ – the music, production, eccentricity and lyrics should give you a good idea what you are in for.

 

Seal_the_Deal_&_Let’s_Boogie.jpgVolbeat, the interesting Hard Rock/Metal/Country/Whatever-else hybrid band from Denmark, released their 6th studio album, Seal The Deal & Let’s Boogie, in 2016. It is their second album with former Anthrax lead guitarist Rob Caggiano.

Whereas the previous album leaned a bit harder on the country twang, this album is a bit more polished, commercial and stadium rock sounding. It is a bit less eclectic but it is tight and focused. The production job is very big, befitting the band’s crowds size nowadays and the vocals sound stunning. It may not be the heaviest moment in their catalogue but it is pretty gigantic.

Other interesting things about the album include that it features two cover songs (‘Battleship Chains’ by Georgia Satellites and ‘Rebound’ by Teenage Bottlerocket) but to be honest if you didn’t know they were covers they would seem like originals. There is also the fact that you can get the one track in two versions, either in English as ‘The Bliss’ or with a Danish chorus and guest Danish singer Johan Olsen as ‘For Evigt’ depending on which version you buy.

Highlights include the catchy opener ‘The Devil’s Bleeding Crown’ which has the same sort of stadium stomp as Nickleback‘s ‘Burn It To The Ground’ and has such great vocals, especially the bit where Michael sings “Down, down, dooooown” …as well as the insanely good ‘Goodbye Forever’ which has such an enormous chorus hook and great backing vocals, and finally of course ‘The Loa’s Crossroad’ which has a great stoner-rock riff that could be on a The Sword album if it wanted to.

Its a remarkably consistent album and the kind of thing you can listen to over and over again. Its full of massive music for massive stages, with all the best things about polish and perfection without sounding contrived or overly simplistic. The album prior will probably always be my favourite as it was my introduction to the band, but this one is a superb follow up. It has inspired me to get more Volbeat and I heartily recommend it to anyone who likes rock music. You could like this if you were a Green Day fan, a Guns N’ Roses fan or a Pantera fan. It covers so much ground its bound to please a very wide cross-section of fans. If like me you were late to the Volbeat party, I recommend you immediately rectify that, and then let’s boogie.

Outlaw_Gentlemen_&_Shady_Ladies_Album_CoverYou know an album is good when you listen to it every day for an entire month. I had not been a Volbeat fan up until this point, but early this summer I had caught them at Download Festival between bands that I did know. They played a song that was introduced as being ‘about a shady lady called Lola‘ and it really struck a chord with me. Not least because the guitar solo, played by former Anthrax guitarist Rob Caggiano reminded me of Anthrax‘s ‘Safe Home’ which is a song that I love so much I had it played at my wedding.

If you aren’t too familiar with them either, the simplified description you hear bandied about is that they are supposedly a mixture of Elvis, Johnny Cash, Danzig and Metallica. I mean, that is what people say but obviously the reality won’t be exactly what people say as it never is with these things, but that is the kind of thing people say about them and gets you in the right head-space of roughly what to expect.

This is my first Volbeat album; and normally before reviewing a record I’d know a lot more about the band first, have a lot more research, know more of the discography, but I have been absolutely hammering this every day all month, and I can’t really wait to spooge my approval of it all over the internet.

Now; because I have some kind of obsession with ‘Lola Montez’ as you can guess from the above anecdote, I keep starting the album at track 9, as if that is the beginning. The song, a summery and anthemic Hard Rock tune about a historical dancer and her famed ‘spider dance;’ begins with some gentle chugging and a very melodic lead vocal. Any time I hear it I am instantly transported back to that field at Donnington. I find myself loudly singing ‘the love of your life, yeah-eah eah’ and ‘Lola’s spider daaaaaaa-aaaa-ance’ in the car every single time.

That is followed by ‘Black Bart’ which by contrast is almost a Speed Metal tune. It has the same talented melodic vocals but the guitar and drums are significantly stylistically different.

Speaking of different, this is again followed up with ‘Lonesome Rider’ which has a sort of country or rockabilly feel to it.There are guest vocals from Sarah Blackwood who gives it an even more country twang. Normally, I don’t like too much novelty in my music. Recently, bands like Ghost have helped me loosen up a bit and with how well Volbeat blend all their disparae styles it doesn’t feel like a novelty but just a fresh combination of elements.

The legendary King Diamond, who I’ve grown more accustomed to over the year since getting the boxset of his first five albums, shows up on the tack ‘Room 24’ as another guest star. The track is actually written in a style suitable for him and has the band playing darker, heavier and more bombastic stuff to fit in with the King’s unique style.

Other highlights include the enormously catchy groove metal song ‘Dead But Rising’ and the very stadium sized, Avenged Sevenfold-esque ‘The Nameless.’ (When he says ‘Six feet under and still alert,’ I get real Matt Shadows vibes).

It is a very varied album. It is a very interesting album and it is a very fun album. It is the kind of album you can listen to all the way through over and over again. It is remarkably polished and well produced. It is full of more hooks than a fisherman’s equipment store and it has some intriguing lyrics about genuine historicalcharacthers that may lead you on to further reading.

I can’t tell you how it compares to other Volbeat albums. Maybe it is their best, maybe it is their worst. I’ve got more coming my way in the future so I am happy to find out, but let me tell you this, as a first Volbeat album it is an absolute winner and it has totally sold me on this band hard. ‘Lola Montez’ is absolutely my song of the summer. If you don’t know them, I highly recommend you check them out. Maybe a bit of whoa-lbeat is just whats been missing in your music collection.

Marmozets – Knowing What You Know Now Review

Posted: August 19, 2018 by kingcrimsonprog in Music Reviews, Review, Rock, Rock Studio
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2ca4c1f91caabcf5008146ab0569c38d.jpgAfter listening to a podcast a few years ago before heading out to buy the new Kreator album, I was reminded of the hosts’ deep approval of The Weird and Wonderful Marmozets, the debut full length album from 2014 by the unique British Rock band, Marmozets.

I’m sure if you’ve read anything I’ve written before, you’ll remember that I was gushingly enthusiastic about it. It was a refreshing and semi-bizarre mixture of ’90s sounding Rock, with Punk and Hardcore influences, sprinkled with jagged math-rock leanings and even boasting the odd moment that you could compare to Mastodon for a few seconds if you closed your eyes. I have fond memories of listening to it on my bachelor party, but that is besides the point.

I was a bit late to the party with Marmozets, but that album is an utter gem. Now in 2018 it is time for a follow up. I caught them at Download Festival and the performance there (especially from the drummer, Josh) was great and that inspired me to stop dawdling and get my hands on the new album. 

There has been a slight stylistic shift since the debut album. The band seem to have filed down some of the more jagged edges, removed those sparse but welcome metallic sections and dialed up the melody massively. Its a much more commercial record. Its a much easier-to-listen-to album. Its much more radio friendly.

Now; stop. Clean up the drink you just spat out. Take a deep breath. Yes; it is less heavy, see it is cleaner and less technical and yes, usually when a band pulls that kind of shift, the words ‘sell’ and ‘out’ are hurled at them by the public and generally, the album is a disappointment.

Not the case here. This is a fabulous album, chocked full to the brim with catchy choruses, memorable hooks and sing-along sections. Its the kind of album you can listen to on repeat over and over again and not get sick of. Over half the album sounds like a lead single. You ever hear the common saying that Appetite For Destruction and Permission To Land sound like a Greatest Hits album? Well so does this…

There are songs on here that once you hear them, just can’t imagine Marmozets ever playing a single concert or releasing any playlist or compilation at any stage in the future without. Opener ‘Play’ for example. The jaunty single ‘Major System Error’ is another. I think my favourite track personally is the immensely catchy ‘Lost In Translation.’ If you haven’t heard the band but wonder after reading this if you should, then try any of those three songs. 

Also, while it is true that it is a lot less quirky, technical and heavy than the debut, there are still flashes of that side of the band. ‘Suffocation’ gets interrupted by awkward noisy sections, ‘Habbits’ has harsh screaming and dark lyrics and ‘Like A Battery’ has a reccuring obnoxious sting that you could just imagine Becca doing strange jerky movements to on stage. Its not exactly an Atomic Kitten record now is it?

Overall; this is a fantastic, catchy and memorable record. It is more commercial than the debut but none-the-worse for it. I hope this expands the band’s audience and gets them some of the pop and indie fans as well as the punk and metal fans. Based on this quality of songwriting they really deserve to be massive. Check em out if you like good, catchy Rock and aren’t too snobby to accept that they toned down the math side of things.

220px-Marilyn_Manson_-_Heaven_Upside_DownIn 2017 the legendary Marilyn Manson released his tenth studio album (which was going to be called ‘Say-10’ as a sound-alike for ‘Satan’ before he changed it last minute) called Heaven Upside Down. It was produced by Tyler Bates and was their last album before once more losing Jeordie ‘Twiggy Ramirez’ White, even if he didn’t actually play on it.

Now, I don’t normally like to write negative reviews (as you can probably tell if you’ve read any of my other reviews, it pretty much 99% a love fest as I don’t like to denigrate things that take so much effort to make, so focus on the great albums and just don’t review the ). I am also a bit of a Marilyn Manson fanboy, and even though I’m not insane enough not to think that the Triptych (Antichrist Superstar, Mechanic Animals and Holywood) are his best material by a million miles, I am the kind of guy who likes his other albums, even ones that people in my peer group seem to all hate. There’s plenty of good material to be found in his whole discography.

Even I can’t love this album though. Since it came out I’ve been trying to be excited for it. I’ve gave it a really fair chance and tons of repeat listens, but I really can’t get into this at all. (…And this is coming from a guy that doesn’t mind Eat Me, Drink Me).

There are a few good moments here, I’m not saying its utter shit or anything. He’s still got a good voice and there’s a few fun stompers, like the catching ‘We Know Where You Fucking Live’ and ‘Je$u$ Cri$i$ ‘ but coming from The All American Antichrist, this is just a bit of a tepid, plain, dull album. For someone who made such remarkable lyrics on Holywood or such diverse incredible music on Antichrist Superstar or put on such a show for Mechanical Albums, its kind of surprising how polite and slightly forgettable this album is. Its all to polite. It isn’t some amazing progressive masterpiece. It isn’t even a fun collection of bangers like the less artistic but very instant Golden Age Of Grotesque. It just feels like background music for rich people.

Sure there’s some sleazy sexy bass lines, or some semi-interesting drum patterns, (‘Saturnalia’ /’Kill4Me’) and there’s some of those anguished vocals (‘Blood Honey’) but its all too little to really get your juices flowing.

If you want to listen to Marilyn Manson there are so many albums I’d recommend before this one. I can’t even recommend it for lapsed fans (Born Villain is the one for that). If you are a massive fan and have to own everything he does then, sure, you can get this one. For most people though, this is a listen to it a few times and shelf it kind of affair. Maybe its the fact that barely anyone you care about appeared on it, maybe its the fact that most of the music was written by the producer. Maybe its just the fact that all his other work is so good it fails in comparison, I don’t know. What I do know.. this one, I’m sad to say, is not for me.

cocCorrosion Of Conformity have had a lot of different line-ups over the years and a few very distinct career phases. Some of the most notable and best of which are the short-lived Blind era of the very early ’90s, where Pepper Keenan and Karl Angel joined the band and wrote a very dark, yet strangely melodic mixture of Sludge Metal and Groove Metal. Then Karl left, Pepper took over somewhat and they released three brilliant mixtures of Stoner, Southern Rock and good old fashion Metal with a bunch of diverse records that had acoustic sections, interludes, ballads and speedy-ragers all mashed into one record. Their final album in that line-up (well, with a new drummer actually, but close enough…) was very Doom Metal focused. Then Pepper left, and the Trio line-up from before even the Blind era reunited but instead of making Hardcore or Crossover Thrash like they did in the ’80s; they released two Doom albums with raw punky influences.

The celebrated and arguably most popular line up (the Pepper-in-charge on from the mid 90s-early ’00s) reunited recently and toured the globe with incredible reunion shows and now the time has finally come for them to put out some new music together. Its probably one of my most anticipated albums in a very long time. What on earth could it possibly sound like?
Well, the first track is a slow instrumental Sludge intro, bringing immediately to mind the Blind era. Next comes the third single, ‘The Luddite’ which is almost indistinguishable from the style on their Doom-focused In The Arms Of God album from 2005, which is interesting to hear with Reed Mullin on drums. It totally works. Speaking of that album, the creepy-ass title track here might remind you of a certain dark semi-acoustic track from there too.

Like their seminal Deliverance album, there are a few instrumental interludes and mood pieces sprinkled throughout. The first two singles, ‘Wolf Named Crow’ and ‘Cast The First Stone’ hark back to the Wiseblood sound, recalling hits like ‘Long Whip/Big America’ or ‘King Of The Rotten’ in a certain specific way that the instruments interact with each other and with the production style (by John Custer, who did Wiseblood too!) leaving the space at the end of sections and sounding very organic and Jammed-out-in-a-rehearsal-room, if you know what I mean. ‘Little Man’ has a very characterful and southern-fried sound, reminiscent of the under-rated 2000 album, America’s Volume Dealer, only without the over-polished production.

So far, so great. Towards the end, there are a also few slower, sludgy, dragged-out pieces that hearken back to both ‘Pearls Before Swine’ and ‘Bottom Feeder.’ It just wouldn’t be a C.O.C album without mixing in something slow and dirty sounding towards the end, would it now?

The overall feeling is a mixture of all the Pepper-era albums, with a warm and very earthy production. It doesn’t stand out as an immediate drop-everything, earth-shattering revelation, but it is a very welcome return (although they were never really that gone recently, and I’d still love if they threw ‘Demark Vessey’ or ‘Tarquinious Superbus’ into the setlist nowadays too!) that gets better with repeat listens. If you walk in expecting to be blown away like the first time you heard Deliverance you might be disappointed, but if you go in with realistic expectations you’ll find a very solid and rewarding album. My favourite track on the album is ‘Forgive Me’ which has a sort of Thin Lizzy vibe to its hook, but a very metallic breakdown, and Pepper’s vocals are very exaggerated and full of character like they were on ‘Volume Dealer.

To top it all off, there’s a cover of Queen’s very heavy and Sabbathy debut album deep-cut, ‘Son And Daughter’ and it really, really suits C.O.C’s sound. I remember Iron Monkey covering it in the past and it is a very suitable track for this end of the Rock & Metal spectrum. I know people imagining ‘Radio Gaga’ or ‘I Want To Break Free’ might raise an eyebrow, but Queen’s debut was a lot heavier than you remember. For Stoner, Doom or Sludge bands it is a natural fit.

In summary; without disrespecting the fine work of the trio line-up, its nice to have the four guys from Deliverance through to ‘Volume Dealer back playing together again with their unique chemistry. The album is pretty diverse, with a nice mix of fast and slow, clean and dirty, stoner and doom, sludge and hard rock, atmospheric and immediate. The production job is perfect and there’s a fairly decent proportion of the tracks would make it into any fan’s future dream setlists or best-of playlists. If you don’t immediately do a spit-take and have heart-shaped eyeballs the very first time you hear it though, don’t worry, it grows on you.