Music Archive Reviews

Label: Pelagic Records

January 2019

Pelagic Records releases Nowhere Now Here, by Japanese instrumental band MONO. Formed in 1999 in Tokyo, they have released 10 albums over the last 20 years. Traditionally a rock trio, the band has expanded to incorporate electronics and up to 30 orchestral instruments. A constant theme is the conflict and correlation between dark and light. The current line-up consists of Takaakira ‘Taka’ Goto (guitar/composer), Dham Majuri Cipolla (drums), Tamaki Kunishi (electronica/vocals), and Hideki ‘Yoda’ Suematsu (bass). The tracks are: 'God Bless'; 'After You Comes the Flood'; 'Breathe'; 'Nowhere, Now Here'; 'Far and Further'; 'Sorrow'; 'Parting'; 'Meet Us Where the Night Ends'; 'Funeral Song'; and 'Vanishing, Vanishing Maybe'...
 

I must admit to never having come across MONO, even though it appears they have toured extensively all over the world. The band will probably be glad to hear that it’s difficult to compartmentalise them into any one genre. The only way I can describe it is to say it’s instrumental rock produced in a psychedelic cross-over, with orchestral concerto tendencies. Yes, I’m confused, too. However, it is different from the standard mainstream music directions, and I’m often intrigued by anything unusual.
 

'God Bless' is an atmospheric piece which serves as more of an intro to the body of the album. 'After You Comes the Flood' begins quietly and very subdued, but after a few minutes kicks in with a very nice moderate-paced but heavy theme. The drawback is that it doesn’t really go anywhere, it simply stays on an even keel and eventually fades away. I realise I described MONO as an instrumental band, but 'Breathe' is the first vocals they’ve tackled. In my opinion, they shouldn’t have bothered. It makes no impact, with no meat on the bones to hook you in (to mix metaphors). The structure here seems to be to alternate between quiet reflections and songs of building crescendos. 'Nowhere, Now Here' begins with a sort of echo acoustic or steel guitar sound which fades with noises, before heavy sound bursts in on the action. This would be a good track if it didn’t badly outstay its welcome at over 10 minutes.
 

'Far and Further' time-wastes with the same pattern, only coming to a semblance of life when the song is almost over. For me, the outstanding track is 'Sorrow'. Although it follows a similar direction it has real atmosphere and emotion, and wouldn’t be out of place as a main film soundtrack. There is an off-beat drum pattern which carries and drives the piece, and peripheral sounds touch your senses before they become more profound. 'Parting' begins with a nice piano piece, with string accompaniment. However, again, there is no progression. 'Meet Us Where the Night Ends' has the drums driving the music until the bass and ultra-reverb with overdriven guitar tries to take over – forcing the drums to ‘up’ their game. This one also has to be kicked out at closing time. 'Funeral Song' is much ado about nothing. At least 'Vanishing, Vanishing Maybe' doesn’t take an age to get going; it’s at the same moderate pace but at times sounds like it’s trying to emulate Pink Floyd for guitar atmosphere.
 

This is an interesting album, which sounds more like a film score. If it were I would probably have given it a higher mark. I think band music should invigorate you in some way; lift you; make you feel good or energised. MONO operate on a completely different wavelength in that they are more about soundscapes than conventional songs. The music structure mainly revolves around a four-chord repeated sequence, with layers of sound and noise tweaking at the periphery of your being. I fell asleep listening to it the first time, not because it was boring but mainly because it works so well as soothing, uncomplicated background music. 

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)

Label: New Heavy Sounds

March 2019

New Heavy Sounds releases Yn Ol Annwn (Return to the Underworld), by Mammoth Weed Wizard Bastard. It is the third part of a trilogy of albums – their first intergalactic voyage – following Noeth Ac Anoeth (2015) and Y Proffwyd Dwyll (2017). The band from Wales consists of Paul Michael Davies on synthesizer and guitar, Jessica Ball on vocals, bass and synthesizer, Wez Leon on synthesiser and guitar, James Carrington on synthesiser and drums, and Stuart Sinclair. The music can be described as Space Rock, incorporating Soundtrack music (in particular John Carpenter), Acoustics, Psychedelia, and a large dollop of Doom.
 

How does all this pan out, you might ask? 'Tralfmadore' acts as an introduction to the whole, with a building keyboard riff and a hissing rush. 'The Spaceships of Ezekiel' has electronic noises of old (bass synth?) and a deep riff which takes over, with female vocals low in the mix. Another bass and synth takes control after one verse. Although this is top drawer weird, you can’t help getting hooked-up and dragged along to the asylum. Is it my imagination or do the vocals become increasingly prominent? 'Fata Morgana' has a trebly guitar intro which forms the basis of this track. It’s slower, with husky and echoing vocals. A second guitar is entered into the fray, playing a melody which is similar but noticeably different to the other. I have to say it works well. The entire thing sounds quite ghostly. Then the song suddenly becomes much heavier with a riff and full band feel, whilst maintaining the same pace of the vocals. Like track 2, after a while the experience becomes quite hypnotic. Towards the end of the song electronica once again becomes more prominent to enable a cosmic outro.
 

'Du Bist Jetzt Nicht in der Zu' begins with a melancholy electronic intro and bass string accompaniment. The vocals come in very melodically and are joined by strings and melody guitar. I expected this song to explode like the previous two, but it is pleasantly surprising to have this# one play-out as a ballad or sorts. 'Yn Ol i Annwn' hits with the shock of a heavy, full band sound right from the outset, which brings an appreciative smile to the face. The vocals are, again, plaintive and reverberant. They are even slightly layered in this one. The repeated riff drives this along so that, when weird noises and a guitar solo join the party, the mind itself helps keep the direction of the back beat. 'Katyusha' is a moderate-paced typical Doom-laden full band piece, which then gradually emits keys and electronica. This is the longest track on offer here, and it allows MWWB to really let the mood run and experiment with the outcome. This has a free reign feeling, as if it’s a jam and being made-up as they go along. If this is the outcome of active experimentation, artistes should be going down this route more often. The spaceship weird noises come in about two-thirds of the way through. This is a great instrumental which demands repeated plays.
 

The opening of 'The Majestic Clockwork' sounds very much like a Black Sabbath riff. A break changes the format in an instant. For a moment it resembles Soundtrack music, before the heaviness and vocals arrive simultaneously. If I’m honest this track is weak compared with what has come before. 'Five Days in the Abyss' wraps things up for this journey. It has an atmospheric, somewhat Celtic opening which summons melancholy, before Thor’s mythical hammer is slammed down. A repeated riff is backed by haunting vocals which return to the opening echoing sadness… and then back again to the Doom-laden heavy sound. This time the two opposite approaches are meshed. Guitars break through the introspection and play the track into an electronic discordance.
 

Any fans of classic Hawkwind, Doom and Black Metal will surely love this. 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)

Label: Great Old Ones Records

October 2019

Bats is described as a science-inspired Metal/Post Hardcore & Post Punk band from Dublin in Ireland. The line-up consists of members Craig Potterton, Noel Anderson, Conor McIntyre, Timmy Moran and Rupert Morris. There are guest vocals by Matt Hedigan, Patrick Kelleher, Ronan Jackson, Lizzie Fitzpatrick and Sam Burton. There are also guest musicians. Bats formed in 2006; their debut EP Cruel Sea Scientist emerged in 2007, followed by the full albums Red In Tooth & Claw (2009) and The Sleep of Reason (2012). Alter Nature is their first album in seven years...
 

We're straight in at the deep end with 'Summoning the Demon'. It’s a Metal/Post Hardcore or Post Punk sound with many other influences. The idea here is to create a chaotic cacophony of# surprisingly rhythmic and melodic pieces you could even dance to (if I didn’t dance like a disco dad!). I do like the Industrial beat and sound effects in 'Christian Science'. Even the mostly processed spoken vocals seem to fit this well, and the whole possesses a main theme of sorts. I was curious to hear how a story from one of my favourite authors would be tackled in 'The Call of Cthulhu'. This one’s both unexpected and quirky, considering the subject material based on the great H.P. Lovecraft’s literary fiction. The weird-sounding vocals are exactly right for this – although they’re being exclaimed like a newspaper seller!
 

'Old Hitler' is the single lifted from the album. Ironically, it’s the least enjoyable and the most disjointed track on the entire album. There is no accounting for taste. 'In The Court of The CRISPR King' has more of a traditional song structure, but is different enough to keep it interesting with unusual direction. The vocals are clean and sung but understated. At the end it seems to run out of ideas. 'Ergot' (which is a fungus that can make people very ill via the ingestion of wheat and rye related cereals) is, again, a rather disjointed song and somewhat silly. But it is unusual. There is a nice off-kilter intro to 'Dyson Sphere', with a drumroll pattern. It does momentarily lose something until the introduction of the chorus, which is catchy. It’s a good song but too repetitive.
 

With 'Family Planning', it’s as though a veil has opened-up to reveal that an advertising mogul has released an album of statements set to music. It’s a curious impression, probably subconsciously promoted by the use of spoken, chanted or exclaimed vocals. 'Current Affairs' wraps things up with an energetic, driving beat, and a middle statement section. But this time it doesn’t overshadow the song, which is probably the best of the bunch.
 

This is a somewhat unique balance of influences which succeeds as a whole. There are some nice little music ideas and touches in each song which tend towards the surreal. This isn’t the normal Metal/Rock/Punk I listen to, but I did enjoy the experience. It’s tantamount to experiencing an excellent film that you have no inclination to watch again. These things are subjective though, and I’m sure this will make the required impact in the relevant circles. The sound effects and Industrial aspects stood out most for me.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Steamhammer / SPV

July 2017

The band Prong has been around since the late 1980s. After putting the band on hold for a major rethink, mainstay Tommy Victor reinvented the combo in 2012 with the album Carved into Stone. Ruining Lives followed in 2014, and in 2015 they released an album of cover songs, called Songs From the Black Hole. X – No Absolutes heralded a major headlining tour. Which brings us to the brand new release, Zero Days, a 14-track relentless statement of the world today. Prong hails from America and incorporates Victor on guitar and vocals, Mike Longworth on bass, and Art Cruz on drums. 2017 sees another major tour, taking in many of the Metal festivals...
 

Prong is described as an amalgamation of Thrash, Hardcore and Industrial Metal, and I would say that’s pretty accurate on the whole. Many of these small and heavy bands are rooted in a coupling of Punk and Metal. This can go one of two ways: either into Green Day territory or down the path of Grunge/Grindcore. Prong has taken the latter route, and I must say at the outset that it’s not really to my taste. I like all types of Metal, but it has to be melodic. Many of the songs have good guitar intros for the first few seconds but thereafter are overtaken by monotone vocals which seldom if ever vary. Many of the songs sound pretty much the same because there’s no light and dark moments. In other words, although there is plenty of energy, there is no emotion… so you just don’t care. Perhaps that is exactly what the music is trying to portray.
 

Things look up occasionally with a melodic guitar break or cleanly-voiced chorus. 'Divide and Conquer' is a prime example of this, but it doesn’t occur any more than a maximum of three times over the fourteen songs. I realise this is an established group whose material often garners rave reviews, and gets them invited to festivals, but I’m afraid this interpretation of the genre just doesn’t pull me along for the ride.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017)  

Label: Nuclear Blast

April 2014

Anti-Mortem is a young five-piece band from Oklahoma, which has been raised on American Rock and Metal. Their humble beginnings rehearsing and playing live to friends and family in a barn has led to the big time, opening for bands such as Black Label Society, Killswitch Engage, and Five Finger Death Punch. They play the Download festival this month. New Southern is their debut album. The band consists of Larado Romo on Vocals, Zain Smith on Guitar, Nevada Romo on Guitar, Corey Henderson on Bass, and Levi Dickerson on Drums.
 

Let me say first of all that I love the artwork for the cover of this album, which has a skeleton Confederate soldier on a skeleton horse bearing down on two Yankee soldiers, in an obvious scene from the American Civil War. The band logo looks very nice, too. Anti-Mortem is described as Southern Rock fused with Metal, so I was expecting something like ZZ Top or Molly Hatchet, with Metal hooks or perhaps some rasping speed, but I would describe it very much as nineties American Stadium Rock, with the tiniest hint of Nu-Metal. There is no recognisable Southern Rock or Boogie style at all, so don’t be misled by the title or cover.
 

They are not a million miles away from a Metal version of Nickelback, but with much less melody and practically no light and shade. The first four songs are all mid-tempo, using pretty much the same riff, and I’m sorry to say are instantly forgettable. Track five, 'Black Heartbeat', owes a debt to Bon Jovi, at least in terms of style. It’s a sort of non-ballad if there is such a thing, and it reminded me of 'Wanted Dead or Alive'. 'I Get Along with the Devil' is one of those angry Nu Metal songs wherein it seems there has to be as much bad language as possible to perhaps impress their fellow youngsters – and I’m no prude.
 

'Wake Up' is the closest I came to relating to a musical structure. There is a proper verse and chorus which you can grab onto and return to. 'Ride of Your Life' has the best opening of the bunch, and I briefly wondered why they hadn’t opened the album with it. It has a nice little melody, but as soon as the vocals begin the guitars return to that chunky chugging which accompanies every song. It’s rather ironic that the most different and pleasing song for me is the bonus track, 'A Little Too Loose'.
 

Admittedly I’m not a real fan of American Metal (Rock bands like Blue Oyster Cult, ZZ Top, Stevie Ray Vaughan, etc. – yes), and, although I love many sub-genres of Metal, I have never been able to get on with Nu-Metal. I have to say, I’m disappointed, and that’s probably because I was expecting so much. The band photo looks cool and so does the cover; but you should never judge a book by the cover. I was expecting the next Molly Hatchet album. Any band, particularly a new one, needs to be drastically different in some way, or at least have a member with a lot of charisma. Apparently, Anti-Mortem has already written over a hundred songs; with that in mind, I was expecting the ones on the album to be stronger. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2014) 

Label: Roadrunner Records

May 2013

Airbourne is a traditional rock band from Australia. The band members are Joel O’Keeffe (vocals/guitar), Ryan O’Keeffe (drums), David Roads (guitar), and Justin Street (bass). Formed in Victoria in 2003, they have released two previous studio albums, Runnin’ Wild (2007) and No Guts, No Glory (2010). Black Dog Barking is their latest outing. It is released by Roadrunner Records and consists of ten tracks in the standard edition, and a second disc of live tracks on the special edition:
 

01. Ready to Rock 02. Animalize 03. No One Fits Me (Better Than You) 04. Back in the Game 05. Firepower 06. Live it Up 07. Woman Like That 08. Hungry 09. Cradle to the Grave 10. Black Dog Barking.
 

For anyone who doesn’t already know, Airbourne is like an AC/DC tribute band, except the material is original. The affinity to their world-wide famous country cousins is immediately apparent. Aside from having two brothers in the band, the styling is very similar – only (let’s be honest) not as good. Why listen to the wannabe wallabies when you have the originals. This is probably why, although I’ve been aware of this band, I haven’t really given them much attention. I used to enjoy AC/DC a great deal some years back, and still like to hear their riff-based music, but I was more an advocate of the earlier Bon Scott blues-rock based era. Airbourne is closer to the Brian Johnson stuff.
 

I’ve heard some tracks from Airbourne’s debut album, Runnin’ Wild, and I have to say it’s a lot more enjoyable than Black Dog Barking. They’re more varied and seem more gritty. I find this one to be very ‘samey’. These chorus-chants and stories of bad boys having a good time seems somewhat west coast (America, that is), and the lack of variety in style leaves you feeling that it’s just lacklustre.
 

I am aware of the almost universal rave reviews and accolades this album has received; everything is subjective, after all. However, after decades of listening to all genres of rock and metal, I find myself increasingly striving for bands in this area which are radically new and different. I remember how I felt when hearing the first albums of Rhapsody, Finntroll and Falconer – these styles hadn’t been heard before. So, you may understand why I found this album mediocre. It’s very spirited and competent, but simply did not excite me. Time will tell whether it’s me or Airbourne who gets shot down in flames.
 

I do like the idea of the title though; the black dog said to plague dreams of the troubled mind. This Freudian/Jung theme would have made a great concept for the whole album, and perhaps offered it more direction.  

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2013)

Label: By The Time it Gets Dark

February 2019

Spielbergs is a three-piece Indie Rock band from Oslo, in Norway. The line-up consists of Mads Baklien on vocals and guitar, Stien N. Brennskag on vocals and bass, and Christian on drums. For live gigs, Ole T. Hovig joins them to play the synthesiser. The first two have previously individually played in the groups Team Me, and Lukestar, and have now combined their talents for Spielbergs’ debut album, This Is Not the End, released by new label By The Time It Gets Dark.
 

Apparently, Spielbergs love bands that aren’t afraid to be diverse within an album’s music, and that’s what we get here, to a point, with short and sweet Commercial Rock as well as longer, jamming tracks containing a lot more energy and something a little different. There is an overdriven fuzzy sound to the guitar which rocks-up what is quite a commercial opening with 'Five On It'. There is a low bass sound for 'Distant Star', although the hooks and chorus vocals are still in evidence. 'Not For Long' hinges on a repeated riff and bassline. It alternates between quieter and more full-on rock-out moments. 'We Are All Going To Die' was a popular single released before the album. The guitar- and drums-combined riff is simple but clever, driving the song and music. In places it reminds me of the style of Big Country, but with a Space Rock outro.
 

'Familiar' has Progressive Rock tendencies, sounding like it originates from the post Psychedelic to Rock era of the early 1970s. 'You All Look Like Giants' is another very bass driven moderate but guitar overdriven song, to the extent that the vocals also sound fuzzy. 'Bad Friend' is, in my opinion, the best of the bunch here by far. Jaunty, with light and shade, nice guitar and drums melodies, drive and energy. It surely has to be a contender for the next single. Shades of Fastball, which is no bad thing. 'McDonalds (Please Don’t F**k Up My Order)' is not the type of song you expect. Rather than a jaunty, tongue-in cheek exercise, we get a low and depressive mood. It’s nearly all instrumental, with a handful of words which are very low in the mix. 'Sleeper' is another song with throwbacks to the late sixties and early seventies hippy culture, with acoustic guitar and spaced-out vocals.
 

'4AM' is a nice melodic but driven piece, with a simple chord sequence. 'S.K.' is a short, atmospheric introduction to the final track, 'Forevermore'. Shades of Big Country again; probably the bass sound.
 

This is an enjoyable debut from Spielbergs. Not as diverse as they would have you believe, and some of the sounds are samey. But they are not afraid to make this offering raw and powerful, with feedback sometimes intruding on the guitar. I get the feeling they are doing what they want to do and not what others might want or expect. That is fine by me. It’s what every band should do. 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)

Label: Varèse Sarabande

April 2018

Tangerine Dream is a German band which seems to have been around in one form or another for ever. Their output has been prolific, to say the least, with upwards of 100 studio and live albums, and more than 30 film soundtracks (including: Sorcerer, Firestarter, Legend, Risky Business, and The Keep) - which they are probably better known for. They are no doubt one of the originators of Electronic Rock. Although always having been aware of their presence, my best introduction to them came as late as the 1990s via long term member Christopher Franke’s brilliant music for the science fiction series Babylon 5.  I have four CDs of music just from that show, and it’s full of emotion, action, tension and intrigue.
 

However, Zeit is very different. Whereas Tangerine Dream’s later releases were more in the aforementioned Electronic Rock vein, the early releases could be closer described as ambience pieces. Soundscapes, conceived to transport the listener to another place. Remember, when Zeit was first released it was still an era of hippy preponderance (a contradiction, perhaps), finding oneself, stretching the imagination by any means necessary and Psychedelic Space Rock – although the tail-end of it. I didn’t like this at first, and that’s because I rushed through the listening process, doing other things at the same time, and didn’t really give it the chance it deserves.
 

I discovered that you have to be of a certain mindset to fully appreciate what was intended with this album. Lie down, close your eyes, put on your headphones, and allow no distractions. Zeit is not so much about music as creating movement, emotion, and in particular foreboding. This experience is dark. It takes you into the great expanses of space and purposefully casts you adrift. Alone, with your senses heightened, your heart beating in your ears, you wait for and experience the ‘everything’. Something is coming and it might not be friendly. It might change us forever.
 

If it seems like you’re reading a review of some kind of total immersion experience ride at a theme park rather than a music release, let me tell you that listening to this album had the same effect on me. It’s not brilliant, but once you begin to understand the concept it’s like a mini revelation. Giving it time and appreciation is the key. Nevertheless, there were much better albums to come, and I can only imagine wanting to experience this one once. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)

Label: New Heavy Sounds

November 2018

Transmaniacon releases The Strange World of Suzie Pellet via New Heavy Sounds. It is a concept album based on a nightmare by artist Ian Miller, who has adorned many book covers, and supplied the artwork for their previous release, The Darkening Plain. The story here follows future street dweller Suzie Pellet, a survivor in a dark and unsettling ruined world; a sort of apocalyptic London-esque dystopia known as Duht. Lidia Lunch plays a hind-sighted Suzie, while Maya Berlin portrays a current (future-setting) Suzie. There are eight tracks making up around 47-minutes of music. The titles are: 'Inca Sunshine', 'Painted On Skin', 'The River The Birds', 'Sexton Breen', 'Dogs of War', 'Outrun The Pack', 'Tooled Up', and 'Aerosol Death Rattle'...
 

The term "Transmaniacon" is described as the dangerous, grotesque, amoral world beyond the farthest reaches of chaos. It was a science fiction book title by John Shirley and a song ('Transmaniacon MC') by the excellent band Blue Oyster Cult. There were plans to amalgamate these two themes into a film which, sadly, never came to fruition. Fortunately, some music was written and the musicians became the band Transmaniacon (originally XM3a) to progress the style and content fitting the mood of a dark apocalyptic background. They have been described as anything from Dark Doom to Post Punk, but closer fit the mantle of Space and 1970s Rock in a mix which sounds quite unique.
 

What can I say about the first track, 'Inca Sunshine', except that it knocked me sideways. I love it when a band does something radically different with the genres of Rock, Punk and Metal. Immediately, this one sets a scene of hard science fiction, the breakdown of civilisation, the need to be tough and streetwise, and that you can’t always win so long as you survive. There is a mid-paced but heavy theme which fades in. A spoken narrative speaks a few words from the Suzie character every so often, but it’s the music which throws you off-kilter. Counter-points come into the mix, and it is only after listening to this three times you start to get an inkling of the direction it’s going in. It’s dull sometimes when music is lazy and conforms to expected patterns.
 

I would have been totally satisfied if the whole album had been narrated with this Mechanical/Industrial Groove but, although it does return a couple of times, the other songs are reminiscent of 1970s Hard Rock or Progressive Rock, mixed with Post Punk, Doom Metal, and even Sludge. Everything from Emerson, Lake & Palmer or Deep Purple to Patti Smith or Pat Benatar. There are heavy riffs and a thick, wide sound which even incorporates the drums; but there are also guitar solos and a wonderfully overdriven Hammond Organ, which befits the Post Psychedelic Rock Super-groups of the early '70s. All the while there is an ever-present weirdness about the whole thing, which reels me in.
 

It’s very difficult to research Transmaniacon, because there is very little information out there. To my mind, that’s a sad injustice. This band is doing something new and exciting whilst paying due homage to the past and setting it in the future! Do yourself a favour and check them out. It’s testament to how impressed I am by this release that I’ve ordered a CD version of the album (and their previous outing, The Darkening Plain). The Strange World of Suzie Pellet is also available for download and as a limited-edition vinyl. 

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: BMG Records

May 2019

BMG releases In Nomine Satanas – 40 Years in Sodom, a 40th-Anniversary Deluxe Vinyl Box Set by Metal band Venom. The original line-up consisted of Cronos (Conrad Lant) on bass and vocals, Mantas (Jeff Dunn) on guitar, and Abaddon (Tony Bray) on drums. Originating in Newcastle, Venom emerged with the New Wave of British Heavy Metal in the late 1970s and early 1980s, joining other luminaries such as Iron Maiden, Def Leppard, Angel Witch, Tygers of Pan Tang, Chariot, and many others. They are said to have invented the sub-genre of Black Metal. The set incorporates nine vinyl discs and a whole bunch of other goodies...
 

Right from the start Venom were different, centring on a heavy thrash format (with lesser Punk elements) which suited their motif of dark occult themes and satanic lyrics. They are almost certainly the first band to appear in publicity photos and on stage covered in theatre blood – a trend which would catch on with other (mostly American) bands in the late 1980s and into the early 1990s. Although Cronos fell-out with his band mates, taking Venom through an alternative line-up, he reformed with them for one album. This was to seal their permanent separation. Even though Chronos is as passionate about Venom as ever (Storm the Gates is a brand-new album) he still has warm memories of those ground-breaking early days.
 

It is a definite gift to the fans of old, as this celebratory boxset incorporates their remastered debut Welcome to Hell from 1981 (on splatter vinyl, with embossed cover, and original poster); Black Metalfrom 1982 (on swirl vinyl, embossed cover and original poster); At War With Satan from 1984 (on splatter vinyl, with leather-look cover and 6-page roll-fold booklet; Possessed from 1985 (on splatter vinyl, mirror board sleeve and original poster); Eine Kleine Nachtmusik, a live album from 1985 recorded at the Hammersmith Odeon (on half and half vinyl, with original gatefold sleeve and inserts); Bloodlust (a 7” Planchette-shaped picture disc single); and Sons of Satan (a new album of unreleased very early demos – warts and all).
 

And as if this isn’t good enough, there are a number of interesting pieces of merchandise: a Venom’s Legions back patch; a Seven Dates of Hell tour programme reproduction; a Seven Dates of Hell two-sided tour poster; and a very nice 12” x12” hardback book of The Story of Venom, written by Metal journalist Dom Lawson, with new and rare photos and brand new interviews with Cronos, Mantas and Abaddon.
 

For any long-time fans of Venom (and Metal fans in general) this is an exciting release. I have just two problems with it. Firstly, although I’m quite a diverse Metal enthusiast, I’ve never really been into Venom as much as many other bands from the same era. I will say that this set is a good way to familiarise yourself with the band – provided you have enough groats at your disposal. And that brings me to my second quibble; the price of this set averages around the £150 to £160 mark. More than most hard working people can afford. There is an alternative, however; the Inomine Satanas – The Neat Anthology, a 22-track double vinyl release of Venom’s best songs, remastered and presented on splatter vinyl, with interviews and rare photos. Or there’s a 43 track 2-CD version for those without a turntable. 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)  

Label: Holy Road Records

July 2017

Wren is a four-piece post metal/noise-rock combo from London. Since its inception the band has undergone a number of line-up changes. The self-titled debut EP was released in 2014 and followed-up by a second one, Host, which garnered favourable reactions from the likes of Metal Hammer magazine and Terrorizer. One of the most significant word-of-mouth recommendations came from BBC Radio 1’s Rock Show, with repeat plays. Now Wren releases a first full album called Auburn Rule on Holy Roar Records, and sets out on a string of live dates including Raw Power...
 

Wren can most simply and accurately by described as doom metal. As a long-time follower of metal music I have experienced the vast majority of sub-genre categories. Sometimes it is easy to be deterred by below par examples of a certain type of metal, and this can mean missing out on some hidden gems. It makes more logical sense to simply try every band you might easily come across before deciding whether or not you can’t abide them. Doom isn’t one of my chosen areas of metal, but I have soaked-up the (depressive) atmosphere of some. One thing I will say for Wren is they are a really tight unit. The timing as well as the impact of musical structure changes are so spot-on it’s spooky.
 

Did you sense a ‘but’ coming? Never! ‘However’, although all of the solid groundwork is there, certain factors let down the finished product. Firstly, the vocals seem to be quite low in the mix, like someone calling for help from a distant hilltop. They are ‘sung’ in exactly the same manner for every song with no variation or deviation. Doom is by its very nature low and moderately-paced. Here, once you have appreciated what they can do, you begin to grow tired of the monotony. There are only five tracks: 'In the Great Yield', 'Scour the Grassland', 'The Herd', 'Traverse' and 'Dwellers of the Sepulchre'. Two of these attempt to introduce some atmospheric interludes halfway through, before returning to the set formula.
 

Lack of originality and diversity is the problem here. If Wren was to progress into ground breaking territory they could very probably be a force to be reckoned with.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: Fysisk Format

April 2017

Blood Command describes itself as a Punk Rock band from Bergen, Norway (a location well-known for its Black Metal). It incorporates Karina Ljone on vocals, Yngve Anderson on guitar, bass, keyboard and backing vocals, Sigurd Haakaas on drums, and Simon Oliver Okland on bass and backing vocals. Since their beginnings in 2008 there has been three E.P.s and two full albums. After a minor line-up change their third album Cult Drugs is released via Fysisk Format. The tracks are: ‘CTRL+ART+DELETE’, ‘Cult Drugs’, ‘Quitters Don’t Smoke’, ‘Nervous Laughter’, ‘Gang Signs’, ‘You Can’t Sit With Us’, ‘The Secret Impresses No One’, ‘White Skin/Tanned Teeth’, ‘Initiation Tape #1’, ‘(The World Covered in) Purple Shrouds’...
 

Strangely, my musical tastes have become progressively heavier through the years. I have two stipulations regarding new material: It must have energy and melody. This release has both in spades. My first thought upon playing this through is ‘Oh, my word! How have I managed to let this band’s material pass me by?’ It’s always refreshing to discover a new sound; something that wakes-up your senses, has plenty of raw power, and doesn’t always go in the direction you might expect. Blood Command is easily the best combo I’ve come across for a while… and they’ve been active for nearly ten years!
 

I think they are doing themselves an injustice by simply describing themselves as Punk Rock. It’s much more a blend of Rock/Metal sub-genres. Imagine Green Day, but heavier and less predictable – and even that doesn’t do their originality sufficient justice. The tone of the vocals is comfortably conducive to the overall sound but, in turn, they rise to a melodic scream and lower to a chorus-like hook which you can grab onto and be pulled along for the ride.
 

I have checked-out a couple of YouTube clips of the band playing live and there doesn’t seem to be quite the amount of relentless energy (aside from the brilliantly manic drummer) that is present on this studio recording. Whether that is down to pacing themselves for an entire set or something else entirely, I have no idea. It’s a curious thing. However, as this review should be strictly about the Cult Drugs album I’ll put anything else to one side.

Preferring to make up my own mind first, I gave it a few days before researching other critiques, but was pleased to find Blood Command has garnered almost universally rave reviews. Let me tell you it is entirely deserved. The band has created something very special. Tracks 2 to 8 are nigh-on perfect compositions realised with spot-on impact. The remaining songs are not far behind; I can even forgive the experimental final track, featuring trumpet with a Spanish-like introduction and ending.
 

The bottom line is I have this album virtually playing on a loop in my car. It’s fresh, it’s vibrant, it has attitude… and I can’t recommend it enough. I’m off now to order the previous two albums, Ghostclocks, and Funeral Beach!

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)

Label: Milan Records

September 2015

Five Finger Death Punch is a Los Angeles-based Hard Rock/Metal band whose impact and success speaks for itself, with a string of gold and platinum sales since its beginnings in 2007. Following the album Got your Six, from 2015 – which incorporated the gold number one single 'Wash It All Away' – comes this 2017 celebratory collection of hits from the ten years the band has been together. A Decade of Destruction also incorporates two new songs. The full track listing is: 'Trouble', 'Gone Away', 'Lift Me Up', 'Wash It All Away', 'Bad Company', 'Under And Over It', 'Wrong Side Of Heaven', 'House Of The Rising Sun', 'I Apologise', 'The Bleeding', 'Jekyll And Hyde', 'Remember Everything', 'Coming Down', 'My Nemesis', 'Battle Born', and 'Far From Home'...

As a fan of Rock and particularly Metal, I would have had to have lived all my life on the Moon not to have heard of Five Finger Death Punch. However, it’s impossible to follow every band, and knowing the name isn’t proof of familiarity. Truth be known, I’m not a big fan of most American Metal bands, who seem to follow the same style and patterns of the Nu Metal Korn, Limp Bizkit, Slipknot, and Linkin Park. So, perhaps I’m not the best person to give this offering a fair listen. Alternatively, coming cold to this music might just be the best way to approach it objectively.

It’s ironic that a new rather than existing song is my first proper introduction to the band. But it is a good one. 'Trouble' is an entertaining song which contains drive, energy and melody; this last description is one that’s important to me, and is all too often absent from the heavier or Doom-laden examples of Metal. The more up-tempo tunes work much better, seeming to flow more naturally, unlike the token ballads. I enjoyed most of the songs (including the cover of The Animals song, 'House of the Rising Sun'), but none of them stood out as having an individual identity. I think the problem is it’s a set format of slightly growled verses and clean chorus lines. This has become the accepted process for so many American bands over the years. Those US bands which haven’t followed the Nu Metal family tree of influences have escaped this pigeon-holing.

I see the skill and further potential of Five Finger Death Punch, and can understand when fans enjoy a band’s style they don’t like them to change it. However – although I have my own favourites from over the years – I seem to be attracted most by those who combine sub-genres or simply do something fresh and original.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2015)

Label: Eleven Seven Music

December 2017

Pelagic Records releases Sombre Dessein by Swiss band Herod. Emerging with their first album, They Were None in 2004, this follow-up is described as riff-based polyrhythmic patterns and heaviness. More simply, it’s progressive sludge metal. New singer Mike Pilat also plays guitar, as does band originator Pierre Carroz. The rest of the line-up consists of Fabien Vodoz on drums, and Bertrand Pot on guitar. There’s a guest appearance by Bill Steer of Carcass, who plays guitar on the track 'Fork Tongue'. The theme is said to follow the end of our Judaeo-Christian and thermo-industrial civilisation. With images of container shipbreakers, they seek to highlight human consumption and waste, and the risk of life to those breakers...

When you hear that Herod (not to be confused with the American band) have toured supporting the likes of Obituary, Voivod, Napalm Death, Crowbar and Carcass, it would be easy to assume they are extreme metal in a similar vein… and you wouldn’t be too far wrong. I was intrigued by the potential of Herod, and really wanted to like it. Unfortunately, this is not a bracket of metal that excites me. I require energy and melody in my life, and this supplies only the former. I’m sad to say it’s not even original in its sub-genre field, producing a hurried and chaotic cacophony of noise and nonsensical growls. Don’t get me wrong, I like growled vocals as long as they fit the melody and hook you in. Amon Amarth and Finntroll are two prime examples of this.

The track listing is: 'Fork Tongue Intro', 'Fork Tongue', 'Reckoning', 'Don’t Speak Last', 'Silent Truth', 'Mourning Grounds', and 'There Will Be God'. I found myself waiting impatiently for variation, music breaks and cadences purely as a change from the monotony. All of the songs are at the same moderate pace, and ninety percent of the vocals are growled without tune or harmony. The exceptions are the background clean vocals or, in the case of 'Silent Truth', alternate clean and growled. These clean vocals come across rather better, but the set pace offers them little opportunity for variation. The main saving grace here are the drums, which hammer-out a different odd pattern for each song. I found myself listening to the drums more than the entire combo.

'There Will Be God' has a very nice melody and driving drum beat which slowly builds over the first four minutes, and then bursts through with menace to play-out the almost 10-minute song as an instrumental… That is until the eight-minute mark when there is a handful of growled vocals thankfully forced into the background. This is by far the best piece of music on the album, and it makes me wonder what Herod could have achieved here in different circumstances.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017)

Label: Heylel

September 2015

Flesh is a new five-track release from Portuguese band Heylel (which in Hebrew means ‘Shining One,’ ‘Bright Star,’ or ‘Devil’ - forgive me if I have this imprecise). The group incorporates Ana Batista on vocals, Narciso Monteiro on guitars, bass and keyboards, and Filipe Braga on drums and percussion. This is their second release following Nebulae the year before.

Heylel is a band which has managed to pass me by. It’s described as progressive rock/metal – or even symphonic in places – but I would say it’s much closer to the goth metal sound of Lacuna Coil, but maybe slightly lighter. With only five songs, Flesh is more of an EP than a fully-fledged album. However, as far as newcomers to the band are concerned, this plays to its strengths. Listening to the CD on a loop in my car allowed me to experience and savour the sound without being swamped with so much material that none of it sinks in.

From the first track, 'Saints', Ana’s vocal style seems at odds with the music; but, as with Federica Sister of power metal band White Skull, you soon realise the fact the voice doesn’t precisely fit the style means that it stands out as a counterpoint which really changes and aids the uniqueness of the sound.

You might have gathered by now that I like this CD a lot. It’s not brash or raucous, but it is very stylish and never dull. Visiting their website retrospectively has only made me warm to them more, and even want to check them out live. There is a video for the final song, 'Paranoid Hysteria', and a video example from their previous album, to display the movement away from a more experimental arrangement without losing their way.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2015) 

Label: Steamhammer

September 2015

The Jokers are a four-piece rock band from Liverpool, incorporating Wane Parry on vocals and Paul Hurst on guitar, with relatively new members Dan Evans on drums and Phil Hartley on bass. Hurricane is their third album, and follows on from 2013’s Rock ‘n’ Roll Is Alive.

Although I was aware of the name The Jokers, I had never heard their music. So, once I knew their CD Hurricane was winging its way through the post to me for review, I decided to obtain a foreknowledge of what they are all about. I really wish I hadn’t. I selected a clip or two of them from YouTube playing live, and most of the time was taken up with, frankly, needless tomfoolery which I didn’t find even remotely amusing. Consequently, I had already partly made up my mind this was going to be pretentious ‘Listen to us, aren’t we funny’ claptrap. I was to be pleasantly surprised.

There are twelve tracks on the album, and an additional four (albeit rather short) bonus songs. So, plenty of material to get your teeth into. The overall sound – at least to my ears – places The Jokers in the 1980s to early 1990s. It’s traditional rock with an occasional harder edge. It is the vocal style and lyric content which dates the music... or at least grounds it in a certain era. I heard many influences, including AC/DC, Led Zeppelin, Whitesnake, Bad Company, Peter Frampton, and even The Sweet. As my tastes are rather heavy for the most part these days it took me half the album before I started to get into it. During a second listen I did warm to it; it’s definitely a ‘good time’ sound to play in the car on a warm Summer’s day.

Paradoxically, having said my tastes are heavier, my favourite track is the excellent rock ballad, 'Dream'.  I couldn’t sign off without mentioning the quirky and quite brilliant cover artwork. It shows the band in an open-top deep red Aston Martin, caught in a hurricane over London. In the air around them is a red telephone box, the London Eye, the Tower of Westminster (Big Ben is the bell!) a guitar, two rock chicks, a cow and a grannie in a chair. I don’t think they could have fitted much else into the picture.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2015) 

Label: Svart Records

February 2016

Oranssi Pazuzu is a five piece band from Finland, consisting of Korjak on drums, Moit on guitars, Evil on keyboards and percussion, Ontto on bass, and Jun-His on vocals and guitars. The band name means orange Babylonian demon, the same one that gets a mention in The Exorcist. They have been active since 2007, and have released three previous full-length albums between 2009 and 2013. Värähtelijä is the follow-up to the well-received Valonielu, and is released on Svart Records.

This band is described as hypnotic progressive psychedelia, which in all honesty is pretty accurate. The blurb says that the songs "explode with radiant ultraviolet colour and plunge into the deep black darkness of innermost consciousness." This, of course, is a load of pretentious nonsense. But it is weird. Modern psychedelia is something you don’t hear too much of. We’re not talking about Pictures of Matchstick Men and The Gnome here, but rather the type of thing you might have heard if you were around in the mid- to late-sixties and frequenting the UFO Club for all-night acid affairs. In fact, I believe there is an attempt to emulate some aspects of early Pink Floyd here; certainly there are references.

Added to this freestyle psychedelia is Black Metal-style growled vocals, which is a strange combination to say the least. Now, I’m all for pushing the Rock and Metal boundaries; being bold and trying something new. However, they hover in the background and remain the same dull monotones throughout. They could be singing, "When will this song ever end?" which brings me to the first track. Does 'Saturaatio' mean Saturation? If so, it definitely achieves that. The tune repeats a simple riff ad infinitum, so by the end of twelve minutes (yes, twelve!) I was ready to shoot myself in the head to make it stop! The CD might only have seven tracks, but that equates to over 70 minutes of music. Too much? I would say so, yes.

I didn’t really hear much of interest to me until tracks five and six. 'Hynotisoitu Viharukous' has some real meat on the bones. It’s like a strange up tempo Metal song, and so the vocals fit a little more naturally, and there is a hook which, rather than being repeated, is returned to and so keeps the piece together pretty well. This is undoubtedly the standout song for me. 'Vasemman Kaden Hierarkia' begins with a couple of chords straight out of the opening of 'Arnold Layne', but then quickly settles into what seems to be an alternative take on 'Set the Controls For the Heart of the Sun'. In fairness, this is quite listenable. The final two songs revert to the meandering noise of the first.

This is an experience which will work in the right environment at claustrophobic little clubs, but as an album played purely for private pleasure, it is surely less than effective.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2016)  

Label: schizorejectasylum.com

May 2010

Schizo Reject Asylum is a Death Metal band with somewhat diverse influences within the genre, which include Classic Rock, True Metal, Punk, Power Metal, Death Metal and Grindcore. The band was formed in August 2009 by drummer Keith Barnes and bass player Adam Evans. Pretty soon guitarists Robert Ivie and Dave Winter joined, and the line-up was completed by vocalist Rob J Lawrence. I'm told the band views the asylum as their stage; it's what they are running with their music.

Towards the latter end of 2009 SRA recorded a demo consisting of the two tracks, 'Welcome to the Asylum', and 'Hall of Mirrors'. Now, in 2010, they have sweated and growled in the studio to produce a five-track E.P. which is to be distributed in May. So where did I lay my hands on this prospectively tasty morsel? Well, it helps if you're taking drumming lessons from Keith Barnes! However, in defence of the groans I can almost detect from here that this is some sort of self-indulgent flag-waving in order to scratch his back, I did inform Keith that the review would be - as they all are - brutally honest.  Let's get to it then. The subject matter and the fact it was the first song they wrote together as a unit, means the title track acts as a signature tune. The first thing I noticed here was the immediate improvement in production quality over the aforementioned demo, which I've also listened to. The vocals are a little clearer, and the entire effect slightly more crisp. I realise the intention was to muddy the mix, but in my opinion it would have benefited the result to tweak it further. When the first fully-fledged album arrives I'm sure that will be rectified, without making the misjudgement of polishing to the point of over-production.

'Welcome to the Asylum' kicks us off with no-nonsense brutality. There doesn't even seem to be an introduction as such (and I'm not talking about the Charles Mansion intro from the demo, which I wasn't particularly enamored with anyway), it's just there! This will jolt anyone into awareness and make the desired shock impact as a set opener at the forthcoming gigs. Forget the other influences, because they don't emerge in this track; it's simply the brutal end of Death Metal. It gets in, does the job and gets out again. I've lived with this track for some time now, but I made the mistake of playing it in the car where the speakers are not brilliant. When in the electrical hands of a better quality player the bass comes through, allowing you to better appreciate the percussion and bass, as well as the normally prominent vocals and guitars.  For me, 'Hall of Mirrors' is the pick of the bunch, and that's mainly down to it's Power Metal influence. Robert Ivie's catchy guitar riff has stuck in my mind for days now, to the point that I can't dispel the damned thing! It's what holds this song together and carries it along. To my tastes it's more accessible, and that made me take more notice of what was going on individually. Being a rubbish guitar player (I just about know which way around you hold the thing), until recently I primarily listened to the guitars, treating the rest of whichever group I was listening to as backing unit. Sort of like a roaming striker amongst an otherwise static football formation. So for me it's the guitars which are once again the driving force in the following track, 'The Greatest Lie.' The opening riff and the triplet time-change gives this song a strong hook and, guitars aside, the vocals are a little more accessible here.

'Vigilance' allows the best opportunity to follow timing changes on the drums. Although the song follows a decent enough mid-tempo pace, it is a little too repetitive, making it the weakest of the bunch here. Conversely, 'The Five Horsemen' is one of those songs that mixes no frills Black Metal with Melodic Death Metal. This is a leaf out of Amon Amarth's book in terms of structure. Listen to AA's 'Bloodshed', and you'll see what I mean. My preference in Metal leans towards the melodic, so at first listen SRA wouldn't necessarily be my given taste. But Welcome to the Asylum benefits from several spins. Now I can't get some of the tracks out of my head. I look forward to seeing how they perform live at their first gig, on 25th June at the Fox and Firkin in Lewisham. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2010)