Posts Tagged ‘ Classic Rock ’

Album of the Week 48-2019: Avatarium – The Fire I Long For


For a long time, Avatarium was just another Leif Edling project for me. Avatarium stood out due to the charismatic vocals of Jennie-Ann Smith, but a majority of their material still sounded like Candlemass with female vocals. Smith and her husband, veteran guitarist Marcus Jidell, started contributing to the songwriting on the band’s third album ‘Hurricanes And Halos’. ‘The Fire I Long For’ is the first album with a majority of songs written by Smith and Jidell, which turns out to be a big step forward. The album is less doom metal and more dark rock, but undeniably impressive.

Despite all the changes, the overall sound of Avatarium has not changed all that much on ‘The Fire I Long For’. Sure, it’s less upbeat than ‘Hurricanes And Halos’ and certainly less doomy as a whole, but the main ingredients are similar: thick, fuzzy guitar riffs that are generally relatively slow, an organic seventies feel and Smith’s emotional vocals. Unlike many female rock singers, Smith skillfully avoids the pitfalls of oversinging. Likewise, Jidell is perfectly capable of playing neoclassical speed exercises, but instead focuses on bluesy soul. Lars Sköld is one of the most serviceable drummers in heavy rock as well.

Atmosphere is an important part of what makes ‘The Fire I Long For’ the great album it is. Most of the album has a dark, desperate atmosphere, the only true exception being the excellent uptempo rocker ‘Shake That Demon’. First single ‘Rubicon’ has a somewhat hopeful vibe as well. It is a nice slower midtempo rocker with great melodies and an excellent guitar and Hammond arrangement. Truth be told, that track was what made me check out the album at all. The band also made a wise choice easing anyone who already loved the band into their new sound by opening with the relatively doomy ‘Voices’.

What may be most impressive about ‘The Fire I Long For’ is how it explores all the possibilities of Avatarium’s sound without ever sounding like a disjointed mess. The title track and closer ‘Stars They Move’ are heartfelt ballads, the latter being particularly low-key, ‘Great Beyond’ is a climactic, atmospheric monster of a track, while ‘Porcelain Skull’ and particularly ‘Epitaph Of Heroes’ are the doomiest tracks on the album. Perhaps unsurprisingly, Edling wrote those doomsters. The most pleasant surprise is ‘Lay Me Down’, which feels like Nick Cave exploring southern blues and has a mindblowing vocal arrangement. Truly a work of art.

‘The Fire I Long For’ impresses me much more than I expected it would. Jidell and Smith writing most of the songs apparently is exactly what the band needed to develop their own dark and moody rock sound. The band’s influences are quite obvious: Black Sabbath, Led Zeppelin and The Doors’ darker material – the Uriah Heep-isms of ‘Hurricanes And Halos’ only linger in the background – and yet, Avatarium sounds fresh and unique here. It helps that Smith is not another Janis Joplin clone, but there is a sincerity to the music on ‘The Fire I Long For’ that many contemporary bands lack.

Recommended tracks: ‘Rubicon’, ‘Lay Me Down’, ‘Great Beyond’, ‘Stars They Move’

Album of the Week 43-2019: Ningen Isu – Ogon No Yoake


‘Ogon No Yoake’ is the album on which Ningen Isu matured. That may be a dirty word for some rock bands, but Ningen Isu finally realizes its full potential here. Their debut EP and first two albums contained plenty of excellent songs, but also showed that the band wasn’t quite sure what their strengths were. By contrast, Ningen Isu sounds confident and powerful throughout the full running time of ‘Ogon No Yoake’. It might just still be their best-produced album to date, which helps them sound more professional, while the increased bottom end increases the impact of their riffs and rhythms.

While most Japanese hardrock and metal bands stand out due to spotless songwriting, the musical interaction is what truly elevates Ningen Isu’s songs beyond their compositorical greatness. Ningen Isu is obviously influenced by the heavier end of seventies progressive rock and gladly injects the jam-heavy nature of the likes of Rush into their Sabbathian grooves. Guitarist Shinji Wajima, bassist Kenichi Suzuki and drummer Noriyoshi Kamidate are on fire when they need to be – just listen to the busy rhythms of ‘Wa, Gan De Nebega’ – but also are more than willing to show restraint when the music asks for it.

Ningen Isu is often classified as a doom metal band and while that classification is not unjustified, it fails to properly cover the amount of variation heard on ‘Ogon No Yoake’. There’s short, swift rockers like ‘Dokushaisa Saigo No Yume’ and the relatively accessible ‘Kyofuku No Neji’ and long tracks with extended jams, such as ‘Mugon Denwa’ and ‘Mandragora No Hana’, the latter of which even borrows from Black Sabbath’s namesake song in its middle section. There is even a short acoustic instrumental (‘Subarashiki Nichiyobi’) that works perfectly as a breather right after the middle of the record.

Closing track ‘Kyoku Sanmyaku’ is probably pointed to as the album’s highlight by most of the band’s fans. And for a good reason, as it is a dark, monstrous doom metal track capable of capturing the mood of the Lovecraft story it is based on (‘At The Mountains Of Madness’). It is hardly the only peak on ‘Ogon No Yoake’, however. ‘Shinpan No Hi’ is a surprisingly laid-back and melodic rocker with a thick, driving bottom end and a highly memorable chorus. The opening title track needed some time to make sense to me, but is easily one of the better songs. It builds up slowly, but steadily into a powerful heavy metal epic. I particularly love the semi-gallop underneath Wajima’s guitar solos.

Some hardrock and heavy metal is expertly written, but lifelessly recorded. Ningen Isu’s music always breathes and moves. It is remarkable that the increased focus on streamlining and production on ‘Ogon No Yoake’ has not ironed that out at all. In fact, it made the music all the more powerful and the spirited jams come across even better than on the previous releases. Today, Ningen Isu is still recording fantastic albums. One could even say they entered a new youth, which is what the title of their latest album ‘Shin Seinen’ translates to. Those who don’t know the band would be well off starting with ‘Ogon No Yoake’ or its more compact follow-up ‘Rashomon’ though.

Recommended tracks: ‘Ogon No Yoake’, ‘Shinpan No Hi’, ‘Kyoku Sanmyaku’, ‘Kyofuku No Neji’

Album of the Week 47-2018: Navarone – Salvo


Despite working with pretty much the same team as on its predecessor ‘Oscillation’, Navarone’s fourth album ‘Salvo’ is a completely different beast. Instead of releasing another carefully arranged production full of subtle intricacies that slowly reveal themselves over repeated spins, the quintet opts to focus on their live energy. Understandable, because that has certainly been one of the band’s biggest strengths throughout the last decade. The result is a record that may not have as many surprises as ‘Oscillation’ did, but with the set of powerful rock songs the band came up with this time, that should hardly be a problem.

With ‘Salvo’ being the kind of “live in the studio” record that many seventies hardrock bands excelled at, Navarone is more focused stylistically as well. That does not mean that all the songs sound similar – giving every song its own character is a specialty of the band – but it does mean the majority of what you will hear consists of uncomplicated, riff-driven hardrock with strong choruses that are memorable without exception. There aren’t even any ballads. The dark, minimalistic southern blues of ‘Fire’ – one of the album’s most experimental tracks – is probably the thing that comes closest to one.

Occasionally, ‘Salvo’ is reminiscent of the better work that Slash did with Myles Kennedy in recent years. Not just because Merijn van Haren en Kennedy are among the very few excellent rock singers of this era or because of the massive Gibson sound of Kees Lewiszong and Roman Huijbreghs, but also because of the fact that the songwriting has similar sensibilities. ‘The Strong Survive’ has that typical energetic feelgood vibe that the opener on a powerful rock record should have, while the grinding, moore moody ‘Waste’ is one of those deep cuts that could just develop into a classic over time.

Navarone was never about blindly copying their influences though. ‘Another Way’ has a fairly unique approach in its combination of classic and contemporary rock styles, not to mention an awesome build towards its chorus. It’s the one song that would have made sense on ‘Oscillation’ as well. The fairly accessible ‘SøReal’ sounds like a nineties rock radio hit without directly sounding like any of the songs that actually were, while the crushing riff work of ‘Mind’s Eye’ is borderline metallic in nature. Sure, the Black Sabbath kind of metal and the overtones are more contemporary rock than anything esle, but that only contributes to the unique nature of that excellent track.

Most amazing is the fact that Navarone brings all these elements together in a manner that does not sacrifice any of their catchy, recognizable songwriting. ‘Salvo’ has a very pleasant flow, likely more so than any of their other records. Many of the younger rock bands notably try to appeal either to old schoolers or the modern rock crowd. What Navarone proves once again on ‘Salvo’ is that it’s perfectly possible to have a multi-generational appeal if you just write and play the right songs. Highly recommended to anyone who mopes that all contemporary rock is inferior to the classic stuff.

Recommended tracks: ‘Mind’s Eye’, ‘SøReal’, ‘The Strong Survive’, ‘Another Way’

Album of the Week 41-2018: The Tea Party – The Edges Of Twilight


Curiosity about world music is natural for every rock band inspired by Led Zeppelin’s latter days. Very few make the leap of actually learning to play indigenous instruments beyond some rudimentary percussion though. This is exactly what The Tea Party did to further emphasize their – mainly – Indian and North African influences on ‘The Edges Of Twilight’. It takes the idea of incorporating these sounds further than just adding some melodies that vaguely sound like the western idea of Arabic or Indian music. And quite surprisingly, the Canadian trio manages to still sound like a powerful rock band while doing so.

Ever the ambitious band, The Tea Party created a densely layered album, but in a way that can also be played with just three people. The arrangements on ‘The Edges Of Twilight’ are securely anchored within their trio line-up, after which bassist Stuart Chatwood and singer/guitarist Jeff Martin have added touches of traditional instruments. However, the world music is in Martin’s Gibsons almost as much as it is in the indigenous instruments through extensive use of twelve string guitars and Indian and Arabic minor scales. It all accounts for an immersive listening experience that is slightly dark, but never depressive.

Since the band’s earliest shows, they have been accused of copying Led Zeppelin and borrowing a string phrase from ‘Kashmir’ in opening track ‘Fire In The Head’ probably wasn’t very beneficial to dispelling that criticism, but the fact is that there is much more to the song than that. Martin’s deep voice sets the somewhat seductive tone of the tune immediately and the riff work is extremely powerful. Even more powerful is the following ‘The Bazaar’, on which a monumental guitar riff is doubled by Chatwood’s harmonium. The song is relatively simple in construction, but still manages to move through several moods.

Highlighting the album are undoubtedly the epics ‘Sister Awake’ and ‘Walk With Me’. The former starts out as a calm, folky tune, but quickly builds from an exciting percussive middle break to a monster of a dark rocker, while ‘Walk With Me’ manages to combine the gloomy atmosphere of most of the album with a begging, almost bluesy character. ‘Silence’ and ‘Drawing Down The Moon’ have a more traditional bluesy inclination, with the latter having a truly incredible climax. ‘Correspondences’ is a gorgeous, dynamic ballad, while ‘The Badger’, ‘Shadows On The Mountainside’ and ‘Inanna’ are calmer songs that draw on folk influences from all over the world.

Ultimately, my only criticism of this album would be that ‘Turn The Lamp Down Low’ feels a little out of place on the record by being straight blues with added percussion, but the song itself is really good. As a whole, ‘The Edges Of Twilight’ is a very exciting album that takes a lot of interesting turns, despite their only being three guys. Martin and Chatwood should be happy that they can depend on a solid power hitter like Jeff Burrows, but it also helps that all the songs are extremely well-written. As for the accusations of being a Led Zeppelin copy: I’d say they took one idea Zep had and developed it further with spectacular results.

Recommended tracks: ‘Sister Awake’, ‘The Bazaar’, ‘Drawing Down The Moon’, ‘Walk With Me’

Best of 2017: The Albums

After a number of great releases in January, I thought 2017 was going to be an amazing year for rock and metal. In that respect, the year in music had been a little disappointing. There was no consistent stream of good releases, though there were a few clear peaks in the release schedule. Aside from January, March was a small peak release-wise, September a large one, with the last two months of the year having a handful of interesting albums. My top 10 more or less made itself, but I had even more trouble filling the last couple of positions than last year.

Having said that, I was overwhelmed by the number of quality releases from my own country. Being a Dutchman, I am sometimes overly critical of Dutch bands and sometimes unjustly so. Speaking as a music journalist, I would certainly say that 2017 was the year of pleasant surprises from Dutch guitar bands. There were two clear winners for me this year and neither of them is Dutch, but with four Dutch releases in the top ten and seven in the top twenty, I’d say that last year was surprisingly pleasant for a journalist of a couple of Dutch guitar magazines.

1. Firewind – Immortals

Some of the best power metal I have heard in a long, long time. I have always enjoyed Firewind, but the addition of singer extraordinaire Henning Basse to the line-up and Dennis Ward to the production and songwriting team was just the boost that the (largely) Greek power metal band needed. ‘Immortals’ is full off exuberant power metal with anthemic, yet not too cliché-ridden choruses and surprisingly aggressive riffing courtesy of Gus G. The epic feel that the concept about the Battle of Thermopylae requires is prominently present, but never at the expense of the songs, which would not lose any of their power when played “out of context”. Though the Greeks did not win the battle, Firewind did. ‘Immortals’ still makes me grin like an idiot when I play it today.

Recommended tracks: ‘Ode To Leonidas’, ‘Hands Of Time’, ‘Rise From The Ashes’

2. Lovebites – Awakening From Abyss

Lovebites was the only serious competition for Firewind this year. I was ready to dismiss the quintet as another hyped-up girly J-metal band, but both the EP and the album they released this year were jaw-dropping. There’s nothing cutesy about Lovebites: their music has balls. ‘Awakening From Abyss’ is chock-full of high octane riffs, mad lead guitars and excellent heavy metal songwriting. Lovebites combines the best elements of traditional metal and contemporary power metal into a catchy, delicious cocktail with a healthy dash of aggression. Singer Asami, who I had never heard of prior to the EP, is the icing on the cake. Her flexible range and immense power make this an incredible album instead of just a great one.

Recommended tracks: ‘The Hammer Of Wrath’, ‘Shadowmaker’, ‘Liar’

3. Dool – Here Now, There Then

Gloomy, dark, depressive, but always with very distinct melodies. Though ‘Here Now, There Then’ is only Dool’s first album, they already hits all the right buttons. Their immersive sound features equal parts doom metal riffing, psychedelic rock soundscapes and general post-punk nihilism. Listening to Dool is like being surrounded by huge walls of guitars that alternate between weaving intricate patterns and crushing your soul with brutally effective riffs played in unison. Though many bands playing a similar style are marred by subpar vocals, ‘Here Now, There Then’ features some of the best vocal work I have heard Ryanne van Dorst do thus far. She sounds great on her own, but the harmonies are even better. Not for the faint of heart, but an incredible experience.

Recommended tracks: ‘Vantablack’, ‘Oweynagat’, ‘The Alpha’

4. Steve Hackett – The Night Siren

In a way, it is ridiculous that an almost supernaturally talented guitarist like Steve Hackett needs to revisit his Genesis legacy to get the attention he deserves, but if it gives him the means to write and perform a record like ‘The Night Siren’, it has all been worth it. Here, Hackett explores his influences from all over the world and combines them with his own English rock, pop and blues roots. World fusion in the best possible way. The real class of ‘The Night Siren’, however, lies in the fact that Hackett blends these worldwide influences with his own music in a way that does not sound like he is trying to be clever, it just enhances the mood. Again, the atmosphere is immersive and unsurprisingly, Hackett’s playing is nothing short of stellar.

Recommended tracks: ‘Behind The Smoke’, ‘El Niño’, ‘Fifty Miles From The North Pole’

5. Adagio – Life

This was a grower for me. It took some time to do so, but once it did, it was very difficult to stop playing ‘Life’. Adagio really does something new here, which may not be too surprising, since their last album was released more than eight years ago. The tempo is considerably lower and Stéphan Forté’s downtuned rhythm guitars are sometimes reminiscent of the djent-sound, but with Kevin Codfert’s mind-blowing orchestrations and Kelly Sundown Carpenter’s mighty voice, the music has so much more to offer melodically and harmonically. The songwriting is bombastic, complex and melodically strong simultaneously and the record is full of subtleties that reveal themselves over repeated spins. I never was a big Adagio fan, but now I will certainly keep my eye on them.

Recommended tracks: ‘Subrahmanya’, ‘Torn’, ‘Life’

6. Navarone – Oscillation

On the surface, every element that made Navarone’s prior albums so great are in full force on ‘Oscillation’: the great seventies and nineties rock riffs, Merijn van Haren’s massive voice and a rather unpredictable approach to songwriting. Yet, something has changed. The songs are more concise and the band really explores the sonic opportunities of the studio here. And with that comes new possibilities. The surprisingly cinematic ending of ‘Snake’, the contemporary pop sensibilities of ‘Soon I’ll Be Home’ and the progressive splendor of ‘Chrome’ are born from this altered approach. As soon as the initial awkwardness wore off, ‘Oscillation’ turned out to be a very satisfying album by what is arguably Europe’s best rock band at the moment.

Recommended tracks: ‘Days Of Yore’, ‘Chrome’, ‘Soon I’ll Be Home’

7. Jeangu Macrooy – High On You

Before I ever even heard a note of his music, Jeangu Macrooy already impressed me with his moving, powerful voice, which has distinct traces of Bill Withers in it. His music is just about as good. ‘High And You’ is a melting pot of styles which really bring out the best in each other. Large doses of soul, of course, but also pop, jazz, folk and hints of rock and Carribean music. And while many artists who attempt something similar get lost in the maze of their own influences, Macrooy’s warm, almost spiritual voice ties the whole thing together convincingly. What truly helps is that Macrooy’s basic compositions are essentially all excellent pop songs. The profound, yet uplifting ‘Step Into The Water’ would be my choice for the single of the year.

Recommended tracks: ‘Step Into The Water’, ‘Fire Raging’, ‘Head Over Heels’

8. Galneryus – Ultimate Sacrifice

Always highly anticipated: a new Galneryus album. Especially because ‘Ultimate Sacrifice’ was announced as a sequel to ‘Under The Force Of Courage’, one of their better records. ‘Ultimate Sacrifice’ is a bit more consistent and really finds the band firing on all cylinders. The songwriting leans a tad more towards progressive metal than usual, but not without sacrificing – no pun intended – any of their euphroric, strongly European-tinged power metal sound. One of Galneryus’ best traits has always been their display of virtuosity: it is always there, but not before the song has been clearly outlined. Sure, it is fast and reasonably complex, but ‘Ultimate Sacrifice’ is also full of accomplished melodies and it has a remarkable dynamic range for the style.

Recommended tracks: ‘Rising Infuriation’, ‘Heavenly Punishment’, ‘Brutal Spiral Of Emotions’

9. Merry – M-Ology

For years, I have been wanting Merry to make an album like ‘M-Ology’. Not that I did not like their previous albums – ‘Nonsense Market’ is awesome – but the great thing about this one is the fact that the retro feel that made early albums like ‘Modern Garde’ and ‘Peep Show’ so good is finally as prominent as it should be again. Sometimes it feels like a particularly loud jazz band deciding to play a mix of alternative rock, punk, rock ‘n’ roll and traces of metal and blues. I am aware that such description sounds like a mess, but that is where Merry shines: songwriting. All these songs are based around memorable hooks and rhythms that are as energetic as they are danceable. As a result, I did not play anything else for days after ‘M-Ology’ came out.

Recommended tracks: ‘Inugata Shinsei Masochist’, ‘Kasa To Ame’, ‘M-Ology’, ‘Happy Life’

10. Robin Borneman – Folklore II: The Phantom Wail

Navarone made me aware of this great Dutch singer/songwriter. More than half of that band contributed to ‘Folklore II: The Phantom Wail’, but it is still very much Borneman’s record. One that is kind of hard to define, as it sounds cinematic and rootsy at the same time. This is the kind of stuff that takes you on a journey. Just close your eyes and it will come immediately. Sometimes it’s folky blues, but there are also times when it sounds like a spaghetti western contained in a psychedelic rock song, there are hints of country & western… The only true way to describe this is emotional, atmospheric and unpredictable music. No single instrument outshines the bigger picture and the production job is the best I have heard in a long, long time.

Recommended tracks: ‘Woebegone Blues’, ‘O Faithful World’, ‘The Reckoning / Dawn’

11. Galactic Cowboys – Long Way Back To The Moon

If you like heavy metal riffs and vocal harmonies reminiscent of The Beatles simultaneously, King’s X and Galactic Cowboys are basically the only bands you can count on. However, the former’s last studio album is almost a decade old and the latter broke up around the turn of the century. Fortunately, they are back and their new album is their best since their incredible debut. On the surface, Galactic Cowboys may be focusing on their heavy side here, but really, every part of their charm can be heard here. The harmonies, of course, but also their cross-genre approach, their loose jam feel and their ability to let the music breathe when it needs to. To show their fans that they are serious about rekindling their fire, the album even starts with Galactic Cowboys’ oldest song.

Recommended tracks: ‘Amisarewas’, ‘Drama’, ‘In The Clouds’

12. Labÿrinth – Architecture Of A God

When ‘Architecture Of A God’ was just released, I was sure it was going to make my top five. It is, after all, the Italians’ best record since career highlight ‘Return To Heaven Denied’ and almost every song on here is pure gold. Singer Roberto Tiranti is in top shape and as such, he is the perfect fit for the progressive, yet romantic power metal of the sextet. At times, new keyboard player Oleg Smirnoff even pushes the band to different terrain sonically with his unconventional keyboard sounds. And then there are Olaf Thörsen and Andrea Cantarelli, providing all the dreamy melodies and shimmering acoustic guitars you could wish for. It drags a little near the end, but with some of its fat trimmed, ‘Architecture Of A God’ would have definitely made the top five.

Recommended tracks: ‘Still Alive’, ‘A New Dream’, ‘Someone Says’, ‘Diamond’

13. Drive Like Maria – Creator Preserver Destroyer

‘Sonny’ alone is enough reason to get ‘Creator Preserver Destroyer’. Seriously, that little mix of melancholic melodies and poppy rock sensibilities is one of the best songs on an album released this year. The rest of the album is equally strong though. ‘Creator Preserver Destroyer’ does sound a little different than Drive Like Maria’s earlier albums, as the beautifully soulful, but not too loud vocals of Bjorn Awouters suddenly get all the room they need to excel. Underneath them, there is enough variation to make this material, which was originally released as three EP’s, interesting for an entire album. Sexy grooves, extended seventies rock jams, monolithic stoner riffs and the occasional ballad… Whatever you need, you will probably find it here.

Recommended tracks: ‘Sonny’, ‘Tiny Terror’, ‘Keeps Me Going’

14. For All We Know – Take Me Home

Within Temptation guitarist Ruud Jolie released an incredible solo album under the For All We Know moniker in 2011. That album was full of atmospheric, surprisingly emotional progressive rock and I am very glad that he got the whole band that recorded the debut back together. Especially the partnership between Jolie and singer Wudstik is pure magic. Together, they create complex, richly layered songs that are accessible at the same time. This concept is taken to the extreme on ‘Take Me Home’; the poppy aspects are catchier, the ballads are softer, the heavy riffs are heavier and the complexity is turned up at strategic moments as well. Listening to For All We Know is truly an immersive experience and though it is a pity we had to wait for it for over six years, it is a great thing that Jolie had the time to write, record and release yet another great record.

Recommended tracks: ‘The Big Wheel’, ‘They’ll Win’, ‘Fade Away’

15. Mastodon – Emperor Of Sand

Mastodon is quite likely the only modern metal band I am consistently interested in. Their sludgy guitar sound is offset by Brann Dailor’s busy rhythms and the overall progressive songwriting. Those who thought the band took its melodicism too far on recent albums will be in for a treat. Though ‘Emperor Of Sand’ still contains its fair share of highly melodic choruses, the riff work and the lead guitar sections are more complex than they have been for a long time. The record is full of triumphant guitar harmonies and the three lead singers (Dailor, guitarist Brent Hinds and bassist Troy Sanders) work together better than ever. On ‘Emperor Of Sand’, Mastodon proves that there is such a thing as a metal band aging gracefully without becoming a caricature of itself.

Recommended tracks: ‘Ancient Kingdom’, ‘Jaguar God’, ‘Steambreather’

16. Sven Hammond – Rapture

Notably less polished than their other recent efforts, but no less enjoyable. ‘Rapture’ finds Sven Hammond returning to the raw, almost garage-y soul sound of their earliest records – if those three instrumentals are no nod to Booker T and the M.G.’s, I don’t know what is – but this time, they combine that with their knack for writing accessible songs, as showcased on their previous records. ‘Rapture’ feels like a groovy late night jam session, during which the presence of Sven Hammond’s amazing singer Ivan Peroti requires some sense of structure. The rhythms are driving, Sven Figee’s Hammond organ is nice and dirty and Tim Eijmaal’s guitar alternates between bouncy riffs and subtle coloring. This sounds way more American than a Dutch band has any right to sound.

Recommended tracks: ‘Choosy Lover’, ‘A Right Pickle’, ‘Lazarus’

17. The Magpie Salute – The Magpie Salute

Sad as it is that The Black Crowes are no longer around, The Magpie Salute really is the next best thing. Sure, there is only one original song on this album – I’ve been told an album full of original material is coming in the new year – but what really makes this album is the musical interaction. It is more than obvious that every musician involved has a maximum of respect for the other musicians and the songs they are playing. Jam rock bands have a tendency to stick to the same groove for too long, but every second on The Magpie Salute’s self-titled debut album made me hungry for more music. The album is full of exciting musicianship and the lack of a truly charismatic lead singer like Chris Robinson is cleverly compensated for by harmonies.

Recommended tracks: ‘War Drums’, ‘Omission’, ‘Goin’ Down South’

18. Septicflesh – Codex Omega

If there is death metal in my list, it has to be something special. And it is. Septicflesh has always attracted my attention due to their sophisticated orchestrations, but their songs never appealed to me quite as much as on ‘Codex Omega’. This time around, the orchestra does not just add power to the songs, the songs themselves are already powerful, allowing the orchestra to take them to their logical extremes. There is also a lot of toying around with rhythms, which can probably be attributed to the arrival of new drummer Kerim ‘Krimh’ Lechner, whose rhythms try to find their strength in unconventional accents rather than complexity. Jens Bogren’s immense production job is incredible. Hell, I don’t even mind Seth Siro Anton’s grunts. They enhance the atmosphere.

Recommended tracks: ‘3rd Testament (Codex Omega)’, ‘Trinity’, ‘Dante’s Inferno’

19. Cloven Hoof – Who Mourns For The Mourning Star?

It would be easy to dismiss Cloven Hoof as a mere shadow of its former self on account of the ridiculous number of lineup changes they have had to endure in recent years. But ‘Who Mourns For The Mourning Star?’ is such a euphoric, energetic slab of traditional heavy metal that it is easy to forget all of that. A mix between US Power Metal and the NWOBHM scene they are often associated with, the album is treat for old schoolers. And as many credits as bassist Lee Payne deserves for writing these incredible songs, it is really singer George Call – also known as “gruff Bruce Dickinson” in my circles – who pushes these songs beyond how good they would have been otherwise. New material from an old band that does not sound like a weak rehash. Refreshing!

Recommended tracks: ‘Star Rider’, ‘Time To Burn’, ‘I Talk To The Dead’

20. Black Country Communion – BCC IV

Glenn Hughes, never a poster child for subtlety, was very bitter about Joe Bonamassa walking out of Black Country Communion. So it was all the more surprising that they recorded a comeback album together. And that it was good. Not as memorable as their first two albums, but with a songwriter as strong as Hughes, there are bound to be some winners. Most of it is pure classic rock gold, but there are some folky, bluesy and surprisingly poppy moments as well. Of course, with four musicians this good – and most of them experienced in session work – the interaction is simply excellent. As a result, the longer songs work best. I am not as big a fan of Bonamassa as most people seem to be, but in this context, his playing just works. And Hughes’ voice defies physics.

Recommended tracks: ‘The Cove’, ‘Wanderlust’, ‘Awake’

Album of the Week 42-2017: Black Sabbath – Master Of Reality


If Black Sabbath’s self-titled debut was the birth of heavy metal, their third record ‘Master Of Reality’ is where the genre reaches adolescence. It retains some of its youthful mistakes – most prominently Ozzy Osbourne’s rather dull vocal lines, something which would not improve until ‘Sabbath Bloody Sabbath’ – but improves upon a lot of them as well. Despite its flaws, ‘Master Of Reality’ is an album that still sounds fresh and relevant today and the most important reason for that is the fact that Black Sabbath perfects its own intention on this record; the album is full of mighty riffs.

Nowhere is the power of the riff more apparent than on the massive closer ‘Into The Void’. It is Black Sabbath’s first encounter with the C# tuning – for non-musicians: one and a half step lower than standard tuning – and it has been a successful one. Many heavy metal riffs have been written since that intro, including a number of particularly fine ones by Black Sabbath themselves, but none has ever quite surpassed the thick, heavy majesty of this track’s intro. And that’s not even the only brilliant riff in the song. ‘Into The Void’ is probably the song that captures the essence of early Black Sabbath best.

There are many more songs to enjoy here, although the record really only has six songs if you subtract the two acoustic instrumentals. ‘Children Of The Grave’ is easily one of Black Sabbath’s finest compositions. The driving shuffle rhythm, Tony Iommi’s simple, but brutally effective riffs and Osbourne’s first truly decent performance form one of the band’s most exuberant compositions, even though it’s not particularly upbeat. ‘After Forever’ is quite a surprise upon first listen due to some unexpected twists and the incredibly downbeat ‘Solitude’ is one of the very few successful Black Sabbath ballads.

While the band was often berated for their dark lyrics, they are nowhere near as dark as they are made out to be. ‘After Forever’ and ‘Lord Of This World’ – another riff monster with surprisingly good vocals – are the most overtly religious lyrics that bassist Geezer Butler had written up to this point. In fact, the only more obviously christian lyrics in my collection are in Stryper songs. It does give the songs a unique character though. In contrast, I could do without the overt ode to pot that is opener ‘Sweet Leaf’, but at least Iommi’s riffs make it a worthwhile song.

Early Black Sabbath really triumphs over later work by the band because of the musical interaction between the members. Butler and drummer Bill Ward occasionally get a little jazzy, though ‘Master Of Reality’ is really the album where they started getting very bottom heavy. Butler’s right hand attack lacks even the vaguest hint of subtlety, but that is exactly what gives Iommi’s guitar work the balls it would not have had otherwise. Sure, Black Sabbath has made albums that are more interesting musically or more memorable melodically, but if anyone ever wanted to know why early Black Sabbath was so hugely influential, ‘Master Of Reality’ is the album to put on.

Recommended tracks: ‘Children Of The Grave’, ‘Into The Void’, ‘Lord Of This World’

Album of the Week 31-2017: The Joe Perry Project – Let The Music Do The Talking


Guitarist Joe Perry is often seen as the one who guards Aerosmith’s musical integrity next to Steven Tyler’s showmanship. Anyone with some in-depth knowledge about Aerosmith knows that grossly oversimplifies the band’s complicated dynamic, but it is a fact that during the Perry’s time away from the band, Perry released two excellent albums with The Joe Perry Project while Aerosmith released one mediocre record. And while sophomore album ‘I’ve Got The Rock ‘n’ Rolls Again’ of Perry’s project may have higher peaks, ‘Let The Music Do The Talking’ is one of the most consistently engaging bluesrock records of the early eighties.

First off, the title of the album is not without meaning, of course. It could be interpreted as a provocation towards Aerosmith, but it could also just represent the fact that Perry burned all the bridges behind him and decided to just focus on what he likes doing best in the first place: making music. Regardless, Perry sounds like a man unburdened on ‘Let The Music Do The Talking’. There is a spontaneity to this debut that some of the late seventies Aerosmith albums lacked, no matter how good they were. The songs sound raw and energetic, but not underdeveloped.

Another reason why ‘Let The Music Do The Talking’ sounds so fresh and spirited is the fact that Perry put together an excellent band. Nowhere is this more obvious than during the short, high octane instrumental ‘Break Song’. Drummer Ronnie Stewart and bassist David Hull are perfectly in sync with each other and Perry, ending up sounding positively on fire. The upbeat, uptempo closer ‘Life At A Glance’, the massive and somewhat dark ‘Shooting Star’, the swinging boogie of ‘Discount Dogs’ and especially the powerful, catchy title track that opens the record profit from the tight, spirited interplay of The Joe Perry Project.

In addition, adding a lead singer to his project was a great idea from Perry. His own voice is cool and a perfect fit for the dark, bluesy ‘The Mist Is Rising’ and the sarcastic tone of the strong rocker ‘Conflict Of Interest’, but his range is not particularly wide. The higher, more powerful registers of Ralph Morman are the perfect fit for songs that demand some more vocal prowess. His clean voice has a slight raw edge, which really lifts songs like ‘Let The Music Do The Talking’ and the otherwise somewhat mundane ‘Ready On The Firing Line’ to higher level. His duets with Perry work remarkably well too and should maybe have been featured more prominently here.

Without the big budget and the business acumen of Aerosmith’s management, ‘Let The Music Do The Talking’ never quite took off the way it should have, but the album is still available and very much worth checking out. Somehow, the record still sounds fresh today and I suspect that Perry’s drive is largely to blame for that. It may be a cliché, but the debut album of his Project – capital P – does actually let the music do the talking. There may be some bitterness in a few of the lyrics, but it does not dominate the record. The strong bluesrock songs and excellent performances do.

Recommended tracks: ‘Let The Music Do The Talking’, ‘Life At A Glance’, ‘Break Song’