Posts Tagged ‘ Hard Rock ’

Album of the Week 16-2018: Stryper – God Damn Evil


With an album title like ‘God Damn Evil’, it is obvious that all semblance of subtlety has gone out the window. Then again, Stryper never was about subtle intricacies. You just know you’re going to get simple, effective hardrock songs with huge choruses, strong melodies and a fairly obvious christian message. In recent years, Stryper has dialed up the metal factor in their music considerably, resulting in some of their most consistent albums thus far. ‘God Damn Evil’ is no different. It is once again better than its predecessor, continuing the upward trajectory that started with ‘Murder By Pride’ in 2009.

First things first: Michael Sweet once again sounds incredible. His vocal approach is occasionally a bit rawer than usual, but his soaring, spotlessly clean melodies are all over ‘God Damn Evil’. His songwriting has never been better either. Some of the previous albums had a tendency to drag because of all the midtempo tunes and while most of the material here still isn’t in turbo mode, the album easily has the most pleasant flow of any Stryper album since ‘Soldiers Under Command’. His brother Robert also gives his best drum performance yet, though his snare is still a tad too loud.

Before the album was released, four songs surfaced that already made me quite hopeful about the album. Especially ‘Lost’, a melancholic melodic hardrocker reminiscent of the incomparable class of Stryper’s best song ‘Sympathy’. The crushing midtempo metal of ‘The Valley’ was another pleasant surprise. ‘Take It To The Cross’ raised some eyebrows, because of its brutal chorus with Sweet channeling his inner Halford, but despite the borderline self-plagiarism – the main riff is very similar to the one in ‘Yahweh’, which in turn was borrowed from Black Sabbath’s ‘Children Of the Grave’ – it is a very blunt, effective opening track.

‘Can’t Live Without Your Love’ is a surprisingly decent ballad. Sure, it has a strong AOR-vibe, but it’s not as slickly saccharine as the likes of ‘Honestly’. The heavier side of label mates Journey seems to have influenced the gorgeous midtempo hardrocker ‘Beautiful’. The title track and the slightly more metallic ‘Sea Of Thieves’ highlight the band’s eighties Sunset Strip sleaze rock roots, while the midtempo stom of ‘You Don’t Even Know Me’ features one of Sweet’s most ominous vocal melodies to date. ‘Own Up’ finds a perfect middle ground between grinding latter day Stryper riffs and a beefy eighties hardrock chorus.

Sure, the lack of subtlety may be an issue for some. The chorus of ‘The Devil Doesn’t Live Here’ is borderline for me, but it is too enjoyable a speed metal track to let it get in the way. And that is exactly why despite my atheism, I have always enjoyed Stryper. There are too many good riffs, awesome melodies and blazing leads by both Michael Sweet and Oz Fox on the album to let them escape my attention. New bassist Perry Richardson occasionally lets it rip too. Hardly anyone can craft simple rock songs with such impact as Sweet. ‘God Damn Evil’ is the strongest evidence of that so far.

Recommended tracks: ‘Lost’, ‘The Valley’, ‘Beautiful’, ‘Own Up’

Advertisements

Album of the Week 13-2018: The Sisters Of Mercy – Vision Thing


The change between The Sisters Of Mercy’s second album ‘Floodland’ and its follow-up ‘Vision Thing’ is apparent from the moment the album kicks off. The reverb-heavy gothic atmosphere of the former had been exchanged for a drier production and a riff-oriented approach. With four people credited with playing guitar on the album, ‘Vision Thing’ shifts the emphasis from gothic to rock here. Of course, with this being The Sisters Of Mercy, it’s not your standard rock album – it’s almost a parodic take on the genre at times – but it’s the hardest rocking material the band around Andrew Eldritch released thus far.

Atmosphere has not been sacrificed entirely here, however. ‘Vision Thing’ just sounds a lot more direct and ironic than The Sisters Of Mercy had ever done in the past. Eldritch, who was essentially running the band on his own by the time the album was recorded, never felt too comfortable with the gothic rock tag anyway and his reaction to the legendary goth album that was ‘Floodland’ seemed to be coming up with material that was the mirror opposite of the album. His characteristic deep vocals prevent it from becoming completely unrecognizable, but ‘Vision Thing’ is mostly built upon simple, beefy guitar riffs.

Somehow, Eldritch and his production team seemed to squeeze the most out of these uncomplicated riffs. Such simplicity, especially with the use of the band’s trusted drum computer Doktor Avalanche, would result in mind-numbing boredom at the hands of others. ‘Doctor Jeep’, for instance, makes use of one simple riff and a modulated chorus, but perfectly manages to portray the boredom with mass media that appears in the lyrics. Despite containing three riffs, the title track is another monument of less-is-more, working towards its cathartic chorus through agitated observations courtesy of Eldritch surprisingly effectively.

‘Floodland’ producer Jim Steinman was brought in exclusively for ‘More’, the only keyboard-centered song on the album. The song ended up sounding nothing like ‘Floodland’ though, despite being the most gothic track on here. If there is a think like soul goth, that’s what it would be. The album’s parodical nature shines brightest in the eighties glam-inspired ‘When You Don’t See Me’, which has a massive and remarkably enjoyable chorus, cliché-ridden as it might be. The reissue reveals the fitting working title of the song was ‘Bon Jovi’. Highlighting the album, however, is the deranged ‘Ribbons’, with its propulsive riff and borderline disturbing lyrics.

If The Sisters Of Mercy prove anything on ‘Vision Thing’, it is that parodying rock music by embracing everything that makes it ridiculous in a delightfully sarcastic manner could result in a surprisingly effective rock album. One that fans of the genre who do not share Eldritch’s sentiments may enjoy as well. Those who fell in love with the band through ‘Floodland’ may be surprised by how prominent the guitars of Andreas Bruhn and Tim Bricheno are on ‘Vision Thing’, but anyone looking for a bitterly ironic rock album that somehow is very listenable do not need to look any further.

Recommended tracks: ‘Ribbons’, ‘Doctor Jeep’, ‘When You Don’t See Me’

Album of the Week 12-2018: Bittencourt Project – Brainworms I


With Angra’s music being as varied as it is, what more could guitarist and chief songwriter Rafael Bittencourt want to express? Quite a lot, as it turns out. Debut album ‘Brainworms I’ of his own Bittencourt Project is full of music that, while not completely sounding out of place amongst Angra’s oeuvre, would not fit on the albums of his main band. There certainly is more room to experiment with genres outside of power metal and progressive metal. Each and every one of these deeply personal compositions is performed with a passion that is rare among contemporary rock and metal albums. Very impressive.

Bittencourt is the lead singer on this album and although he has taken on some of the lead vocals on recent Angra albums, his heartfelt voice has a completely different range than the higher pitched singers he usually works with. Obviously, that requires a somewhat different approach in songwriting. And though ‘Brainworms I’ is still progressive metal to an extent, the hard rock, folk and even South American pop music influences make this a unique piece of work. Bittencourt is an amazing songwriter, but it also sounds like he gave the musicians he works with some space to be spontaneous, accounting for a very lively album.

Sequencing-wise, ‘Brainworms I’ is set up very cleverly, as opening track ‘Dedicate My Soul’ could have been an Angra track if it had a different arrangement. Due to its propulsive riffs and amazing chorus, it sort of eases its listener into the more “different” stuff. ‘The Underworld’ is another relatively heavy track, but quite dark compared to Angra’s quite upbeat take on metal. The interaction between Bittencourt and violinist Amon Lima in those tracks is incredible. The cover of Madredeus’ ‘O Pastor’ is surprisingly heavy as well. Definitely one of the most exciting moments on the album.

However, the softer moments are what make this album so interesting. ‘Holding Back The Fire’ is a stripped-down, Brazilian take on AOR, ‘Faded’ is a gorgeous dark ballad with a hopeful climax, while the twelve string guitar on ‘Santa Teresa’ gives the song an almost Led Zeppelin-like folk edge. ‘Nightfly’ is one of the highlights of the album, moving back and forth between tranquil passages, funky rock riffs and parts with a strong Brazilian influence. If anyone does not want to choose between folky and heavy; the amazing ‘Torment Of Fate’ has a tango intro, quiet verses and thick prog riffs. And a spine-chilling chorus.

Those expecting a shred album from the guitarist in a fairly virtuoso band will probably be shocked, as the only thing that comes (somewhat) close to that is the spirited instrumental ‘Comendo Melancia’. Yours truly has always had tremendous respect for Bittencourt as a songwriter and whoever else does, will likely be impressed by this spontaneous, lively album full of amazing songs. In addition, Bittencourt’s passionate vocals really lift these songs to a magnificent level. This is an honest, personal work of art that has the potential to appeal to a much wider group of listeners than Angra’s progressive power metal audience.

Recommended tracks: ‘Nightfly’, ‘Torment Of Fate’, ‘Dedicate My Soul’

Album of the Week 10-2018: Seikima-II – The End Of The Century


Classic heavy metal with a distinct theatrical edge, heavy kabuki-styled make-up on the band members, a downright hideous album cover… We must be dealing with an excellent Seikima-II album. Back in the mid-eighties, when original guitarist Damian Hamada had already left the band, but was still writing most of the material, they were really the only Japanese band that could hold a candle against Anthem if traditional, British-styled heavy metal was what you were looking for. When the band delved into more varied territory shortly afterward, they still delivered quality material, but there is a certain charm to these early songs.

Despite all the borderline ridiculous touches in terms of atmosphere and thematic approach – which I suspect were at least partly parodic in nature – part of why ‘The End Of The Century’ is so good is just because it makes sense. Sure, if you just want to listen to the excellent songs, the little interludes disrupt the flow of the album a little and it does not help that Demon Kogure’s narrations make little sense if you aren’t familiar with the Japanese language, but the songs are actually really good. The guitars sound surprisingly punchy for a 1986 production as well.

If you look at Seikima-II’s setlists throughout the years, you will find that almost every song on ‘The End Of The Century’ became a live staple for the band, with the possible exception of the doomy ‘Kaiki Shokobutsu’ and ‘Akuma No Sanbika’, the latter of which is a beautifully arranged masterpiece of guitar and vocal harmonies and one of the best Seikima-II songs. Even the instrumental opening track ‘Seikima-II Misakyoku Dainiban -Soseki-‘ ended up opening most of the band’s concerts. Sure, only half of it frequently made it to the stage, but the other half is full of exciting riffs and themes.

The remaining tracks are all classics, the best of which being the fantastic title track. It’s nothing too complicated, but its riffs are just classy and effective. ‘Roningyo No Yakata’ is another one that is textbook Seikima-II with its powerful main riff and horror-themed lyrics, while closing track ‘Fire After Fire’ combines the power of a speed metal-styled opening riff and a chorus that refuses to leave your head. ‘Jack The Ripper’ completes the fascination with British metal by employing a British theme in its lyrics. Sure, the actual English lines could have used some work, but the song is energetic and catchy as hell.

While it would be easy to dismiss Seikima-II as a Japanese Kiss ripoff – which, I’m not ashamed to admit, is what I initially did – but they have much more to offer in terms of consistent songwriting. And if it’s consistent heavy metal you want, you can hardly go wrong with ‘The End Of The Century’. ‘Demon’s Night’ is fairly average, but everything else is among the best traditional heavy metal released in the eighties. Don’t let the kabuki appearance and the poor album cover discourage you: ‘The End Of The Century’ is an incredible album.

Recommended tracks: ‘The End Of The Century’, ‘Akuma No Sanbika’, ‘Roningyo No Yakata’

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 36-2017: Merry – M-Ology


‘M-Ology’ is the album I have been wanting Merry to make for about a decade. While I really liked ‘Nonsense Market’ (2014), everything about ‘M-Ology’ points at a total throwback to the days of ‘Modern Garde’ (2004). While such a “return to the roots” is a strained move for many bands, Merry never strayed from their original path too much. They just explored the heavier edges of their sound to a point where they sort of buried the retro aspects that made their sound so unique and appealing. Now that these are back at the forefront, Merry’s new album is a brilliant work of “retrock”.

Those who are unfamiliar with Merry are probably better off listening to their music than reading a description, as the quintet plays a fairly rich cocktail of styles. Genre-wise, this is definitely J-rock, but there are jazzy rhythms amplified by Nero’s hard-hitting drum style, afterbeat ska chords and rockabilly-ish themes on the guitar, a punky energy and a bunch of vaudevillian melodies that pop up now and then. If that sounds like an impossible combination: that’s what yours truly thought too, until he actually heard the music. Merry’s songs are busy and bristling with energy, but always recognizable and well-crafted.

Prior to the announcement of the album, the singles for ‘M-Ology’ already made me look forward to the album. ‘Happy Life’, released over two years ago, is an excellent upbeat rock song with a chorus filled with the hopeful melancholy that characterizes a lot of Merry’s best material. ‘Heijitsu No Onna’ balances on the line between ballad and light rock song, but it was ‘Kasa To Ame’ that won me over. Built upon a not too complicated, but brilliantly brooding bass line courtesy of Tetsu, this song displayed the Merry that stole my heart so many years ago. The song is also a masterclass in musical climaxes.

Album highlight ‘Inugata Shinsei Masochist’ is the song whichI thought would be the next single, due to its goosebumps inducing arena rock intro and marvellous chorus, but apparently, the band went for the title track, which after a delightfully chaotic intro develops into a song that evokes a feeling of nostalgia. Other notable tracks are the remarkably upbeat punk polka of ‘Black Flag Symptom’, the overwhelming weirdness of ‘Mass Control’ and ‘F.J.P’, a song that amplifies everything that makes Merry such a great band to begin with.

Where ‘Nonsense Market’ saw Merry reconnecting with their core sound a little, ‘M-Ology’ sees them diving head first into it. Gara’s screams, shouts and grunts can be great means to emphasize an angry passage of a song, I prefer the focus on catchy melodies he employs here. As always, Kenichi and Yuu are great at crafting guitar melodies that either dance around each other or build upon each other’s heaviness and Tetsu and Nero are among the best rhythm sections in Japan, with the latter having an intuitive, playful style which makes him my favorite Japanese drummer. This may sound like an exaggerated amount of praise, but since ‘M-Ology’ can rival ‘Modern Garde’ and ‘Peep Show’ as Merry’s best album, I think the praise is more than deserved.

P.S.: Included in the “B type” of the album is the best bonus dvd that ever came with a Merry album. Filmed at what looks like the same location as the first ‘Many Merry Days’ dvd’s and produced with a somewhat cinematic look, I am sort of sad that as a European, I cannot obtain the full show that comes with the fanclub edition of the album. Still, these five songs are performed incredibly.

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

Advertisements