Posts Tagged ‘ Metal ’

Album of the Week 44-2018: Kinniku Shojo Tai – Za Shisa


Despite being somewhat unpredictable stylistically, Kinniku Shojo Tai has been experiencing a very solid run recently. More so than during the latter years of their original run, in fact. Some of their recent albums are slightly better than others, ‘Omake No Ichinichi (Tatakai No Hibi)’ in particular, but none of them is less than enjoyable. ‘Za Shisa’ is another convincing entry into their discography, which currently counts over twenty studio albums. The general vibe is slightly more relaxed and less crazy than on their previous records, but anyone who liked their melting pot of influences before will certainly enjoy ‘Za Shisa’.

Kinniku Shojo Tai’s unpredictability is a result of every band member bringing something different to the table. ‘Za Shisa’ features a relatively large amount of the playful funk rock riffs that guitarist Toshiaki Honjo specializes in. Everything muscular, classy and melodic is the work of Fumihiko Kitsutaka, who in my opinion is one of the world’s greatest guitarists and arrangers. Founding bassist Yuichiro Uchida usually is responsible for the weird progressive and psychedelic stuff, while his co-founder Kenji Otsuki yells, speaks and sings everything together. That sounds like it may not work, but ‘Za Shisa’ proves it does.

The first peak of ‘Za Shisa’ arrives quite early. The elegant melodic hardrock of ‘Shogeki No Outsider Art’ is Kitsutaka in its purest form with a gorgeous chorus, after which the darker, vaguely Middle Eastern tones of the climactic ‘Occult’ account for one of the album’s most atmospheric moments. What follows is the most metallic track of the album; the aggressive speed metal of ‘Zombie River ~ Row Your Boat’ would not have sounded out of place on one of the band’s earliest releases. And like on those albums, the creative use of piano and dynamics lends gravitas to the energetic aggression.

After that, the album takes a slight dip. Not that ‘Naze Hito Wo Koroshi Cha Ike Nai No Daro Ka?’ and ‘Uchu No Hosoku’ are bad songs, it’s just too much consecutive tranquillity. The pace is picked back up quite quickly though, with the subdued seventies rock feel with spoken verses of the awesome ‘Marilyn Monroe Returns’ bringing Thin Lizzy’s ‘Johnny The Fox Meets Jimmy The Weed’ to mind. Uchida’s songs ‘Kenji No Zundoku Fushi’ and ‘Parallax No Shisa’ have the dynamic, haunting quality he excels at. The former has a pleasant stomp, while the way the guitar line and piano melody teasingly dance in unison on the latter is only the beginning of its ominous atmosphere. ‘Next Generation’ and ‘I, Toya’ are pleasant upbeat rockers.

Though ‘Za Shisa’ feels somewhat more laid-back, Kinniku Shojo Tai is still as weird and reluctant to stick to one genre as ever. As always, it may require some time to sink in, but it is a rewarding album for repeated spins. If you have not heard of the band before and need a western reference: imagine if Queen had embraced punk and further developed the metallic leanings of their first few albums. Now add a dash of Japanese weirdness to the mix. Sounds impossible? Tell that to them. They have been doing it for over thirty years.

Recommended tracks: ‘Shogeki No Outsider Art’, ‘Zombie River ~ Row Your Boat’, ‘Occult’

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Album of the Week 34-2018: Eisbrecher – Shock


Often labelled a Rammstein clone – which is not entirely unjustified – Eisbrecher has been moving away from sounding like outright clones and more into “inspired by” territory in recent years. Sure, there are German lyrics sung with a reasonably deep voice over semi-electronic rhythms and simple, but brutally heavy guitar riffs, but the music Eisbrecher put out on ‘Die Hölle Muss Warten’ and ‘Schock’ technically has the potential to appeal to a wider audience than Rammstein, had they not come first. Eisbrecher’s songs are more melodic, the choruses are highly catchy without exception and ‘Shock’ especially has an extremely pleasant flow.

In a way, Rammstein and Oomph! marked the boundaries of what the Neue Deutsche Härte genre should be so clearly that it can be seen as quite a limiting genre. That alone is reason enough to praise Eisbrecher, as their relatively poppy, yet still heavy and driven take on the genre is a clear attempt to craft their own sound within the niche. With the lyrics being either rebellious or romantic, Eisbrecher’s sympathetic frontman Alex Wesselsky seems to aim for the heart, which is perfectly accompanied by the strong melodic writings of guitarist and keyboard player Noel Pix and a small army of outside writers.

Taking the old adage that the first strike is deadly, Eisbrecher kicks off ‘Shock’ with what is probably the greatest song they have ever written. ‘Volle Kraft Voraus’ (“full steam ahead”) is a perfect title for an album opener, but what really makes the song a winner is the way it manages to perfectly marry a yearning feeling and the anthemic pride of its brilliant chorus. It is followed by ‘1000 Narben’, another one of the band’s stronger tracks, which has everything in it to please even the most pop-oriented listeners of alternative rock radio stations.

While the level of the first two tracks is never reached again, it is remarkable how consistent ‘Shock’ is. Even the ballads, generally not the forte of NDH bands, are quite good. The deeply sentimental ‘Noch Zu Retten’ and the gorgeously arranged ‘Schlachtbank’, which is somewhat reminiscent of their early masterpiece ‘Leider’, are highlights, as is the more gothic-tinged ‘Rot Wie Die Liebe’. Those who like their German rock heavy will certainly like ‘So Oder So’, ‘Unschuldsengel’, ‘Fehler Machen Leute’ and the particularly Rammstein-esque ‘Himmel, Arsch Und Zwirn’, while ‘Dreizehn’ and the dancey ‘Nachtfieber’ make perfect use of the dynamics between guitars and electronics. The duet ‘Zwischen Uns’ with Swiss singer Mia Aegerter is irresistably catchy.

Although originality is next to impossible for an NDH band, I applaud Eisbrecher for how fresh and recognizable they sound on ‘Shock’. Once you let go of the genre tag, chances are that you will appreciate ‘Shock’ for what it really is: a collection of extremely well-written, impeccably produced rock songs that will refuse to leave your head even if you try. Fans of complexity should look elsewhere, but ‘Shock’ is full of heavy, uncomplicated fun that may end up being surprisingly melodic for those who only know the genre casually.

Recommended tracks: ‘Volle Kraft Voraus’, ‘1000 Narben’, ‘Himmel, Arsch Und Zwirn’

Album of the Week 01-2018: Iron Maiden – Seventh Son Of A Seventh Son


‘Seventh Son Of A Seventh Son’ was the final album Iron Maiden made with its classic line-up and in a sense, the album takes them as far as that line-up logically could go. It is quite progressive by late eighties metal standards, the synth experiments that were only partially successful on ‘Somewhere In Time’ are incorporated into the music much better here and the songwriting has a dramatic flair that Iron Maiden has not had before or since. In their quest to make their music interesting for themselves, yet accessible enough to sing along, this is the ultimate Iron Maiden album.

Technically, ‘Seventh Son Of A Seventh Son’ this is a flawed concept album. There are themes of clairvoyance and second sight sprinkled throughout the album, but the narrative traditionally associated with concept records is nowhere to be found. Yet somehow, that does not diminish the album’s quality one bit. The theme gives the album some consistency that ‘Somewhere In Time’ was lacking, while the songwriting and the production reflect the lyrics rather splendidly. Another notable feature here is that the tempo changes, which were usually reserved for the longer tracks, are all over the songs, including the short, punchy ones.

It is hard for me to be objective about ‘Moonchild’, the first heavy metal track I have ever heard. But even now, more than two decades later, the song sounds incredible. It manages to combine Maiden’s melodic class with an aggressive drive in both the rhythms and Bruce Dickinson’s amazing vocals. The massive title track is the one that profits the most from the presence of keyboards, as they adorn the middle section with a theatrical layer it would not have had with guitars exclusively. And for progressive majesty, look no further than ‘Infinite Dreams’, in which tempo changes, subtle synths and incredible melodies blend into one atmospheric masterpiece.

Besides ‘Infinite Dreams’, the album contained three other top ten singles, of which only the lightweight ‘Can I Play With Madness’ misses the mark. ‘The Evil That Men Do’ is powerful and uncomplicated, while ‘The Clairvoyant’ is such a work of art that it’s easy to forgive the first melody’s resemblance to the verses of Bob Dylan’s ‘Blowin’ In The Wind’. On the other end of the spectrum is ‘The Prophecy’, which due to its lack of an actual chorus often goes by unnoticed, but is a guitar harmony tour de force.

Following the tour for ‘Seventh Son Of A Seventh Son’, guitarist Adrian Smith – Maiden’s melodic conscience – would leave and the band would head in a somewhat more aggressive direction. And though he would return for a run of decent to really good albums, Iron Maiden was never the same again. Along with ‘Powerslave’, ‘Seventh Son Of A Seventh Son’ stands as the best work by the best Iron Maiden line-up and a blue print for many heavy metal bands to follow. It is one of those rare instances where everybody involved outdoes himself, creating something that is both musically interesting and highly listenable in the process.

Recommended tracks: ‘Moonchild’, ‘Infinite Dreams’, ‘The Clairvoyant’

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 40-2017: Anthem – Bound To Break


Back in 1987, heavy metal did not get much better than ‘Bound To Break’. It meant the beginning of Anthem’s long-standing relationship with British producer Chris Tsangarides and whether it was his influence or not, the band ended up sounding more focused and streamlined than ever, finally fulfilling the potential displayed on their first two albums without sacrificing any of the hungry energy of those records. Though ‘Bound To Break’ was the finale for Eizo Sakamoto’s first tenure with Anthem, he sings much better here than on the two predecessors. All of these elements result in what can be considered the definitive Anthem album.

While Loudness was the most successful of the classic heavy metal bands from Japan, Anthem had the most ballsy sound. Their uncomplicated, but not too simple brand of heavy metal was built upon the strong rhythmic foundation of drummer Takamasa ‘Mad’ Ohuchi and bassist and main songwriter Naoto Shibata, upon which Hiroya Fukuda built his riffs, that vary from pumping chords to classic beefed-up hard rock riffs. As stated before, Sakomoto improved considerably before the recordings of ‘Bound To Break’. His performance is still raw-edged and passionate, but he gained a range that he would further expand when he returned to Anthem around the turn of the century.

Many bands could learn a lesson from how Anthem streamlined its sound and somehow ended up sounding heavier instead of watered down here. The opening title track, for instance, is not that different from what the band did prior to this album, but there is a sheen to the song that lifts the track to its classic masterpiece status. The rest of the record varies from powerful midtempo stompers (‘Machine Made Dog’, Headstrong’, ‘Show Must Go On!’) to speedy adrenalin rushes (‘Empty Eyes’, ‘No More Night’, ‘Rock ‘n’ Roll Survivor’). No ballads or crossover hit attempts; ‘Bound To Break’ is Anthem’s mission statement.

Almost every track on this record is a winner, but none more so than the classy melodic heavy metal of ‘Soldiers’. Due to the somewhat more melodic nature of Fukuda’s minor key main riff, the song is reminiscent of their early classic ‘Shed’, only even better. Through the melodies and the calmer middle section, Shibata really succeeded at creating a dramatic feeling of defeat on the battlefield here. Truly one of Anthem’s crowning achievements. Closing track ‘Fire ‘n’ The Sword’ adapts a similar approach, albeit it in a somewhat more aggressive and straightforward fashion.

Since ‘Bound To Break’ even created some minor interest in the west – the live album ‘The Show Carries On!’ from the same year was recorded in Los Angeles – so it is safe to say that Anthem is not one of those “only in Japan” bands. This is timeless, solid, honest and simply excellent heavy metal in the best Judas Priest and Accept tradition. Heavy metal that makes sure the bottom end is secure before adding showy frills on top. Though Anthem is quite likely the most consistent band in the Japanese heavy metal scene, ‘Bound To Break’ is one of the absolute peaks in their career.

Recommended tracks: ‘Soldiers’, ‘Bound To Break’, ‘Empty Eyes’

Album of the Week 21-2017: Seikima-II – Living Legend


According to Seikima-II’s own mythology, the band had to disband one second before the end of the 20th century. Luckily, they did not do so before releasing one more brilliant heavy metal album. Despite their reputation as an excellent heavy metal band, this was still a little surprising, because throughout the nineties, Seikima-II was all over the map stylistically. While they did release one amazing heavy metal album in the shape of ‘Mephistopheles No Shouzou’ during that decade, there were plenty of pop influenced experiments for ‘Living Legend’ to be a pleasant surprise. And one with some excellent songwriting to boot.

Though the break-up after the release of ‘Living Legend’ had already been planned, it does not sound like Seikima-II was running out of ideas here. Sure, there is a fairly large amount of filler tracks on here – there is a flawless 50 minute album hidden in this great 70 minute record – but even the majority of those are quite enjoyable. While songs like the modern, highly rhythmic ’20 Seiki Kyoushikyoku’, the glossy ‘From Here To Eternity’ or the simple, anthemic ‘Rock ‘n Renaissance’ are nowhere near “best of” status, they are pleasant enough to stay away from the skip button. In fact, only the overlong ‘This World Is Hell’ is skipworthy.

Many of the other songs are essential Seikima-II material, with the odd song even reaching masterpiece status. The brilliantly structured ‘Go Ahead!’ is definitely one of those. The song moves from a bombastic intro to relatively subdued verses and a straight up progressive metal middle section. It is the perfect closing statement to a farewell record and somewhat reminiscent of Queen’s more epic songs. Opening track ‘Heavy Metal Is Dead’ is another classic, doing everything in its power to disprove its title with its memorable main riff and powerful chorus.

Other great songs include the classy, elegant heavy metal of ‘Century Of The Raising Arms’ – which would not have sounded out of place on ‘Mephistopheles No Shouzou’ – and the simple, rocking fun of ‘Revolution Has Come’. ‘Silence Or Violence?’ brings Loudness’ classic ‘Soldier Of Fortune’ to mind and is every bit as enjoyable, while ‘Gloria Gloria’ is a successful attempt at the big, sweeping midtempo epic that ‘This World Is Hell’ sadly fails to be. The production on ‘Living Legend’ is relatively dry, but it is hardly bothersome, especially because it serves as a perfect juxtaposition to the overproduced nature of its predecessor ‘Move’.

Calling your final studio album ‘Living Legend’ and saying that heavy metal is dead after you call it quits may come across as shameless megalomania, but personally, I have always assumed there was something decidedly tongue-in-cheeky about Seikima-II’s over the top and at times ridiculous mythology. Also, releasing records like these does give a band some credit to make claims like these. Over the last decade and a half, the band frequently reunited for live shows and compilations of re-recordings, but a new album remains to be written. And maybe that is for the best, because ‘Living Legend’ is a fitting farewell, as it is a legacy to two decades of excellent hard rock and heavy metal.

Recommended tracks: ‘Go Ahead!’, ‘Heavy Metal Is Dead’, ‘Century Of The Raising Arms’

In Memoriam Chris Cornell 1964-2017


Now this one came as a shock. Last week, I even reviewed the best album Chris Cornell was ever a part of and now, he is dead. Despite making a few dubious artistic choices throughout his career, Cornell had one colossal voice and has written a bunch of downright fantastic songs. His death is still shrouded in mystery at the moment, but it occurred only hours after a sold out Soundgarden show in Detroit. It’s hard to say anything useful at the moment, but let me at least pay a little tribute to – by far – the best male singer from the Seattle rock scene.

Despite ultimately being one of the biggest bands of the Seattle scene of the early nineties, Soundgarden started as early as 1984. Kim Thayil is often credited for the unique guitar tapestries of the band, but Cornell was quite the guitar player himself and their interaction was an essential part of the heavy, yet melodic and deliberately awkward sound of the band. Cornell either wrote or co-wrote a significant portion of the band’s output. Soundgarden had some of the most natural sounding odd time measures in the music business and a bunch of riffs that within Seattle were only rivaled by Alice In Chains in terms of heaviness.

Soundgarden was one of the more interesting rock bands that Seattle had in the eighties, but it wasn’t until 1991 that Cornell found his voice. Both litterally and in terms of songwriting. That’s the year when Temple Of The Dog released its sole album in April and Soundgarden released their massive ‘Badmotorfinger’ in October. Two monumental records with Cornell’s voice on them. ‘Temple Of The Dog’ was a strong tribute to the late Mother Love Bone singer Andrew Wood which also featured the recording debut of one Eddie Vedder and ‘Badmotorfinger’ showed Cornell almost litterally outdoing himself with songs like ‘Slaves & Bulldozers’, ‘Jesus Christ Pose’, ‘Rusty Cage’ and ‘Outshined’.

While it meant Soundgarden’s breakthrough and artistic highlight, the band didn’t reach its peak in popularity with 1994’s ‘Superunknown’. Five successful singles were released from that album, the most popular of which – the monster hit ‘Black Hole Sun’ – won two Grammy Awards. Personally, I always preferred the gloomy ‘Fell On Black Days’. After one more album in 1996 – ‘Down On The Upside’ – Soundgarden split up and Cornell focused on his own projects. Always an experimental guy, he tried out several genres and while I don’t agree with every decision he made – the R&B record ‘Scream’ that he made with producer Timbaland is borderline embarrassing – he deserves a lot of respect for trying.

In the meantime, Cornell also formed Audioslave with all members of Rage Against The Machine except for singer Zack de la Rocha. They had a couple of hits, but eventually the former bands of all members involved would reunite. That included Soundgarden, whose 2012 release ‘King Animal’ battle’s Alice In Chains’ ‘Black Gives Way To Blue’ for the title of best comeback album ever made by a rock band. Thayil, Cornell, bassist Ben Shepherd and drummer Matt Cameron seemed to be very serious about reuniting for good, but while on tour, Cornell passed away.

Besides the songs, we would have to remember Cornell for having a sense of humor that didn’t ruin his music. How else would you explain the hilarious glam rock and hair metal parody that is ‘Big Dumb Sex’? Sadly, there is very little that fans of his voice can laugh about today, but we are luckily still left with recordings of his amazing voice and I suggest we play it as loud as we can. I’ll start.

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