Posts Tagged ‘ traditional Heavy Metal ’

Album of the Week 43-2017: Lovebites – Awakening From Abyss


After their excellent ‘The Lovebites EP’, I was expecting Lovebites’ debut album to be goot, but not this ridiculously good. In short, ‘Awakening From Abyss’ is the only album that can rival Firewind’s ‘Immortals’ as the best metal album from 2017. The record is chock-full of energetic riffs, blazing lead guitar work, pounding drums and passionate vocals. What more can you desire from a heavy metal album? Very little in deed. This Japanese quintet combines traditional heavy metal and contemporary power metal in an incredible manner and they seem hellbent on world domination. Song material this good certainly deserves to be heard worldwide.

On their EP, Lovebites excelled in dynamic and catchy, yet surprisingly inricate power metal with a powerful, rather unpolished production. The guitars are thick and raw and the incredible voice of relative newcomer Asami is one of the main attractions of this band. For ‘Awakening From Abyss’, the band has continued and enhanced this approach. At times, they end up sounding surprisingly aggressive. Songs like ‘Warning Shot’ and ‘Burden Of Time’ have a distinct Motörhead-ish vibe in the riff department, while several tracks combine recognizable choruses with riffs that angrily pound through the speakers.

No track combines those two extremes quite as deliciously as opening track ‘The Hammer Of Wrath’. After a brooding, vaguely Middle-Eastern sounding guitar melody, the song is an ongoing assault of vicious riffs and memorable melodies, which is exactly what one could wish from a heavy metal track. It is hardly the only highlight of the record though. ‘Shadowmaker’ has everything it takes to be a modern day power metal classic – that dramatic chorus is incredible – and ‘Don’t Bite The Dust’ is everything that classic metal bands aspire to be these days. On the lighter side – only slightly though – there are the epic semi-ballad ‘Edge Of The World’ and the gripping, haunting melodies of ‘Liar’.

It is impressive how the members of Lovebites combine their impressive skills and end up sounding significantly better than even the sum of their parts. Guitarists Midori and Mi-Ya are all over the album with high octane riffs and impressive solos, even throwing in a few awesome trade-offs like the one near the end of ‘Scream For Me’. Haruna tackles simple beats with the same conviction as busy parts and fills and though bassist Miho is not on the foreground, her aggressive right hand attack gives the music the balls it needs.

Then there is Asami’s golden throat. Her range is lower and more powerful – and as a result, more pleasant to listen to – than that of most Japanese singers, though she occasionally proves to be just as forceful in the higher regions. Honestly, ‘Awakening From Abyss’ is one of those albums that leaves absolutely nothing to be desired. It’s a boiling, dynamic and incredibly overwhelming stew of several eras of heavy and power metal. I haven’t heard many contemporary metal albums this good in a while. And due to their deals with JPU Records in Europe and Sliptrick Records in North-America, the whole world has the chance to get acquainted with the music of these ladies. I suggest that you’ll do so.

Now if you’ll excuse me, I’ll just go and pick up my jaw from the floor.

Recommended tracks: ‘Awakening From Abyss’, ‘Shadowmaker’, ‘Burden Of Time’

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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 41-2017: Saber Tiger – Timystery


Before Saber Tiger was fronted by the passionate howls of Takenori Shimoyama, they made a couple of excellent albums with Yoko Kubota, an impressive singer in her own right, at the helm. This was the time when the Japanese quintet started incorporating progressive elements into their music, slowly morphing from an above average heavy metal band to the amazing band they are today. ‘Timystery’ is one of those albums that does everything just right. The compositions are better and the musical interaction is more cohesive than ever before. And though it would turn out to be Kubota’s last album with the band, she really comes into her own here.

‘Timystery’ finds Saber Tiger streamlining the progressive touches that were on the foreground on its direct predecessor ‘Agitation’. As a result, ‘Timystery’ feels a little more like ‘Invasion’, Kubota’s 1992 debut with the band, but there is some more musical class hidden beneath the surface. In essence, the album is exactly what you would have expected from Saber Tiger at this point in their career: energetic songs, huge beefy riffs and recognizable choruses, but the songs take a few surprising twists. Also, it is Saber Tiger’s first album that features English lyrics exclusively.

Fortunately, these lyrics go beyond the usual English catchphrases surrounded by poor grammar that Japanese bands revelled in at the time. I don’t know if Kubota had any help, but her English is decent enough and the songs actually have topics. There is a lot of relational material and lyrics about trust issues, but they work. Sometimes even surprisingly well: every aspect of ‘Bad Devotion’ is flawless. The start-stop riffs and dynamics of the song really enhance the story of a woman trying to get back on her feet, while every section of the song is a new climax, culminating in the solo section, which is both virtuosic and goosebumps-inducing.

Of course, no one needed to worry about the qualities of the musicians; Akihito Kinoshita and Yasuharu Tanaka are likely the best guitar duo in the business, Takashi Yamazumi is a bassist who makes the most of his moments, but also has no problem holding down the bottom end and Yoshio Isoda is solid as a rock. That musicianship is what lifts songs like the highly rhythmic ‘Living On In The Crisis’, the relatively heavy opener ‘No Fault / No Wrong’, the pleasantly melodic ‘Distressed Soul’, the pounding ‘Revenged On You’ and the highly dynamic ‘Easy Road To Life’ above their obvious compositional quality.

Saber Tiger truly struck gold on ‘Timystery’. They found the perfect balance between progressive metal – the unconventional rhythms of the lengthy closer ‘Spiral Life’ are easily the most “proggy” moment of the record – and traditional heavy metal, creating something that may appeal to fans of both genres. The album contains several of the best songs the band has ever made and it would take more than fifteen years before the band would top it. Albums this consistent are a rarity, especially in the mid-nineties metal scene, but ‘Timystery’ is simply an album that will not let you go until long after it is over.

Recommended tracks: ‘Bad Devotion’, ‘Living On In The Crisis’, ‘Easy Road To Life’

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 34-2017: Cloven Hoof – Who Mourns For The Morning Star


Ever since resuming activities early this century, Cloven Hoof went through so many lineup changes, that I was not very hopeful about the recent ones. Sure, bassist and band leader Lee Payne is very enthusiastic about George Call’s voice, but anyone would say that about their new singer, right? This time, it is justified. Call is one of the reasons why ‘Who Mourns For The Morning Star’ is such a great album. He comes very close to Russ North as Cloven Hoof’s best singer. In addition, the record features some of the most spirited, enthusiastic heavy metal performances I have heard in a while.

Compositionally, the songs on ‘Who Mourns For The Morning Star’ are a mixture between the NWOBHM approach that Cloven Hoof had in the early eighties and the USPM-leanings they had a couple of years later with North at the helm. If you are looking for a close reference in style, the recent Accept albums are not too far removed from this record in overall feel. Cloven Hoof just employs a greater deal of variation in the tempos. There are a few more than passing nods to Judas Priest and Iron Maiden, the latter enforced by the fact that Call strongly resembles Bruce Dickinson in his higher registers.

Some people may complain about a few somewhat chaotic middle sections, but those are a staple of Cloven Hoof’s sound as much as the ballsy riffs – which, due to the spectacular production, grind more ferociously than ever – and anthemic choruses. While opening track ‘Star Rider’ may resemble ‘Astral Rider’, which opened the amazing ‘A Sultan’s Ransom’, in title, it is much more of a traditional heavy metal track with spectacular guitar work and Call showing off his clean, but rough vocal approach. It is the perfect way to introduce the album to unsuspecting listeners.

The rest of the album varies from straightforward heavy metal with a slight hardrock edge, such as ‘Neon Angels’, ‘Song Of Orpheus’ and the Motörhead-ish scorcher ‘Time To Burn’, and songs with a somewhat more progressive approach, such as ‘Song Of Orpheus’, ‘Morning Star’ and closing track ‘Bannockburn’. The latter is the least successful track here: while the main section – including the Maiden-est chorus on the record – is good enough, the rest of the composition sounds more like ideas pasted together rather than an actual song. ‘Mindmaster’ borrows a fragment from Halford’s ‘Locked And Loaded’ somewhat obviously, but since the – surprisingly modern – song is kind of cool, I will let that slide.

While I was somewhat reserved about Payne’s enthusiasm, ‘Who Mourns For The Morning Star’ proves that it was justified. Call is simply a revelation, young newcomer Luke Hatton really goes wild on some of the lead guitar parts and Danny White – Call’s bandmate in Aska – is easily the tightest drummer the band has had in the 21st century. But this album really shines because of how effortless and natural it sounds. It simply sounds like a band having fun playing the music they love rather than trying to adapt to any trend or forcing the magic of their heyday. And that is all I want from Cloven Hoof at this point in their career.

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

Album of the Week 32-2017: Anthem – Domestic Booty


Some of Anthem’s best records have something awkward to them that has nothing whatsoever to do with the actual music. ‘Immortal’ has its album cover, ‘Domestic Booty’ its title. And maybe the fact that the band broke up for about a decade in the aftermath of this album’s release. Changes in the musical trend department are often cited as the reason for that hiatus and anyone who has heard ‘Domestic Booty’ can safely conclude that the quartet was certainly not running out of inspiration. The record is full of blazing heavy metal songs, some of which are among the best of Anthem’s catalogue.

While ‘Domestic Booty’ isn’t the most consistent record of Anthem’s original run – that would probably be ‘Bound To Break’ – they do sound like a band rejuvenated on the album. Frontman Yukio Morikawa truly shines with his most aggressive and energetic vocal performance thus far, while newcomer Akio Shimizu, who is still the band’s guitarist these days, lends a subtle contemporary edge to the record without altering the powerful, not too complicated heavy metal compositions of bassist and band leader Naoto Shibata too much. It is truly difficult to believe that the band creating this music would split up less than a year later.

These days, opening track ‘Venom Strike’ is still on most Anthem live sets and its classic status is easy to understand. This borderline thrash metal song with rolling bass drums by Takamasa ‘Mad’ Ouchi is probably the most aggressive Anthem song to date and therefore begs to be played live. Even better, but not quite as popular, is the intense, moving heavy metal of ‘Renegade’, which has probably the best chorus the band recorded with Morikawa on vocals and really showcases the guitar talents of Shimizu. Sure, there is some awkward English going on, but that should not ruin the listening experience.

Since these two tracks open the record, it may seem a tad frontloaded, but there is plenty more to enjoy. ‘The Dice Of No Mercy’ is one of the darker Anthem tracks yet and as such, a very pleasant surprise. The euphoric ‘Cry In The Night’ and the brooding ‘Gold & Diamonds’ greatly profit from the subtle synth flourishes courtesy of current Deep Purple keyboard player Don Airey and the uptempo triplet frenzy of ‘Devil Inside’ is exactly what the album needs at that point. But even the less notable tracks, such as mid-tempo stomper ‘Mr. Genius’ and the semi-epic closing track ‘Silent Cross’, are very much worth hearing.

If Anthem would have definitively called it a day after the release of ‘Domestic Booty’, it would have been a great closing chapter to a strong career in heavy metal. Nowadays, it sort of gets lost in the shuffle, because Anthem has released seventeen albums to date and the record spawned only one live staple. If it was up to me, ‘Renegade’ would at least have been one as well. Farwell albums, even if the farewell eventually turns out to be temporary, often feel like a bit of an afterthough. ‘Domestic Booty’, however, is another excellent Anthem record. Not one of their best, but it’s pretty damn close.

Recommended tracks: ‘Renegade’, ‘Venom Strike’, ‘The Dice Of No Mercy’

Víctor García (WarCry): “Language is no limitation on music”


The international world of heavy metal is dominated by bands who sing in English and while that is understandable, those who ignore bands who sing in other languages are really missing out on bands like WarCry from Spain. WarCry just released its ninth studio album ‘Donde El Silencio Se Rompió…’, an excellent piece of heavy/power metal with Spanish lyrics. I had the chance to speak with lead singer Víctor García about the past, present and future of WarCry.

‘Donde El Silencio Se Rompió…’ featured a return to the somewhat heavier sound of the band’s earliest work, but without forsaking the melodic and progressive touches of their other recent albums. “I don’t know if it was the right time for such an approach, but at the moment, this is exactly what we want to do“, says García. “People need to classify everything these days. For me it is all heavy metal, I don’t care if it’s fast or slow, hard or power metal… I don’t believe in styles. For me, a good band is about more than a certain style.

The band obviously took being a good band very seriously, as there was more than three years between ‘Donde El Silencio Se Rompió’ and its excellent predecessor ‘Inmortal’ (2013). “It’s not easy doing a record that is better than the last one every time“, García explains. “And now that we have recorded eight albums, it gets more difficult every time. We spent a lot of time working on the lyrics. I’m a storyteller. I share a piece of myself, the way I feel, my way of thinking, I express myself in every song. I tried to change this, to not talk about the same things or approach them in a different way, but this is what works.
Our lyrics always take a positive approach, even when dealing with subjects like death, pain or other things that hurt people: keep on fighting, always look for another chance and if you die giving your best, it is a good way to go. We like to sing about human emotions, history, love, anger, pain, death, fighting, victory and loss.

Professional
Speaking of the lyrics, while WarCry is now known and beloved for its Spanish language heavy metal, but on their 1997 demo, García still sung in English. “Since then, I’ve spent around four years playing in another Spanish band called Avalanch, singing in Spanish“, García explains. “That is when I realized that singing in Spanish perhaps is not really a limitation on music. It is my language and it is the best way to express my emotions and my music.
It certainly isn’t a limitation for the Spanish metal scene, among which WarCry is a highly popular band. “There are many bands in the Spanish metal scene, getting more and more professional day by day“, says García. “As for our position in that scene, perhaps I am not the ideal person to judge that. We are very popular in our own country and in Latin America. These days, there are even a few people who listen to us outside of the Spanish-speaking world, such as parts of Europe, North-America, Japan and even Australia. We are growing, step by step.

Speaking of people outside the Spanish-speaking world: for ‘Donde El Silencio Se Rompió…’, the band enlisted the help of Tim Palmer, who worked as a producer with the likes of U2, Pearl Jam and Robert Plant. “We contacted him to mix our album“, says García. “But he is also a creator and a great professional. He told our producer Dani Sevillano that he would record some ideas and that we could just remove them if we didn’t like them. He added some reverb, some filters and just some keyboard and guitar sounds. He did a great job.

Friendly
During their early years, WarCry’s lineup changed fairly frequently. However, their current line-up is about to reach its tenth anniversary in 2018. “We are not young boys anymore“, García states. “The band has been around for fifteen years now and all things are calm. We enjoy what we do. We are friends. We are having a very good time doing this and therefore, it is easy to do things right. We can talk when there are problems and we do the best we can. We are all in the same boat.
García himself is still the main songwriter of the band. “On some albums, there are a few songs that have been written by other members“, he says. “And all of them are arranged by the entire band. Their contribution as musicians is invaluable as well, of course.
Despite the fact that Spain has a metal scene, all of the band’s albums have been released on their own record label Jaus Records. “Our record label is our legal representation of the band“, García explains. “It’s like Napoleon said: if you need a friendly hand, it is more easy to find it at the end of your own arm.
Now that the Spanish-speaking world is familiar with WarCry’s material, the quintet is looking forward to presenting their music to the rest of the world. “Now is the time“, García states resolutely. “We have the experience, we have the sound, we have the music and we know what we want. We are passionate guys with a lot of energy on stage. We want to keep the band moving forward, so we are always looking to take the next step.