ALBUM TYPE: Ian Blurton, "Signal Through The Flames"

By: Peter Morsellino

Album Type: Full Length

Date Released: 03/01/2020

Label: Pajama Party

“Signal Through The Flames” CD//DD//LP track listing:

1). Eye of the Needle

2). Seven Bells

3). Days Will Remain

4). The March of Mars

5). Nothing Left to Lose

6). ICQ

7). Kick Out the Lights

8). Night of the Black Goat

9). Into Dust

The Review:

With its powerful hooks and a fun seventies aesthetic, Ian Blurton's “Signal Through the Flames” is an absolute good time. An album that stands tall with the best of anything classic rock radio could offer.  Truly an album beyond it's time; this is a blast from the past that will surely introduce new fans to the glory of yesteryear.

Influences across the album are diverse without abandoning a central theme. A gorgeous mix of stoner riffs and vocal harmonies with a melodic bass sound and a style of drumming that was sadly lost somewhere in time. Electronics and keyboards fill out the mix with a textured atmosphere to complete the sound.

Album opener “Eye of the Needle” is of particular interest with a retro futuristic electronic atmosphere mixing with a very pleasant guitar melody that morphs into a rollicking jam rocker. On the whole, you are left wondering when Klaatu got so badass.  “The March of Mars” is a stoner masterpiece with riffs that would be very welcome on the classic “Sabbath Bloody Sabbath” album. Keys round out the aesthetic, keeping things fresh while familiar. 

“Kick Out the Lights” stands out to me with its driving pace and guitar harmonies. It is just such a comfortable sound. It brings me back to a time when, despite its growing complexity, music just seemed more simple, more easy to enjoy.  The bass tone on this song is absolutely lovely. Everything that a bass line is supposed to be. A+ on that element alone.

“Signal Through the Flames” is a tribute to all the power rock that has come before it without becoming derivative. It would be easy for this album to fall into the realm of a nostalgia act, or even a work of parody, but the masterful writing and musicianship throughout keep its head held high.  Ian Blurton stands tall against the rock giants of the past, not as an imitator, but as an equal.

“Signal Through The Flames” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Kirk Windstein, "Dream in Motion"

By: Richard Maw

Album Type: Full Length

Date Released: 24/01/2020

Label: eOne Music

“Dream in Motion” CD//DD//LP track listing:

1). Dream in Motion

2). Hollow Dying Man

3). Once Again

4). Enemy in Disguise

5). The World You Know

6). Toxic

7). The Healing

8). Necropolis

9). The Ugly Truth

10). Aqualung

The Review:

Kirk Windstein is certainly an underground legend- Crowbar, Down, working with Jamey Jasta- his has quite a curriculum vitae. His debut solo LP proper (nothwithstanding the Jasta pairing) is a very intriguing proposition. Crowbar are heavier than lead and as sludgy as a swamp; what can Windstein bring to the table beyond that. Well, as keen fans will know, Windstein is a big fan of 70s rock and classic songwriting. Certainly, opener “Dream in Motion” is weighty and swampy but it is also hooky and surprisingly... breezy. As the album unfolds, you get a definite sense that this is not Crowbar Mk. II but is instead a kind of mid point between Kirk's influences and his Alma mater.

Over the course of “Hollow Dying Man” and “Once Again”, there is actually plenty of darkness but a little more light than you might expect. The latter is dreamy and ethereal in sound- akin to Mastodon at their most mellow. From there, there is plenty of clean guitar on offer on “Enemy In Disguise” and again it is not huge riffing that draws you in, but the dreamlike spacey quality of the sound. The melancholy vibes continue on through “The World You Know”- as do the melodies. It's like a stripped bare Crowbar with the melodies pushed to the fore while the riffs take a back seat.

There is heaviness and riffage, of course, “Toxic” provides that in spades and comes on strong with its doomy sludge but it also has a lighter side as the dynamics are pushed. Windstein's usual themes of self loathing and desperation are apparent, as per, but with some of the sounds there is also hope. Even the title of “The Healing” states this explicitly. It has quiet and loud dynamics and is a worthy instrumental piece. “Necropolis” is again lighter and akin to almost shoegaze type material... were it not for the glacial tempo and inherent darkness.

By the time of the album's latter stages, it has become clear that Windstein wanted to make an album that didn't rely on brute force but instead let the melodic hooks bring the weight and create atmosphere through an air filled production and reverb combined with the clean sounds on offer. “The Ugly Truth” is a fine example of that ethos and then there is only the Jethro Tull cover of “Aqualung” to finish things. It's a fine cover and a solid snapshot of what perhaps Windstein was invoking over the course of the record; Tull were always not really one thing or another. They weren't rock, folk, pop, hard rock, rock n roll, jazz, blues or anything else but were instead a combination of all those things and created startling music, particularly through their 60s and 70s heyday.

Windstein, then, has a created a mellow and dynamic album with lots of light and dark. It wouldn't have worked as a Crowbar record, so his venturing outside of that stricture is to be commended. A good and worthwhile solo record.

“Dream in Motion” is available HERE

Band info: bandcamp

ALBUM REVIEW: Accept, “Symphonic Terror: Live at Wacken 2017”

By: Richard Maw

Album Type: Full Length

Date Released: 23/11/2018

Label: Nuclear Blast

 

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining.  The album represents a unique performance and demonstrates a band at the top of their game

 

“Symphonic Terror: Live at Wacken 2017” CD//DD//LP track listing:

CD 1:
1. Die by the Sword
2. Restless and Wild
3. Koolaid
4. Pandemic
5. Final Journey
6. Night on Bald Mountain
7. Scherzo
8. Romeo and Juliet
9. Pathétique
10. Double Cello Concerto in G Minor
11. Symphony NO. 40 in G Minor

CD 2:
1. Princess of the Dawn
2. Stalingrad
3. Dark Side of My Heart
4. Breaker
5. Shadow Soldiers
6. Dying Breed
7. Fast as a Shark
8. Metal Heart
9. Teutonic Terror
10. Balls to the Wall

The Review:

Accept, as of last week, are now down to one original member- Wolf Hoffman. However, for this unique 2017 concert at Wacken, Peter Baltes was still there on bass- even if Hermann Frank had departed as rhythm guitarist. As has been documented in past reviews, I feel that Mark Tornillo is every bit as good as Udo Dirkschneider and he has now headed up the band for ten years. As the title suggests, this is a full live gig with a difference- the central portion of the performance marries Accept up with a symphony orchestra- which then stays for the latter half of the gig! The first section of the release is a straight ahead metal performance, the middle section features Hoffman with orchestra- utilising his “Headbangers Symphony” solo album as the basis- and the latter half of the record treats the audience to classic Accept songs accompanied by the orchestra.

So, how essential is this? Well, not essential at all. It's a live album with an orchestra attached to two thirds of it. However, that view may be doing this record a disservice. To be sure, the central section is very stirring indeed and is actually successful in combining metal with classical. Its leagues ahead of Metallica's “S & M” effort of nearly 20 (!?) years ago and much more interesting than Deep Purple's misfiring “Concerto for Group and Orchestra”. The latter part of the release is also an interesting experiment- but much more in the vein of Metallica's aforementioned effort.

I could not claim that “Princess of the Dawn” is enhanced by the presence of the orchestra, beyond it being... different and more grandiose. The band wisely chose some of its more theatrical and grand material for the latter half of the gig and it is a thrill to hear “Stalingrad” with classical backing. I think the thing here is that if you like Accept, you will like this record.

I love Accept and they are one of the best live bands I have ever seen. Hearing their songs with a new twist is interesting and a diverting listen. Will this take over on regular rotation from the superb “Restless and Live” record from a year or two back? No. While “Symphonic Terror” does boast the chance to hear some of the tracks from “The Rise of Chaos” in a live setting it is too much of an oddity to usurp a straight ahead live record.

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining. The central orchestral section really works and is testament to Hoffman's ability as a writer and player that it sounds so grand and cinematic. The album represents a unique performance and demonstrates a band at the top of their game. Having released a straight ahead live compendium recently, the band can play around with its sound and put out this album- why not? Recommended to all Accept fans and fans of classical music. For those new to the band, start elsewhere.

“Symphonic Terror: Live At Wacken 2017” is available now



Band info: official || facebook

ALBUM REVIEW: Satan's Satyrs, "The Lucky Ones"

By: John Reppion

Album Type: Full Length

Date Released: 19/10/2018

Label: Bad Omen Records |

RidingEasy Records

“The Lucky Ones” CD//DD//LP track listing:

1). Thrill of the City

2). The Lucky Ones

3). She Beast

4). Take It and Run

5). You and Your Boots

6). Too Early to Fold

7). Pulp Star

8). Trampled by Angels

9). Permanent Darknes

The Review:

What if, rather than dying in that car-crash in 1977, Marc Bolan had instead taken over guitar and vocal duties in Angel Witch, and decided they needed to tune down to couple of steps? It’s something we’ve all pondered, I’m sure, but thanks to Satan’s Satyrs we need wonder no longer.

“The Lucky Ones” is the fourth full length from the Virginia quartet, following their split EP with tour-mates Windhand, released on Relapse Records earlier this year. Once again the garage rock/proto-punk influences of MC5, Blue Cheer, Ziggy Stardust era Bowie, and all the rest, clash head on with NWOHBM dual guitars and chunky, swaggering Cock Rock riffs.

What are Satan's Satyrs? Are they a Glam Punk band? That sounds a bit shit. Are they a Retro Rock band? That sounds ever shitter. But they're undeniably a band whose sound, look, and attitude is rooted in the 1970s. Of course, the same could be said for a lot of bands in 2018, but Satan's Satyrs are a lot more The Sweet than Sabbath.

“Thrill of the City” is a tyre-screeching Stooges-like opener, with tasty Thin Lizzy twin lead work from Nate Towle and Jarrett Nettnin. “The Lucky Ones” like a raw, garage cover-version of some unlikely song you've definitely heard before, but somehow can't remember the name of. “She Beast”’s main riff is a weighty, sleazy Southern Rock strut with Clayton Burgess' chunky bass grunting away octaves below his pouty, boy-Bowie vocals.

“Take it and Run” is an acoustic driven number, equal parts Lizzy, T-Rex, and Ziggy. “You and Your Boots”' fat, chugging verses give way to straight up rock n roll choruses, with unashamedly triumphant leads which wouldn't sound out of place on a track by The Darkness. “Too Early to Fold”, similarly sounds like it could be some raw, rough and ready pre-“Permission to Land” lost demo.

There's more than a whiff of early Guns N Roses throughout the record, but “Pulp Star” is pretty much straight up L.A. Hard Rock. “Trampled by Angels” sounds exactly like it's being performed (mimed to, I suppose) on a 1978 Christmas edition of Top of the Pops. “Permanent Darkness” is the most thoroughly NWOBHM sounding track on “The Lucky Ones” and, as such, it's a strong closer – bringing the kitch levels down several notches.

So, to return to the question, what are Satan’s Satyrs? Is it possible to be a brand new Classic Rock band? Even if it is, that’s still not quite right in terms of describing what they’re up to. They’re more like a brand new proto-Classic Rock band – a band capturing the sound and energy of what happened in venues like The Rainbow in London in the lead up to the dull, grey 1980s, and the dawn of Stadium Rock proper. Sweaty, urgent, cocksure, and raw; as much as I can list all these forty-odd year old bands and artists that Satan's Satyrs undeniably sound like, there’s no sense that they’re a mere pastiche of what’s gone before. Whatever exactly it is that they’re actually doing, whatever you want to call it, they seem to be the only ones out there doing it right now, and they’re doing it well.

“The Lucky Ones” is available HERE

Band info: bandcamp || facebook

ALBUM PREMIERE: Hessian take cues from the old guard of classic rock and deliver "Mercenary Retrograde"

On September 14th 2018, HESSIAN will release their new album “Mercenary Retrograde”.

It took five years for Hessian to get their Bachelor of Black Arts, now it’s time to accept their Master’s diploma. The Portland, Maine-based heavy metal band garnered a substantial amount of recognition for their EP and debut album - including a coveted spot as Fenriz’s Band of the Week.

Mastermind Angus McFarland oversaw every stage, from sitting at the kitchen counter studying heavy metal harmonies of “the Old Ones of heavy metal” to touring nationally and playing festivals in Sweden and the UK. After a complete upheaval in line-up, Hessian are now ready with their second album “Mercenary Retrograde”.

“The title of the album reflects the history of the band at the time of writing. Mercenary because the band consisted of hired guns, and Retrograde because we are always looking back to the Old Ones of heavy metal for inspiration.”

While Thin Lizzy are held in exceptionally high regard around Camp Hessian, there’s appreciation for any of the old guard in early metal and heavy rock - even some thrashier material as well

Hessian have been through the wringer, but perseverance and a wholehearted belief in heavy metal have allowed them to prevail. “Mercenary Retrograde” is a triumphant record that looks proudly at the past and future simultaneously. You can check out the album in full below and preorders are available HERE

Band info: facebook || bandcamp

VIDEO PREMIERE: Piss River deliver kick-ass riffing, kick-ass vocals and a party time vibe on "Thor Is Strong"

On the 24th of April 2018, Piss River released their self-titled debut album via The Sign Records. The album combines a variety of influences and results in a sound that can only be described as a cross between Girlschool, L7, The Gits and Annihilation Time. 

The album contains tracks such as”Speed Machine”,”Take Me To Rusk” and ”Thor Is Strong” that shows the band's NWOBHM background. While "Sparks” is a tribute to L7s Donita Spark. Other stand out tracks includes ”Bad Reptution” that have that has a driving punk rock attitude that will turn any party upside down. A cover of Larry Wallis’ song”Police Car” ties together the albums many and mixed influences into this infectious rock n roll nightmare.  Today coming 4 weeks after the album’s release, we have been given the chance premiere the band’s kick ass new video for “Thor Is Strong”, which you can check out below.  You can purchase the album here

Band info: facebook

ALBUM REVIEW: Earthless, "Black Heaven"

By: Victor Van Ommen

Album Type: Full Length

Date Released: 16/03/18

Label: Nuclear Blast

“Black Heaven” is going to grab 2018 by the nuts and set the bar for what makes a good classic-rock influenced record. We can all take a lesson from Earthless.

“Black Heaven” CD//DD//LP track listing:

1. Gifted by the Wind (6:28 )

2. End to End (5:16)

3. Electric Flame (8:51)

4. Volt Rush (1:53)

5. Black Heaven (8:45)

6. Sudden End (8:26)

The Review:

If you thought Earthless was still an instrumental power trio from California, it’s time to make an adjustment. On their new album, “Black Heaven,” Earthless hits the streets with 45 minutes of rockin’ songs. That’s right, songs. With choruses, verses, bridges and yes, even vocals.

Guitarist Isaiah Mitchell let the cat out of the bag and told his band mates that he can sing. And how! Sure, Golden Void is Mitchell’s side project, and it’s one that has him step up to the mic, but his vocal performance on this new Earthless record is a whole different kettle of fish.

The added value to “Black Heaven” isn’t just the addition of vocals. “Black Heaven” goes further and posits these Californians not only as instrumental bad asses who are technically gifted. This album goes so far as to show that these cats can lay down a tasty lick, tie it together with some verses, and come out the other end with a helluva tasty song.

So what does Earthless sound like playing these songs? Well, I hear a lot of Van Halen coming through the speakers. Certainly when it comes to “Gifted by the wind”and the 9 minute centerpiece, “Electric Flame.” But the classic rock and metal influences don’t stop here. You hear elements of Cream pop up in “End to End” and some colorful southern rock harmonies brighten up the place in the album’s closer, “Sudden End.” There’s even a little ZZ Top shuffle sprinkled over everything. What’s not to like?

Yeah, the record’s pretty retro. But, believe it or not, it’s also original. Earthless aren’t copying anyone, they’re channeling the greats. These boys know what they’re doing, too. There’s no instance of phoning it in. Earthless uses “Black Heaven” to show that they’re more than a one trick pony. They’ve got more up their sleeves than instrumental jams that go on for eons. And that’s awesome. Earthless also uses “Black Heaven” to show how to keep things fresh in a genre that’s dangerously close to being played out.

“Black Heaven” isn’t a masterpiece. It won’t stand the test of time in the same way that the Sabbath’s and the Zeppelin’s have. That’s fine, because for now, “Black Heaven” is going to grab 2018 by the nuts and set the bar for what makes a good classic-rock influenced record. We can all take a lesson from Earthless.

“Black Heaven” is available here

Band info: facebook

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Dead Quiet (Vancouver, British Columbia)

By: Mark Tremblay

Album Type: Full Length

Date Released: 03/11/2017

Label: Artoffact Records

All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

“Grand Rites” CD//DD//LP track listing:

1). Moon Curser

2). Blood Lovers

3). Corpse Revival

4). Disgraced

5). Fucking Oath

6). Dear Demon

7). Old Hopeless

8). Spiritual Abuse

9). Grand Rites

The Review:

Dead Quiet’s second full length “Grand Rites” sees the band fully forming their blend of classic rock and stoner metal. What was merely a nod on their self titled release is now fully integrated on “Grand Rites”.  For band leader Kevin Keegan, this is his best album to date. Following his progression from the early riff-sandwich that was Barn Burner all the way to the more sophisticated Dead Quiet, it has been great to see the progression in his voice. His voice has gone from being in the background on previous releases, to being the main focal point of this album. The vocal range and variety exhibited by Kevin Keegan on “Grand Rites” has come a long way since “Bangers”.

Most notably on “Grand Rites”, Dead Quiet has incorporated keyboards into their sound. The addition of former 3 Inches of Blood guitarist Justin Hagberg, the 70’s influence is now fully embraced by the band. This is apparent on the albums early tracks like the Deep Purple infused “Moon Cruiser” to the white room re-imagining of “Blood Lovers”. Elements of Creedence Clearwater Revival become apparent on “Corpse Revival” which morphs into an onslaught of Slayer oriented thrash riffs.

Perhaps what makes this album so enjoyable is its tasteful use of every element it brings to the table. The amount of acoustic instruments featured on tracks like “Dear Demon”, and “Ritual Abuse”, for example, really make its heavy elements shine through. All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

“Grand Rites” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Kadavar - "Rough Times"

By: Richard Maw

Album Type: Full Length

Date Released: 29/09/2017

Label: Nuclear Blast

The sound off the album is positively low-fi, the title track a noisy and lurching beast and “Into The Wormhole” sounds like a slowed down record being played through a torn speaker. There are sojourns into more proggy territory with “The Lost Child”, but for me it is when the band utilise the most Neanderthal sounds that they are most effective.  The verdict? A lot better than their first two albums and an interesting, engaging listen.

“Rough Times“CD//DD//LP track listing:

1. Rough Times (3:38)

 2. Into The Wormehole (4:17)

3. Skeleton Blues (4:24)

4. Die Baby Die (4:18)

5. Vampires (4:48)

6. Tribulation Nation (5:04)

7. Words Of Evil (3:37)

8. The Lost Child (5:52)

9. You Found The Best in Me (4:58)

10. A L'Ombre Du Temps (3:57)

The Review:

Kadavar are Berlin's premier 70's retro rock revivalists and I have followed their career somewhat loosely since their 2013 “Abra Kadavar” album which featured a very seventies production in terms of instrument placement and a small dose of Sabbath to go with their Deep Purple, Budgie, Coven, Blue Cheer, Zeppelin et. al. references. Not doom, for sure, but not only classic rock... Since then, of course, a myriad of bands have come to the fore who deal in similar retro-nostalgia (Gentleman's Pistols are still the best outfit with a retro leaning).

With “Rough Times”, I have missed out on one of the band's albums so I don't know quite how this fits into their continuum but I do know that this is much rougher than the first two records- as the title may obliquely suggest. This is closer to the MC5 and The Stooges in terms of sound and aggression than it is to Budgie. The sounds is positively low-fi, the title track a noisy and lurching beast. “Into The Wormhole” sounds like a slowed down record being played through a torn speaker.

The rest of the record is just as gnarly- “Skeleton Blues” is a primal groove of distorted bass and guitar with reverb drenched vocals. The lyrics capture the Zeitgeist of fake news and confusion in prescient terms. As such, then, for a retro band Kadavar are remarkably up to date in themes and concerns- of the ten tracks, all sound like they could have been recorded between 1968 and 1975, but most of the lyrics could only come from the here and now- an odd combination, but one that makes their sound more alluring, at least for me.

Whether it be the lost innocence and cynicism of “Vampires”, the political sounding “Tribulation Nation” or even the straight rocker “Words of Evil” with its metaphors, all the songs are bang up to date: or could apply to any era of trouble and strife you could name. There are sojourns into more proggy territory with “The Lost Child”, but for me it is when the band utilise the most Neanderthal  sounds that they are most effective. There is melody aplenty in “You Found The Best In Me” and it features as the middle track in the closing triumvirate where the band spread their wings beyond the Berlin/Detroit axis and venture into more unusual sounds and styles. The final statement of “A L'Ombre Du Temps” is again current, retro and a departure for the band.

The verdict? A lot better than their first two albums and an interesting, engaging listen.

“Rough Times” is available here

Band info: official || facebook

TRACK PREMIERE: Demon Eye deliver a hard charger of epic proportions with "Dying For It"

DEMON EYE are back with their third offering and another dose of their own blend of Heavy Classic Rock, Proto Metal and Traditional Doom!

The new album "Prophecies and Lies" was recorded by Mike Dean of CORROSION OF CONFORMITY in the band's hometown of Raleigh, North Carolina, and displays a strong musical progression with mighty riffs, haunting melodies and fist-raising anthems. DEMON EYE are bringing vintage heavy darkness for modern times and current day evils, giving their listeners dynamic songs to empower them against all adversaries.  With the release date of 11 August 2017 just over a week away, today were serving  another sonic brew from the album entitled “Dying For It”,  a hard charger with a bit of Voivod dissonance meets classic Dio. You can check it out in full below. Preorders are available here

Band info: facebook  || bandcamp