ALBUM REVIEW: Wytch Hazel, "IV: Sacrament"

By: Richard Maw
 
Album Type: Full Length
Date Released: 02/06/2023
Label: Bad Omen Records

 
“IV: Sacrament” CD//DD//LP track listing:
 
1. The Fire's Control
2. Angel of Light
3. Time and Doubt
4. Strong Heart
5. Deliver Us
6. A Thousand Years
7. Gold Light
8. Endless Battle
9. Future Is Gold
10. Digging Deeper
 

The Review:

Wytch Hazel are back to save us from ourselves- and mediocre albums- with this, their fourth full length. Hitherto, the Lancastrian band have been building up quite a head of steam. “Prelude” introduced the band with its Thin Lizzy meets Wishbone Ash meets NWOBHM stylings. “II Sojourn” was a more straightforward rock proposition and then their crowning glory, “III Pentecost” was the best hard rock album of 2020- fairly easily.
 
While “Pentecost” may have borrowed from Argus in terms of its pastoral elements and the overall Englishness of the vibe and the space of the sound, “Sacrament” is different again. Having moved from The Stationhouse studio in Leeds to pastures new at StudiOwz in Wales, the band have retained their spacious and expansive sound, along with the analogue vibe of the production courtesy of Ed Turner who operates here as something like a band-member-once-removed.
 
It’s clear that the band’s Christian themes/element is stronger than ever here; fear of hell and the control that asserts is the theme of “The Fire’s Control” and “Angel of Light” is about, well- you know already. There is Hammond Organ in the mix, multi layered guitars and an excellent bass sound.
 
There are quirks here; the solo of “Time and Doubt” is extremely fiery, even when the vocals and lyrics are maudlin. Main man Colin Hendra clearly put in overtime with this record- he plays drums after the departure of Jack Spencer. His drumming here is perfectly serviceable, but it is missing the flair of Spencer’s fills and the subtleties/style of his approach. Hendra instead supplies a bedrock for the other instruments to build upon, without flash or fuss. It’s competent and direct. I suspect the album could have been lifted by a full-time drummer, but the fact that the band and Colin made it work without one is a minor miracle in itself. The guitars, vocals and other instrumentation is superb. They all sound incredible and are full of life and purpose. The acoustic guitar overdubs, used to expand the sound a la the Stones on their best 70s work, work superbly and the whole sound has the effect of a wall of sound. Majestic.
 
Hendra has kept the songs tight and focused- no sprawling 20min prog epics- but despite the taut running times the record has a completely epic feel; it’s a truly immersive experience. As the listener is exhorted to stay until the battle is won on “Deliver Us”… well, I believed in the quest and I believed every word that was sung. It’s powerful, affecting and effective.
 
Across the record, Wytch Hazel have achieved something in hard rock/metal that is very difficult to do: they have made a heavy album that isn’t aggressive. Too much rock and metal these days (and all days) relies on aggressive chest beating as a trope to confirm heavy credentials. Wytch Hazel instead rely on songs, melodies and sound. Not many bands have been able to do that over the years- Led Zeppelin, Thin Lizzy, Queen, Wishbone Ash and if we extend things a bit, Jethro Tull. It’s a fairly small list (you’ll think of others) and places Wytch Hazel in exalted company indeed. Yes, make no mistake, this album IS heavy. It’s heavy in themes and vibe, even if its airy production belies this. It also rocks hard, but without machismo.
 
As the record reaches its final triumvirate, the guitar riff and sound that opens “Endless Battle” is simply excellent. The band immediately change things up and the verse section is not what you would expect from the opening- again, a little like classic Tull. The guitar work also echoes Iron Maiden a little- the lineage of British rock and metal is clear and Wytch Hazel are claiming their place in it. The reverbed start to “Future is Gold” allows for lovely acoustic sounds and excellent layered vocals from Colin Hendra; it introduces a rather positive outlook missing from previous tracks- but it is still tinged with a little sadness, a little uncertainty, a little wistfulness. As the album’s ballad track, it works well and is expertly placed in the penultimate position.
 
Naturally, the band close the album with the longest track- the aptly named “Digging Deeper”. The Wishbone Ash influence is present and correct again here, but the band are now just sounding like themselves- as they did on “Pentecost”. Their sound is unique and instantly recognisable. In fact, over the last few years, Wytch Hazel have become one of my favourite bands. They are peerless at what they do in the modern age and this record is, front to back, incredibly strong. It’s heavy, but paradoxically has a lightness of touch to everything within it. It’s dark but uplifting. It’s much like a Cathedral; a towering achievement built from the ground up, reaching towards the heavens above.
 
If you haven’t heard Wytch Hazel, you must listen. They are the way, the truth and the light.
 
“IV: Sacrement” is available HERE

Band info: Bandcamp || Facebook

ALBUM REVIEW: Black Label Society, "Doom Crew Inc."

By: Richard Maw
 
Album Type: Full Length
Date Released: 26/11/2021
Label: eOne

 

“Doom Crew Inc.” CD//CS//DD//LP track listing:
 
1. Set You Free
2. Destroy & Conquer
3. You Made Me Want to Live
4. Forever and a Day
5. End of Days
6. Ruins
7. Forsaken
8. Love Reign Down
9. Gospel of Lies
10. Shelter Me
11. Gather all my Sins
12. Farewell Ballad

 

The Review:
 
BLS return after the unexpected career high point of “Grimmest Hits” a few years back. Zakk has kept personnel familiar and when pressing play on this latest offering, the question is: “will this rock or will it be a more laid back affair?!”
 
BLS have had a habit of making some fairly mediocre records in the past. Frustratingly, they can go from killer on one release to filler on the next (“Sonic Brew” to “Stronger Than  Death”, “1919 Eternal” to “Hangover Music Vol. 4”... the mid-period slump of “Mafia” and “Shot to Hell”...). It seemed that Zakk and sidemen were poised for really big things in the mid 2000s but it never quite happened. The quality just wasn't there and the image became cartoonishly macho.
 
With this in mind, I would say that the last decade has seen some excellent BLS albums. “Order Of The Black” would be one of my favourites- it rips from start to finish and slugs it out impressively with “Sonic Brew” as the definitive BLS album. “Catacombs of the Black Vatican” had its moments; it was a restrained and dark listen which only improved over time and really wormed its way into my affections. “Grimmest Hits” was superb- from start to finish it blended the best aspects of BLS; riffs, hooks, Sabbath feel, ballads and song writing.
 
“Doom Crew Inc” is apparently a kind of paen or tribute to the band's road crew, but anyone expecting a wholly raucous affair on that basis would be off the mark. Instead we get... a very good and solid album with no shortage of riffs and solos. As eOne have only furnished the mighty SLUDGELORD with a stream, it's been hard to listen to this repeatedly. However, over the course of several listens, the quality has shown through.
 
On that basis, this is closer to “Catacombs...” than it is to “Order...” so is thus perhaps a cousin to “Grimmest Hits”. The sound is thick and convincing, recorded at Zakk's Black Vatican studio you would expect nothing less. Opener and advance track “Set You Free” is fairly indicative of the record- not adrenaline inducing, but instead weighty and insistent. “Destroy & Conquer” is a quality follow up- nice feel and rhythms. From there, “You Made Me Want To Live” is the band in sombre but rocking mode.
 
Of course, this being BLS there are ballads. “Forever and a Day” is the first of these and is of course a completely competent hard rock ballad with a good vocal performance and a rather lush production.  How good is it? Well, it's a ballad- I don't think it is up there with “Blind Man” or “January Day”, but it is... fine. You know that with twelve tracks there will be more of this kind of thing, but... I sometimes wish there would be a bit less. Just cut to ten tracks of solid steel, you know?
 
That said, BLS has always made pretty varied records and it would also be true to say that each record has its own discernible identity- for better or worse. “Doom Crew Inc.” certainly has its own niche and it is to be praised for that.
 
“End of Days” is another laid back rocker- echoing much of the “Catacombs...” material. It's finely crafted but is still pretty restrained- a little too much so for my liking. At the halfway mark, it would appear what kind of album that “Doom Crew Inc.” is going to be- restrained, but well put together. “Ruins” has that Sabbath groove and is well put together with a fair bit going on. It should be noted that the overall production has more to it than the previous couple of releases by the band- vocal layering, lots of twin guitar work and a fair few changeS in each track.
 
The riff in “Forsaken” is a cracker and it uses dynamics convincingly; switching from heavy as lead to breezy and back again with ease. It's the latter half of the record which has the longest run times- BLS are no strangers to tracks of 5-6mins plus as “Sonic Brew” proved- but there is no sense of wasted time here. The solos are great throughout and each track, again, has its own identity. There are two more ballads to go through, of which “Farewell Ballad” is the better of the two. “Love Reign Down” is simply too overwrought for my tastes. Zakk at the piano and emoting is not my thing, so we move on.
 
Fortunately, we move on to “Gospel of Lies” and its beastly Sabbath-esque doom opening. It's great and a wonderful antidote to what went before. It picks up the pace, of course, but doesn't break any speed limits. It's a slow burning head nodder with, yes, a superb riff at the mid point. Those bouncy kind of shuffle guitar riffs are something that Zakk excels at (“World of Trouble” springs to mind) and it elevates the track by bringing in a  great idea and fully realising it.
 
The album enters the home straight with “Shelter Me” which again brings dynamics, mid paced tempos and some sizeable riffage. It does what other tracks on the record have done, but with not quite the same impact on the first few listens. Jeff Fab's drums sound excellent when brought forward in the mix and that is another plus point.
 
Of the remaining two tracks, “Gather All My Sins” is my pick- in fact it's one of the picks of the whole album: it rocks hard, is a straight up headbanger and pulls no punches. We are into old school BLS territory here. It's killer. The trading solos section is also an absolute winner. The aforementioned “Farwell Ballad” closes things out. It's the best ballad on the record and once again has a kitchen sink production but is nicely put together with a good intro solo section and benefits from being guitar led with some good vocals once again.
 
Overall, this is undeniably a strong BLS record and it is also one that will undoubtedly reveal hidden depths. I think this requires multiple listens to really get into and understand. I also think it is a bit of a mood piece. It's dark and a little restrained like “Catacombs...” but it has more immediate hooks and a better production than that one- which has only grown on me over time.
 
So, this is most likely a good-great BLS album; not quite top tier, but not too far off as things stand. That Zakk and co. are still around and putting out quality records is to be celebrated in itself. That the records are this good is an even bigger bonus. It's one to look forward to, get into and enjoy. I'd say it would fit in the top half of the catalogue, or thereabouts.
 
BLS have enough of a history and catalogue to warrant a favourite to least favourite list, Here's mine:
 
1.     Sonic Brew
2.     Grimmest Hits
3.     Order of the Black
4.     1919 Eternal
5.     Catacombs of the Black Vatican
6.     Doom Crew Inc.*
7.     The Blessed Hellride
8.     Stronger Than Death
9.     Mafia
10.   Hangover Music Vol IV
11.   Shot to Hell
 
*Subject to change. This might go up a place or so. It is, without doubt, better than the albums below it on the list.

“Doom Crew Inc.” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Day of the Jackal, "Day Zero"

By: Chris Markwell
 
Album Type: Full Length
Date Released: 15/03/2021
Label: Independent

 

“Day Zero” DD track listing:

 
1). On Your Own
2). Belief in a Lie
3). Rotten to the Core
4). Secrets to the Grave
5). Coffin Fix
6). Riskin’ it All
7). ‘Til The Death
8). Afterburn
9). Deadfall Trap
10). Rock n’ Roll Deathride
 

The Review:

Just beyond the kingdom of Sludge sits the Mountain of Hard Rock: an immovable edifice of majesty, it is the magical, ever-present spire, whose shadow touches all the lands of music. From the deep mines of Heavy Metal, to the cloud-topped towers of Prog, all know and feel the touch of Hard Rock upon their territories.

Carved into the face of Hard Rock are names of power: AC/DC, Thin Lizzy, Deep Purple, Guns ‘N’ Roses, to name but a few. All names are known and respected among all the lands that surround Hard Rock. But, look closer… A new name has been etched into the foot of the mountain.

Day of the Jackal, spell out the jagged letters. And when a new name is etched, it stands to reason to seek them out. So I did.

Leeds’ Day of the Jackal have, on 15^th March 2021, released their debut album “Day Zero”, and, if it were any more balls-out hard rock, it would be charged with indecent exposure.  

Recorded in Gentlemen’s Pistols James ‘Atko’ Atkinson’s Station House studio, the rock runs through every inch of this record like a stylus runs through a record’s groove.  In fact, the entire album was recorded live: no click tracks required, kids.  Because of this decision, each one of the ten tracks present on “Day Zero” retain that raw energy you’d normally expect to feel in the sweaty confines of a gig venue. 

Ten tracks, zero bullshit.  If you want ballads, experimentation, or odd time signatures, move along.  This album is designed specifically to give you a rock ‘n’ roll injection straight to your heart.  Palpitations, shortness of breath, and a desire to bang your head uncontrollably are common side effects, so don’t worry. 

From the first blast of electric riff-raffery of opener ‘On Your Own’, to the bar-room brawl of a closing song ‘Rock ‘n’ Roll Deathride’, Day of the Jackal make statement after brash statement with each track that pummels and pounds your eardrums.  The quartet have forged a beautiful, whiskey-stained ode to the gods of hard rock, their love for their genre shining through with each hi-hat snap and every power chord struck. 

Personal favourite of mine from this album has to be ‘Til the Death’, with its slamming riffs and Bon Scott-esque lyrics (“I’ll be your best mistake, but I won’t be your man” is delivered almost with a knowing wink audibly heard in the mix).  You can envisage baying crowds of people knowing every word, and singalong in turn.  I want to be part of that crowd and, after listening, you will, too.   

Day of the Jackal are not reinventing the wheel with “Day Zero”.  Rather, they’ve stolen that wheel, affixed it to their cherry-red hot rod, and are riding it down the road to the hallowed mountain of hard rock mythology.  Best get on board and join them on their journey. 

Band info: bandcamp || facebook

ALBUM REVIEW: Ricky Warwick, “When Life Was Hard and Fast”

By: Richard Maw

 

Album Type: Full Length

Date Released: 19/02/2021

Label: Nuclear Blast

 

 

“When Life Was Hard and Fast” CD//DD//LP track listing:

 

1. When Life Was Hard and Fast

2. You Don't Love Me

3. I'd Rather Be Hit

4. Gunslinger

5. Never Corner A Rat

6. Time Don't Seem To Matter

7. Fighting Heart

8. I Don't Feel At Home

9. Still Alive

10. Clown Of Misery

11. You're My Rock 'n Roll

 

The Review:

 

Ricky Warwick roars back after his 2016 double album with this eleven-track collection of rock n roll songs, pitched somewhere between Thin Lizzy and Social Distortion. Warwick, of course has enjoyed quite a varied career; a guitar for hire with New Model Army, The Almighty- taken all the way to the UK top 5- an acoustic solo career, fronting the touring line up of Thin Lizzy and finally front man of Black Star Riders. He's still a pretty prolific writer, knocking out albums with regularity and finesse. No doubt about it, Ricky works at his craft and keeps moving forward.

 

All but two of the tracks here is electric and with an energy level not used since, perhaps, “Just Add Life” by The Almighty back in 1996. You get wistful rock in the title track, punked up swagger in “Never Corner A Rat” and “Gunslinger”, some rather sweet acoustic work in “Time Don't Seem To Matter” and anthemic rock/punk in “Fighting Heart”. The album has a fair few moods and manages to keep an edge on its blade for the most part. There are more middle of the road moments here and there- but this is a big step up in attitude and energy from his previous solo electric work.

 

The songs are uniformly finely crafted and shot through with regret and even nostalgia. The production packs a punch too- loud and raw from the drums to the guitars and vocals. There is some good storytelling too; “Still Alive” is a rip roaring crime tale and one that's well told at that. I'm hugely fond of the one-two closing punch of “Clown of Misery” and “You're My Rock 'n Roll”. The former is a strange kind of maudlin acoustic number with a demo sound, while the latter is full on Mike-Ness-in-a-hotrod-punk-rocking.

 

The best way to sum up the record is that it is convincing. You believe what Warwick sings and his delivery is stellar. I'd recommend this to anyone who is a fan of any of the bands mentioned. “When Life Was Hard And Fast” is a quality album full of swagger and a good measure of restraint at times. It will scratch that singer-songwriter itch and is the best solo record Warwick has put out to date. Mission accomplished

 

“When Life Was Hard and Fast” is available HERE

Band info: facebook

ALBUM REVIEW: Avatarium, "The Fire I Long For"

By: Richard Maw

Album Type: Full Length

Date Released: 22/11/2019

Label: Nuclear Blast

“The Fire I long For” CD//DD//LP track listing:

01. Voices
02. Rubicon
03. Lay Me Down
04. Porcelain Skull

05. Shake That Demon
06. Great Beyond
07. The Fire I Long For
08. Epitaph Of Heroes
09. Stars They Move

The Review:

Avatarium, originally Leif Edling's brainchild, are back here with album number four. Over the course of the last six years, the band has produced some top quality dramatic doom with the excellent vocals of Jennie Ann Smith being a huge selling point beyond the huge riffs and sometimes ethereal music offered up by both Edling and more so Marcus Jiddell.

“The Fire I long For” is not as immediate as “The Girl With the Raven Mask”, and not as hard rocking as “Hurricanes and Halos”. It is not really akin to the debut either- if that helps at all. It's ambitiously structured and is a rather downbeat listen- maudlin rather than dreamy. The first three tracks offer up plenty of melodrama but it's a very different type of melodrama to, say, “The Door To Doom.” by Candlemass

Opener “Voices” is a dark one- with a rather disappointing snare sound, but after that things pick up via “Rubicon” and “Lay Me Down”- reaching a first half peak with the sublime “Porcelain Skull”- great riffs and songwriting! There is also rock n roll aplenty here- “Shake That Demon” is hard driving rock of the best kind, bridging the two halves of the record and blowing away any atmospheric cobwebs. The BOC, Rainbow and Sabbath influences remain, of course, but Avatarium sound different to all other doom bands operating.

The epic “Great Beyond” and the title track share similar DNA; dark and spacey soundscapes of five minutes plus. The black as tar “Epitaph of Heroes” is the record's longest and darkest listen with no small amount of dramatic riffage. “Stars They Move” closes this intriguing and abstract record with varied instrumentation and an excellent vocal performance from Smith. The press release refers to Leonard Cohen as a writing influence and I can see and hear it here. This is a different album for Avatarium; progressive and ethereal, hard to grasp and a grower. You'll get a great record out of repeated listens. Another sublime record.

“The Fire I Long For” is available HERE

Band info: facebook

ALBUM REVIEW: Phil Campbell, "Old Lions Still Roar"

By: Richard Maw

Album Type: Full Length

Date Released: 25/10/2019

Label: Nuclear Blast

 

“Old Lions Still Roar” CD//DD/LP track listing:

01. Rocking Chair (feat. Leon Stanford)
02. Straight Up (feat. Rob Halford)
03. Faith In Fire (feat. Ben Ward)
04. Swing It (feat. Alice Cooper)
05. Left For Dead (feat. Nev MacDonald)
06. Walk The Talk (feat. Danko Jones & Nick Oliveri)
07. These Old Boots (feat. Dee Snider)
08. Dancing Dogs (Love Survives) (feat. Whitfield Crane)
09. Dead Roses (feat. Benji Webbe)
10. Tears From A Glass Eye (feat. Joe Satriani)

The Review:

Phil Campbell has had quite a life after Motorhead- his Bastard Sons band, with his sons (!) made a good quality hard rock album and are touring pretty relentlessly. It is surprising, then that he has found time to record a solo album- one infused with some heavyweight guests; Rob Halford, Dee Snider, Nick Oliveri, Whitfield Crane, Ben Ward, Matt Sorum, Joe Satriani... the list quite literally goes on.

Make no mistake, Motorhead was a collaborative effort. The riffs and the arrangements on all those Motorhead albums post 1986? Campbell's (with Wurzel for the first nine years, of course) and Dee's. Lemmy was a lyricist, a melody writer and a songwriter, but Campbell put in the heavy lifting from “Overnight Sensation” onwards. It's no surprise, then, that the songs here are strong. They are also somewhat surprising.

Opener, “Rocking Chair” is an autobiographical tale of fulfilling destiny and played in a blues/country rock style... acoustically. After that, the swagger of “Straight Up” (Halford on vox) hits a sweet spot, Ben Ward pops up on the low slung “Faith in Fire” and smashes the ball out of the park- surely a bucket list job for Ward, being as he is a huge (literally and metaphorically) Motorhead fan.

The guests keep coming. The riff on “Swing It” is great- pure attitude- and the vocal from Alice Cooper is just as good. Golf has never before sounded this rock n roll. Things slow down on “Left For Dead”; bluesy vocal from Nev Macdonald- for me, it is a lesser track and perhaps reminiscent of the early 90's Motorhead penchant for a ballad, but as Nick Oliveri guests on “Walk The Talk” with its  barrelling groove, all is right again.

Dee Snider puts in an athletic performance for “These Old Boots” which is another mid tempo rocker with a big chorus and a big cowbell. There is old Motorhead collaborator Whitfield Crane on “Dancing Dogs”- with a surprisingly dark and grunge like feel and Wales' own Benji Webbe on the piano led “Dead Roses”! As a ballad it is a winner and nothing like what you might expect from the ex-Motorhead man. It's straight faced and all the better for it.

By the time the tenth and final track, “Tears from a Glass Eye” smoothly spins out of your speakers, you'll probably have a view about this album.  It's a wistful instrumental and one of the best things on the record. It's not a Motorhead album, that's for sure; the tempos are conservative and with half the album surprisingly quiet and restrained it's quite a curveball for Campbell's fans. It's one I enjoyed hugely, though. There are some real insights into Campbell's psyche and his musical loves and inspirations. He delivers wonderful guitar playing throughout and no small amount of great songwriting. For any fan of his work with Motorhead, it's a must. For any fan of any of the artists featured, well, give it a try. You'll be surprised at the very least and more than likely impressed.

“Old Lions Still Roar” is available HERE

 



Band info: Official



ALBUM REVIEW: Black Star Riders, "Another State of Grace"

By: Richard Maw

Album Type: Full Length

Date Released: 06/09/2019

Label: Nuclear Blast

This is the best BSR album so far; full of great songs, with a great production and excellent performances.  This band just gets better and better.

 

“Another State of Grace” CD//DD//LP track listing:

1. Tonight The Moonlight Let Me Down
2. Another State Of Grace
3. Ain’t The End Of The World
4. Underneath The Afterglow
5. Soldier In The Ghetto
6. Why Do You Love Your Guns?
7. Standing In The Line Of Fire
8. What Will It Take?
9. In The Shadow Of The War Machine
10. Poisoned Heart

The Review:

Black Star Riders are now on album number four. Ricky Warwick and Scott Gorham remain the nucleus of the band and the Thin Lizzy feel to the tracks is still there, but has become less and less pronounced with each successive album.

Hard rock of the highest quality is still the order of the day, and this is the best BSR album so far (and that is saying something!). The opener rocks hard with hooks to spare, the title track rolls out of the speakers like a Lizzy track circa 1976 with Warwick's evocative lyrics about the troubles of America making an admirable foil for some real guitar pyrotechnics through the riffs and solos. New boys Martucci and Szeliga provide accomplished guitar and drum work respectively and have brought an energy and enthusiasm to the band, evident on “Ain't the End of the World”.

Scott Gorham's pedigree runs right the way through the album, but once again there are plenty of Warwick's trademark writing here. “Underneath the Afterglow” could be straight out of The Almighty's “Just Add Life” record from 1996! There are some musical surprises here and there too; Hammond organ can be heard, jew's harp on “Solider in the Ghetto” and acoustic gentleness on “Why Do You Love Your Guns”, which finds Warwick in contemplative mode, the Northern Ireland native seemingly adrift in his adopted US homeland.

The more straightforward hard rockers like “Standing In The Line Of Fire” are all whiskey and retribution and they deliver exactly what you want: tough as leather riffage, smooth as silk choruses and lots of memorable lines over the course of three minutes plus. “What Will It Take” does not quite work for me; a little too middle of the road, perhaps- finely crafted but a little bland, even with the extra dimension of Pearl Aday's sublime vocals. The final two tracks are balls out rock- “In The Shadow Of The War Machine” is catchy and chuggy, highlighting Warwick's gifts as a gifted and uncomplicated songwriter. “Poisoned Heart” is a little more restrained and is a strong finish to a very strong album.

There are not too many hard rock bands around these days and even fewer forging forward with new material on such a regular basis, each album improving on the last. They may even be the last of a dying breed, but Black Star Riders are amongst the very best at what they do. This is the best BSR album so far; full of great songs, with a great production and excellent performances. It builds superbly on the band's previous albums and even outdoes “Heavy Fire”- this band just gets better and better.

“Another State of Grace” is available HERE

Band info: facebook

ALBUM REVIEW: Wytch Hazel, "II: Sojourn"

By: Richard Maw

Album Type: Full Length

Date Released: 13/07/2018

Label: Bad Omen Records

Just how good and revered this album is and will be is not yet known, but there is no doubt that all the elements are there for this to become at the least an underground hit.

“II: Sojourn” CD//DD//LP track listing:

1). The Devil Is Here

2). Save My Life

3). Still We Fight

4). Wait On The Wind

5). See My Demons

6). Barrow Hill

7). Chorale

8). Slaves To Righteousness

9). Victory

10). Angel Take Me

The Review:

Undoubtedly the best medieval inspired hard rock band in the North West of England (!) Wytch Hazel are back with this second full length album. They have retained their vintage sound and peculiarly English sense of style on this excellent return. Much like their debut, “Prelude”, the band play very assuredly and with considerable flair; the guitar work is fleet footed and the rhythm section is very tight indeed.

If the band were going for a classic Wishbone Ash crossed with Thin Lizzy by way of Jethro Tull vibe... they have succeeded admirably. Messrs Downey, Lynott, Gorham and Robertson/Moore/White/Sykes (or Bell) would be hugely pleased if they came up with the fiery work displayed on “Save My Life” or storming opener “The Devil Is Here”. The word here is classic: classic sound, well delivered  songs and timeless in themes and scope.

There are bursts of pace (“Still We Fight”) to go with anthemic choruses. There are mellow and melancholy tracks (“Wait On The Wind”) and not a duff track in sight in the ten on offer here. This is English hard rock of the best vintage (1972-1978) and actually manages to conjure up the wistfulness  that the aforementioned Wishbone Ash did so convincingly on their classic “Argus” full length.

Just how good and revered this album is and will be is not yet known- it needs more time to bed in than the two weeks I have had it for review; but there is no doubt that all the elements are there for this to become at the least an underground hit. From the lush acoustics of “Barrow Hill” to the instrumental bombast of “Chorale”, the ingredients are here.

Wytch Hazel pursue the same path to its logical conclusion via “Slaves To Righteousness”, “Victory” and the closing “Angel Take Me”. The only possible fly in the ointment for some listeners may be the somewhat spiritual/religious aspect to the record- but it was there on the debut too. It doesn't bother me but you may feel differently; your call.

What we have here, then, are ten tracks of finely crafted English hard rock in the classic style. There are no songs about girls, no songs about cars, only loud guitars and a longing for another, simpler time. Fantastic.

“II: Sojourn” is available here

Band info: bandcamp || facebook