ALBUM REVIEW: Blaze Bayley, "Circle of Stone"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 23^rd February 2024
Label: Blaze Bayley Recordings
 

“Circle of Stone” CD//DD//LP track listing:
 
1. Mind Reader
2. Tears in Rain
3. Rage
4. The Year Beyond This Year
5. Ghost in the Bottle
6. Broken Man
7. The Call of the Ancestors
8. Circle of Stone
9. Absence
10. A Day of Reckoning
11. The Path of the Righteous Man
12. Until We Meet Again
 
The Review:

Blaze returns with another fiery and anthemic album of heavy metal. Blaze has been on a roll for the best part of a decade now. Since harnessing the considerable talents of British metal heroes Absolva- now further bolstered by Luke Appleton joining the team to work alongside his brother- Blaze has been on a musical winning streak. He managed three albums in three years with the “Infinite Entanglement” Trilogy, followed that up with a superb collection of songs in “War Within Me”, plus a couple of live albums and DVDs.
 
Blaze and band are exceptionally hard working- the pandemic was a cruel period as it left them kicking their heels while they couldn’t tour. Significantly, Blaze suffered a near fatal heart attack in 2023, so the fact he is still at all here is a blessing. The fact that the quality of his records is still very high is a real gift to the fans. After coming close to death, Blaze could be forgiven for dialling things down, going acoustic, reducing touring or even just retiring.
 
However, a short run of UK dates last year were a triumph- the voice, the energy and the life force were still there. That life force runs right the way through this record. “Circle of Stone” is a life affirming winner, that’s for sure.
 
Things start confidently with “Mind Reader”, “Tears of Rain” references Blade Runner and is even better. “Rage” is a darker proposition and finds Blaze delivering a superb vocal performance. It delivers a Welsh folk tale, via heavy metal. Excellent. As usual with Blaze’s recent records, the pacing and sequencing is great; each track is different from the last and has its own personality- but it doesn’t sound disjointed.
 
On the contrary, Chris Appleton has done a good production and mix job here, allowing the album a distinct sound and character. Sonically, it sounds much better to my ears than “War Within Me”. I’m unclear as to whether a pro studio was used or if this was a home production, but it doesn’t matter as it sounds great. The drum sound is significantly improved and the instruments are nicely blended with Blaze’s voice front and centre.
 
According to the man himself, the first six songs here represent tales of resilience, fighting against the odds and so forth. It’s prime Blaze stuff and expertly delivered. As the band blast through “The Year Beyond This Year” and “Ghost in the Bottle” the record flies high. It comes back to earth with “The Broken Man”, which is more introspective and a slow burning emotive listen. Any listener might think this was written in the wake of Blaze’s health problems, but in fact this entire album was recorded before his dance with death.
 
The latter six tracks here represent six connected tracks that tell a story of connection to the past and redemption. “The Call of the Ancestors” kicks side two off in grandiose (mostly) instrumental style; bagpipes, guitar, ethereal vocals…. It sets the scene for the mighty title track. It’s majestic, it recalls “The Clansman” and is a killer. “Absence” is a straight up rocker, with killer riffage and guitar work in general.
 
From there, it’s three tracks remaining. Numerous moods and approaches are covered; the melancholy and murderous tale told in “A Day Of Reckoning” gives way to hopefulness, while “The Path of the Righteous” engages the turbo charger for a convincing metal romp. “Until We Meet Again” caps the album off with acoustic atmospherics and a haunting guest vocal from Tammy Rae-Bois, who duets stirringly with Blaze. It’s a folk-y and hopeful conclusion to an album with hidden depths and themes.
 
To summarise, “Circle of Stone” continues the high-quality music that Blaze has been putting out since 2016 and offers some different aspects to his writing and sound. It’s a triumph, it’s a tour de force and I’m so glad he is still here.
 
“Circle of Stone” is available HERE

Band info: official || facebook

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

TRACK PREMIERE: Screamer deliver heavy metal thunder on "Caught In Lies"

Screamer never strays far from the proven sound of roaring guitars and pounding drums that's just as powerful in the pit as when it's blasting through your stereo. In Screamer's music, you can hear the classic foundations laid down by the hard rocking heroes of old. With a combination of straight-forward choruses of the likes of Dio, guitar work in the style of Maiden or Lizzy on speed, and the pounding beat of Judas Priest, Screamer has carved out their very own essence of heavy metal that stands the test of time.

Their fourth album “Highway of Heroes” is set to be released the 11th of October though The Sign Records. The album holds nine tracks plus a CD/Vinyl exclusive intro. Screamer is set to tour Europe in November following the release of “Highway of Heroes” Preorders are available here and you can stream the “Caught in Lies” below

Live Rituals:

 1.11.19 DE - Hamburg, Bambi Galore
 2.11.19 NL - Nijverda, Cult Art Club l
 3.11.19 DE - Kassel, Goldgrube
 5.11.19 DE - Leipzig, Mørtelwerk
 6.11.19 DE - Prague, Club007
 7.11.19 AT - Wien, Escape
 8.11.19 AT - Linz, Kapu
 9.11.19 AT - Dornbirn, Schlachthaus
 10.11.19 DE - Göppingen, Zille
 11.11.19 BE - Bree, Ragnarock
 12.11.19 DE - Saarbrücken, Studio 30
 13.11.19 DE -  TBA
 14.11.19 DE - Münster, Rare Guitar
 15.11.19 DE - Mannheim, MS Connection
 16.11.19 DE - Koblenz, Florinsmarkt
 23.11.19 SE - Gislaved, Crash Course Club
 29.11.19 SE - Göteborg, The Abyss
 30.11.19 SE - Örebro, Watt

Band info: bandcamp || facebook

ALBUM PREMIERE: “Guided by Evil Light” by Hungarian heavy/doom warriors SpiritBell

SpiritBell has arisen from the ashes of Aiming High, an Accept tribute band that was popular in the underground of Western Hungary. Influenced by artists such as Metal Church, Savatage, Mercyful Fate, Iron Maiden, Accept, and Judas Priest, the Hungarian warriors soon came up with their own songs. After a demo, two EPs, a full length, and a cover album they had become a known band in the Hungarian underground metal scene. Due to the fact that the audience of their music declined in Hungary, SpiritBell started to have fewer shows which ultimately led the band to their demise in 2013… However, the passion remained.

Despite these disappointments, SpiritBell remained restless and continued to produce new works in their workshop. The hard work of melting the Hungarian steel resulted in five brand new, darkness filled high-energy tunes. Unfortunately, the lack of interest locked these masterpieces in their cellars but we all know what they say about the chained beast… It eventually finds its way to the surface with an endless hunger for blood.

In 2016 times were different, people started to show interest in ringing the SpiritBell again, awakening the ghost of the once promising underground act. Sándor “Pixi” Patak”, singer and founding member of the band, decided to heed the call and resurrected the group by finishing the songs which were written after the split up. Five heavy/doom metal masterpieces were put in their final form in the home studio of Pixi’s friend. Five deadly songs about war, ghosts and other mysterious topics. Pixi is currently working on creating a stable line up to perform these tunes along with the old favorites.

The inner beast is unleashed in the image of saber wielding horse archers of Hungary, who like a deadly wave from East is ready to spread their heavy/doom metal music all around the world.

This release, originally planned as an EP, has been expanded with 5 extra tracks, bringing the playing time over 48 minutes and you can stream it in full below and if available to buy via Witches Brew here

“Guided by Evil Light” track listing:

1. The Nameless Soldier

2.  Desert Ghost

3. The Flying Dutchman

4. Breath of the Raven

5. Full Moon Madness

6. I am the Vengeance (Demo 2016)

7. Queen of the Night (Demo 2016)

8. Ivan the Terrible (Demo 2016 -Instrumental)

9. Horgonyt fel! (Demo 2012)

10. Doomed Planet (Demo 2013) - Cirith Ungol cover

Band info: facebook 

Wytch Hazel - "Prelude" (Album Review)

By: Richard Maw

Album Type: Full Length
Date Released: 22/04/2016
Label: Bad Omen Records

If you have any interest in Tull, Ash, Lizzy, Sabbath et al and yearn for a band to come along and play like those heroes of a bygone era, Wytch Hazel are definitely worth your time and money. They are a great band and one that is doing something unique- out are occult tropes and devil-ish imagery, in are song-writing, medieval sonics/themes and enthusiasm rather than cynicism. A triumphant record on every level.

“Prelude” CD//DD//LP track listing:

1). Freedom Battle
2). Fight
3). Mighty King
4). More Than Conquerors
5). Psalm
6). Prelude
7). He Shall Reign
8). Dark Ages
9). Wytch Hazel
10). We Will Be Strong

The Review:

This Lancaster troupe of minstrels release this full length via Bad Omen Records (home of the recently reviewed Wretch!). Musically, this is somewhere between Jethro Tull (folk rock period up to 1980) and Black Sabbath/Thin Lizzy. It certainly has the folk-ish elements and the complexity of the former, but it also brandishes the power of the latter as well- this is not folk rock; it's too heavy for that.

“Freedom Battle” starts off at a fine clip and brings elements of Maiden (and thus their beloved influences) to the fray. “Fight” continues the combative theme of resistance and has many changes which are deftly handled by the band. “Mighty King” has no shortage of whimsical guitar work or vocal hooks. The sound is pleasingly warm and, yes, 70's. “More Than Conquerors” comes on like a revved up Wishbone Ash, while “Psalm” also echoes this; particularly with it’s rather pretty acoustic guitars and lyrics themed around nature, solitude and so on. Nice keyboard work, too.

The title track has a lot of the aforementioned elements and influences and hearing the ambient hiss (if you listen carefully on headphones) at the start of the track adds to the sense that this album is a trip back in time. “He Shall Reign” is a rather triumphant track in tone and boasts some excellent dynamics and vocals, along with a heavy turn in the middle. “Dark Ages” is a lament about an age of apathy and deceit. Prescient.

The band's theme song (if that is not too crass a term) follows with a rather muscular and Lizzy-esque four and a half minutes, interspersed with an acoustic passage and a superb harmony guitar section. The closing six minutes of “We Will Be Strong” is another powerful song with plenty of guitar interplay and soaring vocals. There is a tight rhythm section at work (as there is throughout the album) and plenty of singable lead work.

If you have any interest in Tull, Ash, Lizzy, Sabbath et al and yearn for a band to come along and play like those heroes of a bygone era, Wytch Hazel are definitely worth your time and money. They are a great band and one that is doing something unique- out are occult tropes and devil-ish imagery, in are song-writing, medieval sonics/themes and enthusiasm rather than cynicism. A triumphant record on every level.

“Prelude” is available here

Band info: facebook

Bedowyn - "Blood of the Fall" (Album Review) & Exclusive Album Premiere

By: Richard Maw

Album Type: Full Length

Date Released: 27/05/2016

Label: Via Nocturna

While the overall sound is pretty weighty, this is not as aggressive as the likes of the High on Fire; Bedowyn cover more of a middle ground. This is eminently listenable and surprisingly accessible stuff.  “Cotards Blade” is a good example of the overall sound; riffs, elements of traditional metal, some time changes and definitely metal drumming (not rock, as it were) but it won't take your head off.  “Blood Of The Fall” is a fine independent release by Bedowyn and a worthy addition to the stoner doom/heavy metal canon. Support the band and check it out.

“Blood of the Fall” DD track listing:

1). The Horde

2). Rite To Kill

3). Blood of the Fall

4). Cotard’s Blade

5). Leave the living…for Dead

6). For a Fleeting Moment

7). Where Wings will Burn

8). I am the Flood

9). Halfhand

10). Lord of the Suffering

11). The Horde (Exodus)

The Review

So, stoner doom is alive and well in the US with the likes of Bedowyn recording albums like this. After an intro, “Rite To Kill” sets the album up in grand style. The style is similar to early albums by The Sword or a more trad High on Fire, perhaps. There are fine riffs here, double tracked vocals and rolling bass drums aplenty. Heavy, for sure, but not drone or ridiculously slow. There is good lead guitar work and the vocals are clean but with the necessary grit that this style needs. The title track is a fine exercise in tasteful drumming and propulsive riffage.

While the overall sound is pretty weighty, this is not as aggressive as the likes of the aforementioned HOF; Bedowyn cover more of a middle ground. This is eminently listenable and surprisingly accessible stuff. “Cotards Blade” is a good example of the overall sound; riffs, elements of traditional metal, some time changes and definitely metal drumming (not rock, as it were) but it won't take your head off. This is, to draw a comparison, late period Mastodon as opposed to early period Mastodon (not comparing material quality, just approach and placement on the metal spectrum).

You will notice that over the course of the eleven tracks on offer here, none go over the line into the very long/ubiquitous prog track territory so beloved in the genre these days. Instead, the band keeps things pretty tight and focused- there are songs here and a clear effort has been made to produce a streamlined and solid record. It pays off, and allows the band to include a clutch of instrumentals (now that is METAL) including “For A Fleeting Moment” which continues in fine Sabbathian tradition by being acoustic. I am a huge fan of this most metal of album traits as it breaks up the record, allowing the album to shift from one part to another and allow some dynamics to be added. “Where Wings Will Burn” continues the acoustic motif for a time, and then we are into side 2 (in my way of thinking anyway) with vocals only appearing after a couple of minutes.

The appropriately titled (given the end of days type scenes in Northern England at the moment) “I Am The Flood” offers almost spacey riffing combined with a fairly quick tempo. “Halfhand” starts out moody and acoustic (I like the use of acoustic guitar throughout the album) but makes use of the tried and true gentle and forceful dynamic. “Lord Of The Suffering” is the final vocal tracked song of the album and offers up some great passages of doom over its six minutes plus. Finally, the tricks of the intro are reprised for the instrumental closer.

“Blood Of The Fall” is a fine independent release by Bedowyn and a worthy addition to the stoner doom/heavy metal canon. Support the band and check it out.  

You can stream the whole album exclusively in full below.  

“Blood of the fall” is available here

FFO: The Sword, Baroness, Orange Goblin, High on Fire

Band info:  facebook | bandcamp

Danzig - "Skeletons" (Album Review)

By: Daniel Jackson

Album Type: Full Length

Date Released: 27/11/2015

Label: Nuclear Blast/Evilive

“Skeletons” would have been an awesome opportunity to work with a variety of musicians, those better equipped to handle specific songs and play up their advantages.  The recording quality varies wildly from song to song, as does the overall execution of each song. The strength of Danzig’s vocal performance is pretty consistent with where he was at on ‘Deth Red Sabaoth’, perhaps even a bit better which, sadly, makes it the album’s only consistently positive attribute.

‘Skeletons’ CD//LP//DD track listing:

1. "Devil's Angels" (from Devil's Angels soundtrack)

2. "Satan" (from Satan's Sadists soundtrack)

3. "Let Yourself Go" (Elvis Presley)

4. "N.I.B." (Black Sabbath)

5. "Lord of the Thighs" (Aerosmith)

6. "Action Woman" (The Litter)

7. "Rough Boy" (ZZ Top)

8. "With a Girl Like You" (The Troggs)

9. "Find Somebody" (The Young Rascals)

10. "Crying In The Rain" (The Everly Brothers)

Danzig is:

Glenn Danzig | Vocals

Tommy Victor | Guitar

Johnny Kelly | Drums

The Review:

In lieu of doing a more traditionally formatted review, in which I would normally break down the positives and negatives of an album, I’m going to frame this more as if I were addressing Danzig directly. Danzig’s had an enormous impact on my life dating back to the mid 90s when I first heard the band’s debut album. If this comes across as self-serving, I apologize, but this seems to be the only way I feel I can communicate my feelings about this album.

I first heard Danzig in 1994 thanks to a childhood friend who had the debut album. I was borderline obsessed with finding all of the band’s albums and learning whatever information I could. I was twelve at that point, and I had never heard anyone deal with religion so subversively. In a sense Danzig was a gateway into much darker musical interests. The music was so infectious, and Danzig himself was so compelling, as the chiseled rock god howling about fire and sex and demons.

Over the next few years I found everything I could, buying up all of the albums available, including Danzig 1-4, the first Danzig VHS, “Black Aria” and the single for “Dirty Black Summer” with “When Death Had No Name” as the b-side. I even bought a used version of the box set version of ‘How the Gods Kill’, with the bonus VHS and the awesome H.R. Giger artwork raised up from the box. I went on to buy damn near anything I could find from The Misfits and Samhain, and one of my great music fan regrets is that I didn’t snag the “13 Hits from Hell” promo from the Virgin Megastore I worked at before they got called back after the release was cancelled.

As the years went on, I often found myself in the role of a Danzig apologist, acknowledging that ‘Blackacidevil’ was a rough transition, but arguing that ‘Satan’s Child’ brought a lot of what I loved about Danzig early on, even if it was wrapped up in different dressing. I’ve grudgingly admitted to myself that Danzig sounded hoarse and tired after ”Blackacidevil”, and that you can’t go around shoving enormous hardcore dudes without expecting some fists to fly in response. And, while I’m in the middle of confession, I’ve admitted to myself that “Circle of Snakes” wasn’t all that good, though I still strongly contend that ‘Deth Red Sabaoth’ was his best record since the days of the original Danzig lineup.

On ‘Deth Red Sabaoth’, Danzig’s voice seemed to come back to him. His singing was at the level you’d hope for a man to sound like in his mid 50s and some 15 years after his last truly classic album. The songs were compositionally on point, but the album’s production flaws did some real damage to the overall presentation, and the album suffers as a result. To me, that makes the album a victory, given all that had gone on leading up to the album’s release.

So here we are. It’s 2015 and Danzig’s releasing ‘Skeletons’, the band’s first ever album of cover songs. And as much as it kills me to say it; the album’s a mess. It’s a collection of demos that desperately needed to be re-worked before being released. The recording quality varies wildly from song to song, as does the overall execution of each song. The strength of Danzig’s vocal performance is pretty consistent with where he was at on ‘Deth Red Sabaoth’, perhaps even a bit better which, sadly, makes it the album’s only consistently positive attribute.

Instrumentally, Johnny Kelly and Tommy Victor are either uninspired or they’re actively detrimental to the album. If this album really is a collection of rough demos marketed as a finished album that might explain some of what’s going on. Tommy Victor throws pinch harmonics around like he gets a bonus for each one he uses. It feels as if someone were to make a supercut of every pinch harmonic he uses on the album, it would still be half as long as this album. It’s distracting, unnecessary, and ill-fitting at various points throughout the whole album.

Some of the album’s instrumental issues come as a result of simply being the wrong choice of style for the musicians involved. It’s hard to be mad at Johnny Kelly for taking the wrong approach to “Let Yourself Go”, for example, because he’s being asked to translate the drums for an old R&B song into drums for a heavy metal song. I’m not even sure that simply working with the original beat would work to Kelly’s strengths as a drummer, leaving aside whether that style would even make sense in a metal context. The idea behind the cover itself likely crippled the song before tracking ever started. It’s obviously a great fit for Danzig’s voice, but a poor choice for the remainder of the band.

In that sense, “Let Yourself Go” acts as a representation for the whole album. Whatever isn’t bad in concept is often harmed by an individual or multiple performances throughout. Ideally, “Skeletons” would have been an awesome opportunity to work with a variety of musicians, those better equipped to handle specific songs and play up their advantages. Instead we have some of Danzig’s strongest vocal work of the last twenty years, and a flat mess underneath it all.

 I take absolutely no joy in being this harsh on a Danzig album. I’m a huge fan, and his music was there for me during some of the best and worst times in my life. It will be in the future too. But I also believe in giving an honest assessment of an album, and this one is dead on arrival. Danzig as a band is in dire need of a shake up, and it is imperative that they find a new, independent producer. Someone who can give the band a good, consistent tone and challenge the band to do better than settle for demo-quality recording and half-hearted performance. And to think what could have been done when Danzig’s own performance is as good as it is.

You can pick up a Vinyl, CD or Digital copy here.

Band info: Facebook | Official Site

Motorhead - 'Bad Magic' (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 28/08/2015

Label: UDR Music

If this is to be the last album, then the band have added to their legacy, kept their powder dry once again and gone out all guns blazing. If it isn't, well the next one will be along in a couple of years and will no doubt give your ears a good hiding when it does. Still the best rock and roll band in the world, and as the man says, the last one you can trust until the end.

‘Bad Magic’ CD//DD//LP track listing:

1). “Victory or Die”
2). “Thunder & Lightning”
3). “Fire Storm Hotel”
4). “Shoot Out All of Your Lights”
5). “The Devil”
6). “Electricity”
7). “Evil Eye”
8). “Teach Them How to Bleed”
9). “Till the End”
10). “Tell Me Who to Kill”
11). “Choking on Your Screams”
12). “When the Sky Comes Looking for You”
13). “Sympathy for the Devil”

Motorhead is:

Lemmy Kilmister | Bass. Vocals

Phil Campbell | guitars

Mikkey Dee | Drums

The Review:

Motorhead have now been around for forty years. Incredible, but there it is. I can't think of a more consistent band. An album every couple of years or so and each one worthy of your cash and time. In Lemmy, Motorhead have the rocker we would like to be if we were a lot less like ourselves. More so than personality, image or anything else, there is the music to focus on, though. Dare I say it; there are few bigger fans of Motorhead than me. They ARE rock 'n' roll and they have written and performed some of the most visceral and exciting music ever. If you don't get it, then I feel sorry for you. Your loss.

Having been listening avidly since buying the ‘No Remorse’ compilation in 1992 I have bought a lot of Motorhead records when they were first out. I have looked forward to buying the next one, time after time. With Lemmy now well into pensionable age, the likelihood of another one to look forward to gets slimmer each time another one gets released. Yet, here comes ‘Bad Magic’, swaggering, brash, fast and loud. Just like all the other Motorhead albums... as if they were really all the same. The thing with the best bands is that they have a certain sound; Iron Maiden, Black Sabbath, Judas Priest, AC/DC, Slayer, Bolt Thrower...even the Stones. They all sound just like themselves- the quality of the material may vary, but in essence they remain identifiable. Naturally, there will always be those who revile such bands (“it all sounds the same”.. “It’s just another Iron Maiden album” etc. and ad infinitum) but there will be those who love them for it and expect what they are expecting.

‘Bad Magic’ delivers on every level. “Victory or Die” opens things with a bitter statement of intent- defiance in the face of impending destruction, joie de vivre despite the party coming to an end. “Thunder and Lightning” is everything that Motorhead are best at- thunderously loud and, yes, lightning fast with celebratory devil may care lyrics. “Firestorm Hotel” is one of those mid paced rollicking numbers that latter day Motorhead excel at (from 1916 onwards).

The drums of Mikkey Dee are absolutely thunderous as per- excellent intro on “Shoot Out All of Your Lights” with a great double bass drum sound and use of rudiments on the ride (this is how you play drums, kids- learn the basics, get fast at them and just lay the beat down. Hard.) Of course, not every track is a stone cold killer (“The Devil”)- but the ‘Aftershock’ album wasn't perfect and then again, neither was the ‘Ace of Spades’ album either. There are always tracks that are not as good as the stand-outs, but the vibe is always there with Motorhead and the overall sound wins. “Electricty” has some excellent lyrics and a well worn riff from Phil Campbell (now with the band for 31 years). “Evil Eye” is a kind of “different” Motorhead track- sombre and dark with a strong percussive refrain- that crops up occasionally in different forms on a  few of their records.

“Teach Them How To Bleed” is as good as the title suggests it might be- all expected Motorhead-isms operating in the red.  ‘Till The End’ is the album's sole downbeat number (most of their best albums have at least one!) It is as close to a ballad as the band really get here. “Tell Me Who To Kill” turns up the volume and ups the tempo again. Great title, great riff and a great track. “Choking On Your Screams” features a malevolent vocal and a kind of discordant half stepping riff that wouldn't be out of place on the excellent ‘Bastards’ album.

“When The Sky Coming Looking For You” is rhythmically similar to “Dr Rock” from the (also excellent) ‘Orgasmtron’ record and features rather wistful lyrics, which are also pretty caustic. That only leaves the cover of “Sympathy For The Devil”- a fine song and a fine cover. It is done well here; faithful at first and revved up later. It is a fitting way to end the album. I only hope that this is not the last Motorhead album I get to hear anew. Having bought the vinyl at the start of the week, I got the joy of dropping the needle onto it for the first time, new musical territory to explore, new songs to become familiar with and all wrapped up in the cloak of reliability that the band has worn for forty years.

If this is to be the last album, then the band have added to their legacy, kept their powder dry once again and gone out all guns blazing. If it isn't, well the next one will be along in a couple of years and will no doubt give your ears a good hiding when it does. Still the only band I have a tattoo of, still the best rock and roll band in the world, and as the man says, the last one you can trust until the end.

As an added bonus, here is my list of Motorhead albums from best to worst.  And yes, ‘Bastards’ is the best one. Or is that just because it was the first one I bought brand new? For what it's worth, ‘Bad Magic’, at an early guess, sits somewhere below ‘1916’, but somewhere above ‘Aftershock’. Please note, all the albums on this list are good, but some are not as good as others.

1.       Bastards

2.       Overkill

3.       Ace of Spades

4.       Another Perfect Day

5.       Orgasmatron

6.       Bomber

7.       1916

8.       Inferno

9.       Iron Fist

10.    The World is Yours

11.    We Are Motorhead

12.    Sacrifice

13.    Motorizer

14.    Aftershock

15.    Overnight Sensation

16.    Kiss of Death

17.    Rock and Roll

18.    Motorhead

19.    March or Die

20.    Snake Bite Love

21.    Hammered

‘Bad Magic’ is available everywhere now

FFO: Iron Maiden, Black Sabbath, Judas Priest, AC/DC

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