Youngblood Brass Band- Pax Volumi

 

Funk and jazz, hip-hop and punk; these are just some of the places that Youngblood Brass Band have gone to draw inspiration for this latest release.

Pax Volumi, the fourth album from this 10-piece collective from across America. Blending hip-hop rapping with tongue-in-cheek lyrics, jazzy horn lines, punk-y beats and funky bass lines, there really is something to appeal to all audiences about this music.

The album successfully captures the energetic craziness of the live band, and shows off the way the group is influenced by New Orleans Dixieland jazz with the semi-improvised nature of the tracks, and the interaction between the different parts.

Youngblood Brass band really have got some fantastic tracks on this album- the opener and debut single, ’20 Questions’ shows off their Hip-hop stylings to great aplomb. The horn riffs crackle like fire and the lyrics come thick and fast. ‘Wrestlevania’ is a much more jazzy number- instrumental, it shows off the band’s prowess as players. The cover of Chaka Khan’s 80s classic ‘Ain’t Nobody’ is full of life and energy, with some great sections of powerful horns, with a slightly latin beat. ‘The Old Rugged Cross’ takes the feel and sounds of a New Orleans funeral march, slow and sombre, before lifting up into a celebration of life with the segue into ‘His Eye is on the Sparrow.’ The moments where individuals have solos only serves to show how talented the individuals who make up the band are- both tasteful and complicated, these short solos add little bits of individual character to certain tracks, rather than being used as something to have in every song.

Overall, this album crackles with energy, and shows off the talents of the band as a whole; as well as individual musicians. Equal parts jazz, rock, hip-hop and funk, there is something for everyone on this release.

8.5/10

Sleekstain- Hard

Opening in the way they intend to go on, Sleekstain’s latest release of pure, un-diluted rock and roll channels the energy of classic acts whilst remaining individual and modern.

The music on Hard is all no-frills and stripped down. What solo sections there are are kept short and sweet, only as added sections to compliment some of the songs, rather than as compulsory, elongated areas for the players to show off for long stretches. However, this does mean that the songs can get repetitive and samey, with very little change in the texture or overall sound of the individual tracks.

The 10 tracks on the album are all high in energy and are intended to be played at a loud volume. The songs are melodic riotous, good-time rock and roll party tracks which showcase the bands ability to write uncompromising songs and great, catchy riffs, along with hooks and melodies which are instantly memorable and inspire you to sing along.

Overall, it’s a catchy album, full of good-time songs and soarin melodies. However the lack of variety can make it seem repetitive and samey. Despite this, track for track, the songs are all storming rock belters.

6/10

Marius Neset- Birds

This second album from rising Norwegian saxophone star Marius Neset show off all of the aspects of his playing and compositional styles which have enabled his ascent in the European Jazz scene.

On all tracks, the angular melodies, long, flowing runs and long, solo passages all flow smoothly frim under his fingers, whilst supported by an expert rhythm section. Neset’s Tenor and Soprano playing here alludes to his wide range of influences- from Michael Brecker to Stravinsky. The playing is inventive and experimental in places, whilst retaining a style which harks back to earlier players, providing a range of sounds and using repeated passages overlapped with each other to create exciting soundscapes- as can be seen from the immediately compelling title track Birds, which shows off all of the wide technical skills of Neset’s playing and those of his quartet.

The album contains a good balance of more aggressive tracks such as Boxing, and lighter, more flowing numbers like Reprise.

The invention and originality of Neset’s playing seems to leap out of the speakers and definitely compels you to listen to the album over and over again.

8/

10

Ingrid Laubrock Anti-House- Strong Place

The lines between composition and improvisation have always been ones which jazz musicians seek to blur- from the melodious lines of Louis Armstrong and Miles Davis, to the flights of technical expertise of Charlie Parker and John Coltrane- the improvisational side of jazz has always been important, and on this latest album from multi-national ensemble Anti-House, led by saxophonist Ingrid Laubrock, definitely adds to the blurring effect.

The tracks on Strong Place are a series of compositions which incorporate jazz playing with avant-guard techniques, and inflections of world music. The mixture of flowing melodies which seamlessly merge and combine with sometimes halting, stuttering rhythmic patterns and extended use of harmonies serve to accentuate the heavily improvised nature of the album and to make the individual tracks all distinct, whilst allowing a constant darker feel underlying the whole album.

The tracks are all of a length which allows all the members of the group space to play. This means that the album has a very organic, almost ethereal quality to it.

The musicians all make use of added techniques on their instruments, other than just playing normally- the guitar is played with the tuners, the saxophones squeak and rumble and the piano is played in a percussive style. All of this combines to make an exciting, eclectic and interesting collection of tracks.

8/10 

Voodoo Six- Songs to Invade Countries to

Modern rockers Voodoo Six have been championing a form of all-guns-blazing music which has been recognized by members of the rock and metal elite from Steve Harris of Iron Maiden to Mike Portnoy formerly of Dream Theater.

Songs to Invade Countries to provides a great balance between heavy, guitar based epics and melodic moments which show off a more light-hearted side to the band. The tracks also have a groove and definite blues-based kick which, along with the fantastic guitar solos, played with a gnarly tone shows how Voodoo Six are masters at a very traditionalist form of hard rock.

The vast majority of the album falls firmly into a category of earthy hard rock, which meld with groovy hooks to create a gritty atmosphere. The tracks are all strong rockers; riff laden and driving, which keeps the album moving forward without becoming repetitive.

The album perfectly shows off the musicianship and song-writing skills of all the band members, offering opportunities for all to shine.

Overall the album is a great rock and roll album which draws heavily on classic influences, whilst still managing to maintain a modern sound which allows it to fit in with the 21^st century’s rock and metal scene without sounding outdated.

8/10

Voodoo Vegas- The Rise of Jimmy Silver

The Rise of Jimmy Silver is the new release from young blues rockers Voodoo Vegas. Their brand of high-octane guitar rock is both melodic and heavy at the same time.

This album is, from start to finish, a storming album. The 11 tracks, including a brief intro and an interlude track, the Voodoo Vegas definitely have one foot firmly in their roots, with their blues-oriented tracks talking about girls, cars and folk-heroes. The album even includes a once-compulsory acoustic track (what happened to the days when every rock band tried to have one acoustic track on their albums?) The haunting ‘What I Pay’ simply oozes with a spooky, swampy air which sounds like something a 70s Southern Rock band may have come out with. ‘Ferry Song’ furthers the classic vibe of the album and the band’s overall sound with a wailing harmonica solo, imitating train-like sounds and pushing the track along as well as any old-school bluesman. ‘Lost in Confusion’, a pain-drenched ode to pointlessly lost loves goes to show that Voodoo Vegas have a softer side, and can write a heart-rending ballad as well as any 80s arena superstars.

This album is a joyous rock and roll romp, which goes to show that guitar-based music can still kick, yet remain soulful and be played with plenty of feeling.  Definitely a band to watch out for in the future!

9/10

Vega- What The Hell!

Whilst being kept firmly out of the mainstream, British melodic hard rock is in a state of great health. The number of new albums being released is increasing and younger bands are breaking through onto the scene. Vega are at the forefront of this new rise.

Opening with an eerie, circus-esque intro, not entirely in keeping with the rest of the album, Vega really kick in with the second track “White Knuckle.” This track is a lot more melodic than lots of their earlier work, moving slightly away from the harder-edged sound, with soaring vocals and thick keyboard harmonies. The chorus however is a belter, and definitely sets the tone for the rest of the album. Full of belting tracks, and heavy, melodic riffs, Vega are coming into their own, creating a loud, brash sound which retains all the big, crunchy riffs, but extends the melodic approach of the band. Instrumentally, the band is tight, as musical complexity is not at the forefront of this band’s mind, which means that the parts are kept stripped down and basic, any solos are kept short and tasteful. Rather the main focus is on the quality of the songs, all of which are big and aimed at keeping an audience on their feet.

Overall this album contains a few gems of songs (“White Knuckle” being a particular favourite), however there is little variety in the sound, which gives the album a fairly one-dimensional feel. But it’s pure rock and roll nonetheless.

7/10

Jimi Hendrix- People, Hell and Angels

This posthumous release is the latest in a long line of albums comprised of what were unfinished, partially recorded songs, and lengthy jams captured before the legendary guitarist’s death in 1970. Unlike many of the others, however, this is the most complete “album” released since the 1990s. Made up from cuts of various musical experiments and line-ups which never made it onto full length albums, this collection includes interesting snapshots and insights into the working process of Jimi Hendrix’s various bands.

The tracks on People, Hell and Angels offer a snapshot into the various directions that Hendrix was moving toward, with either his later trio- Band of Gypsies, or expanded groups to include extra percussion, horns and secondary guitarists. This album comprises of a mix of hard, rock epics, showing Jimi playing at his best, soulful-jazz drenched, funky numbers and driving electric blues tracks. Despite the fact that some of the tracks on this album have been released on earlier posthumous albums, this is the first time that many of those have been released to the public at large without any extra overdubs or too much electronic alteration to remove the spirit and essence of Jimi’s playing from the takes.

Highlights include the wonderful Somewhere: A slow, acidic ballad, which is reminiscent of Little Wing, with slower verses and ample space for the fiery guitar work Jimi is famous for to shine through. Also, the funky, soulful Let Me Move You, which features Lonnie Youngblood on saxophone and vocals, showing off the roots of all the musicians involved on the recording, backing up Rhythm & Blues and Soul acts in the 1960s. The addition here of an organ as well as the sax shows how well Jimi could perform with a much fuller sounding line-up.

Whilst still nothing compared to the fully complete albums that were released during Jimi Hendrix’s lifetime, People, Hell and Angels represents a respectful look at the unpublished work which was unreleased until now, showing off the best of what could have been.

7/10

Portico Quartet- Portico Quartet

Ethereal electronic soundscapes, weird harmonies. Jazz flavoured melodies, rhythms which have been borrowed from dozens of different world musics, and the inventive use of the Hang, a drum-like instrument not invented until the 2000s. This innovative instrument gives the group a distinctive sound and unique feel.

The tracks on this album show off the wide ranging influences, and skill of writing in the band- the majority of which are instrumental pieces, as opposed to songs. However “Sleepless”, which features the lyrical stylings of Cornelia, shows that this group can also pen a highly melodic song, as opposed to the more experimental soundscapes of “Window Seat”, or the ethereal groove of “Ruins”, which shows off the band’s take on melodic lines and harmonies from traditional East Asian music, whilst mixing them with a chilled-out 21^st Century feel, mixing in an additional modern jazz element. Spinner shows off the band’s Jazz influences to great effect; opening with a swinging bass riff which is covered by a Jan Garbarek-esque Soprano Saxophone melody.

The biggest selling point of this group is the atmospheric nature of their writing style. The music can just wash over you and all of a sudden you’re at the end of the album without realising that you’ve listened to a full 10 tracks. This spacey grooviness is definitely one to put on and relax to.

7/10

Smerins Anti-Social Club- Primordial Cordial

Whether it is upbeat instrumental Ska-based, highly danceable funk, or if it’s an arrangement of a famous TV Theme remade in a completely unexpected fashion, there’s seemingly nothing that this collective can seem not to be able to play.

This nine-piece group of instrumentalists take influences from wherever they can, collaborating with a wide range of underground vocalists from all across the South of England. The sheer range can be heard in the way that the main guest vocalists on the album are Nuala Honan, a soulful singer, who’s powerful vocal chords create an added melodic layer to the already complex melodies of the group as a whole, and Dizraeli who lends his culturally aware, critical, occasionally scathing and satirical style of underground rapping to a ska-based backing. Whichever any one person prefers is irrelevant, as both vocal styles, and any others in between, work incredibly well with the music. The plurality here can best be seen with the Swing-inspired track “The Alibi”, featuring Nuala, and Celebrate (A Vague Recollection of a Tw*t) which stars Dizraeli, both showing off the incredible talents of these two stand-out vocalists.

Other highlights include a Dub-Ska rendition of Doctor Who (Yes, the theme from the television show) which, featuring Tenor Fly, is a great, chilled out groove with a heavy beat which drives the whole track forward.

Not only is the music this band produces high energy stuff, but their shows also show the quality and enthusiasm that the band produces, packing out clubs with crowds of energetic, enthusiastic supporters dancing the night away.

8/10

The Roller Trio- Roller Trio

As modern Jazz goes, The Roller Trio have exploded onto the scene. This Leeds-based three-piece were picked up part way through 2012 by BBC introducing, and immediately their album was picked up for nomination at the Mercury Awards and the MOBOs. It’s easy to see why; the album immediately kicks off in fine style. De-ep Heat opens with James Mainwairing’s saxophone explorations transforming into a heavy groove based track which definitely sets the pace for the whole album. Interesting, electronic soundscapes, Jazz-inspired saxophone lines and heavy, funky grooves are the order of the day. The music on this album is heavily based on repeated riffs, which meander into expressions and explorations of the way in which the basic, original ideas can be altered.

For these three graduates of Leeds College of Music, the music controls everything- the odd use of punctuation in the song titles giving the names the same stops and starts as the tracks themselves (The Na-il Tha-t Stan-ds Up, A Dark Plac-e To T-hink), and the cover art coming from tying a pen to their speakers whilst the album was playing and letting the motion of the music create the image. The punctuation in the music shows where riffs change, and where tracks either slow down, or when the band returns to a single idea from group improvisations, creating a sense of structure in the compositions.

This album is a visceral new route that these modern Jazzmen are experimenting with, mixing the old with the new and creating a unique, angular approach to an older style. 

7/10

Ellen & The Echo- Round Two/Memo Review

Acoustic guitars; breathy, chordal harmonicas; and lyrics centred on the un-fairness of life; modern Folk music in general can be a rather tedious, repetitive and slow genre; following standard formulae without much in the way of variety. This is a comment that doesn’t apply to Round Two, the debut offering from Brighton-based Ellen & The Echo. These whimsical folkies have managed to capture a cross section of acoustic styles and relaxed, tasteful pop. The haunting trumpet lines which pierce through the tracks create a chilled out atmosphere and gives the whole EP a slightly Jazzy feel.

The EP covers many kinds of folk. From acoustic guitar-led slow, mournful songs, to “Tell Me This” which is reminiscent of the Folk-Rock tracks from Fleetwood Mac’s Rumours. Especially as the lyrics seem to have a similar theme: “You hit me once, I hit you twice. You want to play naughty I think you’re too nice…”

 Tasteful additions of little trumpet riffs and soulfully harmonised backing vocals make this 8-piece sound larger than it really is. Tripped Up no only shows off the slow, tastefulness of Ellen’s vocal lines, but also gives the electric guitar a chance to show off in an Eagles Ballad-style solo. Harmonica features in folk songs are often a dangerous idea, with many a good track being ruined by an incessant, chordal breathing in and out over the top of the rest of the music. Instead, the minimal way in which it is used makes “Memo” into a slow, mountain shuffle, which underlies a slow trumpet line. The range of Ellen’s vocals is wider than a great many singers that are out there nowadays, which gives the tracks an emotional depth.

This album is very well written, with most emphasis on the quality of the song-writing,, as opposed to any technical wizardry so to speak. What makes the EP work is the fact that it has that old-world feel, suggesting a world where folk music and electric instruments were colliding for the first time.

8/10

Dorje- Primordial Audio Chronicle Review

Dorje was formed in early 2012 as a project of Youtube based “guitar guru” Rob Chapman. Dorje, is a word that comes from Tibetan spiritualism, meaning “thunderbolt of enlightenment.” I’m unsure of the enlightenment part at this stage, but listening through to the two tracks that make up Primordial Audio Chronicle Volume 1 there are definitely more than a few lightning bolts. The musicianship evident on this recording is incredible- there are reasons why these men are getting so much recognition from their armies of online fans!

The first track, “Aeromancy” well and truly stamps Dorje into a brand of epic, technical Rock all of its own. With an atmospheric little introduction which then hammers straight into a powerful riff, the song is relentless in its attack. Taking influences from just about any Rock/Metal subgenre that you can care to imagine: Heavy riffs, atmospheric instrumental breaks, a shredding solo and a vocal track that sounds like it has been beamed through space from another dimension.

“Too Weak”, the other track on this short EP is another rocker. Although this time there’s a lot more groove to the song. The slap and pop of the bass line a lot more prominent here. Again with an amazing sounding, technical, yet tasteful solo- which is surprisingly rare from bands so stuffed full with technical ability as Dorje evidently is. The groove changes seamlessly and effortlessly between the different sections, making this song flow and ebb throughout.

This group have literally exploded since forming, making use of the extensive experience in New Media and online resources that the members have acquired. As a model of how using mediums like youtube can give great success, Dorje is the perfect model. The concept of collaboration between the band and their fans being a big part of the way Dorje work means that the upcoming video will heavily feature their fans. 

Overall, the biggest problem with the EP is that it is far too short. These two tracks give a very good idea of what the group is capable of, but it’s little more than a tantalising flavour of the essence of their sound. But the songs are solid, upbeat and real, rocking tunes.

8/10

Ash- The Best of Ash- 2011

Back in the early 1990s, with Brit pop bands like Oasis and Blur dominating the guitar-based aspect of commercial music and bubblegum pop covering the slightly more light hearted end, there was a group that seemed to be around, but never huge, their name is remembered, but (after a bit of half-hearted research) very little of their music. That band, is Ash. (Not even the media player I used to listen to the album on my laptop would recognise them)

This “Best of” collection is, to be fair to the group, not the worst collection of songs in the world. The punk rock roots of the band are definitely audible, and the few tracks that I recognised caused a bit of nostalgic excitement. The music has lots in common with some of the “Indie” music of recent years, and on occasion, the guitar parts sound a bit reminiscent of a past Irish Rock band, Thin Lizzy! It’s a bit shocking therefore that the band has had so little recognition, despite the fact that out of their six studio albums, two have been certified gold, and two even managed to go platinum. Yet there are no real stand out songs from the band’s entire back catalogue.  Despite this, the songs they’ve chosen are, surprisingly, not entirely awful. However, I wouldn’t say all nineteen of them are strong enough to be included on a “Best of” album. If they wanted this to be a true retrospective of a career of a band who had only limited success, then they should have been more selective with the song choices, possibly limiting the list to more of a standard album length of 10-12 tracks only.

The question that this “best of” collection of singles begs to ask is, how can an act who rarely broke the UK top ten, and has been resigned to the “where are they now” pile of bands, have a collection of Best of singles? This band seems to be in the list kept for the “hipsters” who only like obscure groups that no-one’s ever heard of. The name is familiar to most of us, but the songs are less so, or at least, there are very few of us that could name 19 of them. A Best of Collection implies that the group has had enough success to warrant an album dedicated entirely to it, and, for Ash, that mass success has never really come. To me, they will always be one of those acts that no-one ever really knew who they were, but during the mid 90s always had a track on one of those chart compilation albums that your grandparents got you for Christmas because they didn’t really know what to get you. The only real recent success that the band has had was that the intro to their song ”Burn Baby Burn”  has been used as the theme music to the BBC Stand up show “Michael Macintyre’s Comedy Road Show”

Overall, despite the fact that there are a great many songs that seem to be on the album merely as time-fillers to bring the track list closer to the twenty songs that seems about normal on “Best of” compilations, nineteen songs chosen from six albums is a bit  much. Especially as there were very few real hits amongst them. But the majority of the songs aren’t all bad. So if you are partial to a bit of modern “Indie” music then it’s not a bad collection, although there are better albums around. Therefore, either if you genuinely are a fan, then it’s probably worth it as an album. But if not, then just stick to the couple of tracks on the 90s compilations.

Nirvana- Nevermind- 2011 Reissue

20 years ago, Seattle band Nirvana released a little album that has gone on to sell over 30 million copies worldwide and “changed the world of music forever”. It is, of course Nevermind. The first single of which seems to be on every playlist ever made, everywhere. Even if you don’t like rock music, ‘Smells Like Teen Spirit’ is without a doubt, at least one of the most recognisable songs in history.  Nirvana’s sound is one that has been constantly imitated, yet never surpassed, which was epitomised on Nevermind. Although there are some slightly… abrasive moments, such as the ending of ‘Something In The Way’ which takes the ideas of aggression shown in the band’s music to a clashing, distorted climax.  Even though it’s the loud anthems that Nirvana and Nevermind in particular are known for, the album is very rounded, with Ballads like ‘Polly’ and ‘Come As You Are’ being two notable examples.

For a remaster they haven’t really made the album hugely louder (as is usually the case when bands start re-mixing the original tapes) the sound quality of this new version brings the band’s sound right up to date. There are so many different packages for this new issue: With bonus discs of unreleased jam sessions, alternate takes of some of the tracks that finally made the cut, discs of singles, DVD packages, there are so many versions to choose from. There’s almost a sort of “option paralysis” when it comes to looking through the fresh release packages. However, this really is a must-own album. And even if you already have it, there are so many new things added on to the end, and the superior sound quality makes it a worthwhile purchase (especially if, like me your other copy is on cassette!!!)

Van Halen- A Different Kind of Truth- 2012

A recent resurgence in the popularity of Classic Rock music has had many effects. Mainly that many older bands are facing increased pressure to reform, tour and record, and that I can now go into a record store and look for NEW albums by my personal favourite artists (yes, I have the same taste in music as your dad). The first offering from the old-guard of Rockers for 2012 comes from Californian metal masters Van Halen. This is their first album in over ten years, and their first with original singer, David Lee Roth since the 1980s. This is, therefore, a fairly momentous occasion for all fans of the band’s music. However, the album has been confirmed to be made up of mostly reworkings of old demos that never made it onto studio albums. This has made many people angry that the band has lost creativity and originality. What these people seem to forget is that people widely accept that old Van Halen was best Van Halen (VH I was a huge hit for the band back in 1978 was a hit, III in 1998 erm… was not) These songs, therefore, have the hallmarks of the band’s classic sound, infused with the relative youth of Eddie Van Halen’s son, Wolfgang, on bass.

Musically, the band are as strong as ever. The album contains 13 tracks of unashamed, unabashed, joyous Rock n Roll music. The years haven’t diminished the phenomenal guitar skills of Eddie that helped make the band so successful from the start. The solos are still lightning fast, with riffs that, if anything, prove that the band is as heavy as ever. There are few real problems with the music on the album, the biggest criticisms I have are: that occasionally the vocals seem to get a bit messy and become rather unclear. David Lee Roth, the enigmatic front man, although still a great singer, has, over the years, aged and is no longer what he once was. The drums pound away and keep a huge sounding beat going throughout the album

Some of the lyrical material is not exactly genius, with some songs sounding remarkably similar to earlier tracks (Stay Frosty bares a remarkable resemblance to Ice Cream Man) One of the tracks on the album, You and Your Blues seems to do nothing more than quote the titles of old Blues and rock  numbers. The first single from the album, Tattoo although catchy, lacks some of the spark and energy of their earlier songs. With a fairly cheesy refrain which, nonetheless is rather catchy. As a song, it’s not exactly highbrow or musically complicated, but it includes a typical Eddie guitar solo, proving that despite the years he’s still got his famous blazing chops.

In the end, Van Halen haven’t exactly stretched themselves or done anything different with this album. However, as such a well established band, that will either be a positive or a negative depending on your point of view. Nostalgia is probably the best way to listen to this album. Put aside any desires for a new sound, just think yourself into the minds of a 1980s Rock kid, and blast it out loud and proud. For me, it’s what this band’s meant to be: unashamed, unabashed, pure good time Rock & Roll!

Dream Theater- A Dramatic Turn of Events- 2011

There are many things that may alter the dynamics, sound and general attitude of a band. One of the most drastic of these would be the loss of a founder member and key writer of the band’s music. When Drummer Mike Portnoy decided to leave Dream Theater in 2010, the future of the entire band was up in the air; however, with new drummer Mike Mangini stepping into the enormous shoes left behind, this album is still very much a Dream Theater album in the style that fans are used to.

The album still contains all of the progressive touches that are associated with these Prog titans: Odd time signatures, complicated modal keys, extended solos and even some sound effects from Himalayan Shaman Throat Singers(that could be misheard as burps)  on the song “Bridges in the Sky.” This album has been compared by others to some of the best albums in the band’s 26-odd year existence. I agree that the album does sound “fresh and frankly stunning” even with the obvious comparisons that would come with changing line-ups, Mangini shows that he definitely has the ability, expertise and know-how to achieve great things and help write the next chapter in Dream Theater’s already epic tale. After such a great shake up in the ranks, however, it is only natural that there is a theme of loss and change that runs through the album. Especially as Portnoy was such a prolific contributor to the sound of the band.

Everything about the album is large, with big record label money behind them, being a major recent signing for Roadrunner Records (2006), epic sounding keyboard sounds which seem to soar, long songs, with only 1 of the 9 tracks on the album being less than 5 minutes long. However there are no multi-section epics that are commonly associated with the band are conspicuous by their absence.  Having said that, there is nothing here that resembles a standard song format. Even “Far From Heaven” (The album’s shortest track) still sounds very epic, even with mostly a piano and strings backing.

John Petrucci’s guitar riffs are, as ever, complex and serve to further to consolidate his reputation as one of the best guitarists ever. His playing style continues to astound and his skills only seem to improve with time. His solos remain exercises in the impossible, flying round the fretboard at dizzying speed.

The Keyboard wizardry of Jordan Rudness is as impressive as always, able to set the moods of slower sections of songs or increase the impact of large, epic sounding compositions. His backing on “Far From Heaven” is truly beautiful, less metal keyboards, more Lounge piano.  His introductions seem to dominate most of the songs on the album, setting a calmer mood before the rest of the band enters with big, metal riff-based sections.

Having been voted the best bass player of all time in 2010 by readers of MusicRadar, Myung’s lines have an understated power. Never treading on the toes of anyone else, but definitely keeping a firm foundation over which the rest of the band seem free to explore their own virtuosity.

Vocally, James LaBrie is as strong as ever, the operatic tenor of his voice allowing him to hit high notes that many singers would not dare to attempt. Unfortunately, he is still the most underrated musician in the group, never really having been voted as a great vocalist or front man. Which is a shame as his voice is one of the best out there, with a range that easily encompasses both softer and heavier styles.

Overall, this is a very good album, despite the comparisons brought about by line-up changes and complaints that people have that it’s not the same… It’s still epic Progressive Metal at it’s very best.

Evile- Five Serpent's Teeth- 2011

In a world where metal is seemingly defined by doom and black metal, it is a rare thing to see an album that seems so influenced by some of Metal’s golden years (i.e. the early-mid 80’s), and “Five Serpent’s Teeth” the latest offering from Yorkshire Metallers Evile is exactly that, a back to basics piece of heavy metal gold. After their first album, which was produced by Flemming Rasmussen, who was involved in the making of arguably one of the best Thrash (if not the best Metal album of all time) Metallica’s Master of Puppets, the band has lost none of their classic, mid-80s Thrash sound. The influences from this collaboration are definitely still present and very obvious to all who know their old-school Metallica. With catchy, head banging riffs that make you want to raise your fist in the air, fast guitar solos and an all-out metal attitude, this is an all round great album with none of the stereotyped metal “doom and gloom”.  

The opening title track ‘Five Serpent’s Teeth” sets the scene for a consistently heavy album, it’s intense riffage is classic thrash at its best: Anthemic, and grabs you in a vicelike grip that refuses to let you go until the album’s well and truly over. ‘In Dreams of Terror’ continues in a very similar vein, which is one of my major criticisms of this album. From time to time it is hard to distinguish one track from another, as there are times when any let-up or subtlety in the song writing and playing are few and far between. ‘Cult’ is a great track, with a groove that occasionally seems to be missing from the other tracks.  ‘Eternal Empire’ and ‘Xaraya’ both follow the same formula of no holds barred, in-your-face metal. The Track ‘Origin of Oblivion’, if anything show a slightly heavier side of Evile, suggesting that they have their ears tilted ever so slightly towards more modern metal and aren’t just stuck in the 80s. ‘Centurion’ begins with an evil intro that leads into a slower song, but no less powerful. ‘In Memoriam’ shows a softer side of the band, as a musical tribute to bassist Mike Alexander.  It’s slow, melancholic melodies show a beauty of playing that the previous 7 tracks barely hint at. In my opinion, the best track on the album. The calmer atmosphere doesn’t last long however, as ‘descent into Madness’ returns straight back to the thrash mould. The closing number, ‘Long Live New Flesh’ is a killer anthem which ends the album as a call to arms for all young metal heads out there.

 Vocally, there are no soaring melodies or songs about demons and monsters, the singing is all deep and gravelly, without sounding growly or too guttural. Lyrically, there are great divides, with the song ‘In Memoriam’ dedicated to their late bass player, ‘Cult’ dealing with cultism, and ‘Origin of Oblivion’ dealing with globalisation and capitalism. The dual guitar assault here sounds huge and tight, with fast riffs and technical, lighting-fast fret board wizardry abound, so the air-guitarists out there (myself included) should be satisfied. The influences of these two guitar playing brothers (rhythm guitarist/vocalist Matt Drake and lead guitarist Ol Drake) are rarely hidden from the surface, with the odd moment of guitar harmony that could be taken straight out of any classic Judas Priest album. There are reasons why the metal community are going wild about this band, the whole album sounds like something that could have come out of the same San Francisco breeding ground that Metallica, Megadeth and Slayer emerged from.  Appropriate then that this band has, amongst many other achievements, toured with Thrash Metal titans Megadeth, won a Kawasaki Golden God Award for being “Metal as F**k.” They have played at many of the huge metal festivals in the last couple of years, including Download, Sonisphere and Wacken.   

Overall, this album, although at times a bit samey, shows the metal community that all is not lost.  Riff based classic thrash metal still exists.

The record label that has produced this have advertised this band with one simple tag-line: “Thrash is back” and is it? Hell yeah!

8/10

Originally published on my previous blog and in Lancaster University SCAN newspaper.