Apocalypse Later Music Reviews: May 2024

Friday 10 May 2024

Lee Aaron - Tattoo Me (2024)

I'm always fascinated by the latest Lee Aaron release, because she has no intention of staying in a single musical genre. Back in the mid eighties when I first heard her, she was singing heavy metal, but softened up into hard rock later in the decade. She's moved through pop, blues, jazz and even swing, shifting back to rock with 2016's Fire and Gasoline. I noticed in 2021, giving Radio On! a 7/10 and its follow up, Elevate, a highly recommended 8/10. I believe this is her sixteenth album and it's happy to do something very different again, comprising a set of eleven highly varied covers.

Covers albums are often inconsistent and highly varied ones all the more so and I have to say right out of the gate that this is definitely one of those. However, the best material is excellent and the opening track plays much better to me than the original. Now, it's one of two tracks I didn't know coming in and the one where I didn't even know the band who recorded it, so Aaron's version was the first one I heard, but I did follow up with the original on YouTube. It's the title track, Tattoo, a song originally recorded by the 77s much later than their name suggests. It's a solid opener that I could happily have believed was an original.

It's not the best song here, that being her take on The Pusher, but it's not far behind it and much of the reason is that it feels like she's taken a song she loves and she's rocking it up with her band who clearly appreciate it too. Another that fits the same bill is Even It Up, the song by Heart, from their Bebe le Strange album in 1980. It's an obvious pick for Aaron and she does it justice, with the help of a band who clearly mean it too. The best and worst thing about this album is that she isn't interested in just recording these obvious picks.

It's the best thing because there are songs here that I wouldn't have imagined would fit Aaron but she tackles them anyway and makes them work. Many of these show up at the end of the album in a quartet by Hole, Elton John, Elastica and the Undertones, but I'd throw in the Alice Cooper cover too. The best of them is Connection, the only Elastica song I know, which is a fundamentally bouncy alt pop song. Especially given all the negative notes I'd jotted down on the way to that one, I would have thought it would be a notable failure, but it isn't. In fact, it's one of the biggest successes of the album, even if it doesn't try to add anything to the original.

It's the worst thing because the less obvious choices don't always work, in part because Aaron has little wish, it seems, to stamp her own authority on them. The best covers in my mind are the ones that grow into something new in a fresh version. Johnny Cash's famous take on Hurt is surely the best example nowadays. It's not that he does it better than Nine Inch Nails, it's that he does it in a very different way and sells it so well that even Trent Reznor says that it's Cash's song now. Aaron has so much variety in her musical background that she could have reinvented these songs in wild ways, if she only chose to do so. For the most part, she chose not to.

The first example is Are You Gonna Be My Girl, the famous Jet single, and Aaron doesn't do a bad job by any metric I can conjure up but it somehow feels wrong anyway. It feels like a karaoke song, as if she's singing live to a recorded backdrop that doesn't seem any different from the original. I would be blown away if she did this at my local karaoke spot, but I'm disappointed by its inclusion here. The same goes for Go Your Own Way, the Fleetwood Mac classic, and Teenage Kicks, the old Undertones gem, famously John Peel's favourite song. She does her job, but there's no reason for these covers to exist. She doesn't add anything.

The songs in between the best and worst are ones like What Is and What Should Never Be, Is It My Body and Malibu. The latter was a real surprise, because it's a Hole song and I'd have thought that Aaron's approach to music was inherently differently to theirs. I'm not a particular fan of the song but this is a strong version of it. The other two have moments, especially early on, where they fall into that karaoke mindset, Aaron's delivery just not right. She brings a sultry approach to Robert Plant and attempts Alice Cooper's sneer, but both fail. However, when those songs ramp up, she's able to gel with the band and suddenly it all works. The longer these run, the better they get.

With a quick mention of Elton John's Someone Saved My Life Tonight as the worst track here, not because Aaron does anything wrong but because I can't stand the original to begin with and she doesn't change my mind on that with her version, I'll get to The Pusher, which is wonderful. What has to be said first is that she seems to be covering the Nina Simone version, even though it was a Hoyt Axton song made famous by Steppenwolf, and that's a good thing because this approach is a real gift for Aaron's vocal talents and she feels more natural tackling this than anything else.

So it's a mixed bag, almost inevitably so. I appreciate Aaron stepping out of her comfort zone with a few of these choices, not that she has a particularly restrictive comfort zome. She surprised me with the Hole and especially the Elastica songs. However, the best songs are primarily the easier choices, Tattoo and Even It Up and especially The Pusher. I just wish she'd have tried to make these songs her own, rather than merely demonstrating that she can sing them. Of course she can! She's Lee Aaron. But I'm going to leave these wondering how What Is and What Should Never Be would sound like as a swing song, even though that's not what she and her band deliver here.

Yaşru - Bilinmeze (2024)

Country: Turkey
Style: Doom Metal
Rating: 8/10
Release Date: 20 Apr 2024
Sites: Bandcamp | Facebook | Instagram | Metal Archives | YouTube

Yaşru have been around since 2009 and they play doom metal with occasional folk elements and an atmospheric overlay. This is their sixth album, but it's my first by them and I'm impressed. I do like my doom and I like it even more when it crosses into folk metal, as this does often. Both Dünya and Gün Batımında open with long intros of Berk Öner playing ethnic Turkish instruments and I'd be up for listening to both these songs even if they didn't eventually heavy up with metal crunch. There's also a clean vocal in the latter, and it becomes more frequent as the album runs on, making for an additional obvious folk element.

Initially, Öner, who sings and plays guitar in addition to those ethnic instruments, sings harsh, but it's a growl that aims for texture rather than aggression. Sometimes it's forceful and sometimes gentle, but it has a rich timbre that reminded me of Seigneur V. Sangdragon from Winds of Sirius, a French gothic metal band I wish had recorded more than one album. This approach continues to grow with the album too, perhaps most evident on the title track, when it's a gentle rumble that's happy to play with emphasis under the atmospheric keyboard overlay.

Dünya is a wonderful opening track, the longest song on the album at a breath over eight minutes and one that builds over that time. After that folk intro, it finds a groove and milks it, with Öner's voice gradually growing as it goes, initially buried so deeply in the mix that it seems to be more of a texture than a delivery mechanism for lyrics but eventually taking over as the focal point. Much of the groove comes from a repetitive riff, Öner's guitar merging with Ömer Serezli's bass, but an evocative keyboard layer keeps it constantly interesting.

I'm not seeing anyone credited on keyboards and it sounds far too electronic to count as another ethnic instrument, but those keyboards shape Yaşru's sound far more substantially than I thought on a first listen. They never seem to do anything flash, just add a slowly dancing texture over what the traditional instruments are doing. However, the resulting combination draws us into an almost trance state and we start imagining that it's doing things that I seriously doubt it's actually doing, like veering into choral effects. I'm pretty sure they're not there, but I kept hearing them anyway.

Bilinmeze translates from the Turkish as Into the Unknown and there's some of that here, Kozmik Yolculuk being roughly what you think it is, a Cosmic Journey. However, unknown here felt like the shadowy world of dream rather than the far reaches of space. These journeys aren't taking us just to somewhere we've never been, which the folk elements might suggest, but a different world on which the rules we're used to reality following simply don't apply. Certainly, time seemed to pass at a different rate while I listened. It's not a particularly long album, at just over half an hour, but it's at once over in a blink and substantial enough to last forever.

Maybe that's partly because Yaşru don't seem to vary what they do but actually evolve across the course of the album. Dünya has that ethnic intro, but it finds its groove and pretty much stays on it throughout, Kozmik Yolculuk following suit. When Gün Batımında shifts back to the ethnic intro approach, we think we're looping back to hear another Dünya, but it adds the clean voice that's a nudge further into folk metal. That returns on the title track and, by the time Son Nefes wraps up the album, appropriately enough given that it means Last Breath, we start to wonder how much of the vocals were clean. Over the first half of the album, not a heck of a lot. Over the second half, surely a far more considerable amount.

I liked Dünya immediately and I keep coming back to it, but the other songs keep growing on me. Bilinmeze is a full minute shorter and it seems to have a much simpler groove, but it won't leave me be. I fall into it every time through, never mind that I don't understand the Turkish lyrics and never mind how much more I notice Serezli's elegant bass runs on each subsequent listen. It's just hypnotic to me, perhaps even more than the album as a whole. So I'll call out Dünya and Bilinmeze as highlights, along with Gün Batımında, which means At Sunset.

Three highlights out of five means an 8/10, I think, and I don't want to move on to something else. This album is already becoming an old friend. I have a feeling I might be coming back to this often for feelgood purposes. I feel acutely comfortable in its company but it also refuses to let me think too deeply about it. It's one of those albums that will always be there, doing its thing regardless of what I might want but bleeding closer into my veins as it does so. Now I have five earlier albums to explore to see how Yaşru got to this sound. I look forward to the yolculuk.

Thursday 9 May 2024

Vanden Plas - The Empyrean Equation of the Long Lost Things

Country: Germany
Style: Progressive Metal
Rating: 9/10
Release Date: 19 Apr 2024
Sites: Facebook | Instagram | Metal Archives | Official Website | YouTube

I've heard a lot of Vanden Plas on Chris Franklin's highly recommended Raised on Rock radio show over the past few years, because he's a big fan of theirs, but they're another band who released a debut in the mid-nineties, when I was too busy with real life to focus on new rock and metal, and they didn't cross my path when I found my way back. They're a German band, from Kaiserslautern near the French border, and they play a highly commercial brand of progressive metal that's just as ambitious and complex as we might expect but fundamentally rooted in melody. This counts as their eleventh studio album and their first since The Ghost Experiment, which came out as a pair of albums in 2019 and 2020.

There are six tracks here and they're all strong, but a few listens firms up that they can be ranked relatively easily. The best are the longest, Sanctimonarium, which runs just over ten minutes, and March of the Saints, the epic of the album that wraps it up at almost sixteen. Next are the shorter tracks, My Icarian Flight, The Sacrilegious Mind Machine and They Call Me God, which sit in the six to nine minute range. Finally, there's the opening title track, which is the weakest of them, rather surprisingly.

That's because it's not really an opening song, just an opening track. It's a kind of an intro, but an odd one that lasts eight minutes, which is longer than two of the five actual songs. It's truly more of a sampler, running through what those five songs are going to do later in the album. Most of it unfolds instrumentally, with the vocals kicking in with what feels like a chorus and turns out to be from the closer, March of the Saints. The second line is the title of the song. It's enjoyable but it's not particular coherent because it's inherently a patchwork piece.

My Icarian Flight is a coherent prog metal song and it builds well, but it's quickly overshadowed by Sanctimonarium, which is where the album truly finds its feet. The Sacrilegious Mind Machine, on the other side of that epic, suffers in the same way, being a highly enjoyable song that we'd praise in isolation, should we hear it on the radio, but clearly losing out in comparison to the song that it happens to be next to on this album.

Like everything here, Sanctimonarium features elegant melodies over a punchier backdrop that I read is heavier than Vanden Plas's more recent albums and more like what they did on their early ones. I'm certainly interested in checking out their 1994 debut, Colour Temple, based on that note, to see if it holds true. That backdrop falls away somewhat during verses to emphasise the vocals of Andy Kuntz, which is an approach I don't always appreciate but is done so well here that it's almost a textbook in how to do it right. There's a wonderful calmer section four minutes in that features a flurry of activity nonetheless.

What else is new here is the keyboard work of Alessandro del Vecchio, the session player who's on pretty much every album released by Frontiers nowadays. Vanden Plas have rarely changed their line-up, Kuntz and the Lill brothers, guitarist Stephan and drummer Andreas, have been in place since the band's formation in 1986, while bassist Torsten Reichert joined as long ago as 1990, four years before their debut. However, Günter Werno, their keyboard player since 1990 left in 2023, so Del Vecchio has joined in his stead.

What I'm reading suggests that Del Vecchio has followed Werno's lead relatively closely, with the slight exception that he favours older keyboards. Certainly I'm hearing plenty of seventies organ on Sanctimonarium in the time honoured Jon Lord style, along with the more modern equivalent. He certainly doesn't favour that approach exclusively, so it's more of a delight when it shows up, a section on The Sacrilegious Mind Machine lovely behind rhythmic guitarwork. I believe the strings on They Call Me God are really his keyboards mimicking strings, so he's certainly staying varied.

The Sacrilegious Mind Machine and They Call Me God are excellent second half songs, enough so that I can't really choose between them. Initially, I easily favoured the latter, even though its first half plays out like a melancholy ballad, starting soft with piano, those keyboard generated strings and a half-whispered vocal from Kuntz. He escalates joyously in the chorus, emphasising just how good his intonation play is and Stephan Lill ramps things up midway with a searing guitar solo. On further listens, though, the former keeps getting better and now I can't pick between them.

Of course, I'll pick Sanctimonarium and March of the Saints over them every day, because they're absolute gems that underline how Vanden Plas only get better with the breathing space to grow their songs. The riffage here is more reminiscent of Iron Maiden than on earlier songs. There's a gorgeous drop in intensity six minutes into the latter and an impeccable ramp back up, this time in two stages as a sort of tease. Eventually, it returns to some of what we heard on the opener and it works far better when it's the ending of a longer song that's already been substantially developed.

So this isn't a perfect album, but it's a damn fine one. I initially rated it 8/10 because of the three tiers of quality, but ended up increasing that to 9/10 when I realised that the "lesser material" of My Icarian Flight, The Sacrilegious Mind Machine and They Call Me God really constitute a trio of 8/10 songs. Their two longer compatriots warrant 9/10s and they're twenty-five minutes between them. Only the opener really lets the side down and it's hardly a poor track. So 9/10 it is. If you're one of those Dream Theater fans who wishes they'd spend more time knocking out catchy gems in the Pull Me Under vein than extending their instrumental workouts, you should check out Vanden Plas. They may well be your new favourite band.

Rydholm/Säfsund - Kaleidoscope (2024)

Country: Sweden
Style: Melodic Rock
Rating: 7/10
Release Date: 12 Apr 2024
Sites: Facebook | YouTube

For all the wild guitar that opens up Now and Forever and thus the album itself, presumably from Kristian Larsen, who's credited here for guitar solos, this is not heavy music. In fact, this may well be the poppiest album I've reviewed thus far at Apocalypse Later. I've gone with melodic rock as a label, which is fair and is where Rydholm and Säfsund tend to play in bands like Grand Illusion and Work of Art respectively, hence the name of their previous collaboration, Art of Illusion. However, this is a little different from that, I believe, hence the new band name.

I haven't heard Art of Illusion so I can't really speak to why this is different but I believe it's due to it being very firmly at the softer end of melodic rock, veering occasionally into prog rock and jazz but with just as much pop music here as there is rock, much of it funky in nature. Many songs, like the two openers, Now and Forever and Hey You, are often reminiscent of soft rock bands like Toto and the commercial extreme of prog rock like the Alan Parsons Project. I caught moments where commercial era Yes came to mind too, especially in the changes, but Hey You honestly owes just as much to Michael Jackson as any of the names you were more likely expecting to hear.

What that means is that I get to bring up Into the Music for the first time. I've talked in occasional reviews about the Friday Rock Show, a BBC radio radio show which was mandatory listening for any UK fans of rock and metal during the eighties. Well, Tommy Vance, the presenter of that show, did a year of presenting a second show, Into the Music, that focused on the lighter end of rock music. If that was running now, I'd be utterly sure that producer Tony Wilson would dialling Stockholm to see if Rydholm/Säfsund would be in London at any point and, if so, if they'd want to pop over to the Maida Vale studios to record a session.

That's because their core sound is in between those two openers, as highlighted by the next bunch of tracks, if not all of them over the fifty minutes taken up by the remaining ten songs.

What's Not to Love and Seven Signs of Love are bouncy and rooted in melodic rock, but they drift into pop frequently. There are guitar solos here, courtesy of Kristian Larsen on this pair, but with others guesting here and there on later tracks. Some are very tasty and I'm particularly fond of the ones on Seven Signs of Love and 4th of July, the latter performed by Tim Pierce, but crucially they never seem out of place, even with what I'm going to add in the next paragraph.

And that's the horn sections, which are even more obvious on Don't Make Me Do It and 4th of July. There are two here, one introducing this aspect to the band's sound on Now and Forever while the other takes over for the rest of the album. That means that Tom Walsh is a huge part of Rydholm/Säfsund's sound, maybe not as much as Rydholm or Säfsund but easily up there with Larsen. What matters is that he isn't soloing on an electric guitar but delivering lead trumpet and fluegelhorn. I've heard saxophones on extreme metal albums lately, so I won't suggest that the mere presence of fluegelhorn makes this pop music but it kinda helps.

Certainly, songs like The Bet, that sounds like a cross between Toto and Queen, and Sara's Dream and Bucket List, which are more like the former without the latter, would sound even more so, if there was less trumpet and more guitar. At points on the latter two, I started to imagine that this was a Toto covers album performed by Postmodern Jukebox, merely with only one singer in Lars Säfsund rather than a string of different guests. Just to highlight how these halves of the sound work together, Bucket List features both an excellent saxophone solo from Wojtek Goral and an excellent guitar solo from Larsen.

What this all ends up as is something very easy to listen to. It's often the sound of summer, which isn't necessarily a good thing because it makes me want to go outside and I live in Phoenix rather than Stockholm, where the sun is a fiery ball of death in the sky that wants to kill me. I'll settle for sitting in my office feeling happier because of the sheer perkiness of this material. My favourite track is surely Now and Forever, which is also probably the most rock song here, but I'm very fond of The Plains of Marathon, another Toto-esque song in the grand sweep after the openers. All of these do the perky thing, though, and it's a generous album at almost an hour, enough to make anyone happy.

Wednesday 8 May 2024

Pearl Jam - Dark Matter (2024)

I was born in 1971, so my formative musical years were the eighties, from the early post-punk days when my favourite artist was Adam Ant to my thrash years in the second half of the decade, where Nuclear Assault had taken over that mantle, via an incredibly varied ride through NWOBHM, hair metal and the various nascent forms of what became extreme metal. I'm also English, so my idea of alternative rock is the journey the eighties took from Bauhaus through the Wedding Present to the Stone Roses rather than what the US produced a decade later. In other words, I'm not really a part of the target audience for Pearl Jam.

However, all that said, I rather enjoyed this. I can listen to the big hits well enough, but they don't wow me. My favourite experience with Pearl Jam was the blistering stripped down version of Bob Dylan's Masters of War that Eddie Vedder and Mike McCready performed at Dylan's 30th anniversary concert. I'm not sure what I expected from a quintessential nineties band in 2024, but there's a lot here and very little of it fits with what I thought I might hear. That's a good thing in my book, just in case you're new here.

Scared of Fear bursts out of the gate like a hard rock song, with a real urgency to it. It may well be my new favourite of their original songs. That continues into React, Respond, which has an almost punky edge that's clearly alternative but kicks it like hard rock too. The bass of Jeff Ament is very prominent here, so much so that it leads the way for serious chunks of the song. The chorus is just as vibrant and bouncy as I tend to think Pearl Jam aren't. And, while Wreckage is softer, more laid back, that bounce never quite leaves the album. This is a much happier album than I ever expected it to be.

Upper Hand may be the epitome of just how upbeat it gets. It's not happy, not precisely, but it's a heck of a lot closer than the opposite. And, with that note that underpins this entire release, I can start throwing out names, because I heard a lot of other people here that I didn't expect from the band with a professionally downbeat singer like Vedder at the mike. Don't get me wrong, I have a lot of respect for his vocal talents and have no problem with depressing delivery. Leonard Cohen's first two albums are among my favourites, as are Joy Division's. However, I don't think of him as a singer who can be happy. It's simply not an emotion he channels. This proved me wrong.

It's also worth mentioning that he has such an iconic voice that he stamps his authority over every song he sings, whether it's Pearl Jam's or not. However, he drifts into territory already owned and I could easily hear these songs sung with different, just as established voices. Won't Tell is alt rock in the sense that U2 are alt rock. Can any of you remember that far back into the annals of musical history? Something Special has a pop mentality to it that prompts me to imagine Amy Winehouse singing it. Got to Give reminds me of Bruce Springsteen and the closer, Setting Sun, feels like it's a laid back seventies pop song with a country tinge, maybe something that Neil Diamond could sing, without changing the acoustic guitar and orchestration. And then the Boss could cover that.

Some of it remains entirely alternative in the particular sense that Pearl Jam helped to define in the nineties. React, Respond starts that and Dark Matter continues it with emphasis. This one's a far more edgy song than React, Respond. It's Vedder's vocals and Matt Cameron's drums that do it for me on this one, but much of it is driven by Jeff Ament's bass, just like React, Respond. Of all the alternative songs here, though, I think Dark Matter is the one that rings truest to what I was expecting, an edgier and more modern take on what they did back in the day. However, the one I'd pick over the others is Running, which is so full of energy that it's almost punk. It's absolutely not what I expected from them, but they do it very well indeed.

So I enjoyed myself and I'm continuing to do so five or six listens in. The songs get stronger and the feelings that this is upbeat and versatile don't go away. Now, I'll always pick the eighties over the nineties and my grounding is always going to remain British, which may explain why I tend to enjoy a lot more of what I hear from European bands today than American ones, whatever the genre. It has to be said right here though that this surprised me, enough that I ought to dive into the Pearl Jam back catalogue, which is a lot more substantial than I expected. I know of their nineties stuff, even if I haven't heard it all, perhaps up to 2000's Binaural, but this is their sixth album since then for twelve overall and maybe I'm finally getting on board. I wonder when I should have started to pay attention.

Thoraway - Navigating Nightfall (2024)

Country: Australia
Style: Heavy/Viking Metal
Rating: 7/10
Release Date: 10 May 2024
Sites: Facebook | Instagram | Metal Archives | Tiktok | YouTube

Thoraway hail from Brisbane in Queensland, which seems odd given that they play Viking metal. If you dug a hole through the centre of the world from there and survived a trip through it, you'd be in the Canary Islands and Scandinavia is quite a way north from there. However, given that three of the band members have names that sound like they might be Vikings themselves, it isn't a huge stretch. This album doesn't sound like it was written in Norway, mostly because Joseph Wiley sings entirely in English, but it does feel far more authentic than I expected it to be.

It's big and bombastic, often easily categorised as epic metal, but it's also both angry and melodic with a real sense of motion to it, as if the band are playing on a swaying ship that's sailing right at us at a fair clip. Wiley's vocals, occasionally deepened by backing vocals, hold a promise. Thoraway are, well, on their way. This holds for a couple of songs, Pianara and Greetings, which means thirteen minutes because the album isn't short but it only boasts five tracks. Wiley sings primarily clean but there are echoes of harsh for effect. It's all epic and powerful, as Viking metal ought to be.

And then comes Wild Child of the Night, at the heart of the album, to shake this up. Now, it's still epic and powerful, but it sounds very different to the two openers, mostly because the guitars are completely absent for almost a minute. This one has a strong slow groove built out of bass, drums and a commanding vocal and that groove continues even when the guitars show up in surprisingly dissonant fashion. In a way, the effect is very much the same, just more ominous because this ship is bearing down on us in slow motion. In a way, though, it's very different, because it's a story song and so it never gets closer to us than the page in front of us.

The bottom line is that these songs can't be ignored. Whether we feel threatened by this rushing ship or we feel welcomed in kinship by it, it's big and brash and utterly in our face, even when it's taking time for Jan Gustav Engmark's enjoyable bass solo during the second half of Wild Child of the Night and overtly during that song's woah woah sections and the repeated harsh "We salute you!" at the end. This holds as Bedtime Story takes over, because the theatrics that open it up are rather like a pirate, with all the traditional trappings, stuck his head through our window and stole us away into what we're going to hear. It's blatant stuff, but it works perfectly with the big and bold sound.

With the exception of Bedtime Story, the songs get progressively longer, almost as if the band are teasing us into what they do and getting deeper each time. Pianara kicks off over six minutes and Greetings is a little longer again, Wild Child of the Night is eight and a half and Einherjar (Army of One) is almost eleven. At a breath over six, Bedtime Story breaks that trend, but its intro helps it to feel longer than it actually is. It's long enough to feature a strong guitar solo from either Truls Nilssen or Martin Alexander Einarsen. On most of these songs, the riffs are more important than the solos, because of how they bludgeon, but the latter are still excellent.

Wild Child of the Night has to be my favourite song here, but Einherjar (Army of One) won't leave me alone, perhaps because Thoraway benefit from the added song length. It feels more versatile too, the general approach being the same but the harsh vocals emphasised more and a few more fast and extreme sections that go along with that. As if to counter it, there's a looser exploratory section midway that feels like the ship that is Thoraway isn't barrelling down on us but journeying nonetheless and finding itself in new waters. It's wonderful texture, all the more because of how heavy the sections either side of it happen to be.

I like this album, all the way to the comradely vocals that wrap up Einherjar (Army of One), almost like a drunken choir. Nothing about it is small. Nothing about it is subtle, except maybe that single stretch midway through the closer. It wants our attention and it's happy to grab it. It's also happy to sound very heavy, the bass end pumped up high and the solos always partly buried in the mix. It works because of the sonic assault but it wouldn't for another band, where we want the guitars to be as clear and free as the lead vocals.

I believe this is a debut album, following five singles, only one of which, Greetings, made it to the album, so I presume Thoraway are relatively new. Two members, bassist Jan Gustav Engmark and guitarist Truls Nilssen, were born in Norway, both in Bodø, so I'm guessing that their moving down under prompted this antipodean Viking metal band's formation. The rest of the band are Aussies, it seems, even guitarist Martin Alexander Einarsen, whose name doesn't suggest that, but they're on target with this sound. I look forward to hearing it develop.

Tuesday 7 May 2024

Feuerschwanz - Warriors (2024)

I could have sworn blind that I reviewed the previous Feuerschwanz album, but apparently I didn't. Maybe I'm mixing them up with another German comedic mediaeval rock band turned serious folk metal band after signing for Napalm in 2019. This is their fifth album since that point, one arriving each year, even during the pandemic, but it's a little different for a couple of reasons. For one, it's mostly not new, being a sort of greatest hits of their Napalm era, plus a cover and a couple of new tracks, but reworked to serve as their first entirely English language release. Most of these songs are therefore recent but not new and only sung until now in German. Some feature guests.

Given that it's a decent album on a first listen, all delivered in a consistent lively folk metal style, but a real grower on repeats, it suggests that these recent Napalm albums have featured plenty of excellent material. What's more, the best song on offer is arguably one of the new tracks, The Unholy Grail. I say "arguably", because these dozen songs feature such a consistent approach that it's always going to come down to personal choice. Generally speaking, listen to any one track. If it works for you, then all twelve will; if it doesn't, none of the others are going to win you over.

Personally, I think The Unholy Grail flows the best with the most successful melodies. That's a huge chorus for sure. However, The Forgotten Commandment isn't far behind it, as the title track to Das elfte Gebot in 2020. Wardwarf, formerly Kampfzweg on the same album, is right up there too, as is the opener, Highlander, formerly on last year's Fegefeuer. All that said, I'm going off a succession of listens today. I may give you completely different songs toorrow. Right now, Song of Ice and Fire, also from Fegefeuer, is growing on me substantially and who knows what's going to follow it.

All told, I believe there are five tracks from Fegefeuer, a couple from Memento Mori in 2021 and a couple more from Das elfte Gebot. Then there's a cover, Valhalla Calling, formerly by Gavin Dunne, who goes by Miracle of Sound, an Irish singer/songwriter who creates music primarily about video games. That leaves the two new tracks, which I believe are Circlepit of Hell and The Unholy Grail.

The guests appear on the even numbered tracks, for some reason, and they're all vocalists, even if they play instruments in their own bands. The Unholy Grail features Dominum and Orden Ogan, in other words Felix Heldt and Seeb Levermann. Their power metal approach fits well here, because this is primarily clean up tempo folk metal. Chris Harms of Lord of the Lost shows up on Memento Mori, which means that there's a gothic undertone to it in the lively Sisters of Mercy vein. Hardly surprisingly, Francesco Cavalleri from Italian power metallers Wind Rose guests on Wardwarf, an obvious choice that works. That leaves Patty Gurdy on Song of Ice and Fire; she's apparently best known for hurdy gurdy covers on YouTube.

There's not a lot to say about any of these songs that couldn't be said about them all, namely that they get down to business quickly; deliver three minutes of melodic power with violin, hurdy gurdy and bagpipes an integral part of the assault; and get out of the way for the next one right coming behind it. The vast majority of it is sung clean and heroic in surprisingly unaccented English for a band known for singing in German for a couple of decades, but the backing vocals sometimes slip into a slight harsh delivery. Given that Feuerschwanz heavied up when they signed for Napalm, it seems telling that the crunchy metal guitars are fundamental nowadays, because their absence is obvious when they take a backseat for a verse during Memento Mori.

That said, there are some notable intros, most obviously Wardwarf, which launches neatly with a sense of both nuance and power, and Bastard of Asgard, which opens up rather like Iron Maiden taking on folk metal. None of the intros are long, as we might expect for three minute songs, but they set the stage well and continue to shape the songs after they bulk up. It's also worth adding that a number of these songs tie into pop culture, not only the Assassin's Creed influenced cover. Highlander is about that movie; Song of Ice and Fire is about that series, which you may know as Game of Thrones; and there's a memorable Lovecraft stanza in The Forgotten Commandment. It makes me wonder how many other songs tie to pop culture that I simply don't recognise.

And that's about it, I guess. This is strong stuff that sounds entirely like German folk metal even if we don't know that it's German folk metal. It tells me that I really ought to check out the previous four Feuerschwanz albums for Napalm, because I haven't done that even if I thought I had.

Elemento 26 - Labirintos de Zan (2024)

Country: Brazil
Style: Psychedelic Pop/Rock
Rating: 7/10
Release Date: 26 Apr 2024
Sites: Instagram | YouTube

Here's another unusual album from Brazil, which seems to be bursting at the seams with unusual albums lately. Elemento 26 play a brand of psychedelic rock that's rooted in classic pop music. The guitars on the opener, Fotossíntese, are occasionally powerful, in a seventies rock sense, but the overall feel is lighter and the backing vocal is very light indeed, taking us back to the late sixties. It's also patient, reminding of Pink Floyd on the boundary between their psychedelic pop era with Syd Barrett and their seventies prog rock era with deeper and more expansive musical journeys.

Nothing here gets particularly expansive in that sense, only two tracks exceeding four and a half minutes and the longest of them wrapping up well before eight. However, Clorofila, the shorter of those two at under six, firmly moves into jam band territory. That's hardly surprising for psych but it's far more applicable to rock than pop, its gentle verses and folky backing vocals giving way in a loose second half to instrumentation exploration, two guitars and the bass all soloing together.

The other angle that's unmistakable is the ethnic angle, because Elemento 26 are Brazilian and a folky edge means something very different to the folk music that fed psychedelic bands in the UK or US. There's some of this from the very outset here, but it becomes obvious on Paranoia, which has a Latin sway to the verses that could well be samba to my uneducated ears. It starts slow and gradually speeds up, but it's clearly Brazilian. There's also a lot going on in the background, but I can't swear to what. Are those backing vocals, jungle ambience or a distant calliope. It's almost a carnival song. Casulo dips deeply into this ethnic history too, even if a prominent guitar presides over all of it.

Just in case that all solidifies an idea of what Elemento 26 sound like, there's more here that will deepen that considerably. There's a garage band simplicity to Planador. There's rich orchestration in Farol. There's a funky bass to kick off Borboleta and then jangly guitars which are just the start to a highly versatile song that goes all over the musical map. There's space rock to kick off Verde-do-Mar. It's almost like Elemento 26 don't want to be tied down to any particular genre, beyond a general one of psychedelia. It's hard to even situate them on one side of the dividing line between pop and rock, because they happily work on both, even if they stay on the rock side far longer.

I like this but I'm not sure, even after half a dozen listens, that I've truly figured out who Elemento 26 are. This may well be their debut album and it makes sense to be agreeably versatile, but I'd be struggling if I suggested what their follow-up might sound like. There are so many directions that this band could take with equal validity that I'd be very wary about suggesting one. And that does bring me back to Pink Floyd again, because who, after listening to The Piper at the Gates of Dawn could have predicted Ummagumma, let alone The Dark Side of the Moon or The Wall?

If you twisted my arm, I might suggest that they're at their best when evolving from quirky poppy melodies into longer instrumental sections. I don't know who's in the band, so I can't call anyone out for specific praise, but it's the guitars that do the most for me here. They're relatively simple during verses, for the most part, but they're highly varied in instrumental sections. There are an array of guitar solos that stand out to me, enough that it's hard to pick which work the best, but I might have to call out parts of Casulo as the best, starting with its very beginning and continuing in the second half, but also parts of Casulo as the worst, namely the plodding during verses.

And I have a similar problem trying to figure out my favourite tracks. I feel like the highlight ought to be Borboleta, because it certainly does the most in its seven and a half minutes, but I'm unsold on all its changes. It doesn't feel like it's quite figured out what it wants to be yet, rather like the band who recorded it. Every time through, I find that I prefer Verde-do-Mar, wrapping things up in its wake, because it nails its grooves, but it's a far less substantial piece and it has to end in a spot that links right back to Fotossíntese to loop the album.

The problem is, if the highlight isn't Borboleta, what is it? I might have to plump for Clorofila, the other slightly long song, because it's far more coherent, even as a jam song. Certainly it features the most guitarwork and thus plenty of the best guitarwork. However, Paranoia is truly infectious and I keep coming back to Casulo and Farol too, which feature plenty of elegance. It'll all depend on where they go from here, as the next album could make these songs outliers in their catalogue or the beginning of what they do. I for one am eager to find out.

Monday 6 May 2024

My Dying Bride - A Mortal Binding (2024)

I liked My Dying Bride's previous album, 2020's The Ghost of Orion, rather a lot, though it's proved a little polarising with fans. Some see it as the best thing they've ever done, while others, well, do not with vehemence. I wonder what the reaction to this one will be, given that it's less a follow up and more a reaffirmation of everything that this band does. Sure, as with that prior album, it's all fundamentally doom metal, but it's done with serious emphasis this time, almost as if they didn't mean it before and they really, really mean it now.

Lead vocalist Aaron Stainthorpe moved a little back into the band's original doom/death territory on The Ghost of Orion, but he doubles down here, practically spitting out his lyrics at the start of opener, Her Dominion. He stays harsh for much of this song and he follows suit on a bunch of other tracks, most obviously The Apocalyptist. Of course, he doesn't stay there throughout, shifting to a clean melancholy voice for Thornwyck Hymn and The 2nd of Three Bells, but returning to harsh when a song needs it. There's a neat alternation between clean and harsh on Crushed Embers as he duets with himself.

Maybe it's just the crisp production by Mark Mynett, but it feels like the two guitarists, Andrew Craighan and Neil Blanchett, both mean it all the more this time too. The riffing here is cavernous from the glorious staccato riff early in Her Dominion onwards. The slower metal gets, the more important the riffs become. The riffs on this album are consistently instant, few of them remotely complex and some slow enough to be sets of power chords, but every one nailing what it needs to do. For something completely different, there's an elegant duet between acoustic and electric guitars to open up A Starving Heart too.

Back to the production again, the bass of Lena Abé is easily distinguishable within the mix and it's far more than just an underpinning for the heaviness of the guitars. Of course, it does that and it does it deliciously, but it also does a lot more, especially in moments where the guitars step back and Abé often carries on, often serving as the change between sections. The drum sound is strong too and returning drummer Dan Mullins, who played with My Dying Bride from 2007-2012, joining at the same time as Abé, who never left, has a varied approach that's sometimes patient but also sometimes prominent, as on Unthroned Creed where he could easily have held back far more but adds a jagged rhythm instead.

That leaves Shaun McGowan, who's responsible for the vast majority of the gothic feel nowadays, not through his keyboards but through his violin. Those keyboards are there right from the start, adding texture behind the opening of Her Dominion, but we have to pay attention to hear it over most of the album. The violin, on the other hand, dominates whenever it shows up, which is often. It's a perfect instrument to echo the melancholy of Stainthorpe's clean vocals, but it works just as well adding that aching feel behind his harsh voice too on The Apocalyptist, and of course serving as a soloing instrument.

Apparently there was tension within the band while they were recording this, which ought to be a shame. We always want people to get along, but maybe that friction helped bring the vibrancy to this album that wasn't there last time out. Is it anger and frustration that fuels the attitude that pervades this album? I have no idea, but whatever it is worked a charm. Everything here is stellar. Of course, it tends to happen this way but my first 9/10 for the year came as recently as 29th April and yet here's another one on 3rd May. I loved it on a first listen but it just gets better on repeats.

Her Dominion kicks it off hard with angry harsh vocals and a vicious punch of a riff. Opening single Thornwyck Hymn and The 2nd of Three Bells shift back to the clean approach they ran with for lots of albums. All three are excellent songs, but Unthroned Creed raises the bar with a solid chugging riff and a catchy vocal line, the combination reminding of Candlemass. On my first time through, The Apocalyptist after it was my favourite of these seven tracks by far, but, on each return visit, Unthroned Creed threatens to match it.

That said, The Apocalyptist is gorgeous. It's the longest track here and it's the standout, its riffs simple but thoroughly effective, it's vocals blistering. Stainthorpe gets serious attitude into his death growls here and no less feeling in the clean ones. There's also a delightful violin during the elegant midsection and the song grows and evolves effortlessly, even though it travels quite a lot of ground over its eleven and a half minutes. A Starving Heart is an achingly slow counter with a vocal that moves from pleading to angry to commanding. Crushed Embers takes the album home with style.

This is a generous album at almost fifty-five minutes, even if it's slightly shorter than The Ghost of Orion, and it's consistently strong throughout. I'm half a dozen listens in now and, every time, I'm just as engrossed by every song as on my first time through. I liked its predecessor enough to give it a highly recommended 8/10 here, but this is easily a step up. I wonder how the folk who see that one as their best album thus far—I don't, by the way—will see this one.

Glass Island - Lost Media (2024)

Country: Poland
Style: Progressive Rock
Rating: 8/10
Release Date: 26 Apr 2024
Sites: Bandcamp | Facebook | Twitter | YouTube

If you asked me which country's prog rock I'm most keen to hear more of, I'd have to toss a coin to decide between Norway and Poland. Both are apparently full of excellent prog rock bands and it's always a joy to discover another one. Glass Island were founded in 2019 by Wojciech Pielużek, who occasionally collaborates with other musicians but wrote and performed everything on this album himself. It's the third Glass Island album, most arriving a year apart, with a prior EP from 2020. It does rather a lot within its fifty minutes, making it an album to enjoy on a first listen but dive into deeper on multiple further times through to appreciate it fully.

The sound is fascinating because it finds an elusive balance between imaginative and commercial. Almost Human opens with chimes and builds through infectious riffs, on both guitar and bass, but also drops into neat textures here and there. It's entirely instrumental and fundamentally driven by riffs for five minutes before Pielużek briefly solos on guitar and finally adds vocals. Suddenly it becomes a song and it's one with a catchy chorus. Just trust in me, I'm almost human. I'm seeing a lot of bands open albums with ten minute plus songs lately and they keep nailing them.

There are definitely different aspects to what Pielużek is doing here. The most commercial aspect is his somoth and friendly voice, which takes the fore on False Memories but gets oddly laid back on A Different Kind of Tomorrow and Credulous, almost like he's singing Britpop and Four-Letter Words is almost perky. It's an easy voice to listen to, whatever he's doing with it, and he's fluent enugh in English that I rarely caught an accent, but I'd still suggest that he thinks of himself as a multi-instrumentalist before a lead singer, not because he's lacking in the latter department but because he particularly excels at the former.

As a guitarist, he has a knack for generating catchy riffs that would often work in a hard rock band, never mind a progressive one. There are a few of those in the first half of Almost Human, a strong one to wrap up A Different Kind of Tomorrow and others dotted around the album. These riffs are bedrock for the more experimental side of what Pielużek does. They make it all accessible, even if we start to wonder about complexity and time signatures and how straightforward this isn't. He's a good soloist too, but he doesn't spend a lot of time with guitar solos, soaring with one on Almost Human, blistering with one on Past the Truth and adding a few very different ones in Stay Under Cover.

Just as we just absorb those riffs and come back later to think about how complex they are, we see the songs in a similar way. As much as I enjoy the catchy melodies and riffs, not to forget the solos, it's the textures that really pull me in. It's those chimes on Almost Human, the weird keyboards in the middle of False Memories that sound like musical steam horns and the glitchy rhythms on Past the Truth that combine with the guitar to remind of Robert Plant's Big Log at points. The song has a completely different direction, ending up almost Pink Floyd, but that texture abides. More than anything, it's especially the entire second half of Stay Under Cover, which is joyous.

This track is a worthy bookend to Almost Human, not only because it's another ten minute gem but because the first five minutes of the album and the last five unfold instrumentally, as if they were always meant to lead us in and take us home. It's the most obviously progressive song here, with a whole slew of different sounds. It opens up slow and langurous, a liquid guitar flowing through the piece, but, after the tasty guitar solo midway, it drops into a texture section with minimal piano in a fascinating battle with the unusual rhythms behind it. Eventually that builds into a fasacinating synth outro and it left me wanting to immediately play that final track again and again.

I liked this album on a first listen, which always helps with prog rock, but liked it all the more on a few repeats, enough to move it up from a 7/10 to an 8/10. And I think that may be the norm for any listeners finding Pielużek and Glass Island through this album. The immediacy of it means that it's highly accessible, while the depth of it means that it's worth exploring too. Keep these Polish prog rock bands coming and do tell me what they're putting in the water over there, because Poland is punching seriously above its weight right now in the genre, as indeed is Norway.

Friday 3 May 2024

Praying Mantis - Defiance (2024)

Country: UK
Style: Hard Rock
Rating: 9/10
Release Date: 19 Apr 2024
Sites: Facebook | Official Website | Twitter | Wikipedia | YouTube

I only review new rock and metal at Apocalypse Later and I've often talked about the main reason why I do that. So many of my fellow fans back in the eighties seem to have fallen prey to the belief that "all new music sucks". They're quite clearly wrong and I'd cite the fifteen hundred albums I've reviewed over the past six years as evidence for that. However, those people are also missing out on the fact that some of the bands who they use as examples of why rock music was so much better back then aren't just still going but are putting out their best material now.

Case in point: Praying Mantis. They formed way back in 1974 when I was toddling around causing a lot of heartache for my parents and they only released a sole album back in the day, Time Tells No Lies in 1981. Sure, it's a good one, but I'd suggest their most recent couple of albums are right up there with it, if not above it. That's Katharsis a couple of years ago and Defiance right now. This is a good one on a first listen, which is always a telling sign, but it grows on a second and cements its stature on a third.

The opening three songs explain why. From the Start is a solid opener, lively if not fast, there to be an attention grabber. Defiance is slower but has a majesty that builds it wonderfully, with an epic feel that makes it surprising to realise that it's over in four minutes and change, making it shorter than the opener. That majesty returns in songs like Forever in My Heart or Never Can Say Goodbye and, after a few listens, seems to pervade pretty much everything. Feelin' Lucky ups the tempo to rock out but with an elegance that reminds of the sort of thing we might expect from Demon.

They make for a strong opening, ably setting the stage for what's to come. Before I tell you that a few later songs are better still, let's dive into the acknowledgement that track four is a cover, the old Joe Lynn Turner-era Rainbow classic, I Surrender. It's an excellent version with another superb vocal performance from John Cuijpers and some sumptuous dual guitar work from Tino Troy and Andy Burgess. However, it initially seems rather redundant because it doesn't add anything to an established classic that we already know.

The point is that there's history here. It was written by Russ Ballard and its first release was on a Head East single in 1980. Praying Mantis recorded a version during the Time Tells No Lies sessions in 1981, but they didn't release it on the grounds that Rainbow had just done that. I presume that led to the selection of a Kinks song instead, All Day and All of the Night, for that album and as the second single from it. And so this is the modern day Praying Mantis re-staking their claim to it as a song that fits their style perfectly, which it does.

What's particularly telling is that other songs here, especially Give It Up, unfold in the same style of emphatic arena rock. This is an original and it's not quite as good as I Surrender, but it deserves to be in the same setlist. Forever in My Heart and One Heart would play wonderfully to arena rock fans too, both starting out like power ballads even if only the former stays there. These just ooze with the majesty I talked about earlier, the second adding an elegant acoustic guitar solo during its second half, power chords maintaining the impact behind it. There's some major sustain on the vocals of John Cuijpers on these, not that he skimps on that elsewhere.

That emphasises how he's a real boon to this band nowadays. He's the most recent arrival, joining in 2013 alongside drummer Hans in't Zandt, their decade plus with Praying Mantis cementing how this is easily the most consistent line-up they've ever had. Both simply fit here, even though both are Dutch and the band is English. The instrumental Nightswim is no less worthy an inclusion here for its lack of vocals, but when Cuijpers rips into the next song, Standing Tall, we see just how much he belongs in this band.

I mentioned that, as strong as the opening three songs are, there are better still to come. While I can't resist Forever in My Heart, even being generally put off by power ballads, but Standing Tall is my easy pick for the best song here and my personal favourite. It starts out like Rush and turns into Demon, with a dash of Survivor in the commerciality of its riffs and, as it builds, one of Golden Earring in its incessant drive. That's a catchy keyboard riff but an excellent guitar solo too and the best thing about it is that it manages to be a faster paced rocker without losing the majesty of the slower songs. But there's also Give It Up and Let's See and Never Can Say Goodbye and... let's just say that this is a damn fine album that ends even better than it begins.

What fascinates me the most is that we appear to be in a heyday of classic bands who predated my discovery of rock and metal in 1984 but who are putting out amazing material right now. It seems bizarre to suggest it, but could I come up with a theoretical tour more enticing to me in 2024 than Praying Mantis, Demon and Diamond Head, this band seeming like the missing link between the two? I don't think so, unless we add Weapon too for good measure. Let's revisit that in a few weeks when I review the new Demon album.

Pigeons Playing Ping Pong - Day in Time (2024)

It seems strange, given such a memorable band name, that I haven't heard of Pigeons Playing Ping Pong before, but they've been around since 2009 and this is their seventh album. Clearly I've been missing out. By the way, that name was taken from the description of a scientific experiment in a textbook, but that doesn't mean this is math rock. The Pigeons play funk rock that's almost always driven by the bass of Ben Carrey. The vocals of Greg Ormont are very clean and the sound is often poppy—the earworm chorus in The Town, the obvious single which opens up the album, reminds of Bruno Mars's Uptown Funk—but they also love to jam and I fell into a lot of these guitar solos.

Let's get The Town out of the way quickly, because it's the sort of song that's so infectious that it's easy to just slap that one on repeat and forget that it's actually opening up an album. There are a further ten songs on Day in Time, plus a thirty second outro that sounds like it was ripped from an old and warped cassette. I can't say that any approach The Town on the infectious front, but a few of these songs come close to being as perky, such as the title track and Fall in Place. I had a concert to attend tonight and I had The Town and Day in Time playing in my head all the way there.

Funk rock is usually driven by the bass and Ben Carrey is a thoroughly impressive bedrock for the band to build on. He's there on The Town and Day in Time, of course, but it's impossible to ignore him on Beneath the Surface and Sorcerer, let alone when he's stealing the spotlight with bass solos on tracks like Alright Tonight and Overtime. There are moments dotted here and there on the album, often in the intros to songs, when he doesn't do anything at all and it feels acutely like something's been lost. Fortunately he soon shows up and all is right with the world again.

Once Carrey has set down a bass line, many of these songs are tasked with a pretty basic question as to whether they want to be pop or rock. The more Greg Ormont's vocals nail a melody, the more pop it becomes, whether it's the funk of The Town, the disco of Let the Boogie Out or the reggae of My Own Way. The more Ormont focuses on his guitar and Jeremy Schon joins him—I don't see a credit to divvy up lead and rhythm duties, so I presume they swap them—, the more it turns into a rock album. Just check out Skinner, which doesn't just have the best guitar solo on the album; it's seriously extended because this is a five minute instrumental.

It's how they put those two approaches together to create one sound that makes this band work so well. The clean lines, whether we're talking vocals or guitar, suggest that this is what we might hear if Lenny Kravitz handed his guitar to Eric Clapton and his microphone to Robert Cray. Late in Feelin' Fine, there's a jam that's absolutely glorious but, prior to that, the song is so clean that we'd perhaps be forgiven for assuming that they're aiming for the blandest audience possible—like people who think the sun shines out of Jimmy Buffett's margarita glass—but just can't resist rocking out anyway.

And they rock out a lot here. The Town ought to be too commercial to do that but there's a tasty guitar solo in the second half; Alright Tonight boasts another one; and Day in Time has one more that comes right after a keyboard solo. That's three in three songs and there are a bunch more to enjoy before we get to that instrumental workout on Feelin' Fine eleven tracks in. Add to that an array of extra little touches, like the keyboard flurry late in Day in Time that reminded me of early Marillion; the reggae jangle of the guitars in My Own Way and Fall in Place; or the funky horns in Let the Boogie Out that elevate the whole thing.

It all made me recall a gig review in Kerrang! way back in the late eighties that sent someone to an Allman Brothers gig who clearly had no idea who they were. They fully expected granddad rock and were prepared to sit through it, but they got a blistering jam show instead that utterly blew their mind. That's how I imagine Pigeons Playing Ping Pong gigs to be, with grandmas showing up because they just sound so nice in the background of Murder She Wrote or some such show and hearing tight rocking jams instead that make them question what they've missed over decades.

And I'll shut up now, except to make a note for my future self to figure out what that phrasing is in Overtime that I absolutely recognise but somehow can't place. I listened to a couple of tracks late one evening to see if this was something I'd be up for reviewing. Obviously I was, but what I got on an eleven track album was so much more than I heard in that pair of openers, even though anyone listening to this would have to include The Town as a highlight. I'm one of those, though Skinner is my top pick and Day in Time and Feelin' Fine aren't far behind.

So I may be a little late, but I've caught up with Pigeons Playing Ping Pong and now have six prior albums to seek out. Have you caught up with them yet? You should. Your day will feel better for it.

Thursday 2 May 2024

Leaves' Eyes - Myths of Fate (2024)

It's becoming increasingly difficult to list a country for Leaves' Eyes, who return here with a ninth studio album to follow 2020's The Last Viking. They were formed by Norwegian vocalist Liv Kristine and the line-up of Germany's Atrocity, but there are no longer any Norwegians in the band and, of six members, only three hail from Germany. The lead vocals are handled this time, as last, by Elina Siirala, a Finn; Joris Nijenhuis is a Dutch drummer; and the two replacements for Thorsten Bauer are an Italian, Andre Nasso on bass, and a German, Luc Gebhardt on guitars.

Wherever they're from, they sound excellent on this album. The songs feel a little heavier than on its predecessor but that's not because of any change in songwriting, more because the back end is beefed up a little in the production. It all sounds like it has a little more oomph to it, but what we hear on top of that is the same heavy symphonic metal. Well, mostly, because I'm hearing a little change in the approach too, not least all the folky touches on The Last Viking being restricted to a single track, Einherjar.

For one, even though the production makes this feel a little heavier than last time out, there are fewer harsh vocals from Alexander Krull, now the sole remaining founding member, after Bauer's departure in 2021. There are some on the opener, Forged by Fire, but he focuses on keyboards for Realm of Dark Waves and Who Wants to Live Forever, which become the baseline for this album. I was almost shocked when he leads out Hammer of the Gods, on which he has a lot more to do with his vocals. The same happens with Sons of Triglav, easily his most dominant vocal performance on this album. He's still there, of course, decorating other songs like Fear the Serpent, just less often.

For another, there's less of a choral sound in play this time. Again it's there and indeed it's there on the opener, which features some of the most memorable choral vocals here. There's more still to come in Fear the Serpent, Einherjar and especially Sail with the Dead, but the latter two close out the album and so it's missing far more often than I expected. In Eternity, which boasts a highly prominent woah woah chorus isn't bolstered by other voices the way it could easily have been. It was clearly a deliberate decision to relegate choral vocals deep below Siirala's clean but powerful lead, as well as Krull's occasional harsh vocal.

Now, that doesn't mean that Leaves' Eyes are moving away from symphonic metal. This is clearly symphonic metal through and through. Siirala may not soar all the time but she soars plenty and I'm very happy about how she breaks down when she wants to set a mood and when she wants to show off a little. She's a wonderful lead singer for this band and it's hardly surprising that she's even more of a focus than she was last time. Goddess of the Night is a showcase for her, covering both nuance and power, but my favourite moment is the very first word in Fear the Serpent which she delivers with impeccable relish.

It's probably not coincidental that Goddess of the Night is also the most orchestrated track, with delicate violins to match Siirala's delicate sections and more powerful ones to match her powerful ones. While I'd call out Hammer of the Gods and Forged by Fire as my favourite songs, along with the Viking metal infused Sons of Triglav, Goddess of the Night can't be ignored as a real highlight of the album. It's the softest, subtlist and quietest song here, however much it builds, but it's also perhaps the one we can least ignore. We can fall into the grooves of many of these songs and let them carry us along, most obviously Sons of Triglav and In Eternity, but Goddess of the Night has real demands on our attention. We are commanded to listen.

All that said, it shouldn't surprise that I like this album rather a lot. It's more immediate than its predecessor and it's more consistent, in addition to having that extra boost from the production. However, it's also not taking any risks. Decreasing those harsh vocals and choral backdrops feels like a backward step. Symphonic metal is a genre that's particularly easy to identify because the bands who forged it are so similar that they can sound interchangeable. Leaves' Eyes have always been a little different, obviously compatible and similar but never the same, perhaps inevitably given their origins in a gothic singer and a grindcore band. However, these changes feel like they may be moving them closer to the norm and that may be a mistake.

Grains - Grains (2024)

Country: New Zealand
Style: Electronic/Space Rock
Rating: 7/10
Release Date: 12 Apr 2024
Sites: Bandcamp | Facebook | Instagram | YouTube

Here's something interesting from down under. Grains, who hail from Wellington, which marks as far south as you can go and remain in a capital city, apparently started out as a duo playing synth ambience but they bulked up 2021 to a five piece band. They're primarily electronic, but they run quite the gamut within that. How? opens up as almost new wave, like Tangerine Dream with some welcome throat singing. I am loving how that's travelling far from Mongolia nowadays. Then Ever adds a beat and starts to explore the potential of what five guys playing these instruments can do.

I like Ever, which is over in fewer than five minutes but still moves from pop music into space rock and on into something more esoteric. Sometimes this feels acutely poppy, especially early in Unco and Flying Saucer, which appears to be an old piece of music condensed a little for this, their debut album. There's disco on Unco and there's new wave on Flying Saucer, but both evolve elsewhere. In the former, electric guitars float around deep underneath the synths and gradually surface as the piece runs on. That's quite a tasty solo building towards the two minute mark and a neatly delicate section just after four.

The latter is one of the two epics the album has to offer, L.O.T.A.F! being the other one. Any track here could easily have been extended far past its actual running time, but Grains only allow some extended exploration on these two. They do think about it on Unco too, which almost reaches the seven minute mark, but they haul it back in well before it can sprawl out of control. Flying Saucer starts out poppier than usual, a very old school lead synth backed by far more modern synths, but it also gets heavier than usual late in its first half and again during its second.

If it wasn't for the overt guitars midway through L.O.T.A.F!, then Flying Saucer would feature the poppiest and heaviest moments of the album, which ought to give a good idea of how far it shifts over its eight and a half minutes. And that's a good thing. Anything that trawls in space rock even as a component really ought to take the listener on a journey and I got that the most here on this one highly versatile track. L.O.T.A.F! took me on a journey too but a much darker one that isn't to out there but to in here, which gets experimental and claustrophobic.

It's the longer pieces that connect with me the most, the two epics but also Unco and, after them, the closer, Succession II, which is pure electronic rock in the seventies tradition but introduced to space rock and with layers of extra electronic chirps. It's like walking into a maximalist spaceship control room with ADHD. This one's only five and a half minutes long, which isn't sprawling for the fourth longest piece on an instrumental electrona album. I say instrumental, by the way, because not one of these pieces involves the delivery of lyrics but there are vocals here, whether they're recorded or sampled, just occasional vocalisations and that throat singing on How?

That's not to say that the shorter pieces don't work, but they're far less ambitious. How? sets the scene and Ever is an introduction to where we might be going. Pans is more than a pleasant interlude, but for half its running time it seems to be exactly that. It does get more interesting in its second half but I don't think it quite figures out what it wants to be. And Succession I is evocative from its very first moments, as if it's dumped us into a rainforest and we have to figure out which one. However, it's easily the shortest piece here and it never answers the questions it asks. Succession II seems a lot more confident about shifting to answers within a couple of seconds.

I like this a lot and it's easy to get completely subsumed by it, but how substantial it really is may depend on many further listens. Grains have been around for a few years now, with their earliest recordings issued in 2019 on a single called ζ, the Greek letter zeta. Back then, they were the duo of Calum Turner and Peregrin Hyde. Nowadays, there are five of them, with additional cello from a couple of guests. However, I'm expecting that Turner and Hyde still provide the bulk of this on a selection of synthesisers and sequencers. The rest flesh out the sound into something more. Lets see where they go from here, because I have a feeling that they're going to keep evolving.

Wednesday 1 May 2024

Týr - Battle Ballads (2024)

It's been five years since a Týr album and they're touring again. My son got to see them recently in Mesa and he thought they were solid, even though he was personally there to see Trollfest again, who were one of their support bands. Now, five years may not seem like a long time but that's the beforetimes on the other side of COVID, so it's a long time indeed. The only time they've taken as long between albums before was the previous gap, between 2013's Valkyrja and 2019's Hel, which was twice as long as any gap before it, so this may be the new normal.

If so, then material needs to be pretty strong and, while this is certainly a reliable and enjoyable album, it rarely seems to ache to knock my socks off, unlike Hel, which was infused with energy to do precisely that. This feels a little more relaxed to me, but it's slowly building on me. Hammered is a decent opener, but Unwandered Ways is better still, nailing the melody and the bounce, and Dragons Never Die almost matches it. Row has a tasty rhythm, which it really ought to have given that it's a rowing song. Given that, I'm not sure that it should speed up at the end, but maybe this is competitive rowing rather than raiding foreign shores.

And that's the first chunk of the album, because this doesn't break naturally into two sides. These first four songs are all sung in English and they all do much the same thing in different ways with varying degrees of success. Later on, skipping over two tracks for now, the third chunk features a set of three more of these. These seven tracks comprise the core of this album, even if they fall on either side of its heart.

After them is the closer, Causa Latronum Normannorum, which stands pretty much on its own. It's an interesting song, because it's slower than those seven default mode tracks, the fast drumming of Tadeusz Rieckmann aside. It's initially sung in what I presume is Faroese, then shifts to Latin, so it definitely takes a different approach there. And it flaunts itself, building more sedately with an effortless ease, as if it's impressing on us how powerful it is so that we don't try anything. I like it.

However, I like the two tracks in the very middle of the album even more. They're notably different from each other but they sit well together because they're both sung in Faroese (or is it Icelandic, as Google Translate seems to think?) and, maybe in part because of that, they feel more authentic. However, I have a feeling that they'd feel more authentic even if they weren't. The other songs are new, of course, and they feel like they're new songs. I don't know for a fact that these are new too, but I have no reason to believe that they aren't, other than they feel timeless, like they could be a pair of five hundred year old classics given a modern day Týr treatment.

Torkils døtur (Torkil's Daughter) is a ballad, though it does bulk up late on, but there's a real power to it. The guitars are acoustic for the longest time and they're delightfully delicate in comparison to to the rest of the album. However, the vocals quickly take over and everything feels naturally harmonised, like it's not one voice but thirty singing so closely in unison that it becomes a single enhanced one. It's also orchestrated, in ways it certainly wouldn't be in a Faroese inn, but the approach works. I find it an impossible song to resist, even if I have no idea what they're telling me.

Vælkomnir føroyingar isn't a ballad, but it carries the same sort of heritage to it, just translated a lot deeper into modern day folk metal. Maybe Torkils døtur is an actual Faroese folk song whereas Vælkomnir føroyingar is merely the most successful new song here at tapping into that tradition. It's easily my favourite track, that harmonised vocal approach continuing but with a more obvious merger of clean voice over harsh voice, singing the same words. The melodies are more effortless than even Unwandered Ways and the whole thing is always over far too quickly for me. I feel like I could be carried along by this one forever. Given that it translates to Welcome Guests, that seems rather appropriate.

Where this leaves me is that my favourite two songs are the ones not sung in English. Lead singer Heri Joensen is clearly fluent and he delivers very well indeed in English, but there's an element here in the Faroese songs that simply isn't there in the English language ones, one that's typical for folk metal, of course. If there's a subgenre of metal that values native language more, then I don't know what it is. I like everything on this album, but I like some of it a lot more than the rest and the rest means the majority.

Are Týr trying too hard to find a more mainstream sound and losing a little of themselves in the process? Let's see how the next album turns out in what I'm now guessing will be five or six years from now.

About Us - Take a Piece (2024)

Country: India
Style: Melodic/Hard Rock
Rating: 7/10
Release Date: 12 Apr 2024
Sites: Facebook | Instagram

I reviewed the self-titled debut album from About Us in 2022 and pretty much everything I said in that review holds true here. Most notably, they have a truly bizarre mix of styles that sometimes works really well and sometimes leaves me wondering why. This sort of mix simply isn't done and for good reasons, because the fanbases for some of the different styles on offer here tend to hate the other styles. However, they've doubled down on this sort of thing since that debut, so it must be working for them.

They start us in relatively easy, with an opener in Come to You that's half heavy/power metal and half melodic rock. Their base style remains melodic rock, which is why they're on Frontiers, but it's fair to say that I doubt anyone else on Frontiers sounds like this. There are plenty of bands on that label who play melodic rock and plenty more who play power metal and perhaps a few that sound like both put together. However, I can't name another one who adds nu and alt metal into the mix, as About Us promptly do on Endure.

Come to You is fundamentally a melodic rock song with the sort of melodies we expect built on the sort of structure we expect, but it's bulked up with beefier guitars and notably fast drumming. I'm pretty sure Yanni Ennie is using a double bass approach here, which I don't believe I've ever heard in a melodic rock band before. Sochan Kikon takes on an escalating metal vocal at the very end of the song too. Endure, though, is melodic rock with a Hot Topic filter laid prominently over it like a blanket. Renlamo Lotha and Pona Kikon shift their guitars to rhythmic monotone riffs and djenty chords and both Sochan Kikon and whoever's adding backing vocals go trendy harsh. However, the solos are back to power metal again.

Legion mixes those approaches, building from an elegant power metal intro to djenty verses and back into power metal choruses, the melodic rock not as clear but still there in the structure, and the majority of these tracks continue to mix these approaches in different amounts. Fire with Fire is more melodic rock but with grungier guitars and Sochan Kikon singing clean but with more grit and, at the very end, another metal scream. EVH is bouncy hard rock with much more prominent keyboards from Renbomo Yanthan, so it's AOR with a little crunch. This one could easily be heavy Journey. Beautiful Misery is melodic rock that ramps up to power metal but with those alt metal touches when that sort of middle finger attitude is warranted.

About Us hail from Wokha, which is so far to the northeast of India that it's far closer to Myanmar than the majority of India, so I wonder what their local music scene sounds like. It's not the usual home for a rock band of any description, so maybe rock fans there are more accepting of this sort of wild mix. If Journey and Blind Guardian and Avenged Sevenfold are all simply rock bands there and a notable change from Bollywood soundtracks and traditional Indian music, then a band like About Us makes total sense. Here in the west, where trad metal and alt metal have two separate fanbases, especially outside the US, About Us make us wonder a lot more.

What I can say is that they're highly capable. Sochan Kikon sounds effective whatever style he's adopting at any particular moment. Check out the guitar solos in Reels for Eternity and Hope to see what a double act like Lotha and Pona Kikon can do. Ennie impresses throughout, even if it sometimes feels as if he'd be more comfortable in an extreme metal band. Yanthan rarely takes the spotlight, which holds true for bassist Soren Kikon, a third Kikon in this band, but they both deliver exactly what they need to do to support these songs.

I'm going with another 7/10 here, as I did with the About Us debut. This feels a little heavier over a forty minute stretch but it hasn't lost its melodic rock roots, especially with a thoroughly melodic song like Fortitude wrapping things up, even if Sochan Kikon gets edgy at points and there's a nice slow and heavy section early in the second half. My least favourite songs are the ones that venture deepest into the nu metal approach, Endure and Legion among them, but they stay varied too, so I'm not desperately upset. Later songs, like Hope and Beautiful Misery, strike a better balance for me, mostly unfolding in traditional melodic fashion but with the occasional edgy texture.

What I don't hear yet is something new coming out of this merger. It still sounds like a merger of two very different sounds coexisting on the same album. Maybe, if About Us keep knocking these albums out, they'll find a way to make the two sounds feel like one, at which point they'll certainly have staked out a very new claim within the genre. Best of luck to them!

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