Album Reviews

[binnie]

Slash – Apocalyptic Love

The cover art tells you that they’ll be few surprises here – a top hat astride a snake entwined Les Paul announces that Slash is a man comfortable with his own iconic status, and happy to serve it up to his fans. And serve it up he does – 13 times over – in a batch of strident blues rock tunes. ‘Apocalyptic Love’ is less varied that Slash’s debut – perhaps unsurprisingly given the presence of only one singer this time out – but it is more focussed, and a little harder. It will certainly make you smile.

There is variation in the template, however, from the bombastic blues of ‘Bad Rain’ and ‘Hard & Fast’, the hook heavy modern rock of ‘No More Heroes’ (what a chorus!) to the downright middle aged ‘We Will Roam’. Each tune is crafted around a series of Myles Kennedy’s uncanny hooks, and on the likes of ‘One Last Time’ (which features a rapid skiffle riff and melodies a plenty), the serpentine ‘Standing In The Sun’ or the meat and potatoes hard rock mule kick of first single ‘You’re a Lie’ you can see just why Slash chose to work with Mr Vesatility. But it might – ironically – have been a somewhat limiting choice. Kennedy may be easy to work and collaborate with, but I’m not sure he’s Slash’s natural foil. He is unquestionably a great composer and in possession of a tremendous set of pipes, but there is very little danger about Kennedy – you get the sense that he’s more a thinker than a rock ‘n’ roll desperado, and Slash makes music for the neck down. Consequently, these tunes lose some of their bite, their kick, and you’d never guess that this was a solo record by the gunslinger of The Most Dangerous Band In The World, unless his silhouette instantly announced it.

There might not be anything here quite as dazzling as the Kennedy/Slash tunes on the debut disc – ‘Back To Cali’ and the frankly astonishing ‘Starlight’ – but they have served us up some gems nonetheless. ‘Halo’ is a demon stomp of a song, ‘Not For Me’ is outlaw torn blues, and ‘Anastasia’ is simply joyous: a stripper beat overlaid with dazzling geetar histrionics and fuelled by some of that menace lacking elsewhere on this disc – the central riff alone smacks of a guy who show you a video of him fucking your sister and then ask you what you thought. You hope that the future will bring more of this.

As it stands, what we have here is an enjoyable summer record which deserves to be played loud. But it might not light up the sky. In some quarters this disc is being hailed as the best thing Slash has done since G’N’R – it’s not. That accolade would have to go to the sheer bloody hedonism of the second Snakepit record, ‘Ain’t Like Grand’, a record which sounded like a bunch of crack-ridden outlaws kicking the shit out of some of the most unheralded rock ‘n’ roll tunes ever written, the sort of record that would ravish 17 groupies in a row and blow a load on their faces. This one would want to cuddle after – perhaps it’s an age thing.

[binnie]

From the vaults: Katatonia – Dance Of December Souls (1993)

Katatonia were a very, very different band at their inception. This is an epic record, a tortuous brand of extreme metal doused in gothic kisses. From the moment which the bludgeon of ‘Gateway of Bereavement’ kicks in, this is the aural equivalent of being drowned in the darkness of a cold, blackened being. There is little in common with the rest of the death metal scene here, Katatonia avoid the swirling hyperbole in favour of the crawling doom of Candlemass or early Paradise Lost. But they also, crucially, coupled that heaviness to operatic grandeur and sonorous melodies – ‘In Silence Enshrined’ is cavernous, a wall of thudding doom and cascading, triton riffs or eerie effervescence and nightmarish savergy. ‘Without God’ is holy fuuuuuuck bleak, and the 13 minute ‘Velvet Thorns (of Drynwhyl)’ speaks of a band overflowing with confidence and ambition, and one with control of their composition even at the point of excess. Yet, even though this debut was much more metallic that much of Katatonia’s subsequent work, the seeds of their progression were here too – the delicate goth of outro ‘Dancing December’ and beauty of ‘Elohim Meth’ anticipates the right turn Katatonia would take on ‘Brave Murder Day’.

Alongside fellow doomsters My Dying Bride, Katatonia are one of metal’s most relentlessly innovative and stubbornly self indulgent bands. If you are the sort of person who thinks that extreme metal is all about malovelent swirls and comic book evil, this blast of Wagnerian sweep of anguish will shock you. You may never want to listen to it again, but you’ll not be able to deny its power as a work of art.

[binnie]

Destruction – Day Of Reckoning.

They’re baaaaack. The third part of the German thrash triumvirate – the other two being Kreator and Sodom – Destruction have had perhaps the toughest career. After a handful of brutal thrash classic in the 80s, the 90s was a relative wilderness period for the band, who lacked a record company, and much of the 00s on Nuclear Blast seemed to be part of a process of regaining momentum. And it has culminated in this three piece thrash mayhem. Fast and Motorhead powerful, what compels you here is the CRUNCH of Mike Sifringer’s riffage. This is classic thrash dressed up in the sonic power of a modern production and – in a similar manner to Overkill or the rejuvenated Accept – it gives no quarter.

It also revels in the clichés. Lyrically, it’s all death and destruction; musically, powerchords, double bass drums, and speed freak riffs. Oh, and they have a song called ‘Armagedonizer’, which is easily the most metal song title ever. Fact. ‘Devil’s Advocate’ sounds a bit like the first Megadeth record, whilst ‘Sorcerer of Black Magic’ is like a latter day Testament. But that’s not to accuse Destruction of being derivative – there’s a very charismatic take on the thrash template, and one propelled by new drummer Vaaver’s ability to turn these song’s raw ingredients into something 25 times more powerful. There’s nothing you’ve not heard before, but it’s delivered on full kill mode with almost no scope for self indulgence.

[78/84 guy]

Slash – Apocalyptic Love

The cover art tells you that they’ll be few surprises here – a top hat astride a snake entwined Les Paul announces that Slash is a man comfortable with his own iconic status, and happy to serve it up to his fans. And serve it up he does – 13 times over – in a batch of strident blues rock tunes. ‘Apocalyptic Love’ is less varied that Slash’s debut – perhaps unsurprisingly given the presence of only one singer this time out – but it is more focussed, and a little harder. It will certainly make you smile.

There is variation in the template, however, from the bombastic blues of ‘Bad Rain’ and ‘Hard & Fast’, the hook heavy modern rock of ‘No More Heroes’ (what a chorus!) to the downright middle aged ‘We Will Roam’. Each tune is crafted around a series of Myles Kennedy’s uncanny hooks, and on the likes of ‘One Last Time’ (which features a rapid skiffle riff and melodies a plenty), the serpentine ‘Standing In The Sun’ or the meat and potatoes hard rock mule kick of first single ‘You’re a Lie’ you can see just why Slash chose to work with Mr Vesatility. But it might – ironically – have been a somewhat limiting choice. Kennedy may be easy to work and collaborate with, but I’m not sure he’s Slash’s natural foil. He is unquestionably a great composer and in possession of a tremendous set of pipes, but there is very little danger about Kennedy – you get the sense that he’s more a thinker than a rock ‘n’ roll desperado, and Slash makes music for the neck down. Consequently, these tunes lose some of their bite, their kick, and you’d never guess that this was a solo record by the gunslinger of The Most Dangerous Band In The World, unless his silhouette instantly announced it.

There might not be anything here quite as dazzling as the Kennedy/Slash tunes on the debut disc – ‘Back To Cali’ and the frankly astonishing ‘Starlight’ – but they have served us up some gems nonetheless. ‘Halo’ is a demon stomp of a song, ‘Not For Me’ is outlaw torn blues, and ‘Anastasia’ is simply joyous: a stripper beat overlaid with dazzling geetar histrionics and fuelled by some of that menace lacking elsewhere on this disc – the central riff alone smacks of a guy who show you a video of him fucking your sister and then ask you what you thought. You hope that the future will bring more of this.

As it stands, what we have here is an enjoyable summer record which deserves to be played loud. But it might not light up the sky. In some quarters this disc is being hailed as the best thing Slash has done since G’N’R – it’s not. That accolade would have to go to the sheer bloody hedonism of the second Snakepit record, ‘Ain’t Like Grand’, a record which sounded like a bunch of crack-ridden outlaws kicking the shit out of some of the most unheralded rock ‘n’ roll tunes ever written, the sort of record that would ravish 17 groupies in a row and blow a load on their faces. This one would want to cuddle after – perhaps it’s an age thing.

You hit it on the head. Ain't Life Grand is killer dirty rock & roll ! But this new album kicks ass. Straight up rock. Good stuff.

[binnie]

Cheers dude, glad you liked it!

[binnie]

From the vaults: Marilyn Manson – Antichrist Superstar (1996)

There was a period in the mid-90s where Marilyn Manson was ubiquitous – loathed, loved, discussed, debated, over-played and much more, whether you ‘got it’ or not you had to admit that he (and his music) was interesting if nothing else. It was also considerably more colourful than metal traditionally had been, and more gratingly offensive, too – you don’t have to agree with what MM says to appreciate that he was deadly serious and keen to provoke thought as much as ire. Where much metal traditionally thrived on anger, the likes of ‘Beautiful People’ and ‘Irresponsible Hate Anthem’ had something to say about the modern Western world – it wasn’t pretty, but you could dance to it. That’s a difficult balance to maintain.

The purest metal heads bewailed the lack of guitar solos and overuse of atmospherics, and were uncomfortable with the extensiveness of much of the introspection – the mainstream, of course, labelled him a ‘freak’ and simply closed their eyes and minds. Both had missed his point, despite ‘The Beautiful People’ thrusting it in their faces. Is it metal? Not in the traditional sense, certainly. Manson’s song-writing essentially took elements from the alternative bands of the ‘80s, filtered them through a tortured industrial soundscape and layered them over with scuzzy guitars: it is indebted much more to Depeche Mode than Black Sabbath, and the presence of Trent Reznor here creates a sound indebted to a period in which N.I.N had opened up metal’s sonic palette considerably – ‘Wormboy’ is really an inverted pop song (saccharine hooks gone sour, you might say), ‘Deformography’ is pure Gary Numan, and the visceral ‘Dried Up, Tied And Dead To The World’ is sort of dystopian prayer which Killing Joke perfect 15 years earlier. In the mid-90s this all sounded vibrant and vital – other worldly, even – but a generation on it has hard to trace Manson’s influence in the current metal scene (you could say the same of Korn).

Is that because it was all a fad or that the music was substanceless? Some of it was certainly 2D – ‘Little Horn’ was really just sub-par N.I.N, whilst ‘Mister Superstar’ demonstrated that even at his peak MM had a remarkable capacity for unintentional self-parody. But this was evidence of the need for editing – Reznor and Manson clearly thought they could make a N.I.N epic where MM is better suited to short, sharp blasts – than of a lack of depth. Indeed, there is some devastating music here. The title track is propelled by a big, fat, fuck off riff and an ugly groove that was MM at his best. ‘1996’ is furious punk rock. ‘The Reflecting God’ takes soft/heavy dynamics to tortuous limits via bursts of filthy scuzzed out guitars. And you don’t have to want to listen to MM to appreciate that – at this stage in his career, at least – he really meant it. Take ‘Tourniquet’, for instance:

She's made of hair and bone and little teeth
and things that cannot speak
she comes on like a crippled plaything
her spine is just a string

I wrapped our love in all this foil
Silver tight like spider legs
I never wanted it to ever spoil
but flies will always lay their eggs

Take your hatred out on me
Make your victim my head
You never ever believed in me
I am your tourniquet

Prosthetic synthesis and butterfly
Sealed up with virgin stitch
If it hurts baby please tell me
Preserve the innocence
I never wanted it to end like this
But flies will lay their eggs

Take your hatred out on me
Make your victim my head
You never ever believed in me
I am your tourniquet

What I wanted, what I needed
What I got for me
What I wanted, what I needed
What I got for me

Take your hatred out on me
Make your victim my head
You never ever believed in me
I am your tourniquet

Fuuuuck, that’s a dark piece of art.

‘Anti-Christ Superstar’ is not MM’s best record – ‘Mechanical Animals’ and ‘Hollywood’ are much more complete and focussed pieces of work. But it is, perhaps, the best encapsulation of his oeuvre. Dark, twisted, somewhat pretentious and wilfully unconventional, this was – and is – a furious clutch of demented blackened pop.

[binnie]

Corrosion of Conformity – Eponymous

A band who since their inception in the early ‘80s have changed their line-up more than Axl Rose does his wardrobe in a G’N’R gig, in 2012 they’re back to the 3 piece formation of Mike Dean, Woodroe Weatherman and Reed Mullin which made the classic blues-tinged hardcore maelstrom ‘Animosity’ and ‘Technocracy’. That will inevitably raise the eyebrows of fans of C.O.C best known records – the unbelievably heavy riff-shitting behemoths ‘Deliverance’, ‘Wiseblood’ and ‘In The Arms of God’. But whilst Pepper Keenan is doing his thing in Down, this is the C.O.C we have.

And it’s quite a blast. Rawer, lesser composed and more elemental than they are with Keenan, on opener ‘Psychic Vampire’ C.O.C serve up primordial metal into hardcore. ‘Leeches’ is a furious firebrand of rawk, whilst the gacacacagacacaca riffage of ‘River of Stone’ is gargantuan enough to make Thor run crying to his mommy. The trademark hooks are here, as are the quirky time changes. Much more free-form as a 3-piece than a 4-piece, this is an under-stated, lo-fi and live feeling record which has the whiff of a jam room about it and is heavy in a refreshing way – not the frantic hypnosis and staccato overload of extreme metal, but to gut-wrenching clout of a sonic boom. Just listen to ‘The Doom’ and you’ll FEEL it.

The fact that each member takes his turn singing suggests that C.O.C acknowledge that something is missing in their current line-up (just as they inevitably did in the late 80s/early 90s when they began experimenting with a 4 piece line up). In truth, Pepper Keenan brought this band more than songwriting craft – he brought them cohesion and charisma. Hopefully, we’ll get a reformation of the ‘Deliverance’-‘In The Arms of God’ line-up in the future. Until then, we have this, which is certainly not second best – only a fool would suggest that every one of these tunes of ‘A’ grade, but there’s enough raw bloody power here to kick you into smiling like the cat that got the cream.

[binnie]

Prong – Carved Into Stone

There is a scene in ‘Lock, Stock & Two Smoking Barrels’ when one mobster walks into a tanning lounge frequented by a ‘client’ who owes him money, hurls open the sunbed door and punches said ‘client’ square on the nose: ‘Hello. Fuck You’. That power – blunt, direct, and yet oddly captivating – pretty much sums up Prong, a band whose imprint on modern heavy music far outweighs their respect. Tommy Victor’s brand of heaviness was never about overkill, overdrive or hyperbole – it was about hitting you and leaving you hit, bug slabs of riffs, discordance and groove owning you for 45 minutes. And, on ‘Carved Into Stone’ – their 8th record – Prong are back. This is easily their best record since 1996’s ‘Rude Awakening’.

If you were to write a list of the most unique riff writers in rock/metal, Victor would be near the top – like Paige Hamilton, say, or Tom Morrello, you KNOW it’s a Victor riff instantaneously. The one that propels the title track to this record has so many balls it has begun to sprout hairs, and it has a few rivals on the bollockometer elsewhere on this record, too. ‘State Of Rebellion’ is the classic Prong grin injected into some bitching metal, whilst ‘List Of Grievances’ will make you want to burn the world and ‘Revenge Best Served Cold’ is a track which could genuinely rival some of Prong’s classic material – it’s that rippingly heavy. But that’s not to call ‘Carved Into Stone’ a throwback record – all the elements of Prong’s DNA may be here, but there’s been some evolution too. Victor has branched out a little into the world of more traditional hard rock (especially in the hooks), and on moments like the tingling dystopian beauty of ‘Path of Least Resistance’ we are treated to something almost hymnal in its melodic beauty. Elsewhere, many of the harmonies evoke latter-day Voivod. Lyrically, Victor is more reflective and optimistic than outright aggressive, although ‘Put Myself To Sleep’ and the glorious punk of ‘Subtract’ will still your head in. Indeed, the daily grind has rarely been given a kicking as excessive as it receives on ‘Keep On Living In Pain’.

Steve Evetts no nonsense production is the perfect complement to Prong’s uncluttered sound. The vibe here is crunchy, sparse and brutal. This is certainly not Prong’s best record, but it’s a better record than most bands ever make. Eleven distinct and distinctive songs which sees an old band kicking the shit out of their sound. Your soul will bleed for more.

[binnie]

From the vaults: Architects – Hollow Crown (2008)

18 months ago Architects threw fans a curve ball to end all curve balls in ‘The Here & The Now’. It wasn’t a bad record by any means, it’s just that it was so…….conventional in its take on post-hardcore, all soft/heavy, soft/heavy and staid angst. Listening back to ‘Hollow Crown’, you have to wonder: why? Why make a record that’s so close to everyone else when you can do THIS.

Indeed, there’s a moment in opener ‘Early Grave’ where I literally exclaimed: ‘fuuuuuuck’. The band switches from a rolling death of a groove into a delicate melodic passage and the some serious thrash riffage – all in 30 seconds, and without sounding disjointed. That would be incredible for any band, let alone on as young as this British 5 piece. Like many post Dillenger Escape Plan bands, Architects hurl together a fuck of a lot of music into one song – tracks spasm and fit from part to part in a sound which is wilfully angular – but unlike most of those bands, Architects keep it all together which melodies. Big, gripping melodies. The result is the ability to make something epic in 4 minutes by adopting a pick ‘n’ mix approach to musical history – we get elements of hardcore, rock, extreme metal all churned into one unholy sonic alloy. Indeed, ‘Numbers Count For Nothing’ sounds a little Fugazi would have if they’d owned more Sabbath records.

Unlike so many post-hardcore bands, the lyrics are not some tired – and trite – angst ridden whinge fest. They’re real, and not over-bearing. Indeed, if anyone thinks that post-hardcore infused metal is limp-wristed, check out ‘Borrowed Time’ – which is like being tossed around a room by a silver back – or the sheer bloody menace of ‘One of These Days’. Brutal, but never over-bearing; extreme, but always powerful. Is everything ‘A’ grade? No – ‘In Elegance’ is a little characterless, and the title track explores the softer side which has always been Architects Achilles heel – but the lesser points are few and far between. Indeed, when confronted with the crushing sympathy of heaviness which is ‘Left With A Last Minute’, you’ll quickly forget the grey moments here.

If Architects can decide what band they want to be, they are more than capable of making a classic record – perhaps THE classic British record – of the heavy scene for this generation. As it stands they’ll always serve up albums full of great tunes, and that’s certainly something we should be grateful for.

[binnie]

From the vaults: Exodus – Impact is Imminent (1990)

I’m pretty sure that if you cut Gary Holt in half he would read ‘THRASH’ through and through. Despite patchy recent albums and multiple line-ups, it is crucial that we remember one metal’s greatest bands and unheralded guitarists – who has more crunch in their bite than Holt. ‘Impact….’ – Exodus’s fourth album – emerged at a time when thrash, in its first form at least, was running out steam. All of the hallmarks are here: demented speed, unrelenting aggression, cartoon lyrics, gang vocals, sic soloing and a sound rawer than a camel’s arse. But in the same year that Megadeth changed the game with the ultra-technical ‘Rust In Piece’, Exodus sounded positively naïve in comparison. Add into that the emergence of Death Metal and grindcore, and the future as the Bay Area knew it was numbered.

That being said, there are some gems here. ‘A.W.O.L’ has a granite guitar tone, and ‘Lunatic Parade’ is propelled by the sort of riff that makes you shit a brick and ‘Within the Walls of Chaos’ is an appropriately named crushing metal behemoth. By the time you get to ‘Changing of the Guard’ your head is swirling ‘fuuuuuuuuuck’. Sure, it’s no ‘Bonded By Blood’ or ‘Pleasures of the Flesh’, but ‘Impact Is Imminent’ could kick your ass and take your name nevertheless.

But you sense that Exodus – for all their importance at the inception of thrash – were left behind by the ‘Big 4’ simply because they couldn’t develop beyond their template. They never matured as songwriters. Here we have jovial lyrics and overlong choruses, the latter making the songs feel plodding and ponderous. In the face of such raw power, this is all forgivable – but it is noticeable. Slayer, Testament, Anthrax and Megadeth all stepped up their levels of finesse, and Metallica had their eyes set on stadiums. But Exodus, all they cared about was the pit. Take ‘Thrash Under Pressure’:

WITH MY HEAD HELD HIGH
STANDING DIGNIFIED
I HAVE MY INTEGRITY
NEVER GIVE AN INCH AND I NEVER FLINCH
WHEN CAME TO MY LOALTY
100% ALL OUT NOTHING LESS
AGGRESSIVE, RELENTLESS AND MEAN
WHEN THE CHIPS ARE DOWN
YOU'LL NEVER SEE US FROWN
YOU'LL ONLY SEE US


THRASH UNDER PRESSURE !


You can almost smell it.

[Dave's Bitch]

From the vaults: Exodus – Impact is Imminent (1990)

I’m pretty sure that if you cut Gary Holt in half he would read ‘THRASH’ through and through. Despite patchy recent albums and multiple line-ups, it is crucial that we remember one metal’s greatest bands and unheralded guitarists – who has more crunch in their bite than Holt. ‘Impact….’ – Exodus’s fourth album – emerged at a time when thrash, in its first form at least, was running out steam. All of the hallmarks are here: demented speed, unrelenting aggression, cartoon lyrics, gang vocals, sic soloing and a sound rawer than a camel’s arse. But in the same year that Megadeth changed the game with the ultra-technical ‘Rust In Piece’, Exodus sounded positively naïve in comparison. Add into that the emergence of Death Metal and grindcore, and the future as the Bay Area knew it was numbered.

That being said, there are some gems here. ‘A.W.O.L’ has a granite guitar tone, and ‘Lunatic Parade’ is propelled by the sort of riff that makes you shit a brick and ‘Within the Walls of Chaos’ is an appropriately named crushing metal behemoth. By the time you get to ‘Changing of the Guard’ your head is swirling ‘fuuuuuuuuuck’. Sure, it’s no ‘Bonded By Blood’ or ‘Pleasures of the Flesh’, but ‘Impact Is Imminent’ could kick your ass and take your name nevertheless.

But you sense that Exodus – for all their importance at the inception of thrash – were left behind by the ‘Big 4’ simply because they couldn’t develop beyond their template. They never matured as songwriters. Here we have jovial lyrics and overlong choruses, the latter making the songs feel plodding and ponderous. In the face of such raw power, this is all forgivable – but it is noticeable. Slayer, Testament, Anthrax and Megadeth all stepped up their levels of finesse, and Metallica had their eyes set on stadiums. But Exodus, all they cared about was the pit. Take ‘Thrash Under Pressure’:

WITH MY HEAD HELD HIGH
STANDING DIGNIFIED
I HAVE MY INTEGRITY
NEVER GIVE AN INCH AND I NEVER FLINCH
WHEN CAME TO MY LOALTY
100% ALL OUT NOTHING LESS
AGGRESSIVE, RELENTLESS AND MEAN
WHEN THE CHIPS ARE DOWN
YOU'LL NEVER SEE US FROWN
YOU'LL ONLY SEE US


THRASH UNDER PRESSURE !


You can almost smell it.

Great review binnie.Love Exodus.I do miss the old H team but i dig the rob dukes stuff.They are both actually really nice guys too

[binnie]

Glad you likey.

Check out the review of 'Bonded By Blood' on page 7, post 249.

[binnie]

The Cult – Choice of Weapon

Several weeks ago I ran into THAT girl. You know, the one at school who dated (much) older guys, the one whose passing glance could inspire masturbatory fantasies for weeks on end, the one you would have dragged you dick across shards of broken glass just to touch. And it was devastating – she was still pretty, but she faded into the background rather than lit up the scene. 15 years had taken their toll, and the goddess had become mortal.

I write this, because the pang of disappointment - or, rather crushing resignation in the face of age – I felt in that moment was repeated upon playing this, album number 171 from The Cult (although, to be fair, Ian Ashbury and Billy Duffy were the inspiration of orgasms aural rather than literal). Despite the presence of some serious talent here – producers Bob Rock and Chris Goss, and drummer extraordinaire John Tempestra – the result is an album which is more perspiration than inspiration. It’s not bad by any stretch of the imagination – it’s just that they memory of the past haunts this album.

It certainly starts off well though. ‘Honey From A Knife’ is the heady brew of psychedelic rock ‘n’ roll which propelled The Cult to sonic Babylon stripped down to something elemental. Looser and more upbeat than on recent releases, they are on kill mode here. But following this with ‘Elemental Light’ we get to the heart of what makes this a problematic release: the quitter moments rob the record of any momentum making what is a relatively short album feel over long. On this and songs like ‘Life > Death’ The Cult sound lethargic, even whispy, a sort of gothic James Taylor in slippers. The harder moments add plenty of sizzle – ‘The Wolf’ recalls of howling riffage of the ‘Love’ era, the days when this band sounded like a jet-black Zeppelin; and the Bowie-esque ‘For The Animals’ sees Ashbury and Duffy goading each other into the night – but for every step up in momentum, there are two steps back.

It’s always unfair to expect bands to live up their heydays – or even try to. But it is fair to expect them to either evolve, or to at least deliver albums full of songs where they were all actually in the same room. And awake. The sad fact is that The Cult are better than this.

[fourthcoming]

Is it Just me or does most of what Bob Rock touches turn to shite?

[binnie]

It's not Bob Rock's fault - you can only polish turds so far.

They actually started working with Chris Goss (stoner rock guru), but that obviously didn't work and they brought Rock in to finish it. Personally, I'm a big fan of Bob Rock - has a metal record ever sounded better than the 'Black' record (colossal)? 'Sonic Temple' was fucking epic, too. That being said, he has a habit of changing bands - they always seem different with him.

In this particualr case, however, he's done the best with average material. This isn't a bad album - far from it - but it sounds tired and static in places. The Cult are (or at least were) better than that.

[fourthcoming]

Sonic Temple and Electric were damn fine albums....Love wasn't bad either. I had no idea the new album was so hit and miss...have not heard it. I couldn't agree with you more.....maybe I didn't give Bob Rock enough credit but you said it perfectly....he definitely has a tendency to change the bands sound he is working with.

[binnie]

Steel Panther – Balls Out

It’s only one joke. But it’s a bloody good one. What makes Steel Panther works – dick jokes aside – is the sheer cutting accuracy of their parody of ‘80s metal – the preening, maniachal self delusion, over sexed and over played glory of it all – and the fact that that parody is delivered through songs which are, quite frankly, superb. Indeed, perhaps the most cutting irony of it all is that ‘Balls Out’ and its predecessor ‘Feel The Steel’ are actually more consistently good than anything produced by most of the bands whom this band mock: did Motely Crue or Poison ever deliver a record that wasn’t half filler? You just can’t deny that ‘Just Like Tiger Woods’, ’17 Girls In A Row’ and ‘Tomorrow Night’ are great, great party tunes. And you’ll not get ‘em out of your head, either.

Perhaps ‘Balls Out’ is not quite as strong as ‘Feel The Steel’ – there is the law of diminishing returns at work here and a joke, no matter how good, is always most cutting on its first telling. But if you don’t laugh at ‘Weenie Ride’ then you are probably Vulcan. By the time I got half way through the power ballad ‘Why Can’t You Trust Me?’ I was doubled up with echoes of Motely Crue’s ‘Don’t Go Away Mad (Just Go Away)’ ringing in my head. In the modern metal scene fun is underrated: indeed, it speaks volumes that sex, drugs and rock ‘n’ roll can only be appreciated ironically. In one sense, that’s a shame. But in another, Steel Panther remind us that those bands – and the chronic sexism that they represented – are a well behind us. Well, unless you’re Vince Neil of course…….

[SunisinuS]

Steel Panther – Balls Out

It’s only one joke. But it’s a bloody good one. What makes Steel Panther works – dick jokes aside – is the sheer cutting accuracy of their parody of ‘80s metal – the preening, maniachal self delusion, over sexed and over played glory of it all – and the fact that that parody is delivered through songs which are, quite frankly, superb. Indeed, perhaps the most cutting irony of it all is that ‘Balls Out’ and its predecessor ‘Feel The Steel’ are actually more consistently good than anything produced by most of the bands whom this band mock: did Motely Crue or Poison ever deliver a record that wasn’t half filler? You just can’t deny that ‘Just Like Tiger Woods’, ’17 Girls In A Row’ and ‘Tomorrow Night’ are great, great party tunes. And you’ll not get ‘em out of your head, either.

Perhaps ‘Balls Out’ is not quite as strong as ‘Feel The Steel’ – there is the law of diminishing returns at work here and a joke, no matter how good, is always most cutting on its first telling. But if you don’t laugh at ‘Weenie Ride’ then you are probably Vulcan. By the time I got half way through the power ballad ‘Why Can’t You Trust Me?’ I was doubled up with echoes of Motely Crue’s ‘Don’t Go Away Mad (Just Go Away)’ ringing in my head. In the modern metal scene fun is underrated: indeed, it speaks volumes that sex, drugs and rock ‘n’ roll can only be appreciated ironically. In one sense, that’s a shame. But in another, Steel Panther remind us that those bands – and the chronic sexism that they represented – are a well behind us. Well, unless you’re Vince Neil of course…….

Lol love it.

[binnie]

It's about the only song featuring Chad Kroger I can stand

[binnie]

Firebird – Double Diamond

They hook you on the second play of ‘Soul Saviour’s’ chiselled riff. The soundtrack to a sunkissed night in 1970 at which everyone has toked a few, Firebird channel Humble Pie, the funkier end of Purple via a dollop of Sabbath and delivered clearly and with a whiff of the jam room. This is a rock riding a groove rather than kicking and screaming, and there’s a magic in its unapologetic simplicity. From the gallop of ‘For Crying Out Loud’ to the easy cool of ‘Lose Your Delusions’, the soul on display here is both charming and instils a sense of ease. As ‘Farewell’ demonstrates, if Firebird pushed the dynamics of their songs they might one day deliver a truly classic record. As it is, they give us album after album of beautifully played stone blues. And there’s nothing wrong with that. Indeed, on ‘A Wing And A Prayer’ – a homage to a band just playing despite the odds – you get the sense that this a band which exists simply to scratch the itch rather than change the world. And there’s a beauty in that, too

[Seshmeister]

Slash – Apocalyptic Love

...There might not be anything here quite as dazzling as the Kennedy/Slash tunes on the debut disc – ‘Back To Cali’ and the frankly astonishing ‘Starlight’ –

Back from Cali...

Yeah I'm afraid your review is right, first couple of listens and nothing stands out to the same extent as those two at all, it feels workmanlike.

[binnie]

That's the sad truth: good, but not great.

It's all very well done - you might even say 'professional' - but it doesn't want to crack you in the head with a baseball bat. I think what it needs more than anything is rhythm guitar to play off Slash, that would add grove.

It's a good record with some fine moments (Anastasia, You're A Lie...) but I'm not sure that Myles is the guy for Slash.

[binnie]

From the vaults: Everclear – Welcome To the Drama Club (2006)

Art Alexakis may very well be the US’s most unheralded songwriter. In the post-grunge era of the mid 90s he led Everclear through a cluster of near perfect slices of luscious and sonorous hard rock based on huge hooks, cutely observed critique and stories of tough times and broken hearts. By 2006, all of the original line-up had left and Art had hired new guys, expanding the band’s power pop sound by adding a rhythm guitar player and a keyboard player. The result was a rather different sounding band powered less by heavy guitars and more by a warm cluster of melodies and harmonies. At its heaviest ‘Welcome To the Drama Club’ sounds like a fucked up Cheap Trick; at its lightest it sounds owes heavy debts to American Indie groups like REM and The Breeders. Some fans revolted in horror – but whether you like this record or not will have more to do with your aesthetic preferences in rock rather than your objectivity in reviewing the songs.

And – whilst this was a long way from Everclear’s strongest disc – those songs are, for the most part, strong. Some are even superb. ‘Portland Rain’ is an ode to intimacy and is truly epic in its simplicity, and ‘A Shameless Use of Charm’ builds and builds into a destructive wall of broken love. As Art deals with his divorce and betrayal, we are on more familiar Everclear ground. Opener ‘Under The Western Stars’ begins in a chirpy form of Americana. But it is a lie. ‘You Were Cold in Your Anger/ I was warm in the shame’ Art wails, slowly pealing back the layers of repression, menace and regret which this band has always done so well. On ‘The Drama King’ and ‘Clean’, the band delivers up the orchestral brand of punk which is well and truly their own.

There are some clunkers, however. The funk of ‘Shine’ – for all its range – is not convincing, and ‘Now’ feels lethargic despite the lyric’s urgency. But you have to love a band that progresses, especially at the point where they are long past their commercial peak (and without major label support). Art’s life was changing as this record was been made. Perhaps it is inevitable that his sound would, too. But what remained is a songwriter capable of hooking you into a tour of the most personal and intimate moments of his life and making you feel them too. In that sense, Everclear have always had an almost cinematic immediacy which most bands never achieve.

[fourthcoming]

Wow....an Everclear review......that caught me off guard. Binnie.....seriously....you are an ecclectic dude....and I say that as a compliment. World of Noise and Sparkle and fade are excellent albums.

[binnie]

There's another Everclear review on page 13, post 497.

I guess my taste is eclectic. Looking over at my CD collection, I'd say most of it is metal/hard rock - but that's an expansive category (especially in the past 10 years). Black Sabbath, Tool and Cannibal Corpse are all metal bands, but they don't really sound much alike.

Everclear are a wonderful band. It's unquestionable that the early records are the strongest, but few bands have so many winning songs.

[binnie]

Every Time I Die – Ex Lives

How do they do it? ETID have delivered yet another shot of unique hardcore fuelled, whiskey sodden rock ‘n’ roll for the new millennium. Over the course of six albums they’ve re-written the rule book with the old vocabulary. And from the opening seconds of ‘Underwater Bimbos From Outer Space’ it is clear that they a back and swinging. Heavier and as menacing as they’ve ever been, theirs is a riot you can party too, welding the angularity and motion sickness time-changes of post hardcore to the hulking grooves and rhythms of rock ‘n’ roll. It’s quite and achievement, and one for which the largely unheralded rhythm section of Josh Newton and Ryan Leger deserve greatest acclaim. A track by track breakdown would only demonstrate this reviewer’s ability to run out of superlatives, but there are some incredible highs here: ‘I Suck (Blood)’ is groovy brutality at its best, whilst the metallic riffage of ‘A Wild, Shamless Plain’ and ‘Holy Book of Dilemma’ sees the band sounding as angry – and as vital – as they ever have. Keith Buckley has delivered yet another batch of idiosyncratic and witty lyrics (check out ‘Typical Miracle’), offering a unique take on traditional rock ‘n’ roll fodder on ‘Partying Is Such Sweet Sorrow’ (which sounds like Clutch on speed). On ‘Revival Mode’ – which features a riff that bleeds – they even show their ability to do restraint, demonstrating a talent for melancholy alongside a penchant for rage. And all in 35 minutes.

ETID’s early records were so revelatory that expectation weighs heavily with anything they release. Their sound is so unique – and so ingrained in the modern heavy scene – that it ceases to surprise us. In this situation all a band can do is deliver. And deliver they do. The question for them is the question of evolution or the law of diminishing returns.

[binnie]

Forbidden – Omega Wave (2010)

Forbidden’s first album in 13 years may only feature 3 of their ‘classic’ line up – Russ Anderson (vocals), Craig Locicero (guitar) and Matt Camacho (bass) – but it very much encapsulates the classic feel of the band. I stress ‘feel’ rather than ‘sound’ because this is no throw back record or an attempt to pretend that it’s still 1987 (a problem which dogs many thrash reunion records). There are certainly some moments of bedevilled neck-snapping fury: ‘Forsaken At The Gates’ is technical thrash of the most ferocious kind blended with contemporary elements of groove and aggression, featuring vocals from Anderson which are less Dio-worship (as they were in the ‘80s) and more of an aggressive Chuck Billy. But overall, you’d struggle to call this ‘thrash’. But then Forbidden always mixed a blend of classic metal and progression into their twisted sonic brew.

And so it is here. And by God it’s refreshing to hear a heavy band with a guy who can SING. Anderson’s voice and melodies adds more depth, range and (yes, sorry screamers) POWER to these songs. ‘Dragging My Casket’ is a heavier version of Dio, Maiden and Priest, the sort of swaying epic which encapsulates the relentless potency of metal’s power. On ‘Hopenosis’ and ‘Behind The Mask’ we are served up some juicy, well written heavy fucking metal, metal which serves to prove that – like Gary Holt – Craig Locicero is one of metal’s most unheralded axemen. He serves up riff and after riff after riff here and – when coupled to Camacho and Mark Hermandez’s epic rhythm section, it drives the sound into the stratosphere. It is, however, a shame that the band decided to restrain the shredding here – because when they let him loose, the results are spectacular.

It seems that Forbidden reformed not to emulate their own past or to replicate it, but to go forward and make the record that they wanted to. Will it change the face of metal in the 21st century? Of course not. But it will kick your ass and stick in your cerebral cortex.

Sixty minutes of perfectly executed metal.

[binnie]

From the vaults: Children of Bodom – Hate Crew Deathroll (2003)

COB essentially sound like Death Metal fed through Euro pop. This makes them a LOT of fun, and fun is a shade notable by its absence in modern metal. Coupling this to the frequent tasty guitar workouts from Alexi Laiho and what we have at heart if a great rock ‘n’ roll band. ‘Hate Crew Deathroll’ saw the band step up in every sense – song dynamics, melodies, production and playing – to deliver 9 tunes of molten, face melting metal. With keyboards. Big, cheesy keyboards. The sort of keyboards that add energy, or grate on your nerves depending on where you stand on such matters.

From the raging aggression of ‘You’re Better Off Dead’, the headbanging fury of ‘Sixpounder’ or the vintage metal thrust of ‘Chokehold (Locked ‘n’ Loaded)’ there’s really very little not to love here. Lyrically, it’s all puerile anger – witness ‘Bodom Beach Terror’ – but it works. And it’ll make you smile like fat kid in a cake shop.

Scandinavia is full of the world’s best metal bands. Although COB do not really push the envelope of metal they do possess one advantage over their peers – the size of their hooks and the infectiousness of their delivery makes them a far, far more instantaneous listen than most of the bands in modern metal.

[binnie]

From the vaults: At The Gates – Terminal Spirit Disease (1994)

This is one of the records which defined the second stage of Death Metal. Although far from ATG’s best record – not as ambitious as ‘With Feat I Kiss The Burning Darkness’ or as intense as ‘Slaughter of The Soul’ – it, along with Carcass’s ‘Heartwork’ set the bar high for the melodic strain of extremity. And it is a magical record, raw and bleeding with emotion. Opener ‘The Swarm’ welds a swirl of Death Metal aesthetic to classic metal gallop, introducing those time changes which would soon define the Gothenburg sound. Where modern Death Metal is blast of beats and technicality, this is really a sped up Black Sabbath and Celtic Frost with all that weight, evil and macabre kept in tack. The title track – a meditation on depression – features a jet black melody which cuts through the heaviness, poetic lyrics taking us far beyond the capacity of what most heavy bands can reach, whilst ‘The Beautiful Wound’ is exactly what Death Metal should be: tar thick, dirty and dark, giving off a stench so thick you can taste it.

There are heavier bands than At The Gates, more grandiose and those with a greater number of classic songs. But few have been as influential. And this record lets you know why.

[binnie]

From the vaults: Witchcraft – The Alchemist (2007)

They’re from Sweden and they’re called Witchcraft. You know what this sounds like, right? It’s Death Metal? No. Black Metal? No. Folk metal? Not even close. In truth, it’s not even metal at all. Rather, it’s classic rock. Not in the ‘oh fuck here’s another Led Zep wannabe’ band. This ain’t no tribute, its painting in the colours of the past to create something fresh. And it is truly magical.

‘Walk In Between The Lines’ is the way rock ‘n’ roll used to be before it became hedonistic. Idealistic, oddly sombre, it sounds like a focussed MC5. The guitars are taut and crackling rather than a sun-kissed Les Paul thrust, an understated power which propels a crisp hard rock which goes forward with ‘1970’ tattooed on its inner eye. ‘If Crimson Was Your Colour’ sounds like The Doors meeting the toxic twins, whilst ‘Hey Doctor’ is Sabbath whispering sweet nothings. It takes confidence to be so completely at odds with any musical scene, and talent to pack this much music into such compact compositions – ‘Samaritan Burden’ culminates in a passage of folky prog which is truly, truly beautiful. You need this album – it’ll be your best friend on a warm summers night or a cold winters morn, a blissful way to punctuate even the shittiest of days.

Sometimes witchcraft can be a force for good, it seems…..

[Dave's Bitch]

From the vaults: Children of Bodom – Hate Crew Deathroll (2003)

COB essentially sound like Death Metal fed through Euro pop. This makes them a LOT of fun, and fun is a shade notable by its absence in modern metal. Coupling this to the frequent tasty guitar workouts from Alexi Laiho and what we have at heart if a great rock ‘n’ roll band. ‘Hate Crew Deathroll’ saw the band step up in every sense – song dynamics, melodies, production and playing – to deliver 9 tunes of molten, face melting metal. With keyboards. Big, cheesy keyboards. The sort of keyboards that add energy, or grate on your nerves depending on where you stand on such matters.

From the raging aggression of ‘You’re Better Off Dead’, the headbanging fury of ‘Sixpounder’ or the vintage metal thrust of ‘Chokehold (Locked ‘n’ Loaded)’ there’s really very little not to love here. Lyrically, it’s all puerile anger – witness ‘Bodom Beach Terror’ – but it works. And it’ll make you smile like fat kid in a cake shop.

Scandinavia is full of the world’s best metal bands. Although COB do not really push the envelope of metal they do possess one advantage over their peers – the size of their hooks and the infectiousness of their delivery makes them a far, far more instantaneous listen than most of the bands in modern metal.

I have not listened to COB for a long time.They are a fun band though.As you say Big, cheesy keyboards.I like this album,My favorite Bodom album is Follow The Reaper,Bodom after midnight and mask of sanity are funky songs

Good review binnie

[Dave's Bitch]

Ok so my second ever album review,Be kind

Kiss - Revenge

After a turbulent 80's Kiss seemed to have lost rights to the name "The hottest band in the world" and become another of many Hair bands,with the colourful outfits and what many consider pop music.Sadly before the making of this album Eric Carr left us.Eric Singer joined the line up and Kiss put out in my opinion one of the best studio albums in the extensive collection.Revenge has an attitude to it that kiss did not have before and there are some absolute KILLER tracks on here.I will start with Unholy.From the heavy opening riff that drives the song to Gene's top notch vocals this song is possibly the heaviest Kiss have done.Bruce Kulick is on fire in this one with a great solo.Song's like Spit and Domino.While the message of the song's is nothing new are both solid,sleazy,fun old style rock songs.Paul and Gene swapping vocals on spit works really well.It would not be a Kiss album without a ballad,and the one from Revenge is the beautiful Every Time I Look At You.Paul's voice starts out very smooth and soft,Then kicks up a gear in the middle before mellowing down at the end.A very good song with some beautiful lyrics.My personal favorite song on the album is the strip club anthem Take it Off.Great guitar by Bruce,great vocals and filthy lyrics from Paul,Love it.i could not very well do a review of revenge without mentioning God gave Rock And Roll to You II.This song may have been played to death but it is just fantastic,I challenge anyone here to tell me you don't know the words and at least sing along in your head

A few criticisms.A few songs seem to blend together and follow a very similar structure.That is not a bad thing but it is kind of cheating to pad the album out.two good examples would be Tough Love and Heart of Chrome.I would say the song Thou Shall not is the low point of the album.Pretty bland song all round

To sum up
Revenge is without question a gem from the make up free days.It has balls,Smut and fantastic guitar.there are one or two tracks i skip by but as a whole a fantastic album that shows everyone exactly why Kiss are The Hottest Band In the World

[ashstralia]

i'm gonna have to dig out some cassettes (!) and have a relisten.

binnie, i hope someone pays you for these great reviews. at worst, they owe you a high distinction.

[binnie]

Nah, it's all for the love of the music. I only review what I own. I think there are around 300 in here so far, which is about 1/5 of my CD collection....

[ashstralia]

maximum kudos to you, sir.


i can't wait for the new parkway drive album!

[binnie]

It'll be a good one!

[binnie]

Fear Factory – The Industrialist

I’ve said it before but it merits being said again: Fear Factory are easily one of the most important – and innovative – metal bands of the past 20 years. You can hear their influence in modern metal as readily as that of Slayer, Pantera or even Metallica. On their second album since ‘re-forming’ they give us the full sonic palette which made them so invigorating in the ‘90s. Opening with 90 seconds or an orchestral layering of industrial synths before Dino Cazerras razor riffage kicks in, the title track is an easy addition to FF’s already bulging body of classic material – huge in scope, ambitious but equally instantaneous and infectious, it perfectly encapsulates their sonic brew of extreme metal without sounding clichéd or tiresome. Whilst 2010’s ‘Mechanize’ was a relentlessly brilliant record, in truth it only showcased the heavy side of FF. ‘The Indulstrialist’ explores the cinematic angle of the band’s sound by delving into the industrial elements more readily.

You know the score by now. Lyrics which depict a future in which machines take over the planet serve as an allegory for contemporary political critique, an assault of mechanical rhythms created by a synergy of double bass drum patterns and staccato riffage, and Burton C Bell’s ability to switch from roar to tortured angel on the spin of a dime. 20+ years in it should be tiresome, but what sets FF aside are the songs. Alongside the title track, ‘Dissemble: Religion is Flawed Because Man Is Flawed’ could have found a place on any of their classic records, whilst slabs of brutality like ‘Virus of Faith’ and ‘Difference Engine’ lay down the gauntlet to all other heavy bands. Injecting elements of variety via the punkier groove of ‘Recharger’ and the industrial glory of ‘God Eater’ only serves to strengthen the whole.

In truth, this is not really a band proper – it’s just Dino and Burton + drum machine. For a band which has been defined in many respects by the brilliance of its drummers – whether Gene Hoglan or Raymond Herrera – this should leave an unbreachable chasm. But in a band whose aesthetic speaks of a dystopian future run by machines, the rigidity, the lack of humanity, works. At this stage of their careers, FF straddle a field well ploughed rather than forging into territories new – but it is a testament to how innovative they were that 20 years in they can still surprise us and that no-one has managed to top the masters. ‘The Industrialist’ is easily one of the best metal releases of 2012 thus far.

[Dave's Bitch]

Nah, it's all for the love of the music. I only review what I own. I think there are around 300 in here so far, which is about 1/5 of my CD collection....

i would very much like to see your CD collection

[ThrillsNSpills]

binnie, i hope someone pays you for these great reviews. at worst, they owe you a high distinction.

Yeah I couldn't agree more. I'm sure a ton of rock fans would want to read your reviews Bin.
Either professionally or on some blog.

[binnie]

Well, thank-you very much!

Not sure they're anywhere up to 'professional' standards - personally I just do it because I like it and I'd like (in some small part) to encourage others to listen to some of this stuff. As for blogging, it seems the way to make a name for yourself there is simply to rip into albums, which I'm not prepared to do - what''s the point in being mean? Y'know?

But I appreciate the nice comments and I'll keep the reviews coming (going record shopping next week - it's a day long event!)