Live 4 Metal - Reviews

Blackmore’s Night - Secret Voyage (SPV) Review by Metal Mark
	It’s another chapter in the Renaissance-rock fusion style that Blackmore's Night have become known for. There are no real surprises here for anyone familiar with this act which is pretty much bland ramblings with lots of syrup and very little soul. Vocalist Candice Night has a decent range and she’s not afraid to use yet at best it’s tolerable and at worst it’s fluffy and oftentimes lacking emotion. Still her vocals have more character than much of the music for the most part. Ritchie Blackmore is without a doubt in the top ten, if not a top five hard rock/metal guitarists of all time. Yet that was before he became King of the
gypsies I guess. Not that anything he does now could really tarnish his legacy, his prime was so rich and he was so influential that he certainly established himself years ago. That’s why he can pump this stuff out and people still buy it because of his name. I hear the Renaissance part of their music although it’s a bit processed and clichéd, oftentimes sounding like something you would hear the gypsies in an old Hollywood movie do. However the “rock” portion of the music is even more watered down, if it really exists at all. The music is very glossy and Ritchie Blackmore is often delegated to just popping out a few brief little runs here and there. It’s all too smooth and restrained for someone who lived for the big, riff–driven jams that he was known for in Deep Purple’s prime and the first few Rainbow albums. I think the motivation is here to create some sort of storytelling type feel, but everything about this album is just very fluffy and there just isn’t very much captivating about it. So this is one voyage that didn’t really go anywhere. www.spv.de

Charing Cross - We Are... Charing Cross (Metal Heaven) Review by Strawb
	Old-school head on, cheese platter to hand as I move to Switzerland for the first full-length album from five citizens of this neutral paradise. I really do feel seventeen years old again as I listen in to this one, everything is very much late ‘70s NWOBHM. Sounds and NME would have been battling to interview them, and a cover with two-page centre spread would have been on the cards from the winners. But it is now the 21st Century and music has moved on, for some out there this would be regarded as a bad thing; however, in my world, there is always room for a decent interpretation of what has gone before. Mrs S has
listened in during one of our longer journeys and reported thus – ‘I know it seems like I always say this, but it reminds me of Iron Maiden.’ And while I can see where such similarities can be drawn, I would have said it compares more easily to early Judas Priest. However, don’t listen in expecting Rob Halford, because although Peter is a competent enough vocalist, he has some leagues to rise to be competing with the bald one. He does deliver clean, crisp and varied pipework. There are the sing-along moments with the majority of the choruses, enough riffs to keep axe listeners happy and competent, if understated drumming. The twelve tracks meld in to each other well, and there are variations of pace available if that is your thing. And as a feeling-seventeen-year-old, I have just been to the mirror to tend to my flowing tresses, only for reality to kick in and reveal time and a number one cut have made such an act redundant. However, the positives from Charing Cross still invoked that urge within me, so yes, there is room for this album on the jukebox in the Strawb household. Internet at www.charing-cross.ch

Crystal Ball - Secrets (Locomotive Records/AFM) By: Joe Florez
	Here we go again with a band that I have heard of, but never listened to. With a name like this and their album covers, I automatically assumed that they were another dime a dozen power metal group. I was shocked to hear that not only have they been around for about 20 years, but they play pretty much AOR/hard rock with lots of energy. The opening cut “Moondance” wastes no time in hitting you with infectious riffs and a simple 4/4 beat that will have your toes tapping. The one thing that I can’t get over is how Mark Sweeney’s vocals are gravelly, much akin to fellow Swiss artists Gotthard’s Steve Lee. But, whatever. I can dig it. ‘I Will Drag You Down” has an arena rock sound that is huge with killer solos
and could easily be an anthem that everyone sings to in a live setting. The up-tempo power ballad of sorts, “Minor Key”, is by far the most commercial and accessible song, but will remain stuck in your head for days to come. The boys manage to get a little extra energy when they hit the midway mark on the disc with the title track. Double bass drumming and quicker guitar licks shows that they aren’t all about being slow. While these guys aren’t looking to reinvent the genre, they do what they do well and you can either take it or leave it. Those who loved the 80’s will enjoy this, but with a better production and pretty much if you were/are a fan of Journey, Jeff Scott Soto and the ilk, then this should belong in your collection. www.locomotiverecords.com \| www.crystal-ball.ch

Dyscord - Dakota (Prime Cuts Music) Review by Luke Goaman-Dodson
	Looking across the promo sheet, my suspicions were duly aroused when it mentioned the bands this Australian five-piece have supported - an unhallowed list of the brutal, the trve, and the blasphemous this was certainly not, as Dyscord have shared the stage with the likes of Static-X, Trivium, and As I Lay Crying (snort). Pretty much speaks for itself. Even so, I'm an open-minded bloke, so I thought to myself, "hey, don't let Steve down - listen to these guys, they might be alright". So I stuck the CD on. My heart immediately sank like the heavy ball of fucking metal it is, as I realised this was deathcore. I probably should have listened a bit harder before I accepted this. Pinch-harmonics, beatdowns, and
nonsensical nomenclature - not only is 'Hot Snakes McGillycuddy' a stupid song-title, it also has absolutely nothing to do with the lyrics. But I'm nit-picking, the music is the real problem here. I'm sorry, but I have absolutely no time for this genre - apart from being essentially redundant, as death-metal and hardcore have been cross-pollinating in far more tasteful ways since the mid-80s, it's also rubbish musically, and utterly vile in its ethos and aesthetic. If you're into this sort of JFAC type stuff, then this may well be for you - if you're anything like me, though, you'll probably stay away. www.myspace.com/Dyscord \| www.primecuts.com.au

Figure of Six - Aion (Locomotive) Review by Metal Mark
	The second album from Italy’s Figure of six is slightly melodic metalcore that manages to do very little that’s new, yet it still does enough to be appealing. The music is a bit by the numbers, however they manage to sprinkle a few odd splashes of sounds that do enough to draw attention straight in. Also they benefit from having a better than average singer who is as adept at singing clean and smooth as he is at delivering venomous and aggressive parts. That’s a definite drawing card because so many metalcore vocalists tend to be all too similar and limited in range. The pace is fast and they often hit upon passages that are easy to get into as the structure is fairly tight on the majority of their material. There was a
few times where I think they could have benefited from being a little less smooth and perhaps been just a little heavier. Yet they manage be enjoyable enough and they are certainly establishing a little bit of personality in their music even if they are not knocking any doors down.

Frankenbok - The Last Ditch Redemption (Prime Cuts Music) Review by Strawb
	The lead-filled 12” length of hosepipe hits the back of my head and induces a small skull fracture and takes me to the ground. Once there I am subjected to a kicking and a stomping worse than any I ever received playing rugby in the good old days when ‘shoeing’ was a valid tactic. Joints pop out and occasionally in. My nose, severely kicked, cartilage trashed, now lays flat on my face. Teeth are spat out or swallowed, breathing becomes difficult. Or to suffer similar brutality, just open your CD tray and pop in this latest offering from the Antipodeans of Frankenbok. I like this band. When I reviewed their last offering, Murder of Songs, back in December,
I was impressed. But they do push my limits on the brutal front as well as in the area of vomit vocals. However, this album is just so well crafted. From the open sounds of the shovel digging, then the sound of the chainsaw being started, to the later animalistic sounds over operatic / church background music, this has been thought through and is really well presented. And between these acted areas, there are wall of sound tracks that just demand to be played at the upper capabilities of your speakers’ volume. The accompanying booklet just emphasises the total experience that is to be had here. Mrs S hated it, I’m sure the rest of my street, who have been forced to take a portion of it, feel the same, but if anything I have reviewed so far this year deserves to find a cult following this is it - so put your hands in your pockets and give The Last Ditch Redemption the recognition it deserves. Their website at www.frankenbok.com is out of date at the time of writing, however it is a good place to start to find all things Frankenbok.

King Crimson - The Collectable King Crimson Volume Three (DGM Live) Review by Metal Mark
	This show was recorded during a forty-date tour across Europe and North America, live at the Shepherd's Bush Empire, London in 1996. This is third volume in the double-disc Collectable King Crimson series following the 1972-74 Volume One and 1981-84 Volume Two. This set opens rather awkwardly with announcement that opening act The California Guitar Trio are unavailable and that Robert Fripp will expand his normally short “Introductory Soundscape” into a full 25-minute mini-set. Of course the crowd responds positively to the announcement and we are off. They fly into an enormous set of symphonic progressive sounds, thick swirling grooves and more than a little improvisation. What’s
more is they are equally adept at handling and mastering all of the above in a highly energetic and deeply satisfying manner. I am fairly new to the world of King Crimson and I am certainly amazed by not just their skills, but also the way in which they carved their own niche. They manage to be progressive rock and they have an equal emphasis on both the prog part and the rock element yet they are not fenced in by either. Instead they build on both and manage to get in many different directions yet still seem focused. Here in the mid-1990’s they still seem very comfortable with what they are doing and fresh as well. Certainly this isn’t considered by most people to be the band’s most memorable period, yet both the band and the audience (except for a few jokers) seem very satisfied with what is transpiring here. The production is also top notch all the way through.

Knights Of The Abyss - Shades (Ferret Music) Review by Marco Gaminara
	While their write-up states that this American quintet do a whole stack of unique things, I can't say that I agree there. This is pretty much the same stuff the Swedes have been doing for well over a decade, and mostly far better too, but that said, this isn't all that bad. "Banished" is a quick intro where Mike's vocals range from guttural roars to the predominant hardcore shouting which can be also be heard immediately on "A New Darkened Faith". Andy's drumming is really tight and full of snare pounding to accompany his lightning fast kicking on "Whorror Storm". As usual the bass is relatively low on the mix and Aaron's is no exception, even if there's a little spot on "Don't Feed The Heathens"
where it's discernable. Nick and Cody throw guitar riffs all over the place and trade off against each other at a decent pace on "Running Out Of Earthly Wealth". "Feeling Faint" is a rather anaemic instrumental which I'm guessing is more geared at being an intro to "Dis Unveiled" where the screeched vocals start heading towards annoying, but thankfully the growls manage to subdue them halfway and then the leads flail around to wrap things up. Very early In Flamesesque is "The Penalty Of The Tyrant" which changes pace a couple times making it more interesting than if it were manic the entire time. By this point the songs start to sound a bit samey and "Suicide Reign", "Bound By Heresy" and "Exploitation" are cut from very much the same cloth. Final track "Behold The Frigid Realm Of Div" doesn't really vary from the theme either, but the lower vocals appear to be more powerful here than previously or maybe that's just because they haven't been heard in a couple songs so they stand out more. So if you're expecting something new here, don't bother, but if you enjoy early In Flames or Dark Tranquillity, then they are worth giving a listen, just to see if there's something here that I missed. www.myspace.com/knightsoftheabyss \| www.ferretstyle.com