‘Illuminati’ Metal Blade Records Blackened Death Metal
After a ‘final’ split in 2012, God Dethroned ‘reformed’ in 2014 with the sole intention of playing a few live shows with only Henri Sattler and Michiel van der Plicht being the core members; the rest would be made up of guest musicians and hired hands. This seemed to be the case until it was announced that this line-up would create ‘The World Ablaze’ in 2017, followed by ‘Illuminati’, a new studio album that would be released this year.
As expected, ‘Illuminati’ continues with a similar overall sound to the bands last album. However, where this album differs is that ‘Illuminati’ takes a huge step away from the World War One themes and back to a time when God Dethroned focused their efforts upon religion. This means that ‘Illuminati’ is actually hugely appealing to old school fans, not just of God Dethroned, but also the blackened death metal genre in general. There are some excellent tracks here ‘Broken Halo’, the Lucifer inspired ‘Gabriel’ and the brooding ‘Blood Moon Eclipse’, songs that would quite happily fit anywhere in their earlier catalogue with a scathing, visceral attack on religion that would appeal to fans of both ‘The Grand Grimoire’ and ‘Into the Lungs of Hell’. For those fans of blackened death metal who have never heard these God Dethroned albums, then ‘Illuminati’ is definitely for followers of Hail of Bullets, Necrophobic and Panzerchrist. Furthermore, ‘Illuminati’ is not only enjoyable, but also memorable, an excellent production allows the Dutch band to drag in fans of Rotting Christ and Behemoth, particularly when the latter was good.
‘Illuminati’ is a huge step forward for God Dethroned and a step in the right direction for the band to reclaim the legacy they so readily deserve. 84/100 Adam McCann
The Goners
‘Good Mourning’ RidingEasy Records Stoner
Sweden has always been a large hot bed and melting pot for rock and metal, delivering bands from almost every genre imaginable. But what is often overlooked is the dirty punk driven garage thumping sound that brought bands such as The Hives and The Hellacopters to the forefront of Swedish rock music. One band to recently emerge from this scene are The Goners who have delivered their debut album ‘Good Mourning’ this year.
‘Good Mourning’ is an album which wastes no time; below its oozingly cool exterior is an album that is so grimy and dirty it could have been picked out of the gutter. There are some excellent low-slung punk riffage here that at times wanders into stoner. Now, this isn’t the sort of doom-laden stoner that is ten-a-penny, “I’ve heard Electric Wizard” that goes on forever; instead, what the listener will get here are catchy, droning riffs that made the likes of Kyuss and early Queens of the Stone Age so damned good. Furthermore, the listener will find something a little more astral, spacious riffs that not only have the appeal of the likes of Fu Manchu, but tracks such as ‘Good Ol’ Death’ features a crusty retro vibe that throws back to Hawkwind in their prime.
However, ‘Good Mourning’ is not an initially easy album to like and it does take a few listens to get this album, but once it clicks, it is difficult to take off playing and that is because there is a true, honest, rock n’ roll mentality which runs through it and with the whole world going to shit, might as well crank this album loud. 78/100 Adam McCann
Gatekeeper
‘Grey Maiden’ Cruz Del Sur Music Epic Heavy Metal
After forming Gatekeeper in 2009, the band had something of false start before finally releasing a string of EP’s and eventually their debut album ‘East of Sun’ in 2018. Hot on the heels of this album, Gatekeeper returned to the studio to deliver their latest EP ‘Grey Maiden’.
This EP manages to keep the momentum of the previous album going by delivering four tracks of impressive traditional heavy metal that is full of the integrity and passion needed to deliver music of this calibre. Because of this, ‘Grey Maiden’ has all the appeal of Manilla Road and Eternal Champion, but also with the hunger of bands like Visigoth and Traveler; the latter of which also features vocalist Jean-Pierre Abboud. When it comes down to the meat of this EP; ‘Grey Maiden’ can be likened to a sample of food, it does enough to whet the appetite with tracks like ‘Moss’ and the title track, leaving the listener hungry for more. However, the only let down is the Tredegar cover ‘Richard III’ which ebbs and flows this EP rather than a tsunami of power. Yet, ‘Grey Maiden’ is almost the perfect example of how to deliver an EP, it is short and sweet, it delivers just enough without going on and on and without the listener feeling short changed. This EP sets Gatekeeper up perfectly for a new album; more of the same guys. 80/100 Adam McCann
Glasya
‘Heaven’s Demise’ Pride & Joy Music Symphonic Metal
In recent years, Portugal has become a real hotbed of heavy metal, offering hundreds of different bands within the more niche subgenres of the metal. Glasya were formed in 2017 and features ex-members of fellow Portuguese Gothic metal band Enchantya. Due to this, it is hardly surprising that the female-fronted Glasya have stretched into playing symphonic metal and have this year struck with their debut album ‘Heaven’s Demise’.
As expected, ‘Heaven’s Demise’ has that particular, stereotypical symphonic metal sound with vocalist Eduarda Soeiro delivering a stellar, operatic performance with the music being the perfect accompaniment allowing Soeiro to showcase her vocal prowess. It is these vocals which manage to pull the listener in; but dig beneath this virtuoso delivery and what makes this album are the orchestrations, painstakingly placed together by artisan craftsman and former Urban Tales and Shadowsphere keyboardist Davon Van Dave. It is these arrangements, coupled with the rest of the band which make tracks such as ‘Coronation of a Beggar’, ‘Eternal Winter’ and the title so tasteful having all the appeal of early Nightwish as well as Brocelian, Nightqueen and Moonlight Haze. However, there is actually nothing here on ‘Heaven’s Demise’ that has not already been heard or done previously, yet what saves this album from the perilous monotony of the genre is the near absence of a growled backing vocal which seems to have become part and parcel of the genre’s delivery and it is the sheer lack of this which makes ‘Heaven’s Demise’ enjoyable.
Clocking in at 50 minutes, ‘Heaven’s Demise’ is the perfect length, with the tracks being short and enjoyable, resisting the urge to meander into meaningless epics. For fans of the genre looking for something new and bored of the new releases by Within Temptation and Epica should check out Glasya; ‘Heaven’s Demise’ will not disappoint. 70/100 Adam McCann
Grayscale Season
‘Everything Hurts’ Independent Release Modern Heavy Metal/Alternative Metal/Metalcore
When a band is described as modern heavy metal, it can be a minefield to explore, on one hand it conjures up images of Five Finger Death Punch, cans of Monster, baseball caps and generic tattoos; whereas on the other hand are bands which take progressive and alternative metal to the next extreme, 8 string guitars and complex time signatures all delivered through an air of elitism. These are the connotations which come to mind with Swedish modern metallers Grayscale Season. After delivering their debut album ‘Head To Mist’ in 2016, the band have once again gone into overdrive once more to present their sophomore album ‘Everything Hurts’.
What can be seen as blatantly keeping one foot firmly rooted in the sound of their debut album, Grayscale Season also begin to have a foray beyond their comfort zone. This means that there is a diversity to ‘Everything Hurts’ which was lacking in their debut album, showing just how much the Swedish band have grown as musicians and song writers. This diversity presents itself through the use of samples, synths and electronic drums as well as the duality of lyrics delivered through both harsh and cleans vocals. This means that songs such as ‘Glitter’, ‘Invite Me In’ and ‘Kobayashi Maru’ would hugely appeal to fans of 36 Crazyfists, and Poison The Well, but also reaching into the darker tones that bands like Nine Inch Nails and Deftones offer; meaning that ‘Everything Hurts’ is quite an aggressive, in your face record full of angst and disdain that has the potential to pull in a large fan base. However, there isn’t anything here that hasn’t been done before and during the course of its hour running time, it can be difficult to remember where you are within the album as many of the songs have the familiar feel of well-worn ground. Yet, it is its sheer brute force which carries this album across the line. ‘Everything Hurts’ has the power to make a lot of metalheads squirm uncomfortably, but conversely, there are legions of heavy metal fans that will lap this up indefinitely. 66/100 Adam McCann
Grand Magus
‘Wolf God’ Nuclear Blast Records Heavy Metal
It is always a good sign when every few years, Grand Magus summon their bannermen with the band ready to ride forth and release ‘Wolf God’, their latest album of Norse tales, swords and blizzards.
Now, although the bands previous album ‘Sword Songs’ contained some excellent songs, it failed to match the glory of the bands previous works and often felt as if the band were recycling already well-worn ground. The three-year rest seems to have done Grand Magus the world of good, ‘Wolf God’ is the sound of a band re-envigored and whilst it is not immediately likeable, it does have all the hallmarks of a typical Grand Magus album. Yes, there are points of this album where it sounds like the band are going through the motions such as ‘Dawn Of Fire’ and ‘A Hall Clad In Gold’, whilst ‘Gold And Glory’ the albums opening introduction seems to last far too long. But typically, Grand Magus manage to pull some magic out of the hat, tracks like ‘Spear Thrower’ ‘He Sent Them All To Hel’ and the Motörhead inspired drumming of the title track show that the band are still more than capable of writing excellent fist-pounding songs that are both memorable and exceptionally enjoyable.
After a few listens, ‘Wolf God’ takes on a life of its own, of course there is well-worn ground here, but who cares? This album is catchy, fun and powerful without becoming stale and stagnant becoming another fine addition to an already strong Grand Magus repertoire. 78/100 Adam McCann
Gary Moore
‘Run For Cover’ Virgin Records 1985 Hard Rock/Heavy Metal/Blues-Rock
As the mid 1980’s dawned, the legendary Irish guitarist had fully established himself as hard rock/heavy metal artist in his own right, not only showcasing his song writing abilities but also his sublime guitar playing with ‘Corridors of Power’, ‘Dirty Fingers’ and ‘Victims of the Future’. With these albums, Moore had built a strong following and with his 1985 album ‘Run For Cover’, Moore was ready to take on the commercial market. To tackle this obstacle, Moore assembled a crew of friends including Phil Lynott, Glenn Hughes and Don Airey among others.
Although some big names worked on the production for this album such as Andy Johns, Peter Collins and Mike Stone, the overall sound on ‘Run For Cover’ is very of its time, electronic drums, plenty of reverb and samples all show that it is easily to tell that Moore was attempting to score a hit. Due to this, ‘Empty Rooms’ which had already appeared on Moore’s previous album ‘Victims of the Future’ was re-recorded with a more commercial edge and once again re-released. However, this isn’t all a bad thing, ‘Run For Cover’ features some of Moore’s most memorable tracks with the anti-war anthems ‘Out In The Fields’ and ‘Military Man’, the former of which containing a beautiful call and response vocal trade off with Phil Lynott. Unfortunately for ‘Run For Cover’, the first half of the album is significantly better than the latter half and although both Moore and Hughes’ voice stand strong, the songs fall into run of the mill heavy blues standards and whilst these are thoroughly enjoyable, they fail to stick to memory and match up the first half. However, ‘All Messed Up’ features some mean slide guitar playing that would give George Thorogood or Rory Gallagher a run for their money. ‘Run For Cover’ would provide the perfect pivotal album for the Irish guitar maestro, it allowed him to score a hit with ‘Out In The Fields’ and provided the perfect swan song for Phil Lynott who would sadly pass away less than five months later. Sadly, ‘Run For Cover’ would also begin to mark the departure of Gary Moore away from hard rock and heavy metal, the guitarist would flirt a few more times with this before spending the remainder of his life with his true love, the blues.
82/100 Adam McCann
Gruesome
‘Twisted Prayers’ Relapse Records 2018 Death Metal
The term supergroup is sometimes a blessing and a curse. Successful members from separate bands coming together to make music with their equals that often ends up in a clash of egos and one-upmanship that can have disastrous consequences. But this is not always the case and Gruesome, the death metal supergroup containing both past and present members of Possessed, Exhumed, Malevolent Creation and Castrator have joined forces to create some of the best old school death metal that has been heard in 25 years. Following on from their excellent debut album ‘Savage Land’, Gruesome are finally back once more with their sophomore album ‘Twisted Prayers’. This album is another killer dose of that true old school death metal that would appeal to fans of Death, Obituary and Possessed.
Given the members pedigree, it is hardly surprising that ‘Twisted Prayers’ sounds fantastic once more. Hearing the album is like taking a trip down memory lane as the band manage to turn the clock back 30 years with mind-bendingly brutal tracks such as ‘A Waste of Life’, ‘Fatal Illusions’ and the phenomenal title track. Predictably, there is nothing new here with both the album and the band being an exercise in the majesty of death metal, its history that gives the listener a huge sense of nostalgia in all its glory. All this aside, ‘Twisted Prayers’ is impressive, it is like putting on a favourite shirt, it is warm, familiar, it isn’t new, but when it comes down it, who even cares?
The musicianship on this album is superb, once more, it is nothing that hasn’t been heard before, the tapping guitar solo during ‘Fate’ may be heavily consigned to 1986, but it does not need to be, ‘Twisted Prayers’ is death metal played the way it is meant to be, simple, loud, brutal and above all, simple and effective. This exceptional musicianship continues throughout the album, the fast and rhythmic double bass drumming of Gus Rios is conjoined with the tasteful twin guitar work of Matt Harvey and Daniel Gonzalez, whose credentials and experience within the death metal field drive this album forward. However, ‘Twisted Prayers’ would not be the same without Harvey’s distinctive growl as the Exhumed and Dekapitator frontman provides some of death metal’s best growls this side of the millennium, especially during the start to ‘Crusade of Brutality’.
‘Twisted Prayers’ is the album for anyone who longs for the good old days when death metal was the way it used to be and when listening to this album, it is easy to remember where this genre started, from its infancy to the behemoth it would become. As for ‘Twisted Prayers’ is screams like the illegitimate bastard child of ‘Scream Bloody Gore’, it is one of the best death metal albums released this year and through ‘Twisted Prayers’ the spirit of Chuck Schuldiner lives on. 90/100 Adam McCann
Grand Magus
‘Hammer of the North’ Roadrunner Records 2010 Heavy Metal
Following the success of their previous album ‘Iron Will’ in 2008, Grand Magus found themselves on a roll. This well received album paved the way for a high profile move for the band to Roadrunner Records and the subsequent release of ‘Hammer of the North’ in 2010.
As an album, ‘Hammer…’ continues very much in the same vein laid down during ‘Iron Will’. Once more, Grand Magus decided to take a significant step away from the stoner and doom influences that had driven the early career of the band in favour of a more traditional heavy metal sound. This change in sound allowed the band to focus largely upon the Nordic and fantasy themes that had tinged some of their earlier work but would now guide their later albums. Due to this, ‘Hammer…’ can be seen as somewhat of a pivotal album in Grand Magus’ career, one that would allow the band to reinvent themselves fully and provide a critical learning curve for the Swedish three-piece.
Grand Magus had an exceptionally positive response to ‘Iron Will’, an extensive tour in support of the aforementioned album alongside a switch in labels which meant that the band suddenly had their work cut out for them and this unfortunately transposes itself onto ‘Hammer…’. This album is not a poor album by any stretch of the imagination, tracks such as the pounding ‘I, The Jury’, the rousing ‘Ravens Guide Our Way’ and the fist-punching rhythms of the title track manage to drag this album home over the line. However, the album is hampered by relatively mediocre filler tracks which only serve one purpose and that is to make up time on the album; the saving grace being that ‘Hammer…’ lasts a little over 45 minutes. However, these mediocre tracks are fully listenable and are still enjoyable, it is just unfortunate that these tracks lack a certain spark and pale in comparison to those already mentioned. Moreover, to overlook these tracks means that some of Grand Magus’ best riffs and indeed some of J.B. Christoffersson finest vocal performances of his career are not observed, particularly during ‘Ravens Guide Our Way’ and ‘I, The Jury.
For Grand Magus, ‘Hammer…’ will always be the little brother to ‘Iron Will’, yet this album gave the band something ‘Iron Will’ couldn’t and that is humility. This album allowed the band to keep grounded and whilst it may not be the best example of Grand Magus’ work, but it certainly does not lack any of the bite of their other albums. 74/100 Adam McCann
Grave Digger
‘Witch Hunter’ Noise Records 1985 Heavy Metal
Grave Digger hit the ground running and found their stride in 1984 with their excellent debut album ‘Heavy Metal Breakdown’ in which the band continued to plough the furrow laid down by trailblazing fellow German’s Accept by pioneering fast and loud heavy metal. This success brought by this debut had left Grave Digger hungry for more, they were young, ready and willing, itching to strike whilst the iron was hot. Due to this, the band release their follow up album ‘Witch Hunter’ the following year.
As expected, ‘Witch Hunter’ is not a million miles away and definitely continues within the same vein as Grave Digger’s debut. Using the blueprint laid down by Accept and the previous album, ‘Witch Hunter’ pushes forward with vigour for success; a sound that has been streamlined, refined and with this, Grave Digger expand their songwriting showing the ability to write slow burning songs such as ‘Love Is A Game’ as well as heavier numbers.
Unfortunately for the band, the production is still very much on the poor side and atypical of the early Noise Records releases. However, whilst this raw production leaves little to be desired, it does allow the musicianship to give almost a snapshot of what Grave Digger sound like live, the guitars of Peter Masson and the Udo Dirkschneider worshipping voice of Chris Boltendahl cut through the quagmire of sound and shine brightly, particularly during ‘Night Drifter’ and the heavy metal fist punching anthem of ‘Fight For Freedom’.
With ‘Witch Hunter’, Grave Digger take the same approach as with ‘Heavy Metal Breakdown’ and that is to get in and get the job done. The band leave little room for meandering or filler and instead deliver an album which is balls to the wall heavy metal which lasts just under 40 minutes with the only real let down being the cover of the Alice Cooper staple ‘School’s Out’. This song is given the treatment of speed, energy and heavy metal which is lacking in the original, but unfortunately lacks all the theatrics, vaudeville and guile which the song requires.
This album allowed Grave Digger to not only tighten their grip on their sound, but also on the heavy metal world as the band began to claw their way out of German underground with a collection of songs which are just as good as their debut a year earlier and would give a clear indication of what the band would become and where they were heading. Ultimately, this does leave both albums sounding very similar, both very enjoyable and difficult to choose between them. Furthermore, ‘Witch Hunter’ is a pure example of the music that was emanating from Germany at this time and with it, Grave Digger would help build a bridge between the bands such as Scorpions and Accept which came before and the aggressive Teutonic thrash scene that would follow them.
82/100 Adam McCann
Ghost
‘Prequelle’ Loma Vista Records 2018 Hard Rock/Heavy Metal/Pop-Rock
Over the course of their relatively short career, Ghost have risen to the upper echelons of both rock and metal fame. This is partly down to the bands insidious nature of being able to sneak their melodies into the head and infect the listener with the dreaded earworm by drifting perfectly within that accessible mire of 80’s goth, traditional hard rock and metal, alongside some touches of doom with a shameless huge dose of pop fun. Due to this, Ghost quite often invoke both praise and adoration as well as wrath and conviction from the heavy metal community. Ghost have innocuously increased their pop sensibilities over the course of their 3 albums, the largest rise coming with the hiring of Swedish pop guru Klas Åhlund to produce the bands last album ‘Meliora’.
The latest Ghost album ‘Prequelle’ pushes the band further down the road of addictive and repetitive pop melodies at the behest of Tom Dalgety, the English producer behind the likes of Pixies, Royal Blood, Killing Joke and Opeth and also the man responsible for the bands last EP ‘Popestar’. Dalgety has given Ghost a beautifully aesthetically pleasing sound that is both polished and accessible and is also debatably the best sounding rock or metal album available to hear this year.
As expected, ‘Prequelle’ continues in the addictive dark gothic nature that has become expected of Ghost, the main change has come in the shape of frontman Tobias Forge, who has swapped the robed Papa Emeritus stage presence in exchange for the sharp mobster style suits of Cardinal Copia and with this, the music drives deeper into the 1980’s gothic movement which was explored during the ‘Popestar’ EP with tracks such as ‘Dance Macabre’, ‘See The Light’ and ‘Life Eternal’. In these songs, it is impossible to not enjoy their annoyingly catchy nature which acts as a soothingly comforting pseudo-Satanic lullaby throughout. Although there has been a shift away from the overt use of Satan within the music, ‘Prequelle’ still contains elements of this, the lead single ‘Rats’ as well as ‘Pro Memoria’ and ‘Witch Image’ have all the fun and melodic rhythms found on ‘Opus Eponymous’ and ‘Infestissumam’.
Once more, Ghost have turned a corner with their latest album, ascending the band even further both in popularity and sales and this is deservedly so, ‘Prequelle’ is an excellent album full of an intense replayability that is guaranteed to cause endless days of enjoyability and humming. ‘Prequelle’ has caused Ghost to excel themselves again, it is a fantastic sounding album that will no doubt be riding high at the end of the year. 90/100 Adam McCann
Grave Digger
‘Heavy Metal Breakdown’ Noise Records 1984 Heavy Metal
Following on from the example laid down by Motörhead, Saxon and above all, Accept, Germany’s Grave Digger helped to carry the torch of fast and loud heavy metal with their 1984 debut ‘Heavy Metal Breakdown’.
As an album and indeed a band, Grave Digger have been consistently overlooked with the band never receiving the plaudits that they deserve. ‘Heavy Metal Breakdown’ is an absolute gem of an album that shows the band young, hungry and ready to take on the world. Due to this, the album is also warts and all, it shows many of the mistakes that a young band can make and also get away with. For example, during ‘Heart Attack’, these manifest themselves in the form of the band struggling to keep the correct tempo between guitar and drums. However, this makes ‘Heavy Metal Breakdown’ not without its charm and these would be issues become part of the very fabric of the album which make the music as a whole exceptionally enjoyable.
To judge this album entirely on this would be extremely pedantic and an injustice to Grave Digger. ‘Heavy Metal Breakdown’ has a youthful energy and each tracks ebbs and flows along with ease, tracks such as ‘Headbanging Man’, ‘Back From the War’, the title track and the Rolling Stones cover ‘2000 Light Years From Home’ all allow the band to keep pace with established veterans such as fellow German trailblazers Accept, a band that is certainly alluded to in a homage during the guitar riff for the title track being a variation of ‘Flash Rockin’ Man’, whilst the intro to ‘Legion of the Lost’ has all the hallmarks of early Judas Priest.
Unfortunately, the main issue with ‘Heavy Metal Breakdown’ is the same problem which plagues most debut albums on a small label and that is the production. The production given to the band by Noise Records is not the greatest, being relatively one dimensional and suffers the same sonically flat sound also give to the likes of Running Wild, Helloween and Rage. All this however, plays directly into the hands of Grave Digger, ‘Heavy Metal Breakdown’ has that youthful vigour that only a band of this age can grasp, it gives the album that quasi-live feel of a band with intent, where the band was heading and a band still finding its feet. Although this was the case, ‘Heavy Metal Breakdown’ remains one of the best releases by Grave Digger.
84/100 Adam McCann
Gary Moore
‘Victims of the Future’ Virgin Records 1983 Hard Rock/Heavy Metal
Following the success of the previous years ‘Corridors of Power’, Gary Moore returned with his band in 1983 with ‘Victims of the Future’, an album that has all the potential to not only equal, but also to surpass the previous album.
Continuing in the hard rock/heavy metal vein of ‘Corridors…’, ‘Victims…’ would use almost exactly the same template. The album would contain straight up rock and rollers such as ‘Teenage Idol’ and side two’s ‘Hold On To Love’, to pseudo heavy metal with a dark undertone with the politically charged title track and ‘Murder In The Skies’, a song regarding the Korean Air Lines Flight 007 being shot down by the Soviet Union. Moreover, just like the previous album, ‘Victims…’ contained the obligatory cover song and this time it would be The Yardbirds staple ‘Shapes of Things’ which would get the Gary Moore treatment. However, it would be the bleeding for love ballad ‘Empty Rooms’ that alongside ‘Murder In The Skies’ which would steal the show and give a tell-tale view of what Moore would spend his later career chasing.
With ‘Victims…’ what you get is Gary Moore at his best on side one, followed by a rather mediocre side two, but even at its most average, it is still pretty good. Unfortunately for ‘Victims…’ it would prove to be the pinnacle of Moore’s career as a hard rock artist and although the Irish legend would commercially beat this album, he would never top its creativity.
80/100
Adam McCann
Grand Magus
‘Iron Will’ Rise Above Records Heavy Metal 2018
Playing a blend of stoner, doom and traditional heavy metal, it took this Swedish trio a few albums to find their feet and by 2008, Grand Magus were ready to release their fourth studio album, ‘Iron Will’. This album takes a large step away from the stoner and doom vibes that had primarily influenced their earlier albums and by keeping with their pseudo-Norse undertone, Grand Magus managed to easily make the switch to a more fully traditional heavy metal sound.
‘Iron Will’ features some of Grand Magus’ best work to date, ‘Silver Into Steel’, ‘The Shadow Knows’, ‘Fear Is The Key’ and the marching title track are all full of the catchy hooks that you expect from Grand Magus. However, it is the albums opening track, the rousing ‘Like the Oar Strikes the Water’ which steals the album. It is the interesting addition of the acoustic instruments that bring this song to life and when coupled with the strong, incensed, anti-religion overtone, delivered through JB Christoffersson’s powerful vocal drives Grand Magus into a new successful era. As an album, ‘Iron Will’ would become the benchmark at which all other Grand Magus albums would be tested against, it is coherent, driving and placed the band firmly on the map, creating a fantastic starting point for any new fans looking to get into Grand Magus and a familiar album full of excellent songs for the already converted.
86/100
Adam McCann
The Ghost Town Rebellion
Silver & Gold
No Pants Records
2017
Board the Boat Ride to Hades
The Ghost Town Rebellion (TGTR) set their stall out with their debut album ‘Urbs Indomita’ and from there, the band released their sophomore album, ‘Silver & Gold’ at the end of October. ‘Silver & Gold’ consolidates TGTR sound laid on their debut album and shows a band expanding out from this starting point by creating an album of linked songs.
TGTR’s latest album is not a concept album per se, but more of a collection of related stories from their home state of California and neighbouring Nevada. These stories focus on the American Gold/Silver Rush of the mid 1800’s and feature some fantastic slide guitar playing, especially during the albums closing tracks; ‘Gunslinger’ and ‘Moments’.
‘Silver & Gold’ manages to blend the West Coast smooth harmonies of the early Eagles, mixed with the more folkish elements of Mumford & Sons, particularly prominent on ‘My Getaway’. However, there is a much more modern element to ‘Silver & Gold’ which adds an almost alternative vibe, from the Soundgarden-esque ‘14th Street Manor’ to a more sublime Queens of the Stone Age/Kyuss vibe that lurks behind ‘Yeah, Yeah, Yeah’ and the title track.
For a second album, TGTR have far surpassed their debut, ‘Silver & Gold’ is enjoyable and leaves you with a charm that makes the album have that fun replayability.
72/100
Adam McCann
Silver & Gold; The Ghost Town Rebellion, 'Silver & Gold', 2017; No Pants Records
Ghost: 31/03/2017
O2 Apollo
Manchester 31/03/2017
All praise the most beautiful Angel
So this is it, this is the end of what has become known as Metal March. Tonight, it culminates in Manchester once more and this time with a band far too catchy for their own good; Ghost. It wasn’t too long ago that Ghost toured for their 'Meliora' album and this time Ghost are back in Manchester in support of their latest EP, 'Popestar'.
Once more, we are back at Manchester’s illustrious Apollo, which is probably one of Manchester’s best venues. A converted old theatre, with fantastic acoustics and sloped floor, all with its original features still intact. For the first time in a while, there is just one support band and tonight it is American two piece instrumentalists; Zombi.
As their name suggests, Zombi are fans of George A. Romero’s work and that comes through in their music. Zombi themselves are self-confessed huge fans of the band Goblin and coupled with 70’s Progressive Rock acts such as Tangerine Dream and Can have developed their style well, building up a slow and loyal fan base over the years. However, Zombi are an extremely odd fit, there is no doubt that between them Zombi are very talented, but their music just doesn’t seem to fit tonight. At best Zombi sound like background music and/or a movie soundtrack playing and when you’re waiting for the main band to come on, you might as well just have music playing through the PA. That said, if anyone is a fan of the style of music that Zombi play, then they would be right up your street, otherwise, best avoided.
The preparations for the summoning of Ghost begin with all their pomp and ceremony. Roadies and techs bow to the audience and to an imaginary altar in and among their duties, this adds to the atmosphere as incense billows in from the side of the stage almost transporting you inside a dark Vatican mass. Ghost begin their set with the single from their 'Popestar' EP, 'Square Hammer', immediately grabbing the audience’s attention and pulling them in instantly as Papa Emeritus III holds the entire Apollo within his thrall. Anyone who has had a Roman Catholic upbringing will be familiar with a lot of the ironies that Ghost exhibit, for example, the swinging of the incense holder during the creed of 'Con Clavi Con Dio' adds hugely to the atmosphere and drags you in once more.
Set List:
Square Hammer
From the Pinnacle to the Pit
Secular Haze
Con Clavi Con Dio
Per Aspera ad Inferni
Body and Blood
Devil Church
Cirice
Year Zero
Spöksonat
He Is
Absolution
Mummy Dust
Ghuleh/Zombie Queen
Ritual
Monstrance Clock
One thing is certain, being onstage wearing the Pope regalia must be exceptionally warm for Papa Emeritus III and as usual, a quick costume occurs during the short instrumental 'Devil Church' and he appears again looking like a demonic conductor as Ghost break into one of their most well-known songs from their last album, 'Meliora', 'Cirice'. 'Cirice' has the entire Apollo singing with every voice giving their praise and confirms what we already know, Ghost are far too catchy for their own good at times. This is confirmed as the only way to follow 'Cirice' is with the disco-beat casual Satanism of 'Year Zero' with its chorus that has the Apollo literally shaking in its foundations with a rumbling keyboard driven chorus. You can’t beat songs that compare the human race to that of lice. Fact.
There aren’t many ‘modern’ frontmen who can hold an audience within the palm of their hand, however, Papa Emeritus III does this perfectly, from his perfectly timed quips during the likes of 'Body and Blood' and 'Monstrance Clocks' to just giving the most simple command. Ghost are something to behold and yet by the same token, they are another band that radiate an unexpected humbleness about them that once more makes you feel affinity towards them.
Tonight, Ghost are once more, as always superb live. The band itself are something to behold, they don’t take themselves too seriously and are always fun and as said above, they are far too catchy for their own good with a guarantee that you will be humming their tracks for days.
Adam McCann
Square Hammer; Ghost, 'Popestar', 2017; Loma Vista Recordings
Grave Digger
Healed by Metal
Napalm Records
2017
Grave Digger reiterate the 10 Commandments of Metal
Give or take changing their name twice in the past, once to Digger and once more to Hawaii, Grave Digger have been a relatively consistent band. In some ways, they are Germany’s answer to Motörhead or Slayer, Grave Digger have a sound, a heavy metal blueprint tattooed into their bones and because of this, you know what you’re getting every time you pick up a Grave Digger album. Grave Digger have that traditional heavy metal sound, songs which have the running theme of battles gone by, swords, magic and of course heavy metal with huge rousing choruses that would appeal to any fan of Accept, Judas Priest and Saxon.
Within the last decade, Grave Digger have released very few albums, but these have all been of good quality, 'Clash of the Gods' and 'Return of the Reaper' received more than positive reviews and rightly so and although it has been a good few years since Grave Digger released their last studio album, Grave Digger are back with another album following in these footsteps with 'Healed by Metal'.
Clocking in at under 40 minutes, 'Healed by Metal' takes a leaf out of Motörhead’s book and literally wastes no time arsing about, kicking things off with title track from the album, a song that not only asks for you to throw the horns in the air alongside your heavy metal brothers and sisters, but demands it. This is the running theme throughout the album, each song is crafted to give you that feel good factor and adrenaline that you get a concert as Chris Boltendahl bellows his way through the album.
Boltendahl has never had the greatest of voices, but his raw rasping shout is as integral to Grave Digger’s sound as Axel Ritt’s crushing guitar. Boltendahl easily rips through each song, with the devastating one two punch of 'When Night Falls' and 'Lawbreaker', both of which have the sound of the bastard child of Judas Priest and Accept tearing its way into the world. heavy metal will always have cross-overs of originality and 'Healed by Metal' is no exception. As a crack of the snare drum brings 'Free Forever' into life with its chugging riff and lead guitar string bends brings memories of 'You’ve Got Another Thing Comin’' by Judas Priest or even more so, 'Solid Ball of Rock' by Saxon before taking on a life of its own with its fantastic twin guitar harmony solo followed by the rather cheesy but fun acoustic chorus.
'Healed by Metal' never really lets up, through 'We Call for War', 'The Hangman’s Eye' and 'Laughing With the Dead', complete with the cheesy clichéd laughs and woah’s that would bring a wry smile to even the most miserable Heavy Metal fan. 'Healed by Metal' continues Grave Digger’s run of rather impressive albums and although 'Healed by Metal' falls marginally behind 'Clash of the Gods' and 'Return of the Reaper', it is an enjoyable album nonetheless.
As stated above though, you know what you’re getting with a Grave Digger album. If you are looking for something new or to set the world on fire, then unfortunately, you won’t find it here. What you will find though is an album of decent heavy metal songs by a band that has a consistent output over the years. Turn it up, play it loud and bang that head!
72/100
Adam McCann
Lawbreaker; Grave Digger, 'Healed by Metal', 2017; Napalm Records