Swedish melodic hard rockers H.E.A.T are to release their third studio album, Address The Nation, on Edel’s earMUSIC label, distributed by Absolute via Universal, next Monday (March 26).
Address The Nation, produced by Grammy award-winning Tobias Lindell (Europe, Hardcore Superstar), is the follow up to 2010’s highly acclaimed ‘Freedom Rock’ opus, and is the first with new singer, Erik Gronwell (winner of Swedish IDOL 2009), who joined H.E.A.T in 2010.
H.E.A.T, who are from the Upplands Vasby area in Sweden, released their debut, self-titled album on a local independent label in 2008, and were subsequently voted Best New Band of 2008 by the listeners of Swedish national radio. In 2009, they made it all the way to the final of Melodifestivalen (the Swedish Eurovision Song Contest), with 1,000 Miles, which became a top ten hit single in the Swedish charts and the fifth most played song of 2009 on Swedish radio. H.E.A.T then signed to Edel’s earMUSIC label and released their sophomore album, Freedom Rock, in May 2010: the accompanying single, Beg Beg Beg, immediately went gold in Sweden.
Tuesday, 20 March 2012
Bomb City 7 release new single
Belfast ‘genre mongrels’ Bomb City 7 are to release their new single, Paranoia, this Thursday (March 22).
Described as “a storming party anthem in the making”, it is follow up to hip-hop/punk/rock/disco five piece’s debut Songs From The Bomb City EP, which they self-released last year.
A video for the single will also be released soon, and an official launch party is being held at the Speakeasy, Queen’s University Students’ Union, also on Thursday.
More details here: http://www.facebook.com/events/318898654825153/
Described as “a storming party anthem in the making”, it is follow up to hip-hop/punk/rock/disco five piece’s debut Songs From The Bomb City EP, which they self-released last year.
A video for the single will also be released soon, and an official launch party is being held at the Speakeasy, Queen’s University Students’ Union, also on Thursday.
More details here: http://www.facebook.com/events/318898654825153/
Wednesday, 8 June 2011
A little sampling of new releases...
OK, it’s not really de rigeur to review free sampler CDs, but they are a good way of introducing you to new releases, new bands, etc. and as such I feel their role is vastly under-rated. Hence, the reason I’m going to devote the first part of this ‘ere little conglomeration of wordage to the latest ‘Razor’ sampler from the esteemed publishers of ‘Metal Hammer’ mag.
I must say that, as samplers go, by and large, this is the strongest one this or any other magazine has produced in quite some time. It obviously is dominated by the absolutely fucking epic Gojira opener, ‘Of Blood And Sand’, featuring the one and only Mr Devin Townsend, which is just the heaviest, most brutal and powerful song I have heard this year and worth the cover price alone (if I didn’t get it at the absurdly reduced subscribers’ rate). This is followed by fairly average offerings from In Flames and Alestorm, before Graveyard enter the same retro territory as the far more impressive Rival Sons (and, if lead single ‘Pressure And Time’ from the album of the same name is anything to go by, that’s going to one mutha of a must-have album). Pain offer up a fairly decent slab of industro-metal with a DC-style vibe, especially on the Jonno-inspired vocals, before Revoker again remind me what an asshole I was to miss them on their recent Rob Zombie support tour: everything I’ve heard by them is highly impressive, and these guys are gonna be BIG!
The other highlight of this particular sampler, after a ‘nothing special’ offering from Anaal Nathrakh and a decent slice of NWOBHM-tinged power rock from Attica Rage, is Talanas’ superb ‘Antiphon’, taken from their excellent ‘The Waspkeeper’ album, which well and truly cements their growing reputation as the progressive black metal successors to Akercocke’s crown. To digress, slightly, Talanas have produced one of the more impressive independent albums of the first half of the year, combining accomplished musicianship with intelligent vocals and some downright evil intentions: check them out.
So, apart from magazine samplers, what else has been beating the Monk’s eardrums into submission this month? Well, a triumvirate of new releases from Poland’s Agonia Records dropped through the letterbox the other, er, week… France’s Aosoth produce 43 minutes of black metal brutality on their aptly named third album, ‘III’, which leaves no grave unspoiled and no virgin unravaged; Italy’s Forbidden Tomb return after a four year break with a majestic slice of blackness that is more rock than metal (although the vocals more than make up for this), with good use of melody underpinned by dark as midnight undertones; England’s Spearhead deliver mid-league death with their third album, ‘Theomacia’, which reminds me a bit of Belphegor but with a much cleaner sound – maybe not surprising since seesions drums are by the Austrians’ former sticksman, Torturer.
Also tickling my fancy this past while has been Sixx:A.M’s ‘This Is Gonna Hurt’ – possibly the heaviest album Nikki Sixx has ever recorded, but also one with great hooks and great melodies and one which shows why he was the songwriting force behind Motley Crue: definitely not one for Crue fans but very contemporary, very relevant, especially on the powerful ‘Live Forever’ and the brilliant ‘Sure Feels Right’, which outstrips any ballad the Motleys ever recorded. At an entirely different level, an absolutely superb release is ‘Mary Celeste’, the sophomore album from Plymouth’s finest, Huron. Very obviously influenced by Pantera – in the best possible sense – the band hit between the eyes with opener ‘Branded’ and just keep on going. Album highlights include the anthemic ‘Disperse Or We Fire’, complete with an RATM-style chant, and the Slipknot-ish ‘Serpentwine’. This is an accomplished album from a young and ambitious band and one which proves, once again, that the future of British metal is in fairly safe hands.
That just about finishes off this month’s round-up : just a quick heads up for Hollywood Undead’s brilliant rap-metal crossover offering ‘American Tragedy’, and the industrial excellence of ‘Ever Since We Were Children’, the debut offering from The Black Dots Of Death’, Shawn ‘Clown’ Colvin’s side project – but, I think you’ll be hearing from those at one or more of our Paradise City club nights, starting this coming Friday (10 June): head on over to www.facebook.com/paradisecitybelfast for more info.
I must say that, as samplers go, by and large, this is the strongest one this or any other magazine has produced in quite some time. It obviously is dominated by the absolutely fucking epic Gojira opener, ‘Of Blood And Sand’, featuring the one and only Mr Devin Townsend, which is just the heaviest, most brutal and powerful song I have heard this year and worth the cover price alone (if I didn’t get it at the absurdly reduced subscribers’ rate). This is followed by fairly average offerings from In Flames and Alestorm, before Graveyard enter the same retro territory as the far more impressive Rival Sons (and, if lead single ‘Pressure And Time’ from the album of the same name is anything to go by, that’s going to one mutha of a must-have album). Pain offer up a fairly decent slab of industro-metal with a DC-style vibe, especially on the Jonno-inspired vocals, before Revoker again remind me what an asshole I was to miss them on their recent Rob Zombie support tour: everything I’ve heard by them is highly impressive, and these guys are gonna be BIG!
The other highlight of this particular sampler, after a ‘nothing special’ offering from Anaal Nathrakh and a decent slice of NWOBHM-tinged power rock from Attica Rage, is Talanas’ superb ‘Antiphon’, taken from their excellent ‘The Waspkeeper’ album, which well and truly cements their growing reputation as the progressive black metal successors to Akercocke’s crown. To digress, slightly, Talanas have produced one of the more impressive independent albums of the first half of the year, combining accomplished musicianship with intelligent vocals and some downright evil intentions: check them out.
So, apart from magazine samplers, what else has been beating the Monk’s eardrums into submission this month? Well, a triumvirate of new releases from Poland’s Agonia Records dropped through the letterbox the other, er, week… France’s Aosoth produce 43 minutes of black metal brutality on their aptly named third album, ‘III’, which leaves no grave unspoiled and no virgin unravaged; Italy’s Forbidden Tomb return after a four year break with a majestic slice of blackness that is more rock than metal (although the vocals more than make up for this), with good use of melody underpinned by dark as midnight undertones; England’s Spearhead deliver mid-league death with their third album, ‘Theomacia’, which reminds me a bit of Belphegor but with a much cleaner sound – maybe not surprising since seesions drums are by the Austrians’ former sticksman, Torturer.
Also tickling my fancy this past while has been Sixx:A.M’s ‘This Is Gonna Hurt’ – possibly the heaviest album Nikki Sixx has ever recorded, but also one with great hooks and great melodies and one which shows why he was the songwriting force behind Motley Crue: definitely not one for Crue fans but very contemporary, very relevant, especially on the powerful ‘Live Forever’ and the brilliant ‘Sure Feels Right’, which outstrips any ballad the Motleys ever recorded. At an entirely different level, an absolutely superb release is ‘Mary Celeste’, the sophomore album from Plymouth’s finest, Huron. Very obviously influenced by Pantera – in the best possible sense – the band hit between the eyes with opener ‘Branded’ and just keep on going. Album highlights include the anthemic ‘Disperse Or We Fire’, complete with an RATM-style chant, and the Slipknot-ish ‘Serpentwine’. This is an accomplished album from a young and ambitious band and one which proves, once again, that the future of British metal is in fairly safe hands.
That just about finishes off this month’s round-up : just a quick heads up for Hollywood Undead’s brilliant rap-metal crossover offering ‘American Tragedy’, and the industrial excellence of ‘Ever Since We Were Children’, the debut offering from The Black Dots Of Death’, Shawn ‘Clown’ Colvin’s side project – but, I think you’ll be hearing from those at one or more of our Paradise City club nights, starting this coming Friday (10 June): head on over to www.facebook.com/paradisecitybelfast for more info.
Wednesday, 18 May 2011
Dio career-spanning CD released
A new Ronnie James Dio compilation is due out through Sanctuary on June 6.
Callled ‘Mightier Than The Sword’, this double CD spans his entire career, from Elf to Heaven & Hell.
The full track listing is:
CD One:
1. Carolina County Ball (Elf) 2. Love Is All (Ronnie James Dio) 3. The Temple Of The King (Rainbow) 4. Catch The Rainbow (Rainbow) 5. Stargazer (Rainbow) 6. Run With The Wolf (Rainbow) 7. Kill The King (Rainbow) 8. Long Live Rock ‘N’ Roll (Rainbow) 9. Lady Of The Lake (Rainbow) 10. Gates Of Babylon (Rainbow) 11. Die Young (Black Sabbath) 12. Heaven And Hell (Black Sabbath) 13. Children Of The Sea (Black Sabbath).
CD Two:
1. The Mob Rules (Black Sabbath) 2. Voodoo (Black Sabbath) 3. Country Girl (Black Sabbath) 4. Holy Diver (Dio) 5. Rainbow In The Dark (Dio) 6. We Rock (Dio) 7. Rock ‘N’ Roll Children (Dio) 8. All The Fools Sailed Away (Dio) 9. I (Black Sabbath) 10. Push (Dio) 11. One More For The Road (Dio) 12. Shadow Of The Wind (Black Sabbath) 13. Neon Knights (Heaven & Hell) 14. Bible Black (Heaven & Hell).
Find out more at www.ronniejamesdio.com
Callled ‘Mightier Than The Sword’, this double CD spans his entire career, from Elf to Heaven & Hell.
The full track listing is:
CD One:
1. Carolina County Ball (Elf) 2. Love Is All (Ronnie James Dio) 3. The Temple Of The King (Rainbow) 4. Catch The Rainbow (Rainbow) 5. Stargazer (Rainbow) 6. Run With The Wolf (Rainbow) 7. Kill The King (Rainbow) 8. Long Live Rock ‘N’ Roll (Rainbow) 9. Lady Of The Lake (Rainbow) 10. Gates Of Babylon (Rainbow) 11. Die Young (Black Sabbath) 12. Heaven And Hell (Black Sabbath) 13. Children Of The Sea (Black Sabbath).
CD Two:
1. The Mob Rules (Black Sabbath) 2. Voodoo (Black Sabbath) 3. Country Girl (Black Sabbath) 4. Holy Diver (Dio) 5. Rainbow In The Dark (Dio) 6. We Rock (Dio) 7. Rock ‘N’ Roll Children (Dio) 8. All The Fools Sailed Away (Dio) 9. I (Black Sabbath) 10. Push (Dio) 11. One More For The Road (Dio) 12. Shadow Of The Wind (Black Sabbath) 13. Neon Knights (Heaven & Hell) 14. Bible Black (Heaven & Hell).
Find out more at www.ronniejamesdio.com
Sunday, 15 May 2011
(Not) the end of the world - part two
In nearly 30 years of writing about the Belfast music scene, I’ve conveyed possibly every emotion that it is possible to commit to words – anger, love, hate, compassion, fury, desire… add your own as applicable. Very rarely, however – if ever – have they all possibly been contained in one piece and one place (which is why I suppose this review should come with a public health warning!)
Last night, a scenario unfolded which could have killed most bands, stone dead, on the spot. What should have been the proudest moment in any band’s career could have become their most shameful. It could have been the end of their world, literally. Worldsend could have proven to be an apocalyptic premonition.
OK, enough of the flowery literary shit. What I’m talking about here is the party to celebrate the launch of the excellent ‘Letters To Lost Souls’, the debut album by Worldsend. The band and the venue really had pushed the boat out… from beautifully produced invitations to a highly effective social media campaign and a superbly decorated venue. But (there’s always a ‘but’, isn’t there?), there was one very important ingredient missing…. a drummer.
Basically, last Wednesday – four days before his band’s career breaker showcase – sticksman Stephen Campbell baled, jumped overboard and swam off to the new world… Show over. Or, so you would think. But, Eddie, J and Paul are three of the most professional and accomplished musicians it ever has been my pleasure to meet and so, in the best showbiz, tradition, they sat down, analysed the situation and decided that the show would go on.
And so they took to the stage, with spotlights blazing on a drumkit. And proceeded to deliver a brilliant, career defining show. It was clear from the outset that vocalist Eddie Currie was angry – with ‘Fuck You’ inked on the inside of his forearm – as he virtually spat out the lyrics with unbridled venom. Yet, he also retained his trademark smile and humour (referring to replacement drummer ‘Roland’). He was counterpointed by the calmness of bassist Paul Boyd and guitarist extraordinaire J: indeed, the only disappointment arising from the whole scenario was the fact that using a laptop for the drum parts limited J’s ability to indulge in some fiery solos.
Worldsend? Yes. And no. A new beginning? Only the guys can steer their course. It was an emotional rollercoaster of a gig… it was a pleasure to be there, and I wish the three of you well on your onward voyage… you know how to find me if you need a crew…
Last night, a scenario unfolded which could have killed most bands, stone dead, on the spot. What should have been the proudest moment in any band’s career could have become their most shameful. It could have been the end of their world, literally. Worldsend could have proven to be an apocalyptic premonition.
OK, enough of the flowery literary shit. What I’m talking about here is the party to celebrate the launch of the excellent ‘Letters To Lost Souls’, the debut album by Worldsend. The band and the venue really had pushed the boat out… from beautifully produced invitations to a highly effective social media campaign and a superbly decorated venue. But (there’s always a ‘but’, isn’t there?), there was one very important ingredient missing…. a drummer.
Basically, last Wednesday – four days before his band’s career breaker showcase – sticksman Stephen Campbell baled, jumped overboard and swam off to the new world… Show over. Or, so you would think. But, Eddie, J and Paul are three of the most professional and accomplished musicians it ever has been my pleasure to meet and so, in the best showbiz, tradition, they sat down, analysed the situation and decided that the show would go on.
And so they took to the stage, with spotlights blazing on a drumkit. And proceeded to deliver a brilliant, career defining show. It was clear from the outset that vocalist Eddie Currie was angry – with ‘Fuck You’ inked on the inside of his forearm – as he virtually spat out the lyrics with unbridled venom. Yet, he also retained his trademark smile and humour (referring to replacement drummer ‘Roland’). He was counterpointed by the calmness of bassist Paul Boyd and guitarist extraordinaire J: indeed, the only disappointment arising from the whole scenario was the fact that using a laptop for the drum parts limited J’s ability to indulge in some fiery solos.
Worldsend? Yes. And no. A new beginning? Only the guys can steer their course. It was an emotional rollercoaster of a gig… it was a pleasure to be there, and I wish the three of you well on your onward voyage… you know how to find me if you need a crew…
Thursday, 12 May 2011
Not the end of the world?
Sometimes, life throws you up conundrums. Like, what to tell your ex when she makes it clear she still wants to relive some of the good times when you hate her guts! Or, how to a review a CD by guys you’ve known, on and off, for about 20 years?
In the case of the former, no fucking chance babe – you blew it! As for the latter – well, I suppose you better just go for it… which is what I’m going to do in the case of the CD currently blasting out of the rather powerful stereo here at PC Tower.
The opus in question is the long awaited ‘Letters To A Lost Soul’ by the highly experienced quartet that go by the name of Worldsend.
I use the word experienced in the best possible sense: this is a band who have been around the block more than once – and it’s experience that shows, as this is a very polished performance all round.
Opener ‘Without A Trace’ sets the standard, with the rhythm section of Steve and Paul tight as fuck underneath J’s twisting, winding guitar work (he may be playing slower than the Comet of old but he’s still the best guitarist to come of Carrickfergus) while Eddie’s vocals soar majestically.
The high standard is maintained through the equally superb ‘The Enemy We See’ , before the pace – but not the standard - lessens for ‘Warning Sign’.
There is a word I used earlier: polished. And that sums up this eight track release. Very much so. I also used the word experienced. Again, this is a positive description. I’m going to add a few more words, all deserved: impressive, accomplished, well worth checking out, repeating.
The official release party is this coming Saturday (14 May) at Ma Nelson’s. Two more words: be there.
In the case of the former, no fucking chance babe – you blew it! As for the latter – well, I suppose you better just go for it… which is what I’m going to do in the case of the CD currently blasting out of the rather powerful stereo here at PC Tower.
The opus in question is the long awaited ‘Letters To A Lost Soul’ by the highly experienced quartet that go by the name of Worldsend.
I use the word experienced in the best possible sense: this is a band who have been around the block more than once – and it’s experience that shows, as this is a very polished performance all round.
Opener ‘Without A Trace’ sets the standard, with the rhythm section of Steve and Paul tight as fuck underneath J’s twisting, winding guitar work (he may be playing slower than the Comet of old but he’s still the best guitarist to come of Carrickfergus) while Eddie’s vocals soar majestically.
The high standard is maintained through the equally superb ‘The Enemy We See’ , before the pace – but not the standard - lessens for ‘Warning Sign’.
There is a word I used earlier: polished. And that sums up this eight track release. Very much so. I also used the word experienced. Again, this is a positive description. I’m going to add a few more words, all deserved: impressive, accomplished, well worth checking out, repeating.
The official release party is this coming Saturday (14 May) at Ma Nelson’s. Two more words: be there.
Saturday, 7 May 2011
Celtic masters
Well, it took them fucking long enough... Play.fucking.com that is!
Two weeks before it's official release date, I ordered Cruachan's promised-to-be-awesome new offering 'Blood On The Black Robe'. It arrived exactly two weeks later. Two fucking weeks later than the official fucking release date, that fucking is!
So, anyway, it's finally blasting out of the towering speaker system here at PC headquarters, and, of course, yours truly has to ask... was it worth Play fucking me about and making me wait?
Of course it fucking was. I've said on this forum and elsewhere that 2011 could well be the year that celtic metal establishes itself as a major force, alongside the more successful Scandanavians, as a major force within the genre.
Certainly, 'Blood...' establishes the case with emphasis. Quite frankly, this is a brilliant album - epic and sweeping in its scope, beautiful yet brutal, just like the Irish mythology in which it is so deeply embedded, melodies swirling and amassing around like ancient warriors preparing to go into batttle, daubed in their tribal colours (something Cruachan also display with pride). This is an epic album in every sense of the word, mixing light and dark with the expertise only a band of this pedigree can manage.
Cruachan, quite rightly, argue that they are the progenitors of the whole 'folk metal' sensation, which subsequently has been hijacked by the invading Viking hordes from Norway, Sweden, and especially Finland (and even the fucking Faroe Islands). With 'Blood.. ' Keith Fay and his warriors drive back the Nordic hordes and reclaim the ancient path for their very own...
- 'Blood On The Black Robe' is out now on Candlelight.
Two weeks before it's official release date, I ordered Cruachan's promised-to-be-awesome new offering 'Blood On The Black Robe'. It arrived exactly two weeks later. Two fucking weeks later than the official fucking release date, that fucking is!
So, anyway, it's finally blasting out of the towering speaker system here at PC headquarters, and, of course, yours truly has to ask... was it worth Play fucking me about and making me wait?
Of course it fucking was. I've said on this forum and elsewhere that 2011 could well be the year that celtic metal establishes itself as a major force, alongside the more successful Scandanavians, as a major force within the genre.
Certainly, 'Blood...' establishes the case with emphasis. Quite frankly, this is a brilliant album - epic and sweeping in its scope, beautiful yet brutal, just like the Irish mythology in which it is so deeply embedded, melodies swirling and amassing around like ancient warriors preparing to go into batttle, daubed in their tribal colours (something Cruachan also display with pride). This is an epic album in every sense of the word, mixing light and dark with the expertise only a band of this pedigree can manage.
Cruachan, quite rightly, argue that they are the progenitors of the whole 'folk metal' sensation, which subsequently has been hijacked by the invading Viking hordes from Norway, Sweden, and especially Finland (and even the fucking Faroe Islands). With 'Blood.. ' Keith Fay and his warriors drive back the Nordic hordes and reclaim the ancient path for their very own...
- 'Blood On The Black Robe' is out now on Candlelight.
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