edwardlayland

The Best Records of 2016 – Part 1

Posted on December 14, 2016 by edwardlayland

If there is one dead cert in the world of music writing, it’s the end of year list – the golden opportunity to wax lyrical about all the uber cool shit we’ve been listening to through the year that we totally believe every other fucker should also be listening to. I’m just as guilty as the next pensmith; I mean, I’ve already done two – one for Already Heard ( http://alreadyheard.com/post/154430616852/record-of-the-year-2016-staff-lists), another exclusively on thrash metal albums, although in fairness it was a retrospective article analyzing the genre with a top 5 attached (https://hardpresseded.wordpress.com/2016/12/07/thrashback-best-of-2016/)

But lets face it, here in the blogosphere it’s basically a totally subjective list and isn’t really worth shit, unlike the top ten we came up with at AH (http://alreadyheard.com/post/154422480446/already-heards-record-of-the-year-2016) which involves several contributors. So, the final list is a kind of representation of the site’s view of the world of alternative rock, and therefore a pretty useful piece of retrospection. Anyway, my top ten is there, along with the site’s top ten, but I have to say that probably wouldn’t be a definitive list, nor would another one that I might write tomorrow. So what’s the point?

However, there is surely some value in celebrating some of the seriously cool records that have had an impact on me this year. It doesn’t need to be a top ten. They don’t need ranking. It’s enough to say that this is cool as fuck and you could do a lot worse than give it a whirl, you might discover something you love – it’s what Spotify is for, for fuck’s sake. So, here come a bunch of records I’ve been listening to pretty solidly this year and intend to keep spinning well into the future.

David Bowie – ‘Blackstar’ I was deeply moved by the death of David Bowie and wrote about it at length here:https://hardpresseded.wordpress.com/2016/01/12/303/ Listening to Blackstar is inextricably linked to the loss of this musical giant and was always going to be an emotional experience, but having gone back to it again and again since its release, I have to say that it really is quality and holds up well. ‘Lazarus’ is undeniably superb and the artistic merit of the record as a whole is unquestionable. Great record – excellent way to punctuate such an incredible cultural footprint.

I only got round to listening to Michael Kiwanuka – ‘Love & Hate’ a couple of weeks ago, but have had it on very heavy rotation ever since. Damn, what a great, honest record this is. Michael lays bare his conflicting emotions on this sublime collection that neatly combines a kinda classic seventies soul groove with a more contemporary feel and some achingly good guitar work. The title track is unbeatable.

Lisa Hannigan – ‘At Swim’ Great songs, cool vibe, lovely voice, excellent record – I keep going back for more.

Lonely the Brave – Things Will Matter is a good solid sophomore record from the Cambridgeshire boys and continues their climb up industry ladders. There are some quite spectacular moments, like the massive ‘Black Mire’, the excellent ‘Diamond Days’ and ‘Jaws of Hell’ that hint at a very bright future for British alternative rock.

Slowcoaches – ‘Nothing Gives’ came out about a week ago and I had the immense pleasure of five outta fiving it for Already Heard. The most exciting garage punk record in years, it has an energy comparable with The Strokes debut and rocks from beginning to end as it tackles issues like loss and anxiety. Heather Perkins is punk rock personified, making their brand of angry optimism instantly relatable – this band deserve to be massive.

The Cult – ‘Hidden City’ There’s nothing like your favourite band hitting good form again. Ok, it’s not ‘Love’ or ‘Sonic Temple’, but it’s creatively vibrant, still pushing boundaries and features some killer tracks. Ian Astbury‘s raw vocal on ‘Birds of Paradise’ and the killer hook of ‘No Love Lost’ find The Cult at the top of their game.

Another return to form from an eighties icon came on The Mission – Another Fall From Grace. Wayne Hussey took a conscious decision to dust off his twelve string and write an album bridging the gap between Sisters of Mercy and The Mission. According to the front man it was a painfully cathartic experience, but the vocalist can be justifiably proud of his band’s finest record since their peak. Sure, it’s as overblown and pretentious as you might expect, but Mish fans wouldn’t have it any other way. The title track is prime example of Wayne’s songwriting prowess and ‘Tyranny of Secrets’ shows they can still deliver a good old Goth rock banger.

Black Foxxes – ‘I’m Not Well’ is quite simply one of the best records I’ve heard in years. It’s rawness imbues it with power, energy and emotion at a level few bands come close to. Stone cold killer from beginning to end – album of the year by far.

Thrashback – Best of 2016

Posted on December 7, 2016 by edwardlayland

When I first heard Dave Mustaine shredding faster than ever on ‘Fatal Illusion’ it was clear something had shifted. Sure, Megadeth and a bunch of other bands have all continued releasing thrashy records over the years, but it had all gone a bit stale. So when Dystopia dropped and suddenly Megadave was sounding fresh and exciting, it meant something was in the air. And sure enough, little by little, thrash bombs kept dropping and exploding through my headphones with a ferociousness and fervour I hadn’t heard in years.

As in 1986, three of the big four have released killer records this year, but as well as the big guns there are a crop of other groups who have also put out some of the finest work of their careers and some of the finest thrash albums ever. The list of quality releases this year is quite literally massive, the genre as a whole sounding vibrant and exciting.

I put this down to the marginalization within the music industry; now that there are so few major labels, all of which concentrate their eggs firmly in the mainstream basket, there is a gaping hole on the alternative side of things, so counter culture is thriving, and it is largely fueled by the internet. This has meant that smaller boutique labels like the fantastic Nuclear Blast have been able to deepen otherwise niche markets like that of thrash. A quick flick through the label’s roster and it’s obvious that much of the current excitement on the thrash scene can be laid at their door. Then there’s Metal Blade and Roadrunner and their enduring dedication to the metal scene.

Also, now that we live in super slick, social media obsessed, internet madness, there seems to be a kind of retro cool about the old school sound, suddenly, it’s OK to go back to the eighties, so the older groups now sound relevant rather than dated. Anyway, this eighties vibe and vibrant alternative scene has translated into some mighty fine records and made 2016 the biggest year in thrash since the glory days. Here’s what it’s all been about…

Suicidal Tendencies went back to their roots to great effect with ‘World Gone Mad’, their most defiant and most hardcore record in years. It was great to hear Mike Muir as passionate as ever, and with Dave Lombardo putting in a titanic drum performance they managed to retain a thrash edge despite the album’s punkiness. Meanwhile, Danish veterans Artillery put together a good old fashioned riff heavy superfly thrasher on Penalty By Perception, which is one seriously riffy record. Of the younger bands kicking up a storm, the standout is undoubtedly Vektor, whose ambitiously conceptual Terminal Redux makes for a technically excellent record and is well worth investing a bit of time in. They put their abilities to good effect, creating a keen sense of drama that resonates between the multiple layers of this highly textured epic. There have also been noteworthy releases from the likes of Voivod, Flotsam and Jetson, Vader and the massive Gojira. However, for my top five it’s strictly old school.

5) Testament – ‘Brotherhood of the Snake’
Of this year’s releases it was ‘Brotherhood of the Snake that was the most pleasantly surprising. I always had a soft spot for Testament and loved their early material, but there was always a feeling of unfulfilled potential with ‘Souls of Black’ failing to deliver on their early promise, despite selling well. Therefore, it was brilliant to hear them produce a record as strong as ‘Brotherhood…’; they sound harder, heavier and faster than in their heyday, but have managed to incorporate their melodic tendencies with some killer hooks; Chuck Billy is sounding incredible, with the kind of performance younger singers could learn a lot from. ‘Black Jack’, ‘The Number Game’, ‘Stronghold’, ‘The Pale King’ are just some of the stand outs on this relentless collection of all killer no filler.

4) Megadeth – Dystopia
There are moments on ‘Dystopia’ that could slip easily into Megadeth‘s impressive cannon of material. The above mentioned ‘Fatal Illusion’, which rocks as hard and fast as anything on ‘Peace Sells…’, being one, the ‘Rust’ish ‘Bullet To The Brain’ another. Then there’s the double punch of the massive ‘Poisonous Shadows’ and instrumental ‘Conquer or Die’, where Kiko Loureiro (Angra) and Lamb of God‘s Chris Adler really earn their salt, proving the catalysts for this reinvigoration. Sure, ‘Dystopia’ has its flaws, but this is without doubt Mustaine’s strongest album in years and with the current line up they actually sound exciting again.

3) Anthrax – ‘For All Kings’
Despite sounding a little overblown on first listen, For All Kings has stood up well and repeated listens have revealed more and more depth to this excellent record, the songs are excellently crafted and there is a surprisingly strong sense of melody to temper their ever present thrashiness. Joey Belladonna is quite simply outstanding throughout and musically speaking there is plenty to get your ears around, from stone cold bangers like Evil Twin to textured epics like the sprawling Blood Eagle Wings, the entire album rocks.

2) Metallica – ‘Hardwired…to Self-Destruct’
At its best ‘Hardwired…to Self-Destruct’ is up there with Metallica‘s finest work. The first half of the album, or disc one of the CD, delivering in spades. However, the second half is found wanting and lends a slight sense of disappointment to what could have been their best record since ‘Puppets’. Once again, the band’s incapacity to self edit has meant that some really good riffs are wasted on some really average songs. Even so, when it works, it nails it in style; ‘Moth Into Flame’ is their finest single since Enter Sandman, ‘Dream No More’ will be massive live and ‘Halo on Fire’ plays like a retrospective of their entire career. There is a welcome ‘Kill ’em All’ vibe underpinning the record, with some serious classic riffing liberally peppered around the album, and all in all it is very, very good, but just misses out on being the modern classic we were hoping for.

1) Death Angel – The Evil Divide
Without doubt the most vibrant thrash release of the year is ‘Evil Divide’; with stacks of sublime riffing from Rob Cavestany and absolutely superb vocals from Mark Osegueda. From the moment opening track ‘The Moth’ starts racing away on the back of some fly riffage, the album hits a pulsating thrash fury that is relentless. The full on attack of each and every track is nothing short of killer, it sounds fresh and exciting, yet has a foot firmly in classic thrash territory, while boasting an energy and groove that is hard to beat. ‘Hatred United, United Hate’ is simply awesome, while the performances on the emotion fueled ‘Lost’ are nothing short of stunning; then there’s the killer guitar work on tracks like ‘Breakaway’ and the excellent arrangements of songs like ‘It Can’t Be This’ and ‘Father of Lies’. Not only is it an immediately likeable album, but it stands up – it doesn’t get tired with repeated listens and at a tight ten tracks there’s no baggage and it never gets indulgent. Great fucking record.

What’s Hot In My House – November 2016

Posted on November 23, 2016 by edwardlayland

It’s been a busy old month, what with listening to pretty much everything Metallica have ever recorded for a piece I wrote for Already Heard. Then there was the surprisingly awesome, but shamelessly nostalgic, Guns n Roses show, which meant catching up on some old favourites, plus the usual selection of stuff to review and fill the hours of endless bus journeys. Also, with the usual round of end of year lists coming up, I’ve been dedicating a bit of time to checking out some stuff I’d been meaning to listen to. As such, it’s been a metal heavy month, even so, between the big ass riffs and raging solos I have managed to squeeze in some sublime listening. Here’s the smooth grooves that have been dripping honey into my brain of late.

Although It’s been out a while, only now have I got round to checking out ‘Love & Hate’ the absolutely incredible second album from Michael Kiwanuka. Damn, this is a fine record. Beautiful, heartbreaking, emotional and uplifting in equal measure. It makes for a superb take on human nature, echoing with vibes from the sixties and seventies, yet succeeding in sounding contemporary and topical, this is a sublime record that will be very close to the top of my end of year lists.

The cool groove of Warpaint‘s Heads Up has also been on pretty heavy rotation of late. There’s something wonderfully understated about the subtle mix of textures on these laid back deep cuts that keeps me coming back for more. There is a lot of experimentation with beats to compliment the hypnotic qualities of the vocals and instrumentation, all of which kinda defies classification and gives it a refreshing air of individuality. It’s well worth giving this a few plays and immersing yourself in its subtleties.

Another cracking recent release that I had the pleasure of reviewing, is the totally old school thrash of Testament and ‘Brotherhood of the Snake’. Honestly, this is as good as, if not better than, anything they released back in their heyday. It’s by far their most frantically thrashy record and includes some serious hooks that make it instantly catchy. Chuck Billy delivers an absolutely killer vocal performance throughout on track upon track of raging metal. Killer record.

Metallica – Hardwired… to Self-Destruct Album Review

Posted on November 22, 2016 by edwardlayland

Metallica are like The Clash of thrash metal, pioneering a genre that they easily outgrew. The thing about them though, is that they have been under pressure to go back to that genre ever since the ‘Black Album’, and while ‘Death Magnetic’ largely placated the naysayers that yes, they could still thrash, the question of their relevance remained open. That has firmly been put to bed by the release of ‘Hardwired…to Self-Destruct’; I mean, how often is a new album an event these days? And who drops a video for every single track on the record the night before its release? This is the very pioneering spirit that established Metallica as the biggest metal band in history and what they are offering on their first album in eight years – ‘Lulu’ doesn’t count people – for the most part does not disappoint, yet is also quite typically flawed.

From the word go, it’s clear there’s still life in the old dogs yet; the fast and furious ‘Hardwired’ being a no-holds barred flier, while the Maidenesque ‘Atlas, Rise’ is a massive tune to follow. Both tunes are pretty much instant classics, yet it’s ‘Moth Into Flame’ that steals the show of the three singles. It is quintessential Metallica – radio friendly, yet defiantly muscular – every bit as good as ‘Enter Sandman’.

The rest of the first disc of the double album is equally high level. ‘Now That We’re Dead’ is a slick take on their early eighties sound, but is fresh and rocks along nicely at mid-tempo; its hook sure to stand the test of time. Then there’s the slow boiling groove of ‘Dream No More’ which eats into the brain and will no doubt become a live favourite, especially with Hammett’s bad ass solo.

‘Halo on Fire’ also boasts an eighties feel to the intro but it gives way to that atmospheric groove a la ‘Until it Sleeps and for a while is reminiscent of Load era, only with more bite. It takes a heavier turn with a series of shifts in tempo and despite being a bit piecemeal, the arrangement really works – with James’ most versatile vocal to boot, it makes for a killer track.

‘Confusion’ opens the second disc in competent enough fashion, although there’s something not quite right about it. Metallica work by putting riffs together like a jigsaw, but sometimes, like here, the pieces don’t fit perfectly – it’s not exactly bad, just maybe a bit, er, confused.

The rest of disc 2 is enjoyable enough, but lacks the quality of the first half. ‘Here Comes Revenge’ is interesting musically speaking, a fine performance from Ulrich underpinning the shifting textures, although it finds Hetfield uncharacteristically obvious on the lyrical front.

The mid-tempo ‘ManUnkind’ and the brooding ‘Am I Savage?’ are both fairly straightforward slices of Metallica at their most functional and don’t really nail it, despite more fine soloing from Hammett. ‘Murder One’ meanwhile is just plain dull, its lumbering metal by numbers makes for a slightly disappointing tribute to Lemmy – the yee ha metal madness of closing track ‘Spit the Bone’, the saving grace of disc two, far more in keeping with the Motorhead front man’s metal footprint.

Despite the shortcomings of the second half of the record, ‘Hardwired…to Self-Destruct’ remains a mighty fine album of quality metal, but when you have set the bar as high as Metallica there are going to be moments when they fall short. Once again, their lack of capacity to self edit has made for an album with excess baggage. It is telling that their first three albums all weighed in under 55 minutes and contained very little in the way of filler, while since ‘Load’ every studio album has over seventy minutes of music, hmmm.

Even so, there are plenty of ticks on the plus side, the underlying influence of ‘Kill ’em All’ is most welcome, Kirk Hammett delivers some of the finest solos of his career and Ulrich has finally evolved into a drummer of versatile excellence. Some of the material on display is seriously high quality, easily standing up alongside their finest work, and could be seamlessly slipped into their live set.

8.5/10

Buy the damn thing here: https://metallica.com/store/featured

Guns n Roses – Live in Rio Review

Posted on November 19, 2016 by edwardlayland

So, a few months back I wrote a piece on the much lauded Guns n Roses “reunion”, saying what an awful idea it was. My argument was basically that it was a cynical money making venture and that Axl could not and would not cut it, as he has been largely shit for the last 20 years. I also suggested that the shows would be nowhere near as good as they were back in the day and that it was one more nostalgic nail in the coffin of modern rock.

However.

Then I saw the videos of the performances from the U.S and it was pretty damn obvious that Axl was actually cutting it. Maybe not like a hot knife through butter, but there were high notes and enthusiasm, and not just in GnR, but in AC/DC too. And with a broken foot.

Then, as the tour showed little sign of imploding and actually decided to roll on down to South America, what else could I do, but see for myself.

So the question is, did I eat my words?

Kinda.

After a functional set from the uninspired choice of opening act, Brazilian rockers Plebe Rude, and a surprisingly short interval, in which we got to see the really quite beautiful logo variations on the backdrop, the Looney Tunes theme blared out and it was showtime.

‘It’s So Easy’ kicked things off and we all went mental. Seriously. Once upon a time Guns n Roses was known as the most dangerous band in the world and for the first 15 minutes or so it was easy to see why. The crowd was like a raging sea as it bounced as one to the punk energy of the opener and the swagger of ‘Mr. Brownstone’, even ‘Chinese Democracy’ got people jumping before the teased intro to ‘Welcome to the Jungle’ eventually sent everyone ballistic. For a few moments Axl, Slash, Duff and Co rocked as hard as they ever did; sure they are a little slower and a little rounder, but they still know how to deliver a good old fashioned hard rock banger.

‘Double Talkin’ Jive’ immediately calmed things down a little and calm they stayed, for the underrated ‘Better’ and an absolutely epic performance of ‘Estranged’. Despite proving spectacular and one of the highlights of the night, this was the first of many rather indulgent mega ballads – we got them all, bar ‘Patience’.

‘Live and Let Die’ was predictably frantic, prior to the cool bass groove of the sorely underrated ‘Rocket Queen’; the already lengthy track gaining an extended midsection and sexy skeletons on the backdrop. There was another surprise in ‘Out Ta Get Me’ before the heroin chic of the tireless Duff McKagan pounded out the bass riff to ‘You Could Be Mine’ to get the crowd bouncing again. Although Axl was mostly excellent, reaching most of the high notes, it was here and more notably on ‘Coma’ that he struggled – the fast sections tripping him up a little. A mid set breather was due – cue Duff and his version of the Misfits‘ ‘Attitude’.

‘This I Love’ preceded the epics ‘Civil War’ and ‘Coma’ before the obligatory Slash solo of Speak Softly Love (Love Theme From The Godfather). It was all great stuff and the top hatted one still shreds, but the dude has been playing the same damn thing since I was a kid – talk about playing it safe. Was it then necessary to do an instrumental duet with Richard Fortus on ‘Wish You Were Here’? Sure, it was awesome, the crowd sung it, people cried and Slash and Richard nailed it, but two solo slots?
Sandwiched in between were the unbeatable ‘Sweet Child O’ Mine’ and the surprisingly fun ‘Yesterdays’, which proved much more enjoyable in the live arena than on record. In a neat twist they then segued ‘Wish You Were Here’ into the piano outro from ‘Layla’ to get Axl on the piano.

Only one song could follow, and follow it did. On the one hand November Rain epitomizes everything that is pretentious and overblown about GnR and can so easily turn into an awful lumbering spectacle of over indulgence. Thankfully though, the front man seems to be in a good place right now, despite him and Slash virtually ignoring each other all night, and he crooned his way though with technique and urgency, delivering one of the best vocals of the night. For some reason most of the crowd seemed to have balloons to go with cell phones and it all made for a quite beautiful spectacle, even more so as the massive full moon emerged above the stadium right on cue – I guess these kind of shared moments are the whole point of such nostalgic outings. Fair play Axl.

Two hours in and the vocalist was visibly enjoying himself as he rolled back the years to dart around the stage to conduct the crowd in a sing off on ‘Knockin’ on Heaven’s Door’. By now it was utterly shameless enjoyment of timeless classics, and we were certainly getting our money’s worth.
We rocked again for set closer ‘Nightrain’, but it was back to the ballads in the encore of ‘Don’t Cry’ with more extended guitar work. The Who‘s ‘The Seeker’ offered an irresistibly big riff, but we were really only waiting for ‘Paradise City’ to rock to an explosive close. And it did not disappoint – mosh pits opened up, swathes of bodies bounced as one and it was genuinely wild abandon in the crush – it almost felt like 1990 again.

The crowd actually demanded another encore, but the band returned merely to take a bow, all hugs and smiles.

So, all in all, I guess you have to take your hat off to Guns n Roses – they are still a mighty proposition and deliver a fine performance. They are seasoned pros and know how to work a stage and get a crowd going, despite the minimal interaction between band members and between band and crowd.
Are they still dangerous? Not really, but they do rock and they are a pretty tight unit; they put on a show but it’s not over produced and works well with less people on stage – no horns, no backing singers, a cool backdrop of images and minimal pyrotechnics keeps it lean.

Is Axl the vocalist he was 25 years ago? He’s a damn sight closer to it now than he has been in the last 15 years. His range is impressive and he works the mic, but the impression is that age has taken it’s toll a little and slowed up the delivery, there may be an element of tiredness too.

Are they just in it for the money? Surely that is a factor, but then again they do seem to be enjoying themselves, so I’ll reserve judgement. Also, they may be raking in the cash, but at two and a half hours long their set is pretty damn good value.

Is it all just shameless nostalgia? Sure, of course, but when you are this good and the material still cuts it, then why the hell not? Quite how long the night train can roll on without new product though is open to question, as is whether or not the relationships will endure. In the meantime though, they are well worth the trip down memory lane.

Revoada

Posted on November 9, 2016 by edwardlayland

Revoada é o projeto que reúne duas bandas finas da cena Niteroiense, Barcamundi e Gragoatá, cujas trajetórias vêm entrelaçando há tempo. As bandas se conheceram nos meados de 2015, dividindo palcos, emprestando apoio uma á outra, criando uma afinidade e amizade entre os nove integrantes que se realiza num grupo só no EP audiovisual ‘Revoada.

“Revoada, bando de pássaro ou o voo da ave que volta ao local de onde partira, remete ao início das duas bandas, cujas primeiras músicas lançadas foram O Trem e o Pássaro (Barcamundi) e Passarinho (Gragoatá). O nome do EP simboliza um ciclo de renovação natural, simboliza revisitar as origens com perspectiva para os próximos voos. Revoada é um fruto pelo parentesco, que aponta para o semeio de novas ideias.”

O EP conta com seis músicas, sendo cinco inéditas, gravadas e filmadas ao vivo no Espaço Multifoco, na Lapa, pela Selo AudioVisual Útero, cujo produção é estilosomente executada em mais um trabalho de alta qualidade. A gravação do som é impecável, deixando espaço suficiente para os múltiplos instrumentos, enquanto a fotografia está sempre em busca de uma perspectiva inovadora.

O EP começa com o clima intimo, mas animado de ‘Menina’ (Renato Côrtes) em que as duas bandas entrelaçam numa entidade só; as vozes de João Barreira e Rebeca Sauwen se complementando lindamente. O conjunto de influências e instrumentos ajuda cria um som suavemente mesclando mpb, folk e indie com um leve toque de animação.

A meu ver ‘Balão’ (João Barreira) é o destaque. Partindo de um melancólico violão, a musica se constrói em camadas ricas criando uma textura linda em que a emotiva performance vocal duela com o excelente trabalho dos guitarristas. A intensidade cresce nas costas de um slide sublimo de Leon Navarro, (esse cara toca tudo!) e chega à apoteose com a emoção viva na voz da Rebeca – arrepiante!

‘A Grama do Seu Jardim’, uma musica antiga da Barcamundi é gostosamente reinterpretada aqui, beneficiando de uns integrantes a mais e varias toques pequenos que combinam numa musica gloriosamente rica – bom trabalho.

‘Novembro’ do excelente Fanner Horta se beneficia de um clima mais relaxada em que os integrantes se complementam perfeitamente. É uma musica quase infantil com suas toques sutis de instrumentação, mas sucede em criar uma textura rica, especialmente quando os vozes se juntam.

‘Amor Concreto’ (João Barreira), com a bela contribuição vocal da Gabriela Autran, é basicamente uma musica da Barcamundi levando uma melodia e groove típica da banda,. A guitarra do João adiciona um vibe levemente roqueira, enquanto os floreios de flauta levam para free jazz numa mistura surpreendente.

Em contraponto, ‘Rio Abaixo’ (Fanner Horte e Esther Martins) é mais de Gragoatá; a balada levando um toque de blues no ritmo, enquanto a acordeão dar uns ares franceses para complementar a personalidade no vocal Piathesque da Rebeca.

As seis músicas reveladas aqui são um exemplo do que essas bandas são capazes, mostrando os talentos invejáveis de todos os integrantes. Com a filmagem impecável do Útero o EP consegue ser uma produção muito gratificante e é esperançoso ver que existe tanto talento atuando de uma forma tão competente, mesmo comprometidos pelas limitações financeiras do atual cena musical. Parabéns aos todos envolvidos.

Metallica – Atlas, Rise! Review

Posted on November 1, 2016 by edwardlayland

I think the most striking thing about ‘Atlas, Rise!’, the third track to drop from the new Metallica album, is the obvious Iron Maiden influence. It’s there in the straightforward riffing, the high flying guitar lines, extended mid-section and slightly over-long running time. As such, it’s actually another pretty damn good track – high energy rather than thrashy – echoing much more of ‘Kill ’em All’ than of the convoluted ‘Justice’ era tracks.

Although there is an obvious step back in time, it doesn’t feel like a going back to their roots just to regain some credibility, it kinda sounds like they’ve maybe been listening to some old school tunes and rediscovered what got them excited in the first place. This, and the obvious hooks, succeed in lending an air of vibrancy that was lacking on ‘Death Magnetic’, making it as immediate a listen as ‘Hardwired’ and ‘Moth Into Flame’. Another plus point is that ‘Kirk Hammett is sounding rejuvenated as he delivers more fine soloing and if the video clip is anything to go by, James, Lars and co seem to be enjoying themselves. Whether ‘Atlas, Rise!’ stands the test of time remains to be seen, but it is certainly another promising snippet of what is to come. I haven’t been this excited about a Metallica album in years. Roll on November 18th.

What’s Hot In My House – October 2016

Posted on October 19, 2016 by edwardlayland

It’s been slightly weird musicwise of late. I’ve been kinda stuck, well, not exactly stuck, just dominated by Metallica, I guess. It went from revisiting ‘Master of Puppets’ to working my way through the back catalogue. Basically, with the upcoming release of ‘Hardwired…’ I’ve been writing a beginner’s guide for the good people at Already Heard, which involves gargantuan amounts of research, and I’ve also done my own top ten of Metallica covers and a piece on the big four of thrash.

https://hardpresseded.wordpress.com/2016/09/14/metallica-top-ten-covers/
https://hardpresseded.wordpress.com/2016/09/10/the-big-four-part-1-thrash/

Metallica aside, I can’t seem to put down the awesome Black Foxxes record and I keep going back to Pixies’ ‘Head Carrier’ too. It’s been like my default record and I am now convinced it’s a cracker. Anyway, what all this has meant is that the rest of my listening time had been restricted to what I have been reviewing, which has actually been of pleasingly good quality, albeit not exactly plum in the middle of my comfort zone. So, here are the mosh pit fillers and sweaty back room bangers that have been vibrating in my cans of late. Check em out.

I had the distinct pleasure of reviewing the reflective break up album ‘You Make Everything Disappear’ by Trade Wind. This is an interesting side project from members of a couple of (post) hardcore groups, Stick to Your Guns and Stray from The Path, on which singer Jesse Barnett bares his tortured soul in emphatic style. It’s a deeply atmospheric record that slips easily between the tender and the vitriolic to a musically exploratory backdrop that includes spacious piano melodies, subtle touches of electronica and hard edged riffs to stunning effect; great record.

Now here’s a record that surprised the shit outta me. Cove are essentially a hard core band, which normally would have me enjoying the odd song, but not really going back for more – it’s the constant angst filled screaming you see, gets on my tits. However, these guys incorporate some serious metal riffing and certainly know how to structure a good tune, which makes for a vibrantly energetic record with plenty of depth. So if you like a bit of barbed wire to your emotion and can take a little hard edged pummelling, this is well worth a look.

At the completely opposite end of the spectrum is the ragged beauty of the warm hug of a record that is The Lion and The Wolf‘s ‘Cardiac Hotel’, reviewed here: https://hardpresseded.wordpress.com/2016/10/07/the-lion-and-the-wolf-cardiac-hotel-review/
Simply put, this is a gorgeous album that keeps me coming back for more, sure it is wrapped in sadness and some of the tracks are like open wounds, but it also a record that offers comfort and warmth, I cannot recommend it more highly.

The Lion and The Wolf – Cardiac Hotel Review

Posted on October 7, 2016 by edwardlayland

Thomas George is the misty voiced curator of The Lion and The Wolf and his second album The Cardiac Hotel is quite something. A whole lotta heartbreak has been poured into this record, yet its atmospheric mix of indie folk rock boasts an enviable maturity and poise that give it a warm intimacy. Although he may be dealing with difficult subjects like his father’s illness, grief and lost love, it is very accessible and something we can all relate to, as the intimate nature of the songs wrap the listener in comfort and understanding.

‘Don’t Fail Me Now’ sets the tone with an aching yet uplifting ode to love, the melancholy horns almost half heartedly tickle a wry smile onto the lips of those who’ve loved and lost. This is immediately followed by what, for me at least, is one of the album’s finest moments on ‘Heaven Forbid’. This is a darkly sublime beauty of an open wound, its layered textures of ponderous percussion and spacious guitar lines make room for an emotional vocal.

There’s plenty more feelings on display as the record progresses through the soothingly reflective ‘My Father’s Eyes’ and the melancholy ‘The Hospital Floor’, with its subtle touches of horns that punctuate the lilting piano melody. Things take a folky turn on ‘The Pinching Point’, which features a heartbreaking violin in the mid section, while ‘Walk on The Moon’ is more upbeat and offers comfortable melody.

To be honest, there’s not one song on here that doesn’t work; every single track has something to offer, whether it’s the late night sorrowful lament of ‘Barstools’, with its air of bitterness and defeat or the coolly delivered ‘Past The Point of Fair’. Then there’s the more powerful ‘December’, which sounds like something Ben Watt might do, with lyrics like “The body I have is a ghost town” and the slight drama to the percussion that builds as the song gathers an emotional urgency and Thomas delivers his most complete vocal performance; great stuff.

The bittersweet reflection of the smooth ‘Witness’, with its tumble down piano, precedes the subtle beauty of ‘Find the Time’ which eventually gathers into a rousing barrage of horns to round this fine record off in style. It is a fitting finale to an album that will endure; one that is peppered with many a moment of sublime beauty and that possesses a wonderfully human quality that speaks to us all. Sublime, beautiful, heartbreaking and hopeful – like a warm hug from a good friend – immerse yourself.

9/10

‘Cardiac Hotel’ is out now on Xtra Mile Recordings.

Check out The Lion and The Wolf at https://m.facebook.com/thelionandthewolf and https://thelionandthewolf.bandcamp.com/

The Mission – Another Fall From Grace Review

Posted on September 30, 2016 by edwardlayland

It was a brave step by Wayne Hussey to set out to make an album that sounds like 1985, yet it is one that by and large he manages to pull off. ‘Another Fall From Grace’ plays like an echo, an echo of former glories when The Mission were riding on the cusp of a wave towards being the UK’s biggest alternative rock band, or an echo of days gone by, when making epically dramatic tunes was de rigueur in the realm of Goth.

Tentative drum beats signal the opening of title track, ‘Another Fall From Grace’, but it soon takes shape around a rumbling bass line as layers of jangly 12 string guitars weave a tapestry of wonderfully bombastic Goth drama reminiscent of Tower of Strength’. Hussey sounds a little older and wiser, but there’s still a powerful richness to his voice and this deeply layered epic is surely one of the finest tunes this band has ever produced.

They seem to have rediscovered their signature sound and on ‘Met-Amor-Phosis’, featuring Ville Valo, it effortlessly translates into the type of song that would’ve bothered the top twenty back in the day. ‘Blood On The Road’ is in a similar vein, but despite being rockier, it is actually a little lacklustre and doesn’t quite nail it.

Nevertheless, there are plenty of moments when they do totally nail it, whether it’s the brooding drama of the atmospheric ‘Within The Deepest Darkness (Fearful)’, featuring excellent vocal contributions from Martin Gore and Gary Numan, or the instantly likeable ‘Can’t See The Ocean For The Rain’; a quality, largely acoustic number with a wistful air.

However, it’s on ‘Tyranny of Secrets’ that they are firing on all cylinders; there’s a distinct Sisters of Mercy feel to the driving electronica of the opening, but it’s got everything else that we know and love about the Mission besides a surprising element of vitriol to the vocal; great tune.

In fact, this opens a section of the album that is pure class, as the wonderfully overblown ‘Never’s Longer Than Forever’ and the intricate intensity of ‘Bullets and Bayonets’ follow stylishly before the spoken word reflections of ‘Valaam’. This segues neatly into my favourite moment of the album, the emotionally charged ‘Jade’ with its signature guitar lines and a haunting piano melody typically reflective of glories past. The song meanders along in darkly atmospheric fashion until Simon Hinkler finally lets rip with a soaring solo, before an emotional finale where Wayne gives it both barrels. This is the Mission at their finest, talk about recapturing whatever it was that once made them great.

Despite being firmly rooted in the past, it is interesting that on closing track ‘Phantom Pain’, another dark 7 minutes, there are some skittering saxophone touches to add a little extra depth. It is a cool touch and offers a hint that this creative well is far from running dry.

All in all, ‘Another Fall From Grace’ is a deeply satisfying record full of great touches, including a number of subtle backing vocals from long term collaborator Julianne Regan; long time Mission fans will surely be overjoyed that they have managed to recapture the essence of what it was that we fell in love with all those years ago, whilst also looking forwards. Sure, at 12 tracks and over an hour long there’s probably one too many pedestrian paced sweeping epics making it a little OTT, but I’m sure Wayne wouldn’t have it any other way, especially when it is such a strong album both musically and vocally.