Reviews

Behind the Mask of MegaDave

Posted on by edwardlayland

I am a Megadeth fan. I have been listening to their music for the best part of forty years, I saw them at their very best on the Rust in Peace tour and supporting Metallica, and I have written about them extensively. So, last Saturday, I was really excited about watching the cinema release of the Behind the Mask movie. However, this intimite look at the world’s second most important thrash band indirectly revealed much more about its leader than providing deep insight into the life, times and music of a band the fans love so much.

Behind the Mask largely achieves its purpose of being a listening party for the band’s final release and it has an engaging format with Dave Mustaine telling us about the new songs and providing a potted history of the band’s journey between tracks. Although the film doesn’t appear to be particularly scripted, as Dave is often on a stream of consciousness skipping blithely over important moments in the band’s career, it does appear a little contrived with the frontman sitting at a desk surrounded by Megadeth merch such as the Vic Rattlehead Funk o Pop and copies of the Rust in Peace book.

We get to hear the entire album at full power through the cinema sound system, with a series of lyric videos alongside the official releases for the ferocious Tipping Point and the punky I Don’t Care, which we discover was written in place of covering a punk tune. The new record is actually pretty damn good, some of the visuals are stunning, others less so, and gaining some insight into how the songs were made and what goes on the studio made it all worth the ticket price. There is a fabulous scene of Dave dancing in his seat during playback, hair tied back, glasses on and waving a popsicle (ice lolly) around, revealing that he is still just a kid at heart.

However, I can’t help but feel that this is one massive missed opportunity and that Dave has a lot of things he needs to work out. The three main points that he makes, besides reminding us of being a black belt (he slips it seemlessly into a story about Nick Menza becoming the drummer) and revealing the ability to predict earthquakes based on the weather, are that he really doesn’t have a problem with the guys from Metallica (no, really), he does have a problem with band members receiving collaboration fees for “being in the room” when he shows them a song, and he is the first metal guy to thank Jesus at the Grammys. All of these things get mentioned twice.

The overall impression is that Dave never got past being the new kid at school that he often was and still feels the need to try hard to impress people and that he never got over being dumped by Metallica and still feels the need to show that he has “closed the circle”. He tells us how Megadeth was the first metal band to have a website and Gene Simmons wanted one just like it. On said website, Dave was hanging out in the chatroom one night and a kid got beaten by his drunk dad but Dave asked if anyone lived nearby and managed to get someone to intervene, thus saving the kid’s relationship with his father. Then there is how songs like Darkest Hour saved people or how Train of Consequences gave a girl who had been hit by a train the will to carry on! It all seemed to unnecessarily magnify the importance of Megadave in people’s lives.

The people watching the film already know how good Megadeth is, knowing about Dave being a black-belt fighting, earthquake predicting, internet pioneer, chatroom saviour inspiration to the depressed and disabled doesn’t really add to our appreciation of their speed metal awesomeness. Rather than telling us how amazing he is, Dave, who has been praised for his honesty in the film, could have told us about his addiction issues, or how he got through cancer and a debilitating nerve condition, or how he successfully navigated the grunge era, or given us some insight into accepting slots to open for Metallica, or what it was like touring Clash of the Titans or the Big Four, or how much it meant to go multi-platinum and receive an award for Countdown to Extinction or finally receive a Grammy for Dystopia.

Instead we get a stream of consciousness about Dave’s superiority and pettiness (there is a fine for any promotor who spells Megadeth with an A) and zero ownership of anything that went wrong. Despite making it clear that it is his band and he has creative control, he basically blames Bud Prager and Marty Friedman for the Risk fiasco. At one point, there are three (classic) song titles on the screen with the writing credit below each just listing Dave Mustaine; when the fourth song appears (I think it’s Crush ‘Em), it lists Mustaine, Prager, and Friedman as the writers as if to say “ya see what happens when other people get involved”. In fact, he is pretty dismissive of Friedman’s contribution to the band, saying that his solos for Rust in Peace were based on Chris Poland’s demos and that once Marty had said he preferred The Doctor is Calling after Dave slowed it down he knew that was the end.

Then there is the Metallica issue. The last song that gets played is Ride the Lightning. Fair enough, it is the last song on the record and it does take us back to the roots of Megadeth. But why allow your success to always come back to you being dumped out of Metallica? What about everything Megadeth achieved and all the great records you made? Some poignant music and a montage of photos from 1983 with James and Lars is not what defines the Megadeth legacy. If Dave genuinely has no problem with those guys, why keep bringing them up? Also, there is more of the distancing himself from anything that went wrong as he downplays the whole thing by saying that they were all young and alcoholic and that things got said, preferring to make it a collective scenario. It’s true that how Dave got fired was pretty shitty, but as to why he got fired, a lot of that is on him.

Anyway, I digress. Behind the Mask could have been an incredible experience for Megadeth’s family of fans – it has its moments with the new songs really standing up and the insight into making an album – but, unfortunately, Dave kinda rains on the parade a little with his discourse, leaving a sense of disappointment and a little sadness at his approach to life. Nevertheless, I will always love the music of Megadeth the band and remember that sometimes we need to separate the artist from their output.

The Definitive Megadeth Top Ten: https://hardpressed.com.br/2026/01/23/the-definitive-megadeth-top-10-2/

Def Leppard – Rejoice

Posted on by edwardlayland

Ahead of their upcoming Las Vegas residency, Def Leppard have dropped stand-alone single Rejoice, their first new music since last year’s cover of the Ben E. King classic, Stand by Me. Despite knocking on the door of 50 years since they formed, the veteran rockers show no signs of slowing down with a busy year on the road coming up and the new single sounding as fresh as ever.

With a slow-boiling groove, a classic Phil Collen riff, their signature drum sound and a hook-filled chorus, Def Leppard sound as good as they ever have. It’s as slick, tight and professional as you would expect, but most importantly, it’s a fine tune and as fine a slice of hard rock as you are likely to hear these days. The uplifting theme, slick harmonies and some cheeky delays hark back to the glory days of Hysteria while retaining a heavy edge to keep their poppier tendencies in check. It is, nonetheless, something of an earworm that is hard to ignore – you can definitely imagine a packed arena getting behind this one.

My Ruin – Declaration of Resistance

Posted on by edwardlayland

This year has begun with party goers gleefully filming what would become a fatal blaze killing 40, while the president of the United States has illegally orchestrated an invasion of a smaller, weaker country that happens to have a lot of oil. There is clearly something very wrong with the world. We need people to speak out, we need people to question, we need people to use their platforms to help us wake the fuck up and smell the rancid coffee of the god awful, social media obsessed, post-truth, broligarchical world that we live in.

We need people like Tairrie B and Mick Murphy. We need bands like My Ruin. 

After a ten year hiatus, My Ruin are back, and Tairrie B. Murphy is angrier than ever. And rightfully so. Although My Ruin were on hold, Tairrie’s been busy with politically charged hip hop albums and the joyful rock n roll of SWTEVL with husband Mick. However, it is as My Ruin that their creativity really resonates, bringing together all the elements that are evident in their multiple side projects – it’s metal, it’s punk, it’s hardcore, it’s hip hop, it’s every part of who they are and what they are capable of. And the new album, Declaration of Resistance, does not disappoint, sounding urgent and fresh while rooted in the old school; it makes for an essential listen in the current political climate.

The album kicks off with the first single, Compromised, and right from the word go, the ominous riffing sets out the stall while Tairrie screams salvos like “A hollow oath with immunity; A cult of chaos and vanity; Malignant pig and fascist muse; Definition of waste, fraud and abuse; Persona non grata there is no doubt; About the man who sold America out“, making it clear that they are pulling no punches and giving no fucks. In the current oppressive climate, it’s a brave but much needed move.

The blows keep coming with second single Audacity, which burns a little slower in a controlled, but hard-hitting protest, using Tairrie’s vocal versatility to celebrate the power of female voices in a nod to their own feminist anthem Beauty Fiend.  

The current version of My Ruin has been stripped down to Tairrie and husband Mick, who not only plays everything but also co-produces and engineers the record, and, is absolutely on fire throughout. The guitar playing on this record is simply outstanding, particularly on stand-out track True Allies, the killer collaboration with Jack Osborne, of Call to The Void. The atmospherics, the mixed tempos, the vocal interplay, the heavy hook and blazing solos take it to another level.

Contempt follows in slightly more angular fashion with a more mechanical sound but it is another slap in the face of the evangelical power brokers with searing lines like “Cause there’s no hate like Christian love” – superb. Infinite Connection burns a little slower with its chugging riff and largely spoken lyrics before the punky earworm HHRL (Hitler Hated Red Lipstick) kicks everything up a gear and transforms beauty into a political weapon.

In another highpoint, Tairrie gives her rap tropes their full flow on Fragile Like a Bomb, even dropping a cheeky Ice Cube reference in the opening Goddam. This is rap-rock fusion at its very best with its retro feel and steady groove, underpinned by more stellar work from Mick to rock hard and deliver one of the fiercest blows of the record in an almost understated fashion. The straight up, “immensely cathartic dis track“, Dark Eyes of London, follows with zero subtlety but is equally effective, with Mrs Murphy spitting pure vitriol to an ever-intensifying rifferama.

Spoken word dirge Lady Liberty is cleverly done and demands that we actually listen to what is being said: “I watch as compassion; Withers and dies; Where those we once welcomed; Are scorned and despised“. You have to respect the message here, as even if this isn’t the most immediately accessible track, it really captures some of what Tairrie is trying to say and deserves some extra attention. Muzzle Velocity then uses its firepower to remind us that Democracy is at risk with the current regime if we remain apathetic. There are better tracks on the record, but the final message is one we should all pay attention to:

“It didn’t start with gas chambers & concentration camps; It started with one party controlling the media and the message; One party deciding what is truth & fake news; One party censoring speech and silencing dissent; One party dividing citizens into “us” against “them”; It started with a gradual erosion of democratic principles and human rights; When good people turned a blind eye and let it happen“

The album then closes with a quick-fire double whammy to deliver the knockout blow. First, Truth or Consequences provides a punchy summing up the overall theme of the record before the blistering cover of L7‘s Shitlist provides a fitting finale, it being pretty obvious who has made the shitlist.

All in all, Declaration of Resistance is a mighty fine record deserving of repeated listens. On a simply musical level, it is a great record of hard rocking, cathartic tunes that really hit hard. More importantly, it is a record of the moment and serves as a chilling statement on the pile of shit we are currently drowning in. Tairrie B has a well thought-out vision on the state of the world, which goes far too deep to fully do justice to in a simple album review. But if there is one takeaway, it is that despite the mess that certain people are creating, there are decent people in the world for whom prejudice and hatred is not the way forward.

So, sit down, listen to the record, look at the beautiful artwork that goes with each track, and read the lyrics and the thinking behind each song. The album drops on January 16th and will be available on Bandcamp at https://myruin.bandcamp.com/.

Also check out Tairrie and Mick’s side project SWTEVL: https://swtevl.bandcamp.com/

My Ruin: The Audacity

Posted on by edwardlayland

Check out My Ruin‘s The Audacity, the pulsating new single from the upcoming album Declaration of Resistance. Tairrie B and husband Mick Murphy are rocking hard on this “unapologetic call to action for women who refuse to be silenced.” Tairrie combines spoken word with her visceral metal scream to confront the “entrenched ageism, sexism, and the double standards still weaponized against women in music, politics and culture“; while Mick creates a slow burning rhythm (playing all the instruments!) to offset his blazing guitar lines. This is protest music at its finest, resisting the prevalent facist agenda dominating American politics with a defiant, rock hard slap in the face for those with no respect for gender, race or age.

Declaration of Resistance drops in January. In the meantime, check out My Ruin’s Bandcamp page for downloads & streams: https://myruin.bandcamp.com

Nöthin’ But a Good Time

Posted on by edwardlayland

Tom Beaujour and Richard Bienstock’s Nothin’ But a Good Time tracks the decadent rise and fall of the much derided 80s hard rock / hair metal scene. It weaves a narrative from Van Halen and early incarnations of Quiet Riot, through the dizzying success of Mötley Crüe and Poison and the birth of Guns N’ Roses, to the scene’s implosion with all the look-alike sound alikes power ballading their way onto Dial MTV. 

After a revealing introduction from Slipknot’s Corey Taylor (!) professing his love for the 80s glam scene, music journalists Beaujour and Bienstock create an oral history through old and new interviews and quotes from a broad selection of players from L.A. and beyond. It’s the words of those involved that paint a vivid picture of the scene and its shenanigans, whether it’s A&R wizards like Tom Zutaut, producers like Tom Werner, the bands themselves, the publicists, stylists or even the odd groupie spilling the tea.  

It was clearly a wild time marked by rampant misogyny and unbridled excess, and the book takes us behind the scenes into the rivalries and ridiculousness to reveal the last hurrah of a tribal music scene before grunge changed the mood, the internet permanently altered life as we know it, and phones replaced lighters. Love it or hate it, there is no denying that it was hard rock’s most vibrant period, and, despite the scene eventually disappearing up it’s own backside and having its coffin nailed shut by the Seattle bands, it produced a lot of surprisingly enjoyable, good, old-fashioned rock n roll, as well as a bunch of stuff that’s probably best forgotten.

The book reveals all kinds of insights, from Slash’s audition for Poison to Sebastian Bach’s performance alongside Zakk Wylde at a wedding that led to him getting the Skid Row gig, via Jon Bon Jovi’s parents of course! There are all kinds of interesting backstories, but the one big shocker is that some of these bands worked really hard to achieve what they did, living in abject poverty and dedicating absolutely every waking hour to making it big. 

The book can come across as a little he-said-she-said gossipy at times, but that’s hardly surprising given the overriding High School Musical vibe of the scene. Still, for those who grew up with an HR/HM soundtrack, this book provides a delightful romp down memory lane in a no-holds-barred exposé of the misadventures of the time. It has also been distilled down into a three part docuseries on Paramount+ that is equally good fun, featuring said interviews from a number of the key players. 

Now that there is some distance from the time, it is clear that despite eventually becoming a parody of itself, a lot of great songs came out of the melee. So, check out the Spotify playlist that I’ve curated to more or less chronologically reflect the book’s narrative. 

Of Allies – Are We Better Off

Posted on by edwardlayland

Hull’s Of Allies have come on in leaps and bounds since I first reviewed their second EP ‘Fragments’ back in 2015. With a bunch of money from their million plus Spotify streams being put back into the band and a handful of Patreon contributors that believe in their work giving financial support, they’ve set about upping their game for album number 2 – ‘Are We Better Off’. By and large, that is precisely what they have done, transforming their hard-edged, hook-filled brand of alternative rock into a slickly produced, hard-hitting record brimming with potential.

‘Doublespeak’ opens proceedings with an intro loop of electronics and eerie voices expounding on the tarot before ‘An Echo (Or Nothing)’ kicks in with the OA signature sound. From the off there’s an added maturity as they take their time on this mid-tempo, slightly brooding heavy rocker. It’s like they’re warming up before things really kick in. Recent single ‘Off the Map’, finds the boys in familiar territory, aside from the eighties electronica feel underscoring much of the album to add a little depth, before they really hit their stride on the storming ‘Blossoms’; the massive soaring chorus backed by a blistering riff.

‘Beyond the Wave’ then demonstrates just how far they have come. Its got their classic sound and all the recognizable elements, but it’s all rolled into a brilliantly paced slice of class with a great hook, superb mid-section and pulsating finale, this will be a cracker on stage. It then segues into the slow boiling aggression of ‘Still Memory’; its powerful chorus is a great example of what they can do when they add a touch more power and step away from the familiar structures. They certainly have the talent and dedication to push their craft a little harder, so it’s great to see them play it a little less safe.

They also dig a little deeper on the powerful ‘Liminal Hearts’, which gathers more and more intensity as it progresses through atmospheric verses and a pulsating chorus to culminate in a stunning finale – superb. Other highlights include the single, ‘The Heirophant’, with its moody atmosphere, great riffs and killer hook. Then there’s the throbbing rhythms and thundering riffs of the title track, the simmering grind of ‘Big Mouth’ and the rare acoustic guitar of ‘Goodbye’, a left field ballad with a hint of anger – all quality.

All in all, it’s a classy second outing from Of Allies; repeated listens reveal more and more depth to the record as the hooks work their magic and you delve into the rich textures. With a number of top-drawer tunes and a level of quality that never dips, it’s great to see this hard-working band deliver. Can’t wait for album number 3!

9/10

‘Are We Better Off’ by Of Allies is out on December 13th

Of Allies links: Facebook | Twitter | Website

Prophets of Rage – Live in Rio de Janeiro Review

Posted on by edwardlayland

It’s getting on for a year since Prophets of Rage were first revealed to the world after months of rehearsals behind closed doors, but now this super protest group that came out swinging against Donald Trump’s election campaign has become a global entity as they take their powerful set to the four corners. Last week it was Brazil, and on Friday night (May 12th) Tom Morello, Tim Comerford and Brad Wilk of Rage Against the Machine hit the stage at Vivo Rio with vocalists B-Real (Cypress Hill) and Chuck D (Public Enemy), with DJ Lord, also of Public Enemy, spinning the wheels of steel.

Despite playing a set liberally spiced with RATM classics, this is no nostalgia gig, the dynamic of not one, but two hip hop greats on vocals giving the project an exciting edge. Throw in a handful of PE numbers, a few snatches of CH, some surprising covers and even some original material (there’s an album in the can due for a September release) and we have an exciting night on our hands.

An enthusiastic set from Rise Against was soon followed by an extended introduction from DJ Lord, featuring a mash up of classics from the worlds of rock, metal and hip-hop, with some badass mixing of ‘Enter Sandman’ and ‘Smells Like Teen Spirit’ to set the mood.

The siren rings out to signal the opening track, signature tune ‘Prophets of Rage’, and it’s obvious from the word go that this is one well drilled outfit. Chuck D, dressed all in black, and B-Real, doing his best Arab sheik impression, take centre stage and split the vocal duties, while the Rage boys add a whole new level of power to the Public Enemy classic.

The crowd needs little encouragement and is already bouncing around enthusiastically from the word go. Three RATM tracks follow in quick succession, with ‘Testify’, ‘Take The Power Back’ and ‘Guerrilla Radio’, increasing the intensity, before Cypress Hill’s ‘How I Could Just Kill a Man’. B-Real makes for a commanding presence stage front, handling a little more of the lead work (maybe his voice is better suited to the Rage material?), with Chuck seemingly happy to bounce off the rocking Cypress Hill frontman, swinging his microphone baseball style and taking the lion’s share on his own material.

We get two more Rage tracks to push the temperature even higher with the intense ‘Bombtrack’ and ‘People of the Sun’, before something of a hip-hop interlude. First up is the Enemy classic ‘Fight the Power’, the passing years have given Chuck’s voice more gravity but have done nothing to diminish his flow and the rock arrangement adds an interesting angle, the song proving a perfect fit for Tom Morello‘s idiosyncratic style.

Chuck and B-Real then make their way down to the barriers for an extended rap medley of ‘Hand on the Pump / Can’t Truss It / Insane in the Brain / Bring the Noise / I Ain’t Goin’ Out Like That / Welcome to the Terrordome and Jump Around’. To be honest, the sound is pretty rough at this point, but the two MCs are giving it their all and are rocking the crowd up close. ‘Jump Around’ is an undeniable crowd pleaser and after working its magic, one of the greatest riffs in history kicks in and ‘Sleep Now in the Fire’ opens the second half of the show, which can only be described as insane.

Pits open up all over the venue as ‘Bullet in the Head’ elicits an almost primal reaction from the energetic crowd. ‘The Party’s Over’ and ‘Know Your Enemy’ maintain the intensity as what started out as well-drilled slips into top gear and becomes high-octane.

There is something so right about the chemistry in this band that even the new songs sound like instant classics; upcoming single ‘Unfuck The World’ being greeted with the same enthusiasm as the rest of the set. The White Stipes’ ‘Seven Nation Army’ is then a surprising addition, before ‘Bulls on Parade’ once more whips the crowd into a frenzy.

Tim McIlrath from Rise Against takes to the stage for the now traditional ‘Kick Out the Jams’ cover and then there’s only one song left. The inevitable closing track ‘
Killing in the Name’ is quite simply one of the greatest protest songs ever and cannot fail. Tonight is no different. The crowd going absolutely mental with circular mosh pits filled with bodies crashing off each other and the floor is absolute ecstatic chaos.

There are no false pretenses here though, we aren’t getting an encore – ‘Killing in The Name’ is the end, and that’s it; what more could you possibly want?

All told, it’s a pretty damn superb performance; the playing is highly professional with impeccable rhythms and Morello never dropping a note; the two MCs work the stage with such a cool dynamic it is as if they’ve been performing together for years and DJ Lord slips in and out seamlessly, even managing a battle with Morello. There is undeniable chemistry and the exchange of energy between band and audience is quite contagious, provoking the kind of scenes not seen since smart phones became the norm. Then there’s the songs – every single thing stands up – whether it’s the Rage classics, the PE classics, the Cypress Hill classics or the new material – it all works and they nail it every time.

Watch out Europe.

Patrons – As Above, So Below Review

Posted on by edwardlayland

The rough and ready, post hardcore(ish) stylings of heavy rocking Plymouth quartet Patrons have more than a certain charm; their debut album making for pretty exciting fare. With well constructed songs, a variety of quality riffs and absolutely superb vocals, ‘As Above, So Below’ is further proof that the British rock scene is alive and well.

‘First of the Slow Burners’ gets off to a measured start, being aptly named as it ticks along a little mechanically, before a passionate chorus drops a cool hook to draw you in, the rough edges to Danny Brooks vocal showing a rawness that is immediately likeable. ‘Shapes in Nature’ works similarly well, with a quirky melody and a killer hard rocking chorus, which builds to a passionate heavy finale; tune.

Most of the tracks have a pretty personal feel, musing on life and relationships to great effect, whether it’s the mid paced rocker ‘Everything Matters’, or the excellent ‘The Art of Conversation’, which rolls along atmospherically until some big riffs and a passionate chorus kick it into epic rock shape.

Although they are billed as post hardcore there is plenty of variety on display, we get an air of Panic at the Disco to Eighty Four’ before they rock it up on what is another well worked tune, they then venture into seriously aggressive territory on the gutsy ‘War and Pieces’. But then there are tracks like ‘Listen’, with its sparse intro of guitar, vocal and eighties atmosphere, which slowly builds to a big chorus and a passionate finale dripping in emotion.

Without a trace of filler in sight, as debut albums go this is a pretty damn impressive record. Whether it’s on the quirky guitar lines and frantic banging chorus of ‘Army of One’, energetic rocker ‘Last of the Quick Think’ or the alt rock come down ballad ‘Dawn’, which brings things to a spectacular close, they certainly know their way around a tune.

All in all, ‘As Above, So Below’ is a mighty fine debut album that ticks all the power, energy and emotion boxes. It stands up to repeated plays and to put it in simple terms, is all killer, no filler. Good work fellas.

9/10

‘As Above, So Below’ is out as of 31st March on Rose Coloured Records. Check it out here http://www.wearepatrons.com/

Halestorm – ReAniMate 3.0 Covers EP Review

Posted on by edwardlayland

Halestorm recently dropped ReAniMate 3.0, the third in their series of covers EPs, which they use to fill stop gaps between albums, and to put it bluntly, it’s pretty damn fine. What you get is an eclectic mix of six covers from the various sub genres of rock and pop, all of which are a nice fit for Lzzy Hale‘s raspy rocker voice.

It all kicks off with live favourite ‘Still of the Night’, which stays true to the original, moody mid section, blistering solo and all. It’s very close to their own style, but they breathe some freshness into the Whitesnake classic.

Much more surprising is the hard rock twist they put on ‘Damn I Wish I Was Your Lover’, the nineties pop classic from one hit wonder Sophie B. Hawkins. Sure, it has a killer hook to the chorus and is catchy as hell anyway, but some laid back radio friendly riffing turns it into a feel good hit for the summer, giving the listener that blaring from the car stereo cruising on LA freeways feel. Joan Jett‘s ‘I Hate Myself for Loving You’ is up next and is everything you might expect; straight forward banging hard rock tune.

It’s the second half of the EP where they really stretch themselves though, nowhere more so than on Twenty One Pilots’ ‘Heathens’. On first listen, it’s not an obvious winner, especially after the radio-friendly rockiness of the first three tracks, but repeated plays reveal it to be truly excellent. Vocally, Lzzy demonstrates surprising versatility as she wraps her chords around the tongue twisting verses, while musically they retain the darkness of the original, but succeed in giving it a harder rockier edge; great track.

Soundgarden‘s ‘Fell on Black Days’ follows in a similarly dark vibe and, like the original, it’s good, but nothing spectacular. Covering Metallica is always a bold move, especially on a raw thrash track like ‘Ride the Lightning’, but they pull it off. Sure, the guitar sound is a little less meatier and as raspy as Lzzy’s voice is, it’s difficult for her to emulate the same naked aggression of the original. Even so, as the song progresses it thrashes along as fast as the original and the solo totally nails it and besides, this is Halestorm‘s version not a copy, so it has to be respected.

It’s testament to the band’s talent and versatility that they can shift easily from rock to pop to grunge to thrash so easily, whilst paying sufficient homage to the original without losing their own identity/style. A lot of upcoming bands could learn from EPs like this; for me it’s a win win situation, you keep your fan base involved between big releases and tours, maybe attract some new fans, whilst also testing your own talents on a variety of styles. Metallica is another band that have long enjoyed a cover, often using them as a way of blowing away the cobwebs in the studio.

So, all in all, a great little release and well worth a listen – fair play Halestorm. Now, about the new album…..

9/10

Metallica – Hardwired… to Self-Destruct Album Review

Posted on by edwardlayland

20160818_193928_7549_939483Metallica 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