magine if you will Wolfsbane and Accept coming together to produce NWOBHM flavoured power metal with a very heavy bottom end, and then you may get close to what this Italian band released in 2016. Actually, this is still the most recent new release by the band who have had more than a few line-up challenges during their career, but when a band can state they will soon be celebrating their fortieth anniversary then that is something that should be expected. Prior to this album I must confess I hadn’t come across them before, and there isn’t that much information available about them on the web (doesn’t help when they have a one-word name which is a common word), but I have definitely been missing out.
True, there isn’t anything dramatically new about what they are doing, and the songs are never exactly memorable, but when it is being played at the right volume there is something about this which just makes me smile. This is metal which is all about having a good time, not trying to be anything more than music to get people moving and into the party mood. It has both the naivety of NWOBHM and the polish of power metal, combined with some reasonable tunes and plenty of riffs. There are a few power ballads, but they always keep the chords close to hand and never become too schmaltzy. Not a band or album which will ever set the world on fire, but this shows just why they have been around for so long.
Spiral’ is the second album from this Norwegian quintet, following on from 2015’s ‘Sagittarius A’. Probably the most well-known member of the band is guitarist Mattis Sørum, previously in Pictorial Wand. With a name such as theirs, the band are setting out their stall for all to see, knowing that there will be many who can’t get past that, while at the same time also setting themselves up for the critics to take pot shots at them. None of this is really fair, as while this isn’t a classic album in any sense of the word, it actually isn’t that bad either. Here is a band who aren’t afraid to bring in classic keyboard sounds, have plenty of harmony vocals, can really rock when the time is right yet are also happy to have reflective acoustic guitars or reverbed piano with little room for error.
There is a huge amount here to love, but for some reason for all the times when it really shines there are also times when it misses the mark. Due to multiple reasons I have played this album far more than I normally would when coming to a review, but I still can’t settle and don’t know why. Some numbers, such as the instrumental “Sirkel” are simply stunning with their layered early 70’s hard progressive sound, dominated by driving guitar, but as for some of the others… I am sure this album is going to find a great deal of fans out there but I am going to hold judgement until I hear something else from the band. Maybe next time.
Having enjoyed Marco’s 2018 album, ‘The Wandering Caravan’, I have now gone back to the previous release, 2016’s ‘Land of Blue Echoes’. He again provides multiple instruments himself, and has brought together a stellar cast of musicians, including the wonderful Peter Matuchniak on acoustic and electric guitars. Colin Tench also provides guitar on the opening number, “Between Moon and Earth”, which made me stop when I realised as it is nearly the anniversary of his sad passing. We had been swapping emails on Christmas Day in our normal jokey manner, and just two days later he was gone. Both Poms, both living away from the land of our birth, at opposite ends of the planet, he signed his off “Colin of the North”.
But, this isn’t one of Colin’s great albums, but again another masterpiece by Marco. He not only provides vocals, acoustic and electric guitars, Greek bouzouki and bass, but also keyboards and piano. His ability to play multiple instruments enables to get the best out of those he is working with, with masterful arrangements. Drummer Jacopo Ghirardini is a monster behind the kit, driving complex rhythms (or sitting there having a rest), while Peter demonstrates yet again that he can turn his guitar style to anything at hand. He can be delicate and restrained, Gilmour or Latimer-like, or he can turn on the overdrive and become far more powerful.
It is the multiple styles that makes this such an interesting album to listen to, with elements of Pink Floyd and (especially) Tangerine Dream giving way to some driving hard rock, all controlled and making perfect sense throughout. There are a couple of epics on the album, which comes in at more than 70 minutes long, and although there are long instrumental passages there are also some wonderfully delicate and powerful vocals from baritone Durga McBroom, which add to the feel of class which is prevalent throughout this release. Strong bass counter rhythms and melodies, Spanish guitar, it all combines to produce yet another compelling album from Marco which is well worth investigating. 8/10
I probably first came across Mick Magic some 25 years or so ago when he was not only running an underground cassette label Music & Elsewhere, which released nearly 600 albums between 1987 and 2003, but also had a band called Magic Moments at Twilight Time. It is safe to say that they were incredibly prolific themselves, releasing material not only through the M&E label but on others. There were ten volumes of a series called ‘Flashbax’, and German label Klappstuhl Records has released a “best of” that set, based on a fan poll conducted in 1992, specifically for a proposed ‘best of’ called ‘In Search Of Albert’, which never saw the light of day. Mick then added an additional disc of songs specially chosen by him, which assists in telling the story of the band, in their own quirky little style, all the way from their time travelling adventures that made our early existence so confusing, right up to the final track of the cassette era, “Freedom Overflow”, used for some years as the theme tune of the renowned pirate radio station.
I really wasn’t sure quite what to expect when I revisited this for the first time, as I remembered MMATT were quite an acquired taste, but I put on the headphones and decided to immerse myself in music that in some places goes back thirty years. It took a little while, but I soon realised I was smiling while I was playing this. It is nothing like what I normally listen to, as not only are the keyboards and sequencers horribly dated, but they must have sounded that way when the music was first made available. It is independent underground alternative rock pop which has elements of space rock contained within it, is jagged, simplistic, yet thoroughly enjoyable all at the same time. When the album finished, 18 songs and more than two hours later, I was really disappointed that it was over and had to delve back into it again. This is not music that takes itself seriously, but rather is all about having loads of cheap synths and sequencers with female vocals, and then having the nerve to make the music incredibly catchy and fun. Listening to it again and bloody hell I’m still smiling! Available for just €5 from
Apparently this metalcore quartet started off life as Coldsight in 2014, only changing the name when founding guitarist Florent Salfati switched to lead vocals. They self-released their debut, ‘Hollow’, in 2016 and have now signed to Arising Empire Records for their second. I have never made secret my general dislike of the metalcore genre, and here I find myself rather more frustrated than normal, as what we have here are a bloody good metal band who are mixing in other bits and pieces which I find distracting. They are much heavier than many in the genre, with heavily distorted bass, and very strong guitars indeed. For me they lose it on the vocals, and some of the more “emotional” moments should be removed and the band just keep powering it out. But they are bombastic and powerful, and I am sure those who enjoy the genre far more than me will get a great deal from this highly polished and energetic band. 6/10
Three years on from the debut, and Luxembourg-based Light Damage are back with an album that builds on the first album and expands on that platform. Another change of drummer with Christophe Szczryk now on board, but there is also the use of guests which have allowed the band to bring in cello, double bass, violin, flute and most notably two female singers. One of these, Marilyn Placek, is involved with the one truly epic song, “From Minor to Sailor” which nearly break the twenty-minute barrier.
On the first album I said they reminded me of Guy Manning, and although that is still very much the case, they have hardened the sound as well as broadened it, so although we can be treated to some flowing piano and delicate bass, this can give way to some driving riffing guitars. I am also very impressed with Szczryk who really understands his place in the band, so much so that he can be driving the band with incredibly strong drumming (along with some great rolls around the kit), or just sits back and takes a breather and contributes to the overall sound by playing absolutely nothing. There is also a superb use of different sounds from cymbals, which provides a superb backdrop for the rest of the band. Guitarist Stéphane Lecocq has also really matured with this album, and his powerful interplay with keyboard player Sébastien Pérignon really drives the band on.
Strong neo-prog with large elements of both symphonic and hard rock, this is a wonderful follow-up. It will be interesting indeed to see how this band progresses over the next few years, as two albums in they are already very impressive indeed. 8/10
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