heavy metal
Thomas H. Green
Witch Fever are a seething punk outfit from Manchester whose debut album rampages at the patriarchy with unbridled fury. The tone throughout is summed up in “Sour”, wherein grimy, gloomy riffin’ is accompanied by oblique references to Christianity, before the whole slams into a chorus of shrieked outrage, “They won’t take no for an answer/As if they ever fucking ask/Yeah, we incite this violence/Nothing ever changed in silence.”Frontperson Amy Walpole draws from her past, growing up in a family that was part of an evangelical sect (the Charismatic Church). Her lyrics take God as the ultimate Read more ...
Thomas H. Green
Make no mistake about it, Slipknot are massive. 23 years after their recording debut, they’ve had 8.5 billion streams, their sixth album, 2019’s We Are Not Your Kind, hit the top of the charts in 12 countries, including the US and the UK, and their spectacular shows are a global phenomenon. In fact, it’s live that this writer really embraces Slipknot but their last album demonstrated they still had the chutzpah to knock a longplayer out of the park. The new one almost hits the same peaks. It certainly contains enough piledriving drama to keep their devoted fans, “the maggots”, happy. Read more ...
Tom Carr
Away from the spotlight of mainstream music the metal scene thrives, unbothered with how much attention it picks up. When bands like Architects reach number one in the UK charts, it is huge, but unimportant. Instead the scene is preoccupied with its own endlessly shifting subgenres and sounds.Enter Parkway Drive, an Australian metal band who spent the first part of their career firmly within the "metalcore" subgenre. Born from an aggressive merging of metal with hardcore punk, it melds the ferocious energy of hardcore with the intricate riffs and musicianship of metal – a heavy match made in Read more ...
Mark Kidel
Boris are an eclectic Japanese band, with over 20 albums to their name. Following their creative instincts and often recording live with no overdubs, they are never less than brave, making music that takes no prisoners. They are masters of sounds that are intense, and range widely, from dreamy ambient to furious metal, meditative stillness to a relentless high-speed assault on the senses.Their recent album W, a warp and weft of dream pop and drone, offered a warm embrace of appealing sound. Hot on the heels of music whose strength felt as if it came from gently treading water, Heavy Rocks Read more ...
Guy Oddy
Last weekend saw the long-awaited, post-Covid return of Birmingham’s urban festival of sonic strangeness, and yet again it was a time to wallow in the sounds of previously unknown or vaguely heard about artists, while trying not to melt as temperatures sent mercury levels into orbit.It may have been a bit of a struggle getting there through the pre-Commonwealth Games roadworks, but as it always is, it was an effort that was well-worth making – with audiences being treated to feral drum and bass, doom metal, twisted folk music and some seriously experimental weirdness, amongst much else. Read more ...
Guy Oddy
Rock’n’roll has been credited with incredible powers of rejuvenation many times before, but if there are two men who seem to have seriously benefitted from its mystical power, it’s Alice Cooper (74 years old) and Ian Astbury (60 years old). These are two men who would be eligible for free bus passes in the UK but who can still get down with the best of them – and are still in miraculously fine voice.The Cult were the first of the main acts to hit the stage in Birmingham this week and, despite whispers of a new album being on the horizon, restricted their set to the band’s '80s purple patch. Read more ...
Joe Muggs
This album starts and ends so brilliantly. It kicks off with a salvo of three tracks that remind you exactly why Def Leppard became one of the biggest bands in the world in the mid Eighties. They distilled the things they most loved growing up – T Rex, Mott The Hoople, Queen, ABBA – down to their rawest essences, then built up a sound using the most elaborate studio technology available at the time that was in tune with the current post-Van Halen US rock world but actually belonged entirely to them. “Take What You Want”, “Kick” and “Fire it Up” are archetypes of that process. They are Read more ...
Thomas H. Green
I have a theory about Reef. In the mid-Nineties, when the Somerset outfit appeared, they were reviled by London music journalists. This was mostly because they sounded like a hoary, unreconstructed early-Seventies blues-rock band. Those same journalists, however, were excitedly touting bands who lamely emulated Kinks-ish Sixties-ness, faux new wave, or a mixture of both (ie Britpop). So, Reef, arguably, just choose the wrong decade at the wrong time.As an electronic vanguard zealot I sneered at all retro. So, I too disliked Reef. However, cards-on-the-table, decades later my partner digs them Read more ...
Thomas H. Green
Wrexham band MWWB were known until recently as Mammoth Weed Wizard Bastard. Perhaps they changed their name because its freak-friendly quality could be mistaken for spliffed Half Man Half Biscuit-style silliness. MWWB are no bong-head novelty act. THC-friendly they may be, but their stew of pummelling slug-riffage, Cocteau Twins-ish vocals, electronic ear-tickling, outright psychedelia, and sudden bursts of tunefulness is unique. Their latest album may be their best; it maintains their space-rock trajectory but pushes further towards wider accessibility.The Harvest was supposed to be released Read more ...
Thomas H. Green
Demonstrating how much the world really can change in a very short time when things spin out of control, Swedish power-metal five-piece Sabaton’s album now seems especially tasteless. It’s also a scalpel-sharp example of how important context is to creative acts. The band have made a career of absurdly OTT story-telling songs of real world battles and those who fought them. They’re Amon Amarth for military history geeks. But when military history is actually happening in Europe in all its bloody grotesquery, The War to End All Wars doesn’t seem so appetizing.When they planned and played this Read more ...
Guy Oddy
Resentment Is Always Seismic – A Final Throw Of Throes is not so much a brand new album from Napalm Death, but a collection of tunes that were recorded during, but left over from, the sessions for their last disc, Throes Of Joy In The Jaws Of Defeatism. That said, there is nothing in its grooves to suggest that it might be a mere ragbag of off-cuts, put together to fulfill contractual obligations.Still powered by the righteous fury that has sustained them on their previous 16 albums, these Birmingham noise merchants are in no danger of calming down or mellowing out just yet. From opening Read more ...
Joe Muggs
This is just boggling. The Japanese rock trio Boris have been together in the same lineup for over a quarter of a century – and it’s longer still since their original formation – but they’re outdoing themselves record by record. Their last record, NO, was the most energetic record they’ve ever made. Where they’re best known for floaty dream pop and sludgy, doomy, lava-flow-like noise churning, NO is a 1000mph fusion of thrash, punk and classic metal, a glorious rage against a world of fear and torpor in the COVID age. And now, only six months later, comes another album, and in dramatic Read more ...