Live Review: Alive and Dangerous at The Underworld, Camden

The boys are back in London again!

Judging by all the pushing and shoving at the stage of the packed Underworld, it's clear from the get-go that Brian Downey's Alive and Dangerous haven’t lost any of their appeal. It’s the fifth time that they've brought their celebration of the 1978 masterpiece to Thin Lizzy’s London fans whose numbers seem to grow each time.

How perfect a choice Brian Downey has made with his band is clear from the moment they begin to play. We’re treated to not just a faultless run through of Live and Dangerous but a genuine and heartfelt tribute to the music and those behind it. Matt Wilson embodies the spirit of Phil whilst implicitly making it clear he is here to pay tribute rather than to imitate. He doesn’t let us forget the man at the back either, giving plenty of credit where credit is due. Brian draws attention to himself through his drumming alone, showing how little has changed in his musicianship and style since the good old days.   

Phil Edgar and Brian Grace bring Lizzy’s twin guitar magic to life again, capturing hearts during ‘Still In Love With You’ and getting the whole room moving to the melodies of ‘Don’t Believe A Word’, ‘Sha La La’ and well, everything else. It’s a joy to watch a band who are truly making the most of what they’re doing - having fun with each other and with some of the best music that the world of hard rock has ever seen.

With ‘Got To Figure Out’ we get something a bit different - a new song, written by Alive and Dangerous this year. There’s a little confusion from the crowd perhaps expecting only to hear songs they’ve heard time and time again. No matter, people are moving to the tune of this modern creation soon enough.

Finally, after a goosebump inducing ‘Black Rose’, we’re sent on our way to the sounds of ‘Whiskey In The Jar’ and promises of a next time we’re already looking forward to.

Upcoming 2020 February tour dates with Don Airey:

22nd - Waterfront, Norwich

23rd - Welly, Hull

24th - Academy 3, Manchester

26th - Foundry, Sheffield

27th - Lemongrove, Exeter

Check back at www.briandowneysaliveanddangerous.com for added dates in the future.

Gallery coming soon!

Writer: Louise Dornan

Photography: M Godding

Live Review: Grim Reaper @ Boston Music Rooms, Archway

Grim Reaper are back at London's Boston Music Room tonight, launching their new album 'At The Gates!

Grim Reaper are no stranger to London music venues, and what with this being 1 of 2 London shows in close proximity, I was initially unsure of whether or not the venue would fill up. Oh me of little faith. Of course, throwing an album launch alongside Toledo Steel, Salem UK and Blizzen, as well as having a reputation of great consistency, it was no doubt that tonight would have a decent turnout. 

Germany's Blizzen kick the night off and although the atmosphere is yet to pick-up, these chaps waste no time getting stuck right in to a set list of songs from their 2016 release 'Genesis Reversed'. Through image, sound and delivery, Blizzen show-off influences of '80s heavy metal  with added epic choruses, fast paced riffs and melody.

With Desolation Angels pulling out of tonight's line-up we have NWOBHM legends Salem UK next up on the bill. Vocalist Simon Saxby fronts the band with the swagger and confidence we expect. The band look like they're having the time of their life as they work through a short set consisting of tracks from their new release 'Win, Lose or Draw', as well other recent releases including songs Black and White, Attrition and Forgotten Dreams. 

It's time for Toledo Steel whose fans make it quite clear that there is a reason they're this high on the bill. The empty space that has been surrounding the front of the floor has now started to fill as fans enthusiastically pump their fists and sing along to songs from their full-length album 'No Quarter'. Toledo Steel continue to prove what dedicated and impressive musicians they are as they power through a fast and energetic set. The band have gained themselves quite the reputation, and rightly so; you wouldn't guess from their enthusiasm that they're almost at the end of a European Tour!

The venue has begun to pack out with fans of all ages nearing the front for the arrival of Mr Steve Grimmett and his band of Reapers. He graces the stage with such a powerful presence matched perfectly with the immediate pelt of the impressively unique vocal range we all know and love. Steve's still got it and although (like many other long-time musicians) he reads his lyrics from a tablet, this isn't met with criticism. He does so with grace and modesty and delivers exactly what the fans want and expect from NWOBHM royalty. The set list consists of songs taken from their new release At the Gates as well as crowd-pleasing favourites such as 'Lust For Freedom' and 'Rock You To Hell' A personal favourite and welcomed surprise 'The Show Must Go On' is executed wonderfully and Steve acknowledges those joining in unison. In such a small venue, one wouldn't expect a stage diver- however someone attempts to do just that, blocking the band and knocking equipment. As he falls to the ground he's met with unimpressed stares from each member of the band. Needless to say, he didn't attempt it again.

Steve Grimmett's Grim Reaper never fail to impress. They're incredibly active and tour regularly, all across the world, but it's never a chore witnessing the pure love that Steve and the band have for playing the songs that they clearly enjoy playing. The reception they receive is impressive and the singalong to 'See You In Hell' is always an instant goosebump moment. Steve is passionate about music and life and this is reflected in their live performances and recent releases. 

Check out Grim Reaper's new release At The Gates, out now on Dissonance Records.

Writer: Kayleigh Valentini

Album Review: Tanith 'In Another Time'

Inspired by the sounds of the '70s, heavy rockers Tanith release their full-length debut album!

Tanith seemed to appear from out of nowhere with the Citadel single in late 2017, presenting an unsuspecting public with something new and exciting with little initial hype. The largely-NYC-and-also-Newcastle Upon Tyne four-piece have as clear an idea of what they're about as any band I've encountered.  Their own promotional material invokes Wishbone Ash, Uriah Heep and Blue Oyster Cult as inspiration, and it's easy to detect some early Rush lurking around in the grandiose, fantastical vision they offer.  Their debut full-length, 'In Another Time', communicates this clearly from the vivid, cosmic cover work by Brooklyn based artist Luke Cantarella to the wealth of melody, riffs and atmosphere contained therein.

Opener Citadel (Galantia Pt 1) pushes the listener straight into the world that Tanith have created with this record.  The key features of the their sound are quickly given prominence here: dual guitar leads supplied by Russ Tippins (Satan, Blind Fury, Pariah, Russ Tippins Electric Band) and Charles Newton, powerful riffs in a lush, over driven sound and the interplay and harmony of Tippins' and bassist Cindy Maynard's vocals.  The pacey bombast of Citadel is immediately followed by the more sinister-sounding, traditionally 'heavy' Book Of Changes.  This reinforces the band's effortless command of dynamics and atmosphere with stately-sounding dual leads giving way to a surprisingly heavy main riff played at a marching pace.  Melodic, harmonising vocals reinforce the heavier atmosphere through contrast.

This well-honed sound continues with minor variations throughout the album, lyrics chiefly keeping a studied focus on fantasy themes with a generally positive bent. The chief example of this comes with album highlight Under The Stars, a paean to confronting a world of cynicism and materialism with childlike wonder. Eleven Years provides something of a break from the 'Wishbone Ash with more bite' formula, this song's tale of a man afflicted with ennui lent an almost 1960s psych-pop quality and allows for some low-key showing off by drummer Keith Robinson.

By the album's conclusion (a short instrumental reprise of Under The Stars), the listener can be sure of a band greater than the sum of its' parts.  In the songwriting, the vocal harmonies and the overall musicianship this band is a force to be reckoned with.  Do yourself a favour and see them on tour this Autumn!

Listen to and purchase Tanith's music from Metal Blade.  For upcoming news and tour dates follow the band on Facebook.





Writer: Craig Stewart

Live Review: Idle Hands @ Keep It True Festival, The Black Heart & Metalheadz Open Air

There’s been a buzz around Idle Hands for some time now and it only intensified as they embarked on their recently concluded, European mega-tour. 50 dates across 12 countries allowed the band to live up to the excitement their debut EP Don’t Waste Your Time had been creating since its release one year ago.  

Some of us were lucky enough to catch several shows and witness exactly why Idle Hands are being touted as the next big thing. Keep It True Festival was our first of three. Early on a rainy Saturday, only a few short hours since the finale of Friday’s after party and the crowd of damp, headache ridden fans couldn’t have been more aware that this might not have been the best time for a heavy metal show. The explosive opening to 'Nightfall' turned that atmosphere around instantly, the band launching in as though they were in the midst of a headline set. The energy was infectious and it did not let up. For the next 45 minutes it didn’t have to be a rainy Saturday morning in Baden-Württemberg. A Friday night in a sweaty club, the ending of a huge outdoor festival, wherever this performance took you, that’s where you were staying until the end.  

Two weeks later and it’s London’s turn, this time in a venue a fraction of the size of Tauberfrankenhalle - Camden's The Black Heart. Idle Hands have been playing their debut album Mana throughout the tour but today, the official release date, feels a bit special. From start to finish there is passion spilling from everyone on the tiny stage. Brandon Hill and Colin Vranizan form a crystal clear and super tight rhythm section, quite the feat in a tiny box room above a bar. Sebastian Silva and Cory Boyd on guitar are a joy to watch as well as listen to. Silva and Gabriel Franco on vocals bring heaps of attitude and charisma in equal measure. As things close out with ‘Dragon, Why Do You Cry?’, I notice that despite any melancholy in the music, I've been grinning like a child at Christmas through most of the set, totally captivated.

Metalheadz Open Air brings another special occasion - the very last tour date. Each of these guys has been through 73 days of trailing back and forth across Europe, but not one of them shows any sign of fatigue or lack of enthusiasm. It's nearing 40°C on stage and Metalheadz is living up to its reputation of having a crowd who can tend to favour campsite parties over watching bands. And yet, Idle Hands do it again and give their all.

This is where Idle Hands are going so right. They perform in every situation as though it is exactly where they are meant to be. Making sure their audience knows that they were made for this as they command the stage with total consistency across venues, crowds, and settings. They know what they are here to do and they’re going to continue doing just that.

Born Again's Louise had the chance to sit down with Gabriel Franco at Metalheadz Open Air for a detailed interview which will follow shortly... keep your eyes peeled!

Writer: Louise Dornan

Album Review: Rock Goddess 'This Time'

The South London trio have released their first full length album since 1987's 'Young And Free'!

A comeback album will usually fall into one of two camps. There are those where the artist has attempted to revisit former glories, writing material that borrows from their earlier work. Not ideal, obviously, but at least it's somewhat safe. Then there's the more problematic approach, where the artist tries to keep up with the contemporary scene, drawing influence from younger acts. This is invariably an embarrassing exercise, simply because in the process a group tends to lose whatever it was that endeared them to the public in the first place.

Occasionally, a band returns from a lengthy period away with a recording that avoids either of these scenarios. This Time is one such album. Those who love the records that Rock Goddess made in the 1980s should have no trouble relating to the songs on offer here. The Turner sisters still sing and play with the same verve, but they have been confident enough to take their music forward. And throughout, we hear the stylistic elements that made their original output so vital.

By way of introduction, the listener is greeted with the unmistakable voices of Jody and Julie, previewing the chorus of opener 'Are You Ready?' in striking harmony. It's a marvellous sound, and one that we are to hear plenty of during the next thirty-six minutes or so. Then we plunge into a different realm with 'Obsession'. It's dark, edgy, ambitious - and it works. Next, 'Two Wrongs Don't Make A Right' takes us back to the Goddess style of the early years. If anything on the album recalls the raw energy of the band's debut, it is this.

As a trio, Rock Goddess have always thrived on great ensemble playing. But individually there is a lot to dwell on, too. Julie Turner's drum performance is supremely confident, and Tracey Lamb - recently departed, to be replaced by Jenny Lane - delivers bass lines that are as adventurous as her earlier work. Best of all, the voice of Jody Turner has lost none of its authority, unafraid to traverse the full emotional range from tender to furious.

One of the strongest moments must surely be 'Calling To Space', a hooky, dynamic and immaculately arranged composition that boasts impressive vocal variation. But then there's 'Flying To See You', a slow burner with yet more thrilling harmonies, or the anthemic title track, or indeed the outstanding closer, 'Drive Me Away'. What is clear is that despite the enormous changes in recording technology since Young And Free in 1987, Goddess have managed to retain their integrity. This album was some time in the making, and the results speak for themselves.

Pre-order This Time on vinyl here at Cargo Records - due out 06/09/19.

Upcoming Gigs:

*Saturday 31st August - The Tivoli Venue, Buckley

*Sunday 1st September - Exchange, Bristol

*Wednesday 4th September - Rescue Rooms, Nottingham

*Thursday 5th September - The Waterloo Music Bar, Blackpool

*Friday 6th September - Òran Mór, Glasgow

*Saturday 7th September - Yardbirds, Grimsby

*Sunday 8th September - The Robin 2, Bilston

Saturday 21st September - Heavy Metal Maniacs Festival 2019, Netherlands

Friday 4th October - Fatfest 2019, Swindon

*With Heavy Pettin'

Keep up-to-date with Rock Goddess news at: www.facebook.com/Rockgoddessrocks

Writer: George Colwan

Live Review: Saxon @ Newcastle City Hall, Newcastle

Newcastle City Hall was opened in 1927 and has a long and storied history as the city’s first dedicated concert venue. The hall has hosted The Byrds, Lindisfarne and Emerson, Lake and Palmer among others but has a particularly niche place in the city’s musical history when it comes to heavy metal.  A keen observer will recognise the concert hall interior in Iron Maiden’s video for 'Number Of The Beast' and the majority of Motorhead’s seminal No Sleep ‘Til Hammersmith was recorded here. Joey DeMaio and Ross The Boss reportedly met here at a Sabbath gig, forming the core of Manowar's classic lineup.  This rich history can seem odd or even jarring to the visitor who walks through the fancy portico into a 100% seating grandiose concert hall  for a heavy metal show, but the building has its own considerable charm and one gets the sense that bands who played here “back in the day” and keep coming back to do so out of a genuine affection- adding to the atmosphere.  That’s certainly the case with tonight’s triple-header, a sort of 'coda' to Saxon’s Autumn tour of the UK, with Wayward Sons and Doro in tow.

Wayward Sons kick the evening off.  Fronted by ex-Little Angels frontman Toby Jepson, this five piece are every inch the gestalt Planet Rock band and deliver everything that description entails:  Simple, energetic blues-tinged rock occasionally flirting with AOR (of course they’re signed to Frontiers).  While not necessarily earth-shaking, the band acquit themselves well, clearly have a lot of enthusiasm and deliver a solid set, whetting the early arrivals’ appetite for the rest of the evening.  Set highlights are most certainly “Crush” and “Until The End”.

The uninitiated and largely unfamiliar author doesn't quite know what to expect from scene veteran Doro Pesch.  Doro quickly appraises the City Hall of the situation: Launching onto the stage and into Warlock’s “I Rule The Ruins” she establishes there is to be 0% fucking around here.  The majority of Doro’s set consists of Warlock songs which serves to ensure continuing familiarity and participation from the expanding audience, played with the consummate professionalism one expects from a well-seasoned band such as this.  Some crowd banter early on harks back to a previous appearance by Pesch with Warlock in Newcastle supporting the late, great, Ronnie James Dio which feeds into favourite “Burning The Witches”.  By the time “All We Are” starts up the concert hall is buzzing and the grandeur of the place feels more in keeping with what’s happening on stage. Doro follows with “All For Metal” and closes out her set with “Revenge”, leaving Newcastle set up for main event.

Saxon approach tonight’s show with an admirable confidence in their new material for a band originating in NWOBHM. Thunderbolt, 2018’s release, boasts six inclusions in tonight’s set alongside a broad spread of classic numbers.  The title track opens the set and is swiftly followed by second album track “Nosferatu” and relatively recent “Sacrifice”, leading into signature song “Motorcycle Man” to much appreciation.  The only really questionable song choice of the night is “Predator” – understandably present in the set but slightly throwing the watcher off due to the ill-advised growl section originally handled by Amon Amarth’s Johan Hegg – it doesn’t really suit the song and takes one out of the moment.  In the grand scheme of things this is a minor mis-step and the band quickly course-correct with “Strong Arm of The Law”.  The rest of the set continues to flow well throughout, with Biff Byford’s now-classically “cozy” sense of showmanship and banter (an admiral commitment to the correct, ie. Northern pronunciation of the word “bath” is shown in a brief exchange with drummer Nigel Glockler), with references to previous shows at the Hall and a touching tribute to Lemmy and Motorhead leading into “They Played Rock ‘n’ Roll”.  We move into the home stretch after this:  “And The Bands Played On”, “Sons of Odin”, “Never Surrender” and “Princess of The Night” close the main set but Saxon aren’t done yet.  It’s tough to imagine a stronger encore selection from their back catalogue than a powerful “The Eagle Has Landed” leading into “Heavy Metal Thunder”, “Wheels of Steel” and “Denim and Leather”.  For the final number Byford encourages a couple of denim vest donations from the crowd who oblige him eagerly, setting up for some solid call-and response on the chorus to end the night. 

The word that frequently comes to mind with Saxon is 'consistency'.  Consistency in quality of recorded material, consistency of competent live performance. This night demonstrates that in a nutshell.  Saxon remind the audience, once again why they stood out within the British metal scene of the early '80s and continue to enjoy a respectable profile within the scene now.  Crackin'.

Score: 4/5

Writer: Craig Stewart

Live Review: Graham Bonnet Band @ The Underworld, Camden

We live in an age where singing is presented as little more than the mastery of technique. There's a right way and a wrong way to do this, we're told, and the result is that popular music now suffers from a surfeit of vocalists who sound remarkably similar. It's getting tedious, quite frankly. Everyone can sing, yet no-one is communicating anything. And on that basis, thank goodness Graham Bonnet is still performing. This is a man who doesn't just rhetorically 'give everything' onstage, he has always sung full throttle and clearly knows no other way.

Whether you first encountered Bonnet through late sixties duo The Marbles, his solo work or the high-profile hard rock of Rainbow, Michael Schenker Group and Alcatrazz, it is a little perplexing to see him play at a small club venue like The Underworld. The gig is reasonably well attended although not packed to capacity. Still, his band play with gusto and even from several feet away it is clear how visceral Bonnet's vocal delivery still is.

Tonight's set list is the expected mix of well-known tunes from his rock era - the bulk of his career, obviously - including a couple of Impelliteri songs and his own single, 'Night Games'. On this trip he is accompanied by Kurt James on guitar, a man familiar to many from his time with acts like Steeler and the overlooked Dr Mastermind. His playing is mostly comprised of flawless, rapid-fire staccato runs, although it is a welcome relief when he chooses to sit on a note for a moment and let it resonate.

Assembling a running order for a show of this nature is never going to be easy, and there will always be those of us who seek to query the strategy involved. 'All Night Long' second in the set, really? And surely 'Desert Song' would be a climax to the show rather than something deployed halfway through? Ultimately, a man with a history as rich and varied as Bonnet's has no need to trouble himself with such trivialities. He steps onto the stage, sings from the depths of his soul and leaves no-one disappointed.

Score: 4/5

Writer: George Colwan

Photography: M Godding

Live Review: Pallbearer @ The Underworld, Camden

Bleak, beautiful and crushingly heavy. Little Rock, Arkansas' Pallbearer have built a reputation over the 8 years following the release of their 2010 demo for stirringly heavy music, the result of a careful balance in songwriting ability and sheer musicianship. Their material shoves the listener into a frightful deluge of low-end distortion, offering only the faintest glimmers of light through the deployment of plaintive, gripping vocal and lead melody. This is unmistakably contemporary (not trend-chasing, not nostalgia-wallowing, but utterly of this time and moment) heavy metal, that can soar to tremendous heights on record and in the right live environment, but can be vulnerable to falling flat if any one of the band, audience, or venue is lacking on the day. Tonight's change of venue from the majestic Islington Assembly rooms to the dark, sweaty intimacy of Camden’s Underworld makes for a less grand atmosphere, but the band are equal to the task wherever they play.

Opening tonight are Milton Keynes' Tuskar, a two-piece who, appropriate to the setting, conjure up a disproportionate amount of noise from a drum kit and a single telecaster. Simple, raw, low guitar riffs are propelled along by primal and vicious percussion and the audience's appetites are whetted. Definitely one to watch in future.

Pallbearer are all business tonight, launching straight in with second album Foundations of Burden highlight 'Watcher In The Dark' and treating the crowd to a fair distribution of material across all three full length albums with a new song, 'Dropout' front-loading the set. The initial trio of songs - 'Watcher...', 'Dropout' and 'Thorns' are strong enough contributions, but the set doesn't really seem to get going until 'Dancing In Madness'. This is surprising as the latter presented as one of the weaker tracks on 2017's Heartless, lacking some of the immediate appeal of that album's standouts such as the title track and 'Lie of Survival', but experiencing the song unfolding in a live environment really adds a great deal of power, the opening jam setting the audience on something of a sonic journey with the final vocal line as a kind of finale.

From here on the set’s second half is dominated by 'expansive' sounding numbers. 'Foreigner' absolutely soars. This, 'Worlds Apart' and 'Given To The Grave' are masterclasses in power through sparse arrangement. The latter song in particular is a microcosm of Pallbearer's compositional prowess. Everything about this song, its structure, pacing and atmosphere is deliberate, controlled, crafted. And yet the result is something that sounds loose and 'freeform' enough to carry the live crowd along with it. The audience are rapt throughout.

Pallbearer close with about the closest thing they have to an 'anthem', 'Devoid of Redemption' and the audience disperses. An emotionally intense Monday evening and one I am glad of: New heaviness in the form of Tuskar and Pallbearer showing they can deliver the goods again during festival season, hopefully on the cusp of something bigger. It's all they, and we, deserve.

Score: 4/5



Writer: Craig Stewart

Live Review: Riot, Primitai & Rising Five @ The Underworld, Camden

Tell the boys to step aside, tell the girls to form a line, because Riot V are back again celebrating the 30th anniversary of their 1988 classic 'Thundersteel'. 

Kicking off proceedings on this clammy Tuesday night is the fairly new Rising Five and not having heard much material, I'm intrigued to witness the vocal prowess of Mike Tirelli (ex-Holy Mother and Burning Starr etc.) in the flesh. The floor is somewhat empty to begin with but Rising Five's evident professionalism and tight sound entice a sparce crowd to float somewhat near the front of the stage. Mike Tirelli's traditional, melodic vocal projects across the venue as it is often teamed up with a surprisingly heavy, almost industrial vibe from the guitars and rhythm section. They work through a short but varied set including tracks from their upcoming EP No Death Reborn and finishing up with Holy Mother's 'The River' where Mike Tirelli's Dio-esque vocal style can very much be heard. Tirelli has been an integral cog in the heavy metal machine for decades including previously providing vocals for tonight's headliners and this powerful performance is very promising. You can keep up-to-date with Rising Five's whereabouts right here. 

Photo: Warren Newman

Re-entering the room after a short break and the ground is quite literally shaking and breaking beneath us. It must be time for Primitai. These lads are no stranger to Camden stages and waste no time increasing the energy in the room as they deliver a razor-sharp set. The band's unique sound grabs the crowd's attention in full force as guitarists Srdjan Bilic and Sergio Girón deliver 80s inspired melodies juxtaposed excellently with Guy Miller's powerful, rough and more modern vocal and commanding stage presence. The band gel flawlessly on stage and it's clear to see that their recent release The Calling and successes with Dissonance Productions have ensured that they've got a well-deserved growing fan base. Primitai certainly never fail to impress. You can check out and buy their newest album right here. 

Photo: Dani Ben Haim

It's finally time for Riot V to take to the stage and the buzz in the air is infectious as the room begins to fill. It's been many a year since Riot have headlined a UK tour and since then they have experienced a career full of successes, many esteemedd releases and of course grieving the loss of founding member and legend Mark Reale. They are back again and the minor name change not only respects and pays homage to Riot's history but also paves the way for the band's new chapter. On this tour, they've been celebrating the anniversary of Thundersteel - an album which many fans believe to be some of their greatest work. 

Long-standing members of the band Mike Flyntz and Don Van Stavern take pride of place as does guitarist Nick Lee whilst Frank Gilchriest does so behind the skins. The Camden Underworld is already full as fists raise in the air waiting to revel in this long anticipated set. Vocalist Todd Michael Hall enters the stage as a warrior enters battle... his Herculean presence already dominating the hall. Boy does he have big boots to fill as he takes on the works of vocal masters Guy Speranza, Rhett Forrester and Tony Moore etc. 

Wasting no time at all, Riot smash through the atmosphere with 'Victory' taken from their newest album Armor of Light, continuing on with 'Angel's Thunder, Devil's Reign'. A few numbers down and we are gifted with 'Tokyo Rose/Rock City' taken from the 1977 album Rock City- a surprising but pleasing addition. The crowd presumably in awe are somewhat sombre, as Todd Michael Hall remarks on the lack of movement. Almost as if foretold we hear the opening drum barrage to 'Flight of the Warrior' and the sing-a-long is in full swing. Todd Michael Hall takes on every single note with great ease and confidence and this continues into the incredible 'Bloodstreets' delivered with intense passion and power. The band's spirit is truly vibrant.

Surprisingly, the tracks from Thundersteel are embedded in-between a handful of other Riot numbers from their back catalogue including 'Heavy Metal Machine', 'Angel Eyes' (joined by Mike Tirelli on vocals) and a personal favourite 'Road Racin''. However, it is surprising to not hear the celebrated album in it's entirety as previously assumed. Complaining about this would be foolish however as we are privileged to hear 'Johnny's Back' and 'Sign of the Crimson Storm' amidst the rest of a brilliant set.

Don Van Stavern holds a large bottle of tequila in the air as an inflatable sword stands tall in front. The crowd cheer and the room shakes along to 'Swords and Tequila' and another Riot classic 'Warrior'. The now bare chested Todd Michael Hall opens his arms and tells us he knows what we all came for- and well, he isn't wrong. Before he could even finish, the infamous riff to Thundersteel's title track sends the crowd into a frenzy as everyone's balls drop and they attempt to hit those killer high notes in the first line "A streak of lightening, comes shooting through the air!". What a feeling- and clearly the band feel it too as they evidently enjoy the reception. 

Regardless of the fact that it would have been extra special to hear all of Thundersteel in it's intended order, this was a show of a lifetime. The energy was consistently strong throughout and it was inspiring to see heavy metal fans of all ages enjoy songs from Riot's history as well as some of the most excellent newer material. Tonight, Riot showed that they're keeping the legacy alive to the highest degree and we're sure Mark Reale would be nothing more than proud. 

We hope Riot will be back again. Very soon. 

Score: 5/5

Writer: Kayleigh Griffin

Album Review: Church of the Cosmic Skull 'Science Fiction'

Church of the Cosmic Skull – Science Fiction

Church of The Cosmic Skull were something of a darkhorse when they emerged in 2016 with their debut album Is Satan Real? Nottingham-based and boasting members of Hellset Orchestra, Dystopian Future Movies, You Slut! and Mammothwing, clothing themselves in a sense of mystique centred on their spiritual principles (The Seven Objects, central to their outlook) and a familiar-but-distinctive heavy 'vintage' rock sound that makes most sense to these ears as an amalgamation of Black Sabbath, Kansas and a gospel choir.  Is Satan Real was a strong release that caught the attention of some of the more mainstream music press. The Church are a solid live band and the question of “what comes next?” is a pertinent one leading into the ‘difficult second album’ which arrived last month in the form of Science Fiction.

The album begins with the title track- a triumphant, vintage-sounding introductory riff leading us through a brief maelstrom of multi-layered vocals and odd time signatures before settling on a piano-and-vocal interlude and then…More. More Black Sabbath-meets-Kansas riff stylings, more harmony, more weirdly utopian sounding lyrics, more everything. There are a lot of ideas packed into these 4 and a half minutes, an impression one returns to a lot with this band’s work.

'Go By The River' is a more straightforward affair, combining a heavy main guitar riff complementing some fancy organ playing, moving from an interesting main riff to guitar lead in the closing section. The Church display the power of repetition here, the lyrics essentially consisting of three (slightly menacing) phrases: “Go by the river, go by the road”; “You run” and “I’ve seen the coming of the storm, I’ve seen the ground beneath you” repeated and filtered throughout the chorus of the song, coming together with the guitar lead at the end.  This adds to the power-through-simplicity appeal of the song.

The Church’s euphoric, utopian vision really comes to the fore with the third track. The overall sentiment of 'Revolution Comes With an Act of Love' is one of determination and hope in the face of a society losing its way but a bit more, y’know, cosmic. Listen along to the final chorus refrain, guitar lead soaring along with beautiful harmonised vocals and not feel at least a bit compelled to bop your head along, I dare you.

'Cold Sweat' adds a bit of pace to the album. The song moves from quiet, muted chords to full, joyous chorus. 'The Others' provides some slow softness with psychedelic musing and an impressive turn from the Church's team of vocalists. 'Timehole' is the album’s most fast-and-furious number, propelled along by a breakneck-speed riff, leads weaving their way around vocal melodies, only really letting up for a smartly applied bit of discord. If this album has a weak point it’s arguably to be found in 'The Cards You’re Playing', a track which feels more like an interlude than anything else and, while allowing for some impressive instrumental and vocal workouts could have done with being half the length. The chord progression in particular feels like it could form a part of something much more substantial.

'Paper Aeroplane & Silver Moon' is a song of real epic scope and competes with 'Revolution' for the high point of the record. Pretty vocal trade-offs backed by the organ in the first two minutes lead into a subsequent four minute trade-off between fast, heavy riff sections and muted lead vocal verses over quiet chords culminating in a chaotic organ solo and heavier instrumental approach to the end. The kind of song that leaves the listener feeling they’ve shared in a journey by the end.

The album closes with 'The Devil Again', which effectively comes off as the 'Cards' formula deployed more effectively. A repetitive main structure with flourishes including a filthy keyboard solo and strong chorus. It at once summarises and closes album in a satisfactory way. This album is a worthy follow-up and provides plenty of individual songs to stand up to the likes of 'Mountain Heart' and 'Movements In The Sky' in terms of quality. This band have already delivered a great deal and appear to be scratching the surface in terms of potential.

I believe.

Score: 4/5

Writer: Craig Stewart

Review: Sunshine of Your Love - A Concert for Jack Bruce

Jack Bruce was one of the greatest creative forces in twentieth century popular music, yet even now the true impact of his work is hard to assess. He was far ahead then, and it seems he still is today. Putting aside Cream for a moment, the man's remarkable solo output represents a wide embrace of not just rock but also blues, jazz, folk and classical. To these ears, it is some of the finest music ever committed to vinyl.

This evening a few of us are fortunate enough to witness a special screening of Sunshine Of Your Love, a document of the Jack Bruce tribute concert that took place on 24th October 2015, a year after his passing. Directed by Kyla Simone Bruce, Jack's younger daughter, it's immediately clear that this film was made with much love and care.

When the concert was announced, there were those of us who queried the line-up. Several of the artists selected to perform that night at the Roundhouse didn't appear to have any obvious connection to the music of Jack Bruce. Attending the premiere of the film, it becomes apparent that in many senses this assumption was wrong. 

The film is bookended by two archive clips of Jack performing live. Interestingly, the first is a raw harmonica performance of 'Train Time', a tune he'd first recorded in the mid sixties with Graham Bond, while the latter finds him at the piano for a spellbinding rendition of the timeless 'Theme For An Imaginary Western'. For a fan, this footage is fascinating viewing. But for those who know less of the man, it's a way of giving a glimpse into the kind of versatility he demonstrated throughout his career. 

Nitin Sawhney had the unenviable task of musically directing the entire evening, and it seems he did as well as could be hoped. An event of this nature is almost inevitably going to be scrappy. With the constant changes in personnel, the stage presentation often lacked a clear focus. Still, there was an abundance of esteemed artists from different areas of music, and an impressive array of skilled singers in particular. 

The likes of Mark King, Bernie Marsden, Clem Clempson, Liam Bailey, Uli Jon Roth, Phil Manzanera and Ian Anderson all delivered heartfelt performances. Have I missed any names? Of course I have. Let's not forget Joss Stone's authoritative rendition of 'Never Tell Your Mother She's Out Of Tune'. But for many of us there were two unforgettable contributions that stood out. The first was Ayanna-Witter Johnson's unique reading of 'Rope The Ladder To The Moon'. The second was by Jack's other daughter Natascha, who performs under the name Aruba Red. Her interpretation of the beautiful 'Folk Song' was, well... beautiful.

Let's not dwell on Ginger Baker's awkward appearance, or the fact that neither Jack's lyricist Pete Brown nor his son Malcolm chose to participate. As both Kyla and Natscha made clear in the Q & A session afterwards, their primary aim with both the concert and the film was to highlight some aspects of Jack Bruce's music that have been somewhat overlooked. In this, it's fair to say they succeeded.

Writer: George Colwan

Live Review: High Spirits, Züül & Heavy Sentence @ The Black Heart, Camden

Do You Remember seeing high-energy rockers High Spirits hit the Black Heart stage back in 2013? The venue was near to empty but High Spirits didn't fail to deliver a high-powered set as always. Since then, the Chicago based lads have gained a loyal following and return tonight joined by Züül and Heavy Sentence as they attempt to make this Wednesday night, feel like a Saturday. 

First-up tonight are Manc-metallers Heavy Sentence- a band who I've been eager to catch for some time after hearing nothing but positive reviews. From the first riff, they're already executing lashings of energy as they get the entire room buzzing within minutes - heads nod with approval and to the heavy groove infused riffs. With initial vibes of total Motorhead worship, the band go on to show that they're also more than this as they deliver a tight set packed full of grit with each band member's unique style shining through. Vocals are reminiscent of a cross between Tom G Warrior and Lemmy at his roughest. They work seamlessly with a raw, punk edge and a large handful of killer, classic heavy metal melodies and solos. Heavy Sentence definitely made a fan out of many Londoners tonight; it's thrilling to witness a new band with such energy. Be sure to get your hands on the band's EP Protector/Darkest Hour- you won't be disappointed.

After a short break, the room packs out for Züül. Consisting of 2 members of High Spirits, there's  high hopes. If ever there was a front man to demand attention, it's Brett Battaeu with his smooth, confident vocal and sassy stage presence. He feels every note played tonight and the musicianship and intense connection between each band member is evident. Züül's heavy metal back bone is met with a rough edge through both image and sound. Much like High Spirits their intensity lifts the crowd as classic heavy rock riffs are matched up with a hard, pounding rhythm section. A band you could very much imagine on a grand stage.

The Black Heart has never had such a positive, uplifting vibe as it does for tonight's show and as we wait for Chris Black and his band to take the stage, it's true to say that never has a band been so aptly named as High Spirits.

The moment they step on stage the crowd are quite literally lifted as the atmosphere bounces. It's so great to see a busy room full of pumping fists, banging heads, sing-a-longs and quite strangely- a mini 'mosh pit'. Making their way through a set made up of tracks from across their discography including favourites 'You Make Love Impossible', 'Full Power', 'When the Lights Go Down', 'Another Night In the City' and of course 'High Spirits' ... to name but a few. Chris modestly encourages the crowd to join in with his effortlessly great and instantly recognisable vocals as the band's musicianship and on-stage banter adds to the happy- but not sappy- mood in the room.

High Spirits pull off another night full of authentic, high-powered heavy metal and this time filling up the Black Heart on a Wednesday night - this doesn't go unnoticed by Chris and the rest of the band. High Spirits could play London every week, and I'd still attend, each and every time.

Score: 5/5

Photography: Antonio Filis

Writer: Kayleigh MG

Album Review: Seven Sisters 'The Cauldron and the Cross'

As heavy metal pioneers continue to depart this world, leaving us with musical gems that will no longer be played in their full, live glory, the future of live music in this genre continues to worry fans. However, when a band like London's Seven Sisters pull yet another wonder out of their denim bag of tricks, that worry most certainly subsides. After seeing them play tracks from new album The Cauldron and the Cross at a packed-out, sold-out Black Heart in Camden, we knew we had to get our hands on a copy- and just look at the artwork!

Opening track 'The Premonition' wastes no time throwing you right into the deep end with continuous heavy riffing and battered skins, coated beautifully with now very familiar leads from guitar duo Farmer and McNeill. Perfectly titled as the flawlessly fused instruments create a sense of panic juxtaposed well with the telling tones of Kyle McNeill's pipes and the change in tempos throughout. Most certainly a sign of things to come.

Eased into 'Blood and Fire' and 'Once and Future King', the cleaner, smoother production on this record supplies the band with an increased sense of confidence and clarity. These tracks and their more simplistic rhythm provide ample opportunity for each instrument to shine, as individual influences from many sub-genres of metal start to expose themselves. 

The inspiration taken from Marion Zimmer Bradley's novel 'The Mists of Avalon' is most evident from here onward as the fantastical elements battle through into song 'Parting the Mists' which may well be my favourite track on the album. The vocal harmonies meet effortlessly with the dual guitars as Loftin's smooth drums power on through and team up with Javi's bass, creating a sturdy rhythm section throughout. The musicianship and skill is impressive and makes for an atmospheric, thought-provoking piece of music. 

As we travel through to perfect sing-a-long material in the form of the very powerful 'Turning of the Tide', Graeme and Kyle once again treat us with a handful of guitar solos which really hit you in the gut. We're then seamlessly led into the very necessary ballad 'Oathbreaker' which naturally leaves us grabbing dramatically at the air before a Norum-Malmsteen edged solo is thrust upon us.  The next track, 'A Land in Darkness'  with it's heavy, power metal driven gallops evokes images of battle and victory with some seriously solid changes in tempo and refrain.

The album ends on a tremendous high with a title track in 2 parts. With part 1 being nearly 8 minutes long, it's triumphant with some truly impressive guitar work and a solo which stays with you through to Part 2. Different, this part builds slowly with an emotive vocal performance from Kyle backed with undertones of Medieval England shortly broken by robust shredding and speed. No other way to end an album like this.

From their first demo The Warden to their first self-titled album released in 2016, these London lads have been no stranger to the underground heavy metal scene. Being one of the most hard-working bands in London has well and truly paid off. The Cauldron and the Cross is so varied and dynamic. An outstanding album from start to finish where Seven Sisters have truly mastered their own sound and style which they embrace with full force and power.

Score: 5/5

You can get your copy of The Cauldron and the Cross here. 

Writer: Kayleigh MG