Album Review: Witchtower 'Hammer Of Witches'

Louise Dornan takes a look at Spain's Witchtower and their latest full length release, 'Hammer of Witches'

In December 2016, the heavy metal world was given an early Christmas present in the form of Witchtower’s Hammer of Witches.

Following a 2014 EP release and their debut, self-titled full length a year later, there was some excitement building about this next output. The anticipation was certainly justified. Witchtower is a solid album but Hammer of Witches takes the band to a whole new level. Both the song writing and execution sound tighter without losing any of the authentic “old school” sound that they do so well.

'Salem Witch Trials' starts the album off with blasting, high energy riffs demanding attention from the get go. A frantic solo gets my blood pumping and I'm hooked already. 'Fast Broomsticks' allows the band to showcase that their influences are absolutely not restricted to the NWOBHM. The guitar work is so catchy alongside the chugging bass and drums. With vocals somewhat reminiscent of those of Blue Öyster Cult, the track is a fantastic tribute to the music of the late seventies with the band's own signature firmly stamped across it.

The anthemic single 'Better Run' makes it impossible to sit still. I'm already singing along by the second listen. The nod to early Iron Maiden themed NWOBHM really hits the spot.

Things get pretty interesting over the next couple of songs. This album is in no way predictable and each song produces a new mood and a different set of influences. The atmospheric opening of 'Spiritual Love' leads into an uplifting and emotional power ballad. Vocalist Víctor's accent really comes through on this track, fitting perfectly with the music and adding another dimension to the album. The harsher 'November of 1786' takes things in a completely different and darker direction but not without a small tribute to Judas Priest thrown in. 'Black Cauldron' is fast, brutal and raw with a surprisingly groovy and progressive instrumental mid-section.

The slow start to ‘Darkest Hour’ is soon remedied by a bouncy and memorable song full of catchy melodies with some doom tinged bass lines and melancholic guitar parts somehow seamlessly blended in. Far from being discordant, it works really well. Witchtower then leave us with a progressive, instrumental outro - tipping their hats to prog rock’s finest.

In a scene brimming with new acts firmly rooted in the sounds of the mid-eighties, Hammer of Witches gives us something else, clearly influenced by the bands which preceded the eighties heavy metal scene. A late seventies vibe mixed effortlessly with the NWOBHM inspired material. This album feels a bit like going on a journey with each track bringing the listener down different roads, all leading to the same destination. It’s engaging from beginning to end and genuinely interesting to listen to.

Witchtower have gathered a loyal fan base in their native Spain, affectionately referred to as “friends” by band leader Víctor de la Chica. They’ve caught the attention of many of us beyond the Spanish borders in the past few years but more and more heads are sure to start turning in their direction thanks to Hammer of Witches. The album has just been released on black, red and purple coloured vinyl by Unsilent Tombs Records, so grab it while you can!

With their main goal being to continue creating and playing music, Born Again- Heavy Metal Soundhouse can’t wait for the next chance to catch Witchtower live. Having so much enjoyed playing Brofest 2014 and after receiving such a great reception from fellow bands and fans alike, let’s hope for a return to the UK in the not so distant future.

Score: 4/5

Writer: Louise Dornan

Photography: Sebas Bautista

Live Review: Seven Sisters, Primitai and Eliminator at The Unicorn, Camden

Craig Stewart makes his way to Camden Town's The Unicorn to enjoy some hip-swinging, fist- pumping goodness brought to us in the form of Eliminator, Primitai and Seven Sisters.

Seven Sister's Kyle Mc Neill

There’s something dependable, even comforting about Camden Town’s The Unicorn. The pub/venue provides regular free gigs with good bands set away from the mania of Camden High Street usually attracting a decent crowd and tonight’s no exception. It’s the end of the working week, the Spring thaw is in the air, festival season isn’t far off and a contingent of London’s heavy metallers have descended on the corner of Camden Road and York Way in search of cheap booze and a good time, myself among them.

Lancaster’s Eliminator are first up. They swiftly remind me it’s been far too long since they last graced the stage in London with a fine serving of pounding, no-nonsense heavy metal. New frontman Danny Foster fits into the band seamlessly, doing justice to existing material with stellar range and presence.  The band exude confidence and energy on stage and seem to really be enjoying their return to the capital. Set list callbacks to 2011’s We Rule The Night EP are very welcome to these ears and the title track of that release receives exactly the raucous, fist-pumping reception it deserves. We’re treated to some new material in the form of the epic -sounding 'Spoils of Empire' (played immediately after 'Echoes of The Past' making for a nice “long song” section within the set). The head-banging loyalists in the front row are fully on board throughout and 'Outlaws of the Highway' closes out nicely. Hopefully it won’t too long before we see Eliminator in London again.

Primitai have the unenviable task of following on from Eliminator tonight. Fortunately they’re in a good position to do so, having a rich seam of material to mine over four full-length albums, an EP and a few singles. This proves to be a polished, energetic set leaning largely on 2016’s Night Brings Insanity LP. Frontman Guy Miller works up some audience participation as the band showcase the contrast of their back catalogue with slightly slower, more epic numbers such as 'The Cannibal' counterbalancing the full-tilt fury of 'Savage Skies', 'Fortune Favours The Brave' and 'Driven Wild'.  The high-point for me arrives with 'Power Surge', a real earworm of a number that features one of many trips into shred city courtesy of guitarists Srdjan Billic and Sergio Giron. I must confess to being quite late to hearing Primitai, but I’m left eager to see them live again and will be keeping an eye out for more shows.

We proceed to the headline act, and Seven Sisters proceed to set the stage on fire. I assure you, dear reader, that this is no hack hyperbole: A stage light flares up halfway through opener 'Highways of The Night' and the hazard’s dealt with before the set resumes.  They recover from this swiftly with the anthemic 'Onwards They Ride' and proceed to deliver exactly the sort of rousing set we’ve come to expect. We’re treated to some crackers we haven’t heard in a while tonight – I was pleased to hear 'Avenger' and 'Wicked Steel' make a return– and some deep cuts from 2016’s self-titled LP (the titanic 'Seven Sisters' and 'Cast To The Stars' are particular highlights). Seven Sisters have cultivated a loyal and dependably vocal following at their live shows in London, and it shows throughout here with chorus singalongs and guitar melody “whoah”-alongs aplenty.  Fists are in the air and heads banging as guitarists Graeme Farmer and Kyle McNeill tear up their respective fretboards. The finale comes as a one-two punch: A cover of Virtue’s classic 'We Stand To Fight', followed by the fan-favourite hip-swinging ode to boxing, 'No Guts, No Glory', propelled along by the Loftin-Rute rhythm section. I’ve been following these guys since their first live outing and it’s a pleasure every time, certainly tonight.

Seven Sisters close out leaving us near spent, though not quite spent enough to dismiss the after-party supplied by Born Again Heavy Metal Soundhouse. Toes tap and hips swing. This was a great night and more like it are on their way in the next few weeks and months. Bring them on, I say.

Score: 5/5

Writer: Craig Stewart

Photography: Louise Dornan

Humble Pie Vinyl Box Set: A&M Years, 1970-1975

The A&M classics get remastered and repackaged in one must-have box set for Humble Pie fans, courtesy of Universal.

When British Blues rock comes up in conversation, a handful of names tend to get mentioned.  Humble Pie is one of those names.

Formed in the late 60s, the band was considered one of the first super groups, rounded up by Mod poster boy Steve Marriott, fresh out of The Small Faces. Joining him were Greg Ridley (ex Spooky Tooth), Peter Frampton (ex The Herd) and young whippersnapper, 17-year old Jerry Shirley on drums.

Going on to create universal hits such as 'I Don't Need No Doctor', '30 Days In The Hole' and 'Thunderbox', the box set gives us a slice of Humble Pie history including albums from the eras of both lead guitarists, Clem Clempson and his predecessor Frampton. Since only the A&M albums will be given the re-mastered 180 gram black vinyl treatment, the first two Immediate records won't be included, which will no doubt disappoint fans of the early period.

However, fans of the prime era will be delighted with what's on offer, especially as Eat It has had a much needed clean-up.  Jerry Shirley clearly revels in this; expressing his opinion on the remaster he says the album “in particular, had sound problems originally that have now been eradicated once and for all, so that all our fans, old and new, can hear it as it was intended to be”.

Shirley and Frampton worked closely with A&M to create this collection, with Frampton adding “we pay tribute to our two lost brothers, Steve and Greg and hope you enjoy this as much as we did putting it all together”.

The set will include:

Humble Pie (1970)
Rock On (1971)
Performance Rockin’ The Fillmore (1971) [2LP]
Smokin’ (1972)
Eat It (1973) [2LP]
Thunderbox (1974)
Street Rats (US Version) (1975)

Due for release on the 2^nd June, make sure you pre-order your copy here and don't miss out!

Writer: Michelle Godding

Album Review: Mythra 'Still Burning'

NWOBHM legends Mythra to release first complete album

With the emergence of the NWOBHM movement came a flurry of bands from all over the UK, bringing a much-needed surge of energy to hard rock music. The North East's contribution was essential to the development of the genre.

Mythra's influential self-financed 1979 Guardian Records E.P Death and Destiny sold out in a flash and was re-pressed a year later on Street Beat Records. The band enjoyed success with the help of Sounds magazine's Geoff Barton, with 'Death and Destiny' staying in the Alternative Chart for twelve weeks. Despite this, several setbacks including mismanagement led to the band splitting in 1981 before anything else was released.

Over the years, various labels released Mythra's back catalogue and the band themselves self-financed the elusive 2002 album The Darkener with the hope of re-igniting interest. However, it wasn't until their supercharged 2015 Brofest re-union show that they got the spark back and began recording new material. Warriors Of Time: The Anthology followed, collecting together the Death And Destiny era tracks and showcasing five new numbers, 'Reaching Out' proving especially that Mythra were never really finished, just dormant until the right time came.

It was only a matter of time before High Roller Records would snap up the opportunity to release a brand new Mythra album much to the band's delight. Recorded in October 2016, the band worked with produced Bart Gabriel (Gabriel Management), with vocalist Vince High stating “It was a superb experience and we all had a great time working with him”.

Still Burning sees original members Vince High (vocals), Maurice Bates (bass), John Roach (guitar), Alex Perry (guitar) and newer addition Phil Davis (drums) come together to write and record ten new tracks as well as re-record 'Fundamental Extreme' from The Darkener.

Fans got a taster of the new album at Brofest #5 earlier this year, and the general consensus was that Mythra had done what few reformed NWOBHM bands do these days; creating a sound that is true to their past but in no way dated. The album's namesake opens with a heavy chugging riff backed by a powerful rhythm section; High's still-youthful vocals layer smoothly over the top. This updated heavy metal sound (sometimes with a hint of thrashiness in style) continues throughout with nods to the old school in the guitar playing and tone.

'Sands Of Time' allows High to exhibit his vocal range over a mellow guitar intro before pounding into a powerful classic heavy metal track with superb guitar playing. Other highlights from Still Burning include 'A Call To All' and 'That Special Feeling', both instant classics capturing the NWOBHM sound that we all love with an updated twist.

Still Burning is very much a comeback and a half, keeping the heavy metal flame alight.  It definitely won't disappoint fans. You can order the album directly at High Roller Records from April 28^th.

Score: 4/5

Writer:  Michelle Godding

Rob Halford- The Complete Albums Collection

Rob Halford

The Complete Albums Colection

Rob Halford's 'The Complete Albums Collection,' will be available to buy from May 19th 2017. The Albums Collection is a 12 album box set which showcases the solo work of Metal God and Judas Priest front man Rob Halford. It includes albums by Halford's solo project bands, Fight, 2wo and Halford.

Inside the blackened, cubed box-set you will find: -

Fight
K5: The War of Words Demos (recorded 1992, released 2007)
War of Words (1993)
Mutations (1994)
A Small Deadly Space (1995)

2wo
Voyeurs (1998)

Halford
Resurrection (2000)
Live Insurrection (2 CDs, 2001)
Crucible (2002)
Live in Anaheim (2 CDs; recorded 2003, released 2010)
Halford III: Winter Songs (2009)
Halford IV: Made of Metal (2010)
Live At Saitama Super Arena (2011)

You can pre-order the CD box set right here.

Words: Kayleigh MG

Live Review: Joe Lynn Turner at High Voltage, Copenhagen

An electric night in Copenhagen with Joe Lynn Turner.

After spending a little too long navigating the streets of Copenhagen, I arrive worried that the show would already be underway. Thankfully it hasn’t kicked off yet and with no support band I’ve got a whole night of Joe Lynn Turner to look forward to.

High Voltage is a big venue with plenty of bar space and cosy corners for chilling out. But right now, the action is all at the front of the room with a crowd gathered around the stage, eagerly awaiting the band’s entrance.

Soon enough my blood is set pumping by the chugging drum and guitar intro to ‘Death Alley Driver’. Joe Lynn’s voice is on point from the very first note. It soars over the crowd and it’s clear that time hasn’t claimed any of his range or power.  Guitarist Jorge Salán gets his first chance to show us how well he can handle Ritchie Blackmore’s famed prowess in a long and intricate solo. He pulls it off with a confidence that I’m sure even Ritchie himself would approve of.

The Rainbow fans in the room are in for a treat as we get a further five songs from the three studio albums that Joe Lynn recorded with the band. The familiar keys of ‘I Surrender’ fire up the room into a singalong which the band seem to really enjoy. Joe Lynn makes a point to get involved with his fans, making the show feel that bit more special. ‘Can’t Let You Go’ gives keyboardist Samuel Olsson time to shine with its classical opening. Joe Lynn’s haunting vocals are so full of emotion and it’s an all-round incredible delivery of the Bent Out of Shape classic.

'Miss Mistreated' takes the tempo up again. A true fist pumper which has me swinging my hips and screaming along. Joe Lynn and the rest of the band don’t miss a note. We’re still flying high over the Rainbow, as Difficult to Cure’s ‘Spotlight Kid’ really does have the crowd going wild. The band oozes energy in this fast paced ode to the rock star lifestyle. The run of Rainbow songs finishes with a powerful and touching rendition of the emotional ‘Stone Cold’ - another from Straight Between the Eyes.

After all of that, my voice is starting to crack (I’m sure to the relief of the lady in front of me) but there is no rest for the wicked! Joe Lynn announces that they are going to play something from Deep Purple’s Slaves and Masters. Like myself, anyone who wasn’t born at the right time to be attending gigs in the early 90s is unlikely to ever hear Deep Purple perform tracks from this record. The band launch into the intro to the album, the tension building... Joe Lynn really is a ‘King of Dreams’ giving us a perfectly smooth rendition of this soulful tune. Another Deep Purple track follows but this time, not one that was recorded with Joe Lynn on vocals. ‘Highway Star’ serves its purpose of getting the audience going. An obviously more well-known track than those from Slaves and Masters, it gets a good reception.

Two more Rainbow tunes, ‘Jealous Lover’ and ‘Can’t Happen Here’ are punctuated by some of Joe Lynn’s solo material. ‘Endlessly’ is a real crowd pleaser taking us right back to the eighties. ‘Blood Money’, by far the most recently recorded song of the set, takes things in a heavier direction that’s slightly reminiscent of Joe Lynn’s groovier work alongside Glenn Hughes on Hughes Turner Project.

To my utter delight, the distinct sound of 90s Deep Purple guitar and keys brings us into ‘The Cut Runs Deep’, the gritty vocals demonstrating how versatile Joe Lynn’s voice really is. Olsson lets loose on the keys for the second half of the song with plenty of air-keyboardists joining him.

Drummer Darby Todd takes us into Yngwie Malmsteen’s ‘Rising Force’. The band interact and bounce energy off each other as though they’ve been playing these songs together for years. Yngwie’s music really gives them all a chance to show off, with blistering solos on both guitar and keys.  Thinking that Joe Lynn’s voice had sounded perfect before, he takes it up a notch, absolutely blowing me away with his power and control over this technically demanding number.

It's clear that we haven’t had enough, so thankfully the band come back to end the night on a euphoric note. The atmosphere is electric as the magical first notes of ‘Dreaming (Tell Me)’ captivate a silent audience. The focus right now is all on Joe Lynn and for good reason. The toned-down ballad allows him to show us why he’s still regarded as one of the best rock n’ roll vocalists around.

The evening finishes with a super fun and high energy medley of Rainbow’s ‘Long Live Rock ‘n Roll’ and Deep Purple’s ‘Lazy’ with plenty of audience interaction getting everyone singing and dancing. Not least bassist Magnus Rosén and drummer Darby Todd who really can’t contain how much fun they’re having during their time in the spotlight, impressing us with some groovy and fast paced solos.  

It’s been a long set but it certainly doesn’t feel like it and I could happily watch it all over again. Joe Lynn is still on top form and has picked a fantastic group of musicians to showcase some of his best work. Roll on the next time!

Score: 5/5

Writer: Louise Dornan

Photography: Louise Dornan

Live Review: Lita Ford and Rock Goddess at The O2, Islington

With Rock Goddess recently added as support to Lita Ford, what better way is there to cap off a weekend than to take a trip to Islington’s O2 Academy for a double bill of heavy metal and rock 'n' roll?

My Sundays are usually devoted to pies, mash and pints down the local boozer followed by an evening lazing on the sofa watching dodgy, unimaginative t.v shows. But tonight I’m taking a 50 minute walk (yes walk!) from east to north to see South London’s Rock Goddess and LA’s Lita Ford. Definitely a good enough reason for me to drag myself out of the standard Sun-daze.

In the past, I recall that the venue has not been very full before a supporting band comes on stage, however, the room is already packed to the brim with Rock Goddess fans. After their first re-union show here a couple of years back, there is still an air of excitement as the crowd wait for the power trio to take the stage. The ladies get straight in there, opening with 'Satisfied Then Crucified' and 'God Be With You'. Since that first show in 2015, it's immediately clear that they have been practising a lot; everything fits together perfectly. Jody Turner's tough vocals mixed in with an unsuspecting soft edge sounding as bright as they do on the Hell Hath No Fury album.

Whilst mixing tracks from the first two albums (including my absolute favourite 'Take Your Love Away'), we are hit by the new creative force coming from the band. 'Two Wrongs Don't Make a Right' and 'Back Off' both encapsulate the Rock Goddess sound with heavy metal street style riffs. Lead guitarist Jody is backed by the powerful rhythm section that is Tracey Lamb and Julie Turner, who each in turn provide secondary vocals. They are an absolute force to be reckoned with proving that a trio of musicians is all you need to create this hard and heavy sound. Much to our delight we learn that they have been in the studio working on an EP that's due for release in May, and honestly I can't wait. If the track 'Back Off' is anything to go by, it's going to knock our socks off.

Of course they finish the set with the anthems 'My Angel' and ‘Heavy Metal Rock n Roll’. The ladies have injected bolts of energy into the room, and personally speaking, I’m wondering how anything can follow this. A few moments pass and people are making their way to the bar to replenish the supplies, thinking that there is going to be at least 15-20 minutes of a stage changeover. However, just as i'm about to move from my prime spot, the girls come back on stage announcing that there is time for another tune, the first song that they recorded; 'Make My Night'. A splendid ending to a perfect set!

Fresh from an appearance at Hard Rock Hell AOR in Wales, Lita Ford is ready to take on London. Accept's 'Balls To The Wall', plays in the background as the final stage preparations are made, with the occasional member of the audience belting out the staunch chorus. As the rest of the band make their way on to the stage, an intro tape booms out of the speakers, setting the scene of a rebellious daughter revving up the engine of her dad's Ford, out to cause some trouble.

Confidently slinking onto the stage with a femme fatale swagger in a skintight red catsuit, Lita strikes her whiskey bottle shaped guitar, playing what sounds like the intro to 'Bad Motor Scooter' by Montrose, ending in a long high note. This seamlessly blends into the beginning riff of 'Gotta Let Go' from Dancin' On The Edge. The big American glam/heavy metal sound topped with Lita's hard as nails vocals fills the room, and I'm transported; fantasising about long road trips, dancing on table tops and generally having a good time.  I'm ripped from this chilled out vision when the punchy tune 'Larger Than Life' hits me in the face. Showing that she is essentially a lead guitarist, she rips out lick after lick on stage, sharing some of the duties with second guitarist Patrick Kennison.

Lita and her band include a wide variety of songs from her discography, including Elton John's cheerful uptempo number 'The Bitch Is Back'. Showing that she has many musical influences, we are teased with the intro lick to Hendrix's infamous 'Voodoo Child' featuring the Wah effect, before flowing into the deep southern rock style riffs of 'Relentless'.

Before a change of pace, Lita plugs her book, a memoir called 'Living Like A Runaway' which is followed with the nostalgic track of the same name. We've had a chance to slow down, before they plough back into older tracks such as 'Hungry' and 'Can't Catch Me' which starts with a choppy thrash like riff.

Bobby Rock and Marty O'Brien hold a deep soulful groove as Lita goes into the intro of 'Back To The Cave' before suffering from a guitar mishap. Professional as ever, Patrick takes over lead duties as she waits for another guitar to be handed to her, keeping the flow of the song. Unfazed by the swap, she dives straight back into the smooth intro, picking right off from where she left.

The audience lap up her story about how she came out with the song 'Falling In And Out Of Love' with Nikki Six, in the same "magical room" that she wrote 'Close My Eyes Forever' with Ozzy Osbourne.  It's a supercharged power ballad complete with equally supercharged solos.

Of course, being an original Runaway, the crowd would be disappointed if their most famous track wasn't included. Sure enough, 'Cherry Bomb' is next and she plays it so effortlessly, which is not a surprise at all. Capturing that mid to late 70s glam rock/punk sound, the momentum is prolonged with a cover of the Sex Pistols' 'Black Leather'. As if following a timeline of events, Lita asks the crowd if “we have time for three songs”, to which they reply positively as she introduces the first solo song she wrote 'Out For Blood', which saw her move more towards heavy metal in 1983. Swapping guitars yet again for a stunning white twin neck, 'Close My Eyes Forever' sees second guitarist Patrick Kennison duetting with Lita on that well known Ozzy collaboration with the crowd echoing the lyrics. The night is concluded with 'Kiss Me Deadly' on a more lighthearted note.

Now this is the way to do a Sunday and I have no doubt that everyone is leaving the venue feeling that we have been spoilt with such a rich lineup boasting of rock royalty.

You can buy Lita's Book 'Living Like A Runaway' here

Score: 5/5

Writer: Michelle Godding

Photography: Christophe Vernimmen