Released 26 March on SPV/Steamhammer

Another year, another album from Axel Rudi Pell or so it feels like the endless cycle continues.

Another dark and mystical album cover? check.

Another selection of tunes heavily influenced by early Rainbow / Purple and Tony Martin era Sabbath? Check.

Axel I guess has OCD when it comes to making albums; most are interchangeable with each other.  There is an ARP sound no doubt and if you like it and want more of the same ‘Circle Of The Oath’ gives you just that.  If with over 2 decades of solo releases since leaving Steeler (German branch) you are hoping for something a little different from the Pellmeister then you are shit out of luck.

Granted, vocalist Johnny Gioeli still delivers the goods, Mike Terrana on drums is a monster whilst bassist Volker Krawzcak holds down the bottom end with typical German efficiency, over this keyboardist Ferdy Doernberg is allowed to give his best Jon Lord/Tony Carey/Jens Johansson impression.  The ARP backing band has always been a strong unit with Pell, ironically by far the weakest piece of it with his ragged sloppy speed picked licks and vibrato that’s on a par with Kirk Hammett (the one piece of Blackmore’s style he’s seemingly failed to grasp).  But then hey, the average punter doesn’t listen for things like hitting the pitch and in tune vibrato in guitar work and just hear its fast so it must be good…right?!  That said no-one can deny Pell has a knack of writing punchy and epic metal numbers with solid riffs, and it has it down with “Circle Of The Oath” delivering perhaps a little better than on the last album I heard 2006’s “Mystica”.

Whilst the material has been essentially giving diminishing returns ever since his (IMO) piece-de-résistance  - 1994’s Between The Walls –  Pell has never delivered a true dud (the ballad albums do come close though), and to his credit, Pell hasn’t suffered self produced faux-pas’ like Malmsteen so marks should be given for avoiding that pitfall as it’s a good sounding record.

But overall if you like Axel Rudi Pell and want more of the same ‘Circle Of The Oath’ will please.  If you have some previous albums and want to hear some growth from an artist don’t bother.

This all adds to 2 ratings.

Yes, I have OCD and need more ARP albums!! – 85%
I already own 3 Axel Rudi Pell albums that all sound the same, can I have something different? – 30%

Out now on Lion Music Digital

As a precursor to a full length debut album later in 2012, Lion Music have made the 5 track self titled ep by their newest signing, Italian metal outfit The Moor available on digital promo platforms.

Exhibiting a darker tone and timbre than other acts on the label, this reflects something new for the label yet at the same time the bands prog tendencies are present and correct.  More along the lines of Opeth, Mastodon and the ilk this is heavy, almost brutal in places yet with moments of calm and melody.  Highlights to these ears come in the form of “Before Abigail” and the more balladistic yet still dark and heavy “Venice”.  Crushing riffs can be lapped up on “Antikythera” whilst closer “The Road” offers up a progressive tint reminiscent of label mates Day Six.

In short a nice stop gap whilst new music is being recorded and one that offers potential.

Rating – 85%

Out now on SPV/ Steamhammer

By now, everybody knows Anvil’s story. If not, you need to urgently check out the movie about their career. An eyeopener.  The End Records/SPV has seen fit to reissue a couple of earlier Anvil albums. Let’s just hope the band sees some revenue out of it.

1987′s “Strength Of Steel” is the logical follow up to the classic “Forged In Fire”. Unfortunately the four year wait between albums (1985 compilation “Backwaxed” really did the band more harm than good) had lost them most of their momentum. The album isn’t to blame though. Solid metal, Anvil style.  It’s the same story for 1988′s “Pound For Pound”. A good album that yet again failed to set the world on fire. By the time of 1992′s “Worth The Weight” the rot was starting to set in. A move from Metal Blade to Mausoleum can not bode well.  No, there’s still not much wrong with the music. Production values are starting to slip though.  By this time however, Anvil’s star had waned. They’d find it impossible to reconnect with the subtop of the metal scene, even with the support of the Massacre label for their next albums.

These reissues offer a good opportunity to get acquainted with the lesser known albums of Anvil’s back catalogue.

Listen And Learn!

Ratings
Strength Of Steel : 85%
Pound For Pound : 85%
Worth The Weight : 83

Review by Sancho

Released February 27th 2012 on SPV / Steamhammer

Vengeance looked set to conquer the world. With a CBS record deal, a series of top notch albums and an excellent reputation as a live band (somewhat exaggerated in my opinion) they should have taken the late eighties by storm. Didn’t quite pan out as planned… The band sank anonymously after the masterpiece album “Arabia” and the departure of Arjen Lucassen.

Singer Leon Goewie has kept the Vengeance name alive with a revolving lineup of backing musicians.

New album Crystal Eye sounds familiar. Goewie’s voice is instantly identifiable.

The direction hasn’t changed much either : walking the fine line between hard rock and heavy metal. N The songs are catchy but miss some of the refinement and quirks that made the old Vengeance albums stand out. “Crystal Eye” does exude the same sense of optimism that typified the band first time around. Timo Somers, son of deceased guitarist Jan, does a great job on guitars.

There’s no stand out tracks, but there’s no real dogs either.

I have to admit I was pleasantly surprised. The last couple of Vengeance albums did absolutely nothing for me, which hurt for an old fan. This album, while not a classic like “Arabia” or “Take It Or Leave It”, does a lot to set things straight.

Rating – 82%
Review by Sancho

Out now on Metalville Records.

Hitting their 10^th anniversary, Swedishn traditional metallers Astral Doors celebrate their sixth studio album with “Jerusalem”.  If you’re new to the band, simply said they are straight up classic metal ala Dio/Tony Martin era Sabbath or Dio.  A classic guitar/Hammond tag team over a driving rhythm section coupled with the vocals of the Dio/Jorn Lande-esque Nils Patrik Johansson, a fine vocalist who just happens to have sung on some of my favourite albums with Richard Andersson’s Space Odyssey.

“Jerusalem” for the most part is more of the same, bred from the same pot that produced their other works and whilst it may all seem a little too predictable to some, the band manage to maintain your attention throughout with good riffs and strong hooks.  Nothing overtly fancy or pretentious just good riffs, a solid back beat and a charismatic frontman and really its all you need.

The production however is not quite as strong as on earlier albums ala “Of The Son And Father” and “Evil Is Forever” but again not too much to gripe about.

Highlights are plentiful from the opening assault of “7^th Crusade”, “Pearl Harbour”.  “Babylon Rise” shows a slight variation in the bands theme taking some unexpected turns.  “Suicide Rime” is sure to get some dandruff flying at gigs whilst fans of epic productions will be well pleased with “The Battle Of Jacob’s Ford”.

Overall album number 6 doesn’t through up any real surprises, yet the quality of song writing is still on a par with albums of yore.  Solid and dependable, get some Astral Doors into your life with “Jerusalem” being as good a place to start as any.

Rating – 84%

Mark Reale has passed away. An unsung hero if ever there was one.

His trademark guitar playing helped define Riot, one of the classic American metal bands.

His work with Westworld showed another side to his songwriting.

An underrated guitar player in underrated bands, Mark Reale wasn’t a household name.

Truly an injustice.

RIP Mark Reale

7 June 1955 – 25 January 2012

Released 27 January 2012 on Lion Music

Arguably one of melodic rocks best bands returns with their first album of new material since 2007.  During this time House of Shakira has undergone somewhat of a line-up change with a new rhythm section of Basse Blyberg (bass) and Martin Larsson (drums). But perhaps the most risky change was that of the lead vocalist position.  Replacing the well respected Andreas Eklund is thankfully another gem of a vocalist in Andreas Novak (ex Mind’s Eye and solo).

Any preconceived concerns about the new line-up are quickly dissolved with opening brace of “Brick Wall Falling” and “Changes In My Mind”.  House of Shakira are definitely back with one hell of a wallop, powerful yet full of melodic charm these two tracks represent perhaps the most urgent tracks the band have produced in years.  The slightly heavier/darker edge to much of the music on offer fits well with Novak’s confident vocals which have a nice mix of emotion and strident delivery.  Guitarists Mats Hallstensson and Anders Lundstrom have never been a guitar tag team short of class but here they sound pumped through a succession of strong riff hooks and tasty lead work.

That’s not to say the bands classic sound is missing for its here in most tracks just delivered a little different – dare we say with more enthusiasm?  The production is strong, live sounding, few overdubs and probably represents the bands acclaimed live show well.  It responds nicely to being pumped through a decent hi-fi or headphones at high volumes.

Melodic rock anthems are well catered for in chest thumpers like “Carry My Load”, the radio sheen of “Fractions Of Love” (Def Leppard would kill for a track like this in 2012), “I’ll Be Gone”, “Out Of My Head” and “Voice In The Void” where the bands mix of commerciality and rocking delivery is all present and correct with some of the best vocal and backing vocal hooks you most likely will hear in 2012.

Novak’s arrival also sees the band move into some newer territory as heard on “All Aboard!” and “Midnight Hunger” which rock profusely with the band sounding like they have been let off the leash, it’s a fun new edge to the bands output and works nicely.

Ballads are kept to a minimum on “HoS” with “Lost In Transition” being the only number that could fall under such a banner, whilst mid-tempo country-ish waters are tread in “What Goes Around” with its killer chorus.

Overall, “HoS” marks a fine return from one of the best melodic rock bands going.  This the sound of a band revitalised and perhaps with a point to prove in 2012.  Fans of honest hard rock with a strong dose of melody are well advised to check this out pronto.  A contender for melodic rock album of the year already.

Rating – 95%

Released 30th January 2012 on AFM Records

Lillian Axe have gone through quite an evolution. They kicked off with a trio of hard rocking classics, culminating in the masterpiece “Poetic Justice”. With every new album since “Psychoschizophrenia” their sound darkened. Yet they never lost what made them uniquely Lillian Axe. It’s no different on this new album. The riffs, melodies and songstructures are all instantly recognisable.

Overall the new album is more upbeat than the last two, which doesn’t hurt, to be honest. Tracks like “Take The Bullet” were missing for too long. It seems the band (well, Stevie Blaze) is returning to its roots. This album sounds closer to “Poetic Justice” than it does “”Deep Red Shadows”.

It’s interesting to note that while newcomer Brian C. Jones has a rather different voice from his predecessors, his vocals are a seamless fit.

Standout tracks : the epic “Death Comes Tomorrow”, “The Great Divide”, the furious “Caged In”… Take your pick, there’s not a duffer on the album.

There’s nothing more to say really. Lillian Axe have released yet another great album. Their best since “Poetic Justice”.

Rating – 96%
Review by Sancho

Released 27 February 2012 on SPV

The arrival of Vinnie Moore seems to have given UFO a new lease on life. Albums have been solid, tours have not been cancelled…

Last album “The Visitor” was a bluesy, rather tranquil affair. Was it a portent of things to come?

Opening track “Fight Night” kicks off in typical UFO fashion. Think Chapman era UFO rather than Schenker though. There’s even several nods to Chapman in Vinnie’s guitar solo. Not to mention the fact his tone has changed. There’s more snap and attack, rather than the fusiony smooth sustain he used so far. “Wonderland” continues in the same style, while “MoJo Town” ups the heavy even more. “Angel Station” is a power ballad with plenty of power. “Year OF The Gun” wouldn’t have been out of place on “Wild Willing And Innocent”. With again those little Chapman-isms thrown in… Vinnie goes all out in “The Last Stone Rider”. He must have made a hobby out of copping former UFO guitarists’ styles, as he sounds like he’s channeling Schenker for this one.

“Steal Yourself”, “Burn Your House Down”, “The Fear”, “Waving Good Bye”… Is it really necessary to go into detail?

At ten songs, the album doesn’t outstay its welcome. It’s a more energetic affair than “The Visitor” overall.

Vinnie Moore has really grown into the band. He has adapted his own playing style to fit seamlessly, taking influences from his predecessors without losing his own identity.

Another fine UFO album that adds to the legacy, rather than detract from it.

Rating – 90%
Review by Doctor Doctor Sancho

Released on 20 January 2012 on Frontiers Records

Good old Primal Fear. They rarely disappoint if you’re into Germanic Metal with a slight (ahem) Judas Priest influence.

The scene is set from the off : album opener “Strike” is an example of what Primal Fear is all about. You know what to expect, and the band delivers with gusto.

It sounds like they put some extra effort in the songwriting, delivering more hooks and catchy choruses than before.  Mainstays Ralf Scheepers and Matt Sinner (Randy Black has been around quite some time as well) have assembled a quality guitar team, in the persons of Alex Beyrodt and Magnus Karlsson.  The latter’s influence can be heard in the sometimes slightly more modern riffing (“Bad Guys Wear Black” for instance).  Check out some of the monster soloing in tracks like “Give Em Hell” or “Metal Nation”.

After a couple of less inspired releases, Primal Fear are back with a bang. One of their better albums. 

Rating – 90%
Review by Sancho