spiders

Playlist: July 2015

ORCHID, “Sign of the Witch” (2015)

If you thought the last Black Sabbath album didn’t sound Sabbath-y enough for your tastes, you should really check out Orchid, who are basically Black Sabbath if the synth-speriments of Sabbath Bloody Sabbath and everything that came afterwards never happened. This is the title track from their latest EP, another snaking beast of doomy blues metal with your typical raw riffage and squealing soloing, not to mention some cracking vocals from frontman Theo Mindell. It’s all quite evil and very tasty indeed.

Now, Orchid have had a fairly steady release cycle of alternating EPs and albums for several years now, so the release of Sign of the Witch could indicate a new full studio record for 2016. I hope it does. I didn’t care too much for debut album Capricorn, save a few tracks, but their last LP The Mouths of Madness was really rather great, so even if the formula doesn’t change much their songwriting does seem to be improving with each release, so the next album, should it surface, could be something really rather special.

BLACKWOLF, “Kiss the Fire” (2014)

Hard rockers BlackWolf recently kicked off a PledgeMusic campaign for their second album which I think is actually about done being recorded. This song, however, was released as a standalone single last October, and at present I’ve no idea if there are any plans to include it on the new record. I hope they do, though, because it’s an absolute stonker of a song. I don’t know if you can describe a riff as both “grinding” and “sticky”, but I like to think they apply to “Kiss the Fire” and its danceable, hummable grooves. In fact it’s always a sign of a good song when you don’t know whether to hum the melody or the guitar. For a three minute rock song there’s a surprising amount going on in here, from the softer bridges to the tambourine touches in the verses to the jazzy break towards the end, but it’s all very good indeed.

If you like what you hear, please consider supporting BlackWolf’s PledgeMusic campaign here and get yourself some goodies.

ARMORED SAINT, “Can U Deliver” (1984)

I meant to include this one in last month’s Eighties Metal Binge edition but it slipped my mind during the writing process. It doesn’t help that WordPress has a nasty habit of forgetting to save your drafts if you’re not careful. But it’s a shame I forgot to include this song because it was actually the song that made me decide I should put that playlist together in the first place. Weird how things work out sometimes.

I mean, come on. Bizarre replacement of “you” with that big dumb “U” aside (which somehow predates the Nineties pop craze of substituting words with letters and numbers by a good ten years, not to mention from an entirely freaking different genre), this song just is Eighties metal, from the lusty themes to the tough guitar sound and John Bush’s wailing vocals, and it’s all so, so much fun. For some reason the video version starts with a fifty second instrumental that isn’t on the record, but once you get past that and into the huge crunching riff it’s nothing but pure New Wave of British Heavy Metal bliss from there on in. Does it matter that Armored Saint are actually American? Probably, but let’s pretend it doesn’t.

THE STRYPES, “Get Into It” (2015)

Now this is more like it. In May’s playlist I mentioned my fears at The Strypes diluting their sound to appeal to a wider indie rock/mainstream market, and while I can’t say recent single “A Good Night’s Sleep and a Cab Fare Home” has done anything to assuage those concerns with its mellower sound and generic, teen-pleasing “one night stand” theme, “Get Into It” is a more promising offering, its coarse guitar tone, syncopated bass and strutting melody finding a neat middle ground between the throwback R&B of their first album, Snapshot, and the indie rock direction they seem to be pushing towards.

I haven’t had the pleasure of seeing them live yet but apparently they’re a ferocious stage presence, and you can tell from these videos of theirs that these guys have serious musical chops that deserve to be shown off. Why on earth Catfish and the Bottlemen are getting so much attention when these guys are out there ripping it up is completely beyond me.

SHINEDOWN, “Cut the Cord” (2015)

And of course, in keeping with the need for balance that permeates the very fabric of our existence, as the lessening of my anxiety for the future musical direction of one artist alleviates, so must it intensify on another. I should first make it clear that I actually do like this song a lot – it has some great vocal and guitar work, a sick groove, and the message is a welcome one – and it isn’t as though Shinedown haven’t flirted with this sort of quasi-rap rock before (“Sound of Madness“, anyone?).

It’s just… I don’t know. I guess I feel that rock has already had to cede so much ground to rap already over the past couple of decades that the few bands that do enjoy that wider audience, like Shinedown, should be fighting to preserve its identity rather than blurring the lines further. The world left nu-metal behind for a reason, after all. I mean, “I’m gonna make it rain?” Really? And what’s with those hand gestures Brent Smith throws out at about 1:46? (Though I suppose you could write a small book on the weird stuff Smith does in this video.) As a one-off on the album I can take this gladly. If the whole record ends up sounding like this, though… hm.

SPIDERS, “Shake Electric” (2014)

Have I mentioned how healthy the European rock scene is right now before? I could write an entire Playlist based on bands solely from that scene (and I might just do so) because I’m constantly discovering new and awesome bands from the continent. Case in point, Sweden’s Spiders, whose single and title track from their second album, “Shake Electric”, is a wonderful little slice of candied scuzz rock, like a less bluesy Blues Pills.

Like a lot of the bands from this scene it’s very retro – there’s a touch of that yearning Sixties baroque pop sound to the riff and melody, while the harmonica solo at the end is pure Dylan – but there’s something about the sheer, youthful vibe of the thing that, for me, brings it right into the twenty-first century. I will admit that Ann-Sophie Hoyles’s vocals took a little bit of time to grow on me, as strong as her voice is, for the way she intones some of the words, but after a few listens they bed in perfectly to the sound. Great stuff.

DIAMOND HEAD, “Helpless” (1980)

I had the opportunity to see Diamond Head at the Chester Live Rooms back in June with their new frontman, Rasmus Bom Anderson. I can’t say I was ever too bothered about “Helpless” but they played it as an encore at the show and, somewhere in that performance, I found a love for the song that I’d never felt before. From that initial riff to the little bass lick halfway through to the shifting time signatures and constant sense of propulsion, you can hear thrash metal being born in seven glorious minutes. I got into Diamond Head the way I imagine most people did, through Metallica’s cover versions, but I can honestly say I prefer the originals. They might not have the sheer heaviness of Metallica’s recordings but they do have Sean Harris’s vocals, and you can’t fault those.

In some surprising news, too, it’s been announced that Diamond Head are recording a new album after years of stating explicitly that they weren’t going to do that. Obviously I’m thrilled, especially as I got to hear two of the new songs at the gig (spoiler alert: they’re great), but I’m also a little concerned about how former frontman Nick Tart must have taken that news, given that the very reason he left the band (back in 2014) was that he wanted to record a new album and the other members didn’t.

JACKAMAN, “You Can’t Take Back” (2015)

I don’t suppose you remember Saint Jude, this bluesy soul rock band that Classic Rock Magazine were pushing intensely around 2010-11? I couldn’t tell you what the current state of the band is. Their guitarist Adam Green passed away in 2012, and though they released a new EP in 2013 it doesn’t seem like anything else is happening on that front. In fact according to Wikipedia the band broke up last year, though there’s no source cited to back that up, natch.

Singer and frontwoman Lynne Jackaman (who you might also remember from her co-lead vocal spot on The Answer’s “Nowhere Freeway“) has been very busy indeed, however, performing gigs and releasing a new EP, No Halo, under her own name. “You Can’t Take Back” is the closing track (which was also released as a single earlier this year) and it’s fantastic. Not just Jackaman’s vocals, which are amazing, but everything from the melody to the groove to the atmosphere of the thing… I’m not going to say too much else in case I start embarrassing myself. Just know that this is probably my favourite song of 2015 so far, and it’s going to take something extraordinary to take its place.

OPERATION: MINDCRIME, “Re-Inventing the Future” (2015)

Ever since the whole Queensrÿche v Geoff Tate soap opera came to an end last year, with the Wilton-Rockenfield-Jackson-etc. line-up getting to keep the name and Tate getting… some other stuff that I forget, the latter’s been working hard on a conceptual trilogy of albums, the first of which, The Key, is set to be released 18th September. Geoff Tate’s telling stories again? I’m game.

Frontiers Records released an album teaser to YouTube a little while ago with snippets of four songs from the album and the reaction was pretty divisive, at least going by the comments and rating the video received. However the video for new single “Re-Inventing the Future”, while still not overwhelmingly positive, does seem to be getting a better reception. Turns out it’s a pretty good song and, as I pointed out in my “Albums I’m Looking Forward To in 2015” list, more reminiscent of the classic Queensrÿche sound than anything Tate put out with the band since at least Promised Land. I’m even getting a whiff of “The Mission” in that riff.

I’m not sure about Tate’s vocals, though. I appreciate his voice isn’t what it used to be, but couldn’t it have been given a bit of a punch-up in the mix? I feel as if it just disappears into the noise when the chorus kicks in. Then again, this is only a YouTube video played through my cheap PC speakers, so hopefully the album played through a set of decent headphones will have that missing boost.

RUSH, “One Little Victory” (2002)

I’ve been giving Rush’s back catalogue a bit of a closer look recently and… actually, you know what? Sometimes words just won’t do it. Sometimes you just need to sit back, press play and enjoy.