Nerve is a technical death metal band from Genoa in Italy that released its third output entitled “Fracture” with the seventy-eighth issue of the famous French Metallian magazine last year. While the band is composed by a lot of talented musicians, their dystopian sound needs some time to grow and is sometimes hard to digest. The problem is that the band kicks off the record a little bit too straight with the not very well chosen opener “Antichrist” that makes you think that this band just wants to play noisy and aggressive music without adding an own touch to the groove driven death metal genre. The next few songs are not that convincing as well.

The band only shows later that they are more than an aggressive bunch of musicians. The complex “Scream” finally surprises with an excellent mixture of powerful harsh vocals and charismatic clean vocals as well as with a very dominating bass guitar play and develops a dystopian atmosphere with surprising atmospheric breaks where Martyr seems to meet Iced Earth but also names like Dagoba or Gojira quickly came to my mind. The following instrumental “Al-Dajjal” introduces us in a very dark and almost industrial way to Arabian folklore which grabbed my attention. “Zero” starts with calm passages that would rather fit to Katatonia or Opeth before a very technical extreme metal track kicks off. The more and the longer you listen to the album, the better it gets if you care for dystopian extreme metal. The closing instrumental “The Reign Of Thousand Years” even finishes the album on an epic and calm note and could easily fit on a movie soundtrack. While listening to this song, I’ve almost felt like walking on a blood-red battlefield covered by the soldiers’ bodies.

After a weak start with the first three tracks, Nerve finally happen to present us one of the most original and technically convincing extreme metal releases of the last year with “Fracture”. It doesn't beat the last Dagoba release but it turns out to not being a far call from it either. Don’t get fooled by your first impressions and discover a truly decent release that you can also check out on the band’s official Bandcamp presence: http://nerveofficial.bandcamp.com/album/fracture

Originally written for The Metal Observer

For quite some time, I hesitated to buy the re-release of Iron Maiden’s “Maiden England” live set that had been recorded back in 1988 in support of the studio record “Seventh Son of a Seventh Son” and was first released in 1989. I had several reasons to do so. First of all, I’m not at all a fan of rehashed old material. Instead of spending their time on re-releasing old material and play numerous concerts in the key of that old tour, I would like Iron Maiden to work on some decent new material. Their last studio output “The Final Frontier” was lukewarm and already released four years ago. Comparable bands like Loudness show how to release decent material each year or at least every second year while still playing energizing live shows all around the globe. Another reason for me to avoid buying “Maiden England ‘88” was that Iron Maiden had already released multiple more or less relevant live albums and that I have got several of them in my precious collection. Could that new live record really mess with “Live After Death”, “Rock In Rio” or “Flight 666” for example? The third reason that made me hesitate for a while is that this live record supports the “Seventh Son of a Seventh Son” release. For many fans, this release is an all-time classic or even the best Iron Maiden record but that’s not my case. I always thought that its concept was pretentious and superficial and I still have my problems with the overlong title track “Seventh Son of a Seventh Son” or filler material like “The Prophecy” or “Only The Good Die Young”. Finally, I saw this record for a good price and decided to give the two discs that also include three bonus tracks for the first time a shot.

I must admit that I was completely blown away by the excellent live sound, the great and energizing instrumental performance and the unchained vocals by Bruce Dickinson. Even the crowd did a good job even though they still can’t mess with fans from Latin America. But you really hear that the band feels well to play in its home country and gives its very best. Apart of these positive impressions, the set list of this concert was simply unbeatable. Of course, it includes the usually and very well played classics like the punk driven anthem “Iron Maiden”, the atmospheric and dark “The Number of the Beast” or the emotionally driven epic “Hallowed Be Thy Name”. 

The band also played a few rare classics that I like quite a lot. I must point out the passionate performance of the fast paced “The Prisoner” with the more epic, melodic and relaxing chorus which is one of my favourite songs from “The Number of the Beast”. The menacing and sinister “Killers” with its impressive bass guitar driven opening minute works even better live than on the original album. The atmospheric and transcendant “Still Life” which is my favourite song on “Piece of Mind” fits well to the calmer songs from “Seventh Son of a Seventh Son”.

To my very positive surprise the songs from “Seventh Son of a Seventh Son” work a lot better on stage than in studio for me. Especially the diversified soft progressive metal milestone “Infinite Dreams” are absolutely essential in its organic live version. Even weaker songs in my opinion like the more sophisticated and conceptual “Moonchild” work better on here and this certain track really kicks off the concert on a positive note that mixes the much needed energy with thought out atmosphere. Iron Maiden simply deliver an outstanding powerhouse performance and it’s great that they have focused on a few more original songs which are rarely played live and decided to leave out classics like “The Trooper” for example.

The three bonus tracks “Running Free”, “Sanctuary” and “Run to the Hills” are a lot less essential than the rest. Their production and especially the few moments of silence between these tracks in comparison to the fluid recording of the other fifteen songs don’t please me at all. On the other side, these bonus tracks are a nice gimmick for collectors who have bought the VHS version of this concert twenty-five years ago and want a little extra. That’s why we shouldn’t judge the band all too hard and see these three bonus songs as a little gift and nice attention.

In the end, I finally did the right choice to purchase this double live record. The performance of the band is healthy, passionate and technically diversified. Especially the rarely played tracks make this release a true highlight. Of course, this record can’t beat “Live after Death” but it’s easily on the same level as “Rock in Rio” or “Flight 666” for example. That’s why not only collectors and die-hard fans should get this release but also occasional Iron Maiden fans. Up the Irons!

Originally written for The Metal Observer

The mid and late nineties have always been underestimated in terms of groundbreaking metal releases because the big names didn’t deliver and the scene didn’t get that much attention anymore. Younger generations were rather exposed to the grunge hype, the rise of alternative rock and crossover music and the proudly growing hip hop community while older fans turned away from their idols after several disappointing releases, unusually long waiting times between albums or fatal line-up changes. That’s why many people missed a couple of really essential releases and new sounds in the metal scene. While comparable bands like Absu, Amorphis, Moonspell, Orphaned Land, Sigh, Therion or Unexpect finally got some well deserved attention, the ambitious and unique avant-garde style of the symphonic extreme metal band Septic Flesh (or Septicflesh as they are called since their reunion in 2007) never got its breakthrough. If you like any of these bands, you simply can’t get around them though and "A Fallen Temple" would be an appropriate album to start your journey with if you have missed this band until now.

The remastered version includes some additional material for collectors but it’s nothing really essential. Paradise Lost has always been overestimated in my humble opinion and that’s why I don’t need a cover song of them. “Underworld Act 3” drags on for almost eleven minutes and simply goes nowhere as it can’t mess with the first two parts. The instrumental “Finale” offers nothing intriguing either. The single version of “The Eldest Cosmonaut” is not as effective as the regular album version. These songs should have remained collector’s items only. It’s always sad when true fans purchase rare editions of their favourite bands’ releases to get all extra tracks just to see that these tracks are later reissued and available for any occasional fan. Labels don’t seem to understand that this is rather harming the weakened music industry than helping it to arise from its ashes.

Anyway, let’s focus on the original record which is simply brilliant. Greece’s best metal band ever has moved away from its extreme metal roots for a slower gothic and symphonic sound. The combination of grounded clean male vocals, powerful and rather skilled than brutal growls, the decent use of skilled female soprano vocals that actually manage not to get on my nerves in comparison to many less extreme symphonic metal bands, a few colourful guest vocals of different styles and a solid dose of majestic choirs gives this record a dynamical, epic and positively sophisticated touch. The band has developed a great sense for atmospheric buildups, enchanting guitar and orchestral melodies and an amazing mixture of intriguing avant-garde ideas and a constantly coherent flow. This album even has a couple of truly catchy choruses that won’t get out of your mind. While many similar bands sound challenging and need multiple spins to open up, Septic Flesh convince at first try even though one can discover more and more elements with each spin. This is where the band shows an almost progressive side in its symphonies. Even though some tracks are quite elaborated and request a lot of attention, they never repeat themselves. 

The whole record has a perfectly homogenous flow that distinguishes an excellent concept album from a good one. It’s hard to point out any particular song because they are all at least very good and there is no negative filler included. You really need to listen to this music in one shot but once you’ve heard the first few tracks you simply don’t want to stop anymore and should feel like listening to this record until the end. If that’s not the case, this genre simply isn’t your cup of tea. I would put this record on the same level as Moonspell’s "Irreligious", Therion’s "Theli" and Novembers Doom’s "Of Sculptured Ivy And Stone Flowers". The original album is rather hard to find and it’s great that this forgotten pearl of the nineties is back in stores now. If you care for atmospheric and innovating metal with a darker touch close to gothic and symphonic metal, this release is a definite must have.

Originally written for The Metal Observer

Neblina is one of the rare metal bands from Angola that has been around in the capital Luanda since 2000. The band went through many line-up changes but finally managed to release its first record "Innocence Falls In Decay" in early 2006 through the national radio studios of Angola. The album had been mastered in Portugal and produced in Angola and has a good but not extraordinary sound quality. A second album of the band is in the works and should see the light of day during the next years but one never knows how things are going in Angola.

Musically, the band is influenced by many alternative rock and metal acts of the nineties. Most of the songs on here are sung in English, are rather short and focus on catchy and emotional lyrics. The tracks are all hold in a mid tempo or even slower. The record includes a couple of very well done half-ballads as well. The atmospheric "Set Me Free" is one of these. The song uses sound samples of rain and thunder and includes simplistic and appeasing keyboard sounds. The track starts with simple guitar riffs and drum patterns, a relaxing but very well done bass guitar work and smooth vocals that get more and more intense towards the end. This might not please to metal purists but the song definitely has its very own chilling atmosphere and really grew on me.

Tracks like "Alone" and "Mysterious Sky" sound more grunge influenced and are a little bit darker. The multiple vocals, the chaotic but melodic guitar work and the use of almost gothic influenced piano samples show the multitude of influences and the high degree of diversity of this band. This kind of music also needs some time to grow and you end up getting it or not. "Alphaland" and "Holy Angels" are even more sinister and feature solid guitar works, a little bit heavier vocals and very dominating keyboard sounds. They have this little alternative gothic touch that could come straight from an American band of the nineties.

In the end, this album is worth your attention if you like atmospheric and melodic alternative and gothic rock music from the mid-nineties up to the new millennium. Fans of rock and metal music from exotic countries can't get around this as well as there is only one other known rock band from Angola which is the metalcore act Before Crush, formerly known as Nightmare Today. The songs on here all have some soul and are very emotionally performed but also include a slightly commercial touch. It's the kind of appeasing music that one needs to listen to from time to time to take a deep breath and a relaxing break from your everyday life. It really depends on your mood whether you enjoy this kind of music or not. From an objective point of view, this pioneer rock band from Angola delivers nothing really new but they are good at what they do and spread this kind of music in their metal developing country. From a subjective point of view, I appreciate this kind of music but couldn't listen to this all day long. I hope the band carries on and I'm curious to hear what their new album might sound like and if there is some form of evolution between the two releases.

Originally written for The Metal Observer

Alestorm makes songs about exactly two different topics only: alcohol and pirates (or both) in different scenarios. The band members don’t take themselves all too serious though and that makes these five guys from England, Northern Ireland and Scotland so sympathetic. Their joyous mixture of rough vocals, epic melodies played by guitars, keyboards and keytars and enthusiastic sing-along passages works best live. While the band looked a little bit chaotic and drunk when I first saw them back in early 2009, they still booze a lot on stage and interact in a very humorous way with the crowd but their musicianship seems to have improved since then and their sound is more structured as well. I really saw an improved performance by the band when I went to another show of them in late 2013 and that’s why I decided to purchase their “Live at the End of the World” package including a live disc and the entire concert on DVD plus a funny documentary and two video clips.

The band takes us on a joy ride for over more than ninety minute where they drink rum, cognac and beer on stage, have amusing discussions with the enthusiastic nine hundred fans in Melbourne and perform their greatest hits from the first three albums including slow paced epic pirate ballads such as “Nancy The Tavern Wench”, fast and partially almost thrash metal driven anthems like the fan favorite “Keelhauled” and even symphonic extreme metal parts as “Death Throes Of The Terrorsquid”. Other highlights include funny nonsense speeches, an amusing band presentation or peaceful wall of death events encouraged by the band. In the end, this concert feels like a crazy party where the band and the crowd booze, cheer and sing together. Even though the band sounds better than in the past, the singer still misses many notes and some instruments get out of rhythm but Alestorm are not about technical perfection but about having a whole lot of fun in life. That’s why this band really works better on stage than on a simple studio record.

If you are a regular fan, this release will be the highlight in your collection and if you happen to be an occasional or new fan, let me tell you that this release is far more essential than any Alestorm studio record because this concert and the following and surprisingly entertaining documentary represent all what this band is about. Switch your brains off, invite some friends and a couple of beautiful women, prepare some great drinks (some recipe suggestions can be found in the credits) and be ready to dance, mosh and sing along while watching or listening to this cool release. The only reason to not purchase this package is in order to save your money to see these guys live on stage in your town and be part of the party. Hurry up though as one never knows for how many years these guys may still be able to tour the world on such a high and wide level due to all their alcohol abuses and epic parties.

Originally written for The Metal Observer