Live records have become less appreciated in the age of digital access to music via streaming platforms and the likes. However, some veteran bands have stayed faithful to this type of release and Japanese heavy metal legends Loudness are an excellent example. This generous double live record that offers two CDs and a DVD includes nineteen songs and was recorded four years ago to celebrate the thirtieth anniversary of records Hurricane Eyes and Jealousy. Instead of just blandly playing songs from those albums, this output also includes four songs from most recent studio album Rise to Glory -8118- as well as a few cuts from classic records Disillusion and Thunder in the East as an encore.

The final result is a wonderful release for fans of old age, new followers and even occasional listeners alike. This live record shows the relentless energy, vibrant pride and technical skills of the quartet for almost two hours. 

Niihara Minoru might not be the most technically impressive singer in the genre but his charismatic mixture of melodic elegance and rough energy has stood the test of time for four decades and counting as it sounds impressively timeless and youthful.

Bassist Yamashita Masayoshi is often considered the most underestimated member of this legendary band. However, his domineering, playful and vibrant style makes the band's music so catchy, energetic and euphoric. He is able to support the drums in the rhythm department with much feeling, duel the ecstatic guitar passages to balance the band sound organically and even provide a few short solo spots showcasing his impressive technical skills.

Guitarist Takasaki Akira is one of the greatest heavy metal guitarists of all time. This has been true since the early years of this legendary band, is still a fact in this day and age and will go down in history long after this outstanding band has gone. This charismatic musician finds the perfect balance between emotion and technique which is something more limited heavy metal guitarist simply can't achieve while guitarists from more ambitious progressive metal bands can't comprehend it. While listening to Loudness, you feel like banging your head and playing air guitar in certain moments while you are just leaning back in awe and observing how every single note is played when Takasaki Akira presents innovative chord progressions and improvised solo sections. In this regard, his talents come even more to life on live records than on studio outputs.

Drums on this release are mostly provided by a new face in the band with Nishida Ryuichi. Some people might know him form Marty Friedman's solo material but he has only been playing live shows with Loudness for the past five years. His drum play is energetic, precise and tight. He might lack charismatic elements but is able to imitate the style of his predecessors very accurately. Regular drummer Suzuki Masayuki makes an appearance in the encore section which might be considered this release's shining highlight and satisfactory climax.

This record's production sounds exactly the way a live record should. It's authentic, energetic and raw, showcasing small mistakes such as missed notes and mumbled lyrics while also highlighting creative improvisations and extended solo sections that unfold a hypnotic kind of magic.

Most importantly perhaps, this live album includes many songs that have very rarely been played by the band and might not be performed on stage again anytime soon. For those who attended this tour, this live release is a most wonderful souvenir while those who couldn't make it now discover old songs in a new light. Both perspectives certainly justify the release of this timeless live record.

Pointing out highlights on such an excellent output isn't an easy task at all. Even though elitists consider describing individual songs in great detail unnecessary, most fans are looking for exactly these descriptions. In order to satisfy both parties, let me simply point out a few of my personal highlights. 

''S.D.I.'' is a wonderful aggressive, fast and relentless opener that doesn't take any prisoners and makes the band sound half as old as its members actually are. 

''This Lonely Heart'' is a catchy, melodic and memorable anthem that convinces with the singer's wonderful interactions with the energized crowd. This song is an excellent example for the band's mixture of energy and melody. 

New single ''Soul on Fire'' is an instant classic, finding the perfect balance between creative musicianship and catchy sections you won't be forgetting about anytime soon. 

The bouncy, fast and playful ''I'm Still Alive'' is followed by a wonderful solo section showcasing the masterful performances on drums, bass and guitar. 

Heartfelt ballad ''So Lonely'' is performed with much passion in the vocal department as the singer delivers his greatest performance of the night here and is even given some instrumental breaks to let his voice shine. 

Band anthem ''Crazy Nights'' hasn't lost any of its infectious charme in three and a half decades and leads to excellent fan participation with some extended jam passages. 

Closing classic ''Esper'' finds the perfect mixture between feeling and technique and might turn out to be the best possible final song to an impressive Loudness show. The band should certainly keep this charismatic tune as a closer for future tours.

I'm well aware that purchasing this record from Japan is quite complicated, expensive and lengthy. However, the quality of the product is so excellent that it's worth all these efforts. Loudness' Japan Tour 19 - Hurricane Eyes + Jealousy - Live at Zepp Tokyo 31 May, 2019 shows a veteran band that is still delivering the goods in full strength and turns out to be one of the very best live records the quartet has ever recorded in its long and successful career. Faithful fans, occasional listeners and new followers who appreciate heartfelt heavy metal should get their hands on this amazing release as soon as they can. M.Z.A.!

Final Rating: 95%

Saor translates to ''free'' or ''unconstrained'' in Scottish Gaelic and this might be the most fitting name chosen by a metal band since diversified Finnish band Amorphis formed in the early nineties. Despite its incredible diversity, Saor is actually a one-man project with different musicians offering occasional support for shows. Origins is already the project's fifth full length effort and offers six songs between five to eight and a half minutes for a total running time of forty-one highly entertaining minutes.

Saor fluidly combines soundscapes that would usually be considered incompatible. The record includes fast-paced black metal guitar riffs supported by thunderous drum play and desperate shrieks recalling pagan folk metal at its very best. This album however also includes a multitude of folkloristic references such as the use of bagpipe sounds and female choirs which make this release particularly interesting for folk metal fans. Several songs however also come around with uplifting upper mid-tempo guitar riffs and energetic rhythm section that wouldn't sound of place on a classic European power metal album. To go even further, in its most joyful moments, this album's melodic guitar play and dynamic drum passages even recall American pop punk from the late nineties. It's therefore quite obvious that mastermind Andrew Marshall doesn't even remotely care about genre definitions and simply records what he thinks fits together best. And despite these unusual genre combinations, this album sounds fluid from start to finish and makes you want to push the repeat button right away once it has concluded.

While every single of the six songs sounds great, a few manage to stand out among the rest. ''Fallen'' is the shortest and most concise song and an ideal potential single candidate that made me realize for the very first time that I was listening to an absolutely outstanding record. The melodic folk sounds would do the soundtrack to any documentary about the islands of Caledonia justice and invite listeners to dream themselves far away.

Another instant highlight is ''The Ancient Ones'' that sounds much shorter than its running time of eight minutes. The long instrumental passages are enchanting, hypnotizing and soothing while the occasional female choirs add healthy doses of magic, mystery and tradition to this epic masterpiece.

The song that might combine Saor's gloomy black metal passages and its uplifting folk sections best is triumphant closer and title track ''Origins'', clocking in at a reasonable six and a half minutes. If you had only one song to pick to give yourself an appropriate idea of what this curious release sounds like, then this should certainly be your pick.

To be fair, not everything is perfect on this excellent release. Most songs miss truly memorable melodies or vocal lines that will stay on your mind as the sum of the different tunes is certainly greater than its different interesting parts. While opening song ''Call of the Carnyx'' oozes with mysterious atmosphere, it sounds somewhat sluggish and might take a little bit too long to truly captivate its listeners.

Still, believe me when I write that these elements are only very minor complaints. There is no doubt that Saor's Origins is one of the very best folk metal albums in recent history. Genre fans should definitely give this project in general and this new album in particular a fair try. The project's eclectic approach might not please every potential listener but those who are able to enjoy this album's unusual genre mixture might rightfully call it one of the biggest surprises in the contemporary metal scene. Saor prove that there is always something new worth being discovered in this lovely genre.

Final Rating: 90%

Avantasia's A Paranormal Evening with the Metal Hammer Society is an extended play consisting of eight songs that intends to promote the project's ninth studio album. It consists of two new studio tracks and six live songs recorded in Germany and Switzerland. Released by the German Metal Hammer magazine, this release clocks in at a very generous forty-one minutes.

The two new songs can be considered good average singles on the thin line between energetic heavy metal and uplifting power metal. The songs clock in below four minutes each and manage to entertain with thunderous rhythms, harmonious melodies and catchy vocal lines. The only issue of these songs is that they sound very similar to previous tracks released by the project. That doesn't come as a surprise since Tobias Sammet has always taken care of songwriting duties and his collaborators tend to always be the same. At this point, making new songs sound exciting and fresh has become a considerable challenge. To be completely honest, these two songs are quite by-the-numbers.

The same can't be stated about the six live tracks that sound particularly energetic. I have attended an Avantasia concert right before the pandemic myself and the show that lasted more than three and a half hours is still one of the very best I have attended in my whole life. Needless to say that these live tracks bring back very positive memories and that another live album by Avantasia should soon see the light of day, Highlights on this particular release include the catchy, energetic and uplifting new song ''The Wicked Rule the Night'', heartfelt gothic rock ballad ''Draconian Love'' and passionate symphonic power metal ballad ''Farewell'' that concludes this release on the highest note and remains perhaps the greatest song the project has ever recorded.

As you can read, the live material on this extended play is worth the purchase of the German Metal Hammer magazine with this release on its own. If you haven't attended one of the project's shows, you should certainly do yourself a favour and do so as soon as you can. The two new studio singles aren't bad at all but a little bit by the numbers. Avid collectors and fans should appreciate them but they might leave occasional listeners or potential newcomers rather cold. At the end of the day, Avantasia's A Paranormal Evening with the Metal Hammer Society is a worthy addition to any heavy metal or power metal fan's collection.

Final Rating: 75%

Dear readers,

If you haven't discovered this wonderful little Bubble Tea Game yet, please make sure to click on the following link to enjoy a humorous break from your Monday morning routine: https://g.co/doodle/wcw8r2e

Liebe Leser*innen,

Bitte versteht meinen folgenden Kommentar nicht falsch. Ich mag Pantera persönlich wenig bis gar nicht und möchte auch das dumme Verhalten von Sänger Phil Anselmo mit seinen rassistischen Bemerkungen in der Vergangenheit nicht in Schutz nehmen. Diese Aktionen gilt es klar zu verurteilen.

Allerdings spielen Pantera in der ganzen Welt Konzerte, streckenweise auch in Ländern mit linken Regimes und mit Bands, die sich glasklar gegen Rassismus positionieren. Nirgendwo auf der Welt sind die Auftritte dieser Band ein Problem - ausser in Deutschland.

Das liegt daran, dass hier alles ständig politisiert werden muss, von der Fussballweltmeisterschaft in Katar bis eben hin zu Rock am Ring. Man hat das Gefühl, dass man in Deutschland kaum mehr etwas geniessen darf.

Gleichzeitig spielen aber andere Bands, die sich in der Vergangenheit ebenfalls politisch kontrovers geäussert haben, in Deutschland sogar eigene Festivals vor fast einer Viertelmillion Menschen.

Das passt halt alles nicht zusammen.

Ich finde, dass Kunst frei sein muss. Jede Person muss sich dann informieren und selbst entscheiden, ob sie dann eben auf ein Konzert einer bestimmten Band gehen möchte oder nicht. Diese Entscheidung sollten dem Individuum nicht irgendwelche Organisatoren oder Gruppierungen abnehmen.

Mit freundlichen Grüssen,

Sebastian