Friday, February 25, 2011

IRON MAIDEN LIVE IN SYDNEY

Sydney Entertainment Centre
February 24, 2011

With approximately half the audience still filling local bars or crowding the merch stalls, Rise to Remain opened tonight’s show, the second of Iron Maiden’s warm-up performances ahead of their Soundwave Festival appearances. Looking every bit like his father’s son, Austin Dickinson led his young troupe through some energetic if fairly standard metalcore. As much as they’ve played the past two years, Rise to Remain still has some way to go to really develop their own identity and looked a little self-conscious on the vast Entertainment Centre stage playing to almost no one. Nevertheless, they fared much better than Maiden’s openers on the last Australian tour (Steve Harris’ daughter Lauren and the awful emo band Behind Crimson Eyes).


Midway through Iron Maiden’s set, Bruce Dickinson acknowledged that tonight’s audience – unlike the massive sell out tour two years ago – was mostly the band’s old faithful, the die-hards who didn’t come along just to hear the "hits". Which was just as well for them. Fully half the set was drawn from the band’s post-2000 comeback era, none of which had ever been played to an Australian audience before. But that didn’t seem to matter, and it was great to see that a good majority of the crowd were able to sing along with the five Final Frontier tracks that were aired, four of which made up the first five songs of the set. Of those, the opening salvo of "The Final Frontier" and "El Dorado" got the warmest response as Maiden burst onto the stage but when the introductory riffing of "2 Minutes to Midnight" was unleashed, a massive roar like 9000 people going "ROOOAARRRRR!!!" almost drowned out the band.

"The Talisman" seemed like an odd choice to follow that, but as perhaps one of their most technically demanding songs I could understand it being played so early. This one seemed to split the crowd a bit, but the band of course pulled it off. "Coming Home" was an early highlight, and "Dance of Death" is a much better song live. One of the biggest reactions, however, was reserved for "The Wicker Man", a clear sing- along favourite being played in Sydney for the first time with the crowd almost lifting the roof off and the band reponding by pulling out every stop.

Unlike the previous tour, Dickinson only got into costume once, for the always ball-tearing "The Trooper" during which he must have run at least a mile waving two Union Jacks. Yet again, as usual, he proved himself to be metal’s – indeed, one of the entire rock world’s – consummate frontman. He engaged everyone in the crowd, pointing out sections for special attention, offered his "Scream for me, Sydney!" rally cry several times (not as often as last time though, thankfully) and always has something poignant, interesting or funny to say. He made jokes about Shane Warne as he tossed a pink bra into the crowd from where it had (apparently) come. He talked about playing in Singapore and in Indonesia, in front of Islamic "metal brothers" who don’t care about race or religion when they’re rocking out to Maiden and in a gesture that caused one of the biggest cheers of the night, dedicated "Blood Brothers" to our cousins suffering from the earthquake disaster in New Zealand. And he never stopped moving. Nor did guitarist Janick Gers, whose crazy dance steps and rubbery contortionist moves when he slips into his own zone are as much of a spectacle as the singer’s exuberant athleticism.

For their part, the rest of the band were hardly boring to watch either, for without a lot of extravagant props and flashy stage effects, Iron Maiden relied on their music and natural showmanship to keep the crowd engaged as the back half of the show was filled out with more familiar songs like "Fear of the Dark" and "Iron Maiden" that was, of course, the cue for a giant red-eyed alien Eddie to prowl the stage and engage in a guitar duel with Dave Murray.

"The Number of the Beast", "Hallowed be Thy Name" and "Running Free" were reserved for the encore, the second of which not only got the greatest cheer of the night but left me both with no voice and a very clear understanding of why I and thousands of others love this band so much. Iron Maiden were truly outstanding tonight and if anyone went away disappointed that they didn’t play "Run to the Hills" then they should kill themselves.



The Final Frontier
El Dorado
2 Minutes to Midnight
The Talisman
Coming Home
Dance of Death
The Trooper
The Wicker Man
Blood Brothers
When the Wild Wind Blows
The Evil That Men Do
Fear of the Dark
Iron Maiden

--

The Number of the Beast
Hallowed be Thy Name
Running Free

Monday, February 21, 2011

STRATOVARIUS: Elysium

Produced by Matias Kupiainen
Released: 2011

For everyone who's championed them over the years, I've always found Stratovarius to be a decidedly uneven prospect, with their obvious abilities hindered by a propensity for over-the-top histrionics and a need to be neo-Classical at the cost of all else, fuelled mainly by Timo Tolkki's desire to show the world what a flash guitarist he is.


It appears that with the final, ignomious departure of the tragic Tolkki, the band's creative centre now revolves around 27-year old guitar prodigy Matias Kupiainen, a man who was only just born when Stratovarius first formed. It has never been more clear that new blood can inject life into a tired old band than here: not only did Kupiainen write the majority of the tracks, he also produced, and a remarkable job he has done.

There hasn't been much of an effort at reinventing themselves here. Really, Elysium is Startovarius refining their sound: winding back the overly flouncy keyboards and the overt neo-classicism in favour of song-craft and consistency. With four out of five members of the band contributing tracks, Elysium is the most diverse Stratovarius album in many years, or possibly ever.The first five songs are pretty standard, if solid, power metal songs and the opener is definitely strong. The tone is set early: Jens Johansson's keyboards help fill out the sound rather than dominate it, coming forward only to solo or trade-off with Kupiainen, Lauri Porra's bass is discernible and, perhaps most importantly, Timo Kotipelto's voice is fine. I've had issues with him in the past because he often goes off-key -- either on purpose or because he's stretching his range -- but here he's spot on. "Lifetime in a Moment" makes the transition from good to great for Elysium, where simplicity meets majesty, and "Event Horizon" is not just blazingly fast but heavy, much heavier than usual.

The true highlight of the album however is the title track itself, a sweeping 18-minute epic that dwarfs not only the rest of Elysium but possibly everything they've ever done. Normally a track this long by almost anyone would leave me screaming for the exits, but this is the true display of brilliance that possibly everyone in Stratovarius has always strived for. Every member shines, even the usually almost invisible Porra gets a solo, and Kotipelto has never sounded better. The ebb and flow of the song's three main sections mesh perfectly and the song works so well it doesn't seem anywhere near as long as it is

I never thought I'd write so much about a Stratovarius album without most of it being ridicule, but they deserve only high marks for this.

1. Darkest Hours

2.Under Flaming Skies
3 Infernal Maze
4. Fairness Justified
5. The Game Never Ends
6. Lifetime in a Moment
7. Move the Mountain
8. Event Horizon
9. Elysium

Rating: 85%

Saturday, February 12, 2011

THE ETERNAL: Under a New Sun

Produced by Jeff Martin
Released: January 2011

Under a New Sun is the fourth album from Melbourne's The Eternal, and marks a distinct transition from their previous work. Having evolved from its early days as an Anathema-like doom band, the three-piece is now possessed of a more organic, robust and mystical sound that is clearly demonstrated here.


The album opens with a "Control" displaying a strong, dark, modern rock style. With Mark Kelson's heavily syncopated vocals and the processed scream of "And now you want control!", it actually recalls the heavier moments of groups like Disturbed and Stone Sour. It is certainly quite different from what The Eternal has presented so far, a very long way from the gloomy doom-laden debut of 2004.

With the vastly talented Jeff Martin in the producer's chair, The Eternal has cranked up the hooks to a degree more usually seen in the pop world, but over the course of the next few songs Martin's creative influence appears in danger of overwhelming the band. The title track is remarkably like Kav Temperley from Eskimo Joe singing with The Tea Party and the hook is very much like the one in that band's song "Temptation". "Delirium and Desire" begins with a ghostly choir that invokes some Pink Floyd-style chords and organ, then the big chorus sounds rather like, well, like Temperley and The Tea Party teaming up again. "Nothing Remains Without Us" is the The Eternal displaying something more of themselves, with an explosive guitar solo and a darkly heavy riff. Yet the spectre of the producer's former band continues to haunt Under a New Sun's first half. This culminates in "The Sleeper" that, with Martin on lead vocals, sounds like it could have been lifted directly off Splendor Solis. But it is after this point where the band seems to really find its true voice, taking the somewhat overt influences of the first half and crafting them into something more their own.

On "A Thousand Shades of You", The Eternal really steps up, laying down a heavy, creeping guitar riff for Kelson's vocals, this time pitched a step or so higher. Underneath the multi-layered voices of the massively hooky chorus, the band adds ethereal wailing and melodies and a glorious solo caps it all off. Brilliant. Booming drums and a classic rock riff power "Collapse" towards a truly epic 70s-style guitar solo. Again, the chorus is hookier than a pelagic long line. "Cast in Stone" is another for which the only short description is "epic", where Kelson throws huge riffs at each other that then clash heroically against Marty O'Shea's pounding drums. It's like the band waits until now to really let themselves go and bring the album to a rousing crescendo.

Under a New Sun is The Eternal's best and most expansive album yet and to deny its catchiness is practically a sin against nature. It's a very good release, but one hampered somewhat by a frustrating feeling of being overshadowed by its influences, resulting in something that probably doesn't quite show the originality that it really should. Nonetheless, anyone who enjoys dark, contemporary rock with a progressive twist should really enjoy this.

1. Control
2. Under a New Sun
3. Delirium & Desire
4. Nothing Remains Without Us
5. Eclipse
6. The Sleeper
7. A Thousand Shades of You
8. Collapse
9. Despondency
10. Cast in Stone
11. Departure

Rating: 85%

Tuesday, February 1, 2011

DEVILDRIVER - Beast

Produced by Mark Lewis
Released: February 18, 2010

It's awesome when an album can just pick you up by the throat and hold you there. Before this came on I was planning on doing a bunch of other stuff, but two songs in Beast was having its way with me and wouldn't let go.


Whoever's been supplying Dez Fafara with angry pills has upped the dosage to a dangerous level lately, because he sounds like a man possessed by nothing but hatred and rage. And with the rest of the guys in the band all contributing guitars and bass, Beast has the fattest riffs and the most pummelling groove of DevilDriver's career. Let's not forget John Boecklin's huge drumming either. The dude certainly had his work cut out for him here, and he delivers in spades. Fafara clearly wasn't joking when he said that this was the most extreme DevilDriver yet. Simply everything has been beefed up to a degree beyond everything they've done so far.

Beast is an immense record, opening with the epic-sounding violence of "Dead to Rights" that will make their insane circle pits positively lethal once it's unleashed live. Yet that is merely the beginning of close to an hour's worth of unrelenting, unforgiving metal aggression. "Bring the Fight (to the Floor)" and "Hardened" only heighten the intensity level until the band has become a seemingly unstoppable hate machine. By the time of "Blur", Fafara is shrieking "I don't know you but I fucking hate you" like a complete madman. "Shitlist" is somewhat looser with a twenty-second intro of ambient guitars, but this is only a very brief respite. The punkier elements of Pray for Villains are mostly pushed aside this time, only really making their presence felt in "You Make Me Sick", but Beast is no worse for this, instead veering harder toward the more extreme end of the metal spectrum than ever. Parts of "Black Soul Choir" are almost in the realms of melodic black metal. Only "Lend Myself to the Night" offers some relief, but only insofar as it's slower and the most melodic track, as if the band decided to ease off the pedal as the album rumbled to an end.

Beast is the true pinnacle of DevilDriver's -- and Fafara's -- career to this point. It is an absolute monster of an album that has already set the bar way high for the year and a new standard for all groove metal albums to come.


1. Dead to Rights
2. Bring the Fight (to the Floor)
3. Hardened
4. Shitlist
5. Coldblooded
6. You Make Me Sick
7. Talons Out (Teeth Sharpened)
8. Blur
9. The Blame Game
10. Black Soul Choir
11. Crowns of Creation
12. Lend Myself to the Night

Rating: 95%