Editorial Chief Editor Adam Kennedy adam@hrhmediahub.com
Designer Charlotte Hooper
Contributing Writers: Russell Peake, Viki Ridley, Adam Kennedy, Paul Davies, Charlotte Hooper, Dennis Jarman, Peter Ray Allison, Jo Crosby, Neil ‘Not’ Coggins, Simon ‘Spindles’ Potthast, Simon Dunkerley, Simon Rushworth, Monty Sewell
Contributing Photographers: Adam Kennedy, Simon Dunkerley, Arta Gailuma, Eric Duvet, All Others Credited.
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As always, a huge thank you to ALL the hardworking bands, photographers and writers that have contributed to this issue. It’s very much appreciated by us all.
40 Hard Rock Hell 15 Photo Gallery
44 Chris Holmes
Mean Man
46 Doomsday Outlaw
Damaged Goods
48 Floor Jansen
Flying Solo
50 The Rhubarb Symptom of Failure
53 Live Reviews
- 52. British Lion
- 54. Volbeat / Skindred
- 56. Black Stone Cherry / The Darkness
- 58. Within Temptation / Evanescence
- 66. Dream Theatre
- 68. Black Veil Brides
70 HRH Vikings IV Photo Gallery
76 Album Reviews
Avatar | Dokken | Beyond The Black | Jethro Tull | Black Star Riders | Doomsday Outlaw | Host | Jaime Kyle | Jared James Nichols | Joe Bonamassa | Mötley Crüe | Not Now Norman | Outsiders | The Rolling Stones | Tarja | The Quireboys | Those Damn Crows | Uriah Heep |
Black Star Riders recently returned with their explosive new album Wrong Side of Paradise. This is a release which has witnessed great success for the band, reaching #6 on the UK Album Chart as well as #1 on the UK Rock Album charts. After 10 years together, the band are still going strong.
Wrong Side of Paradise was recorded in Autumn 2021 at Dave Grohl’s Studio 606 in Northridge California, and Toochtoon Sound in Redmond Oregon, with the band’s producer and long-time associate Jay Ruston.
The poetic title of the album encapsulates the sense of division that frontman Ricky Warwick witnessed in his formative years, as well as that which is witnessed in society today. “Sadly, I grew up with walls and barricades being from Belfast in the 70s and 80s, there were barricades and divisions and walls everywhere. And that was part of my childhood. There was a sense of wonderment. Why is there a wall halfway down the street? What’s beyond the wall? Are they different from us? Is it nicer over there? What’s going on and just trying to understand that,” explains Warwick. “Going through life and seeing how we put up divisions everywhere we go, pretty much in everything we do as a species, which is really sad. We build walls when we should be building bridges, I think that’s the thing that gets to me most So really, the song was a reflection of that. Why do we keep dividing?”
Perhaps one of the most unlikely songs to appear on the album is the band’s cover of The Osmond’s Crazy Horses. By his admittance, Ricky says: “I’m the guilty one for that”. Although it may be a song that you wouldn’t expect to hear in a hard rock style, it truly works. “I’ve always loved that song. I remember watching
The Osmonds playing it on TV way back when I was super young. And it just resonated with me and stuck with me ever since. I just thought one day, I’m going to be in a band, and we’re going to cover that song,” explains Warwick. “Thankfully, the guys in Black Star Riders shared my love of this song, and we were jamming it. And it’s such a great riff; it’s so heavy. And we were just jamming it. And we’re like, oh - we’ve got to record this. This is really good. So, we did, and that was it.”
Ricky adds: “Black Star Riders have never done a cover version. It’s the first cover that we’ve ever recorded. So, we thought let’s pick one that nobody would have thought we would probably do. So that was another reason behind it, but it’s just a great rock and roll song. I’m glad we were able to do it to do some kind of justice.”
During their recent single Pay Dirt Warwick sings the line ‘My heart belongs to Belfast, my soul belongs to Glasgow’. Really powerful and somewhat poetic lyricism from the frontman. Speaking about the song he says: “It’s a bit autobiographical. It’s singing about my struggles trying to make it as a musician. Growing up in Belfast, moving to Glasgow, and forming the Almighty in Glasgow. How important Glasgow is as a city to me as much as Belfast is,” explains Ricky. “It’s one of my favourite songs on the record.”
Although Scott Gorham didn’t participate on the band’s latest album, the talismanic guitarist returned to the fold for the group’s UK tour. “I love him to death,” said Ricky. “Scott’s been my bro for over 30 years. Long before we were in Lizzy or Black Star Riders together. Scott was a really good friend of mine and I love him to bits, and I admire him. He’s a legend. There’s nobody like Scott
Gorham. Nobody plays the guitar like Scott Gorham. Nobody’s ever been fired from Black Star Riders. People have left and gone on to do the stuff that they want to concentrate on in their lives. The door’s always open for anybody. So, for Jimmy and Scott to come back, it’s a no-brainer.”
Ricky Warwick was recently acknowledged for his work at the HRH Awards in Great Yarmouth. “It’s always nice to be recognized for what you do, and for what you love, and for what your chosen vocation is. So that in itself is lovely. I’ve been doing this for a long time, and I know that I am still as passionate and hungry about it as I was when I was 14 years old. So, it’s lovely to have the recognition for that.”
Throughout the remainder of 2023, Black Star Riders will continue to promote their new album on tour. “During the summer, we’re looking at Europe. Obviously, Europe is a bit of a mess at the moment with Brexit and everything. So, we have to weigh up costs and all that kind of stuff. Before, it was a case of alright - let’s just go - it’s great. Let’s do three months, let’s go two months. Sadly, you can’t really do that anymore because of the costs involved. So, you’re having to put a bit more thought and time into what you can actually do, but we’re trying to figure it all out. Obviously, we want to play anywhere and everywhere, and that’s what we’re trying to plan to do. But we don’t want to take a huge financial hit by doing that, so we have to be smart, and we have to tour smart. So, we’re looking at all the implications of that. We will be busy next year. There’s no doubt about it.
Wrong Side of Paradise by Black Star Riders is out now via Earache.
Words: Adam Kennedy
Beyond The Black recently returned with their brand-new eponymous album. The record follows hot off the back of a UK run with touring counterparts Amaranthe and The Butcher Babies. The latter being something which the German outfit enjoyed. “We had some really amazing shows on that whole tour. But especially in England, we always feel so comfortable,” explains lead singer Jennifer Haben. “The people are just amazing, and we always feel very good.”
Following the success of the group’s last studio album Horizons, Beyond The Black wasted no time getting to work on their current release. “When Horizons was released - our previous album, we started thinking about the new album. But I think the only thing that was different to every single album before was that we were thinking about some deeper questions,” explains Jennifer. “I think everyone had these questions like, okay, what is happening here? Is what I’m doing really what I want? And where do I want to go? All these deeper questions we had for ourselves personally, but also for the band. So, what is Beyond The Black? Where do we want to go? How do we want to sound? We normally have these questions for every album. But this time it was much more intense, and we had more time for it. Answering these questions before writing intensively and recording was the base of everything that came after that. So, I think that this album you can hear that it’s more confident, that we knew what we wanted before we were writing it. So, all of this was more intense than ever before.”
One of the tracks on the release, “Winter Is Coming”, was inspired by the band’s love of a popular hit TV show. “We are some Game of Thrones fans. So, this song is the only one that is a bit older than the others. It was written during the time of Horizons,” explains Jennifer. “With the previous music videos with Reincarnation and Winter Is Coming we discovered our nerdiness much more with the cosplay and the visual effects and all of that. So, it was just perfect to add such a song that also has more symphonic elements. It fitted so well and fits so well with what is happening in the world right now. So Winter Is Coming is a metaphor for the crazy world out there. So yeah, I think that is the reason why it was good to have it as a third single for this album.”
On the release, the song Wide Awake struck a chord with the vocalist. “I was always some kind of a ballad lover, so Wide Awake is a favourite. I think the reason is because I can have some extreme dynamics in my vocals as well, which I don’t have normally in other songs. So, I love Wide Awake. But also, I Remember Dying, which is more like a super special interest song for me. I don’t think that everyone can get it. But that’s not important to me. So, this is something that is a new colour to the album, but not the base of the album. So yeah, I love this song.”
There has been a lot of change within the Beyond The Black camp since the band’s original incarnation. With personnel changes, from the original lineup, the band is now in a good place to move forward. “I was eighteen when Beyond The
Black started. So, I didn’t really know much, to be honest. So yeah, I have grown through all these changes, and especially that big band change, where a lot of haters came out and said horrible things about me personally and didn’t know me. And that was something that was really hard,” explains Haben. “I’ve really learned a lot and got stronger and stronger. So, I’m really glad that we’re at this point now that we could convince a lot of people that we want this and that we’re better than ever. So yeah, I’m happy with everything. And I know that these boys that I’m with at the moment that they really love this what we’re doing, and they invest as much as I do. So that is the most important thing for me.”
The band’s agenda presently is to continue touring and promoting the new album. “We’re not planning as much as we did before the pandemic. But, of course, we’re planning a tour and we want to play a lot of festivals during the summer and then we will see what the album brings and how it per forms,” said Jennifer. “Maybe we will have some other opportunities as well to come in some countries that we’ve never been to before. We’re open to it and maybe we will have the chance to do that, but of course, we’re planning a tour and festivals.”
The new eponymous album from Beyond The Black is out now via Nuclear Blast.
Words: Adam Kennedy Photo Credit: Press Supplied
Who are White Tygër?
Nip Turner – Vocals / Guitar, Chris Hingley – Guitar / Vocals, Ste Timmings – Bass / Vocals & Jack Ryland Smith – Drums
Tell us about your writing method: what motivates you? What gives you the energy to write?
The band said, “Writing for us just comes when it comes, we can be anywhere and we will think of a riff or lyrics etc or even just an idea like a story or the type of song it could be, obviously life helps and the situations it throws at us whether good or bad.”
Nip added, “I think it’s really difficult to keep writing top quality music because it’s so hard to stay inspired especially when life kicks you when you’re down. Times are so hard in the music business atm especially for up-and-coming bands trying to break through and get that lucky break. It’s kind of like a catch 22. It can be great for writing and make it difficult to carry on. That’s why we see a lot of bands pulling the plug because if you aren’t topping your last album then I don’t see the point in going backwards. I’d rather not write at all than write poor music I’d rather leave a good legacy and have 1 or 2 great albums than 10 average ones if that makes sense.”
Tell us about your inspirations? Who are your biggest influences?
“The band go crazy for the classics of rock, AC/DC, Guns N Roses, Metallica, Skid Row and Motley Crue. Hopefully you can hear that come through in our songs.”
Who are White Tygër and who are Tygër, and what’s with the dots above the ‘e’ in the band names?
“Its kind of hard for a new originals band to emerge, you know, to get used to playing with each other, live, so like many we’d started out playing covers. But, once we had our album out, we realised that it could get confusing for fans, not knowing if they were coming to see us play covers or originals or what! We’d been talking about it for a while. We then met our new management and the first item we talked about was exactly this, so we decided ‘Tygër’ is our covers band and ‘White Tygër’ is our originals band.
We’ll be at HRH as White Tygër, and we just can’t wait! There is also a band called White Tiger, don’t confuse us. Those guys can’t spell!!
There is No real reason behind the dots. Originally when the logo was designed it had two stars and not dots so we changed it like Motörhead and Mötley Crüe and it stayed.”
Do you feel you get stronger every day? How so?
“We definitely do, the more we play, the more we grow together as a band. This leads onto excitement and energy and gives us the inspiration to write more material. It’s a fantastic virtuous circle.”
The band come across as party animals, you must have some stories to tell, please share. “Coming to a gig is an escape from reality for many of our fans. Times are hard right now, and people want to be taken away from their lives and escape, to their happy place. We play our part in this as best
we can; in a respectfully a way as possible, but we all like to have some fun.
Re particular stories; how much time have you got? We’ve had Ste throwing up in a taxi so instead of throwing up all over the cab and getting fined, he proceeds to remove his cowboy boot and vomiting in there! The taxi driver threw the boot straight at Ste’s head for the carnage that had been caused. Ste returned 3 days later to find that his boot was still there at the scene untouched!! What are the chances of that?
Another good tale we have was Nip, Chris and Ste Went to see Skid Row on home turf in Wolverhampton at KK’S STEEL MILL.... And you can guess the rest... I mean come on its White Tyger watching Skid Row. Denim, leather cowboy boots and enough booze to drown Jaws! It can only end one way!
Long, story short, Nip does the all nighter and shows up to our gig next day after being helped up by his missus.! Quote of the night by someone in the crowd was.... “FUCK*NELL OZZYS HERE” He got on stage with band sh*tting themselves thinking this is gonna be a disaster and he smashed it!!!!!
Tell us what has changed in the band since you recorded “This is the life”
“The band has definitely started to receive more attention from rock fans and consequently becoming more in demand from festivals like yours. We have signed a deal with TowerRok Management will which commence shortly, and we know we’ll be fully in gear from that point to go out there to everyone that wants to hear us. Nip has been writing our second album. We aren’t going to rush to put it out, we know that there are lots of rock fans out there that haven’t heard the first album yet!”
Who are you?
A heavy rock/metal band from South England. Imagine you mix witchcraft, heavy riffs, Jack Daniels, and a loud ass party into one - That’s a PRYMA experience…
From conquering our local scene in Canterbury and surrounding areas, we are now ambushing areas all over the UK and headlining shows in that there London. Expanding our sound and collecting #Prymates at every show.
We let the music do the talking but we do add something extra at every show that will keep you entertained and wondering if you want to watch the antics on stage or join that pit that keeps growing in front of you.... If you want to fit in anywhere, you’ll fit in being a Prymate.
Roll call?
Vocalist - Gabi George
Guitar - Max Raven
Bass - Ant Durrant
Drums - Dom Smith
Hailing from?
Raised in Canterbury born in HELL.
Journey so far?
In the beginning, just after God created light, the band began with Gabi who started her 1st band at twelve years old. After years of practising, blood, sweat, tears, tantrums etc, Gabi found Ant, who as bass players tend to do, was learning how to drive a van, turns out he can actually play bass as well.
Finding members that fit into an idea you have, that have the same drive, the same need you
do is almost impossible, but sometimes strange sh*t just happens. After two long years of writing and finding a starting point, Ant and Gabi found Max who was practising guitar in his dungeon (Mum’s Basement) after he responded to an advert on social media. About a year later, Dom stumbled into the picture, he pretty much instantly became our beer soaked naked Jesus (watch him play live, then you will understand). Dom genuinely was the final piece to a puzzle that cemented the Pryma sound.
The band have been destroying Kent and London over the last 12 months and are about to tear into the rest of the UK. We recently released our EP - “Uncaged” which achieved a 10/10 review from Smudge over at Powerplay Mag. Pryma will be playing all over the UK in 2023. It may be true when they say good things come to those who wait. Pryma wouldn’t be complete without the cherry on top - Alpha Band Management - Dave and Chris… THANK YOU for not shouting at us…often.
Influences/sound?
We find the sound is usually something the band and audience may struggle to label. We have a huge range of influences and this is portrayed through the music, creating a sound unique yet recognisable. We allow ourselves to think outside the box when it comes to creating new music, so many bands are aiming at perfection, that’s not gonna happen, we play what we feel and if something sticks we work with it. How do you define a mix of AC/DC, Bjork, Evanescence, Foo Fighters, Red Hot Chili Peppers and Alter Bridge?
Biggest gig/proudest moment to date?
The biggest audience we have performed to would be Kent’s M2TM (Metal to the masses) Final. The audience were extremely engaging and the whole atmosphere was bursting.. With sweat and people singing our songs back to us.
We have our biggest shows to date coming up in 2023 and couldn’t be more proud to be given the opportunity to play at some of the UK’s Legendary venues (The Waterloo in Blackpool, The Brickyard in Carlisle) and mix with such a wide variety of music and people. In May 2023, Pryma will be appearing at “Call of the wild festival” in Lincolnshire, which is a massive event for us, playing the same stage as Black Spiders, we can’t wait. As a band the proudest moment has to be when we received a hard copy of our EP - “Uncaged”. This was the moment when we looked at one another and couldn’t say anything; we could only sit and smile. We put everything into that EP, we learnt an incredible amount about ourselves as musicians and we can’t wait to go do it all again.
What does the future hold for PRYMA?
A truck load of gigs, recording and creating new music for our fans, old and new to enjoy, some announcements and competitions for our supporters to enter. But mostly we will be working our asses off, staying humble and making sure we deliver the best of Pryma every time we step onto a stage. Our fans and supporters deserve that, the support we receive from them is something we will never be able to say thank you enough for.
Who are you?
We are The Karma Effect, a 5-piece vintage rock band from London.
Roll Call?
Henry Gottelier - Lead Vocals & Guitar
Robbie Blake - Guitar
Seb Emmins - Keyboard & Vocals
Liam Quinn - Bass Guitar
Ash Powell - Drums
Hailing from?
Most of us live just outside of London, in a small town called Oxted. Whilst Robbie lives the other side of the river in Basildon, Essex!
Journey so far?
Henry, Ash and Liam have been playing music together for the best part of 15 years in numerous bands and projects at school and university - which is also where we first met Robbie. We then met Seb at local jam nights in Oxted in 2017. The idea for a vintage/blues rock project had been floating around for a little while, and initially the plan was for it to be Henry’s solo project, however as soon as we got together and began writing songs it just naturally formed into a band.
We wrote the entirety of our debut album over video calls during lockdown, which was definitely challenging but at the same time it also highlighted to us that if we could write a record under those circumstances - imagine what we could do if we were able to get together! Once studios opened up again in May 2021, we were
able to get in and track the record at with our good friend Mikey at MRC Studios. He did an amazing job of bringing the record to life.
Due to the pandemic, we actually had the entire record written and recorded before we had even played our first show! So, there was no ‘trying out’ of songs before recording, which was quite daunting to begin with, however this was soon put to rest after our first show in June 2021.
We released our debut album in March 2022, and it was received unbelievably well, and we even managed to land No. 36 in the Official Independent Charts which was, and still is just mind-blowing! Since then, we’ve just been touring and playing as many shows and festivals up and down the country as we can, trying to spread the word! We’ve also spent the first couple of months of 2023 in the studio writing and recording our second record in-between playing some great shows.
Influences/sound?
We all have individual influences that helps form our sound, however there are some key influences that we like to bring into our music. For example, some of our biggest influences are bands such as Aerosmith, The Black Crowes, Free/Bad Company, Led Zeppelin, The Rolling Stones. But as we mentioned, we all listen to different music individually which really helps form our sound. For example, Robbie listens to a lot of old Blues records, whilst Seb comes from a more Classical/Jazz background.
Biggest gig/proudest moment to date?
We’ve had a load of amazing shows over the past couple of years, and every show is always a blast! However, I think a stand-out show for all of us was the Rock For Ukraine show at Leo’s Red Lion in May 2022. We played our first show as a band at this venue less than a year before, and we then returned to headline the Rock for Ukraine show, and it was completely sold out. We also recently played at Planet Rock’s Winters End, which was an amazing line-up and experience to be a part of, the whole team at Planet Rock made us feel so welcome.
What does the future hold for The Karma Effect?
We’re in the midst of recording our second album at the moment, whilst also still being out of the road promoting the debut record, which is going really well, we’re hoping to have the recording process wrapped up by May this year! We also have an amazing line-up of shows and festivals for this year including the likes of Stonedead, Steelhouse and Call of the Wild! When we started as a band, we looked at those festivals and said that we’d love to be on a couple of them in the next five years, so to be ticking them all off in only our second year as a band is mind-blowing for us!
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As the old saying goes, sometimes you have to take a few steps back to be able to move forward. Perhaps you could say that this tale rings true for Dutch symphonic metal outfit Delain. Turn back the clocks to the pandemic era, and the group witnessed some dramatic changes within their line-up.
At the time of the band split, things were tense in the Delain camp. “We had just gone through such a busy period. We did a US tour the previous Fall, and at the time we were mixing Apocalypse and Chill. So, in the morning, I was in a grocery store with Wi-Fi, checking out mixes. That afternoon we were doing soundcheck and setting up. In the evening doing the show,” explains Martijn Westerholt. “There wasn’t a tour manager, so I had to manage myself. It was insane. Then we had a European tour and then the release of the album and we went to the UK. So, I was exhausted, and the vibe was just not good at all.” The result was that found-
ing member Martijn had to rebuild the band from the ground up.
Again, to sound cliché, the show must go on. Despite these setbacks, Delain are back with a regrouped line-up that is ready to knock your socks off. So how does Martijn feel now on the other side of these changes within the band? “The first word that comes to mind is grateful that we’re able to be here. That we can do this after very a difficult period, a roller coaster. Everything in the band, the changes, but also COVID. Now we’re here, and I’m allowed to work with amazing people like Diana, I feel very lucky.”
Following the departure of former Delain vocalist Charlotte Wessels, the band recruited new girl Diana Leah. Joining the band for the lead singer has been life-changing. “It’s really crazy to think about how a year ago I almost gave up music and singing because I was focusing on other things,” said Diana. “Now over a year after, we’re working on a new record and we’re playing
shows. Yeah, it’s exciting, and I can’t wait to go on tour and do cool things.”
For Diana, the opportunity to join Delain came out of a chance comment on social media. “I knew about Delain since 2009. I found out about them on YouTube with their song April Rain. But I had never met them before. I’ve never seen them live and I’ve followed them throughout the years with the albums they’ve released,” explains Leah. “When they announced the split and all the things that happened, I read the news on social media, and I just left a comment on their social media, asking, hey, can I audition as a singer? I had no idea if they had already found a singer or what was going on at the time, but I just followed my instinct and left the comment there and just went on with my business and never really thought about it again until a couple of days later, when Martijn contacted me. He reached out to me, and
he said, yeah, of course, you can audition,” and the rest is history.
Of course, replacing a singer like Charlotte Wessels was going to be a challenging task. “Replacing a lead singer is never easy,” said Diana. “But I have faith in the music that Martijn and Guus wrote. I knew that even with the change of the lead singer, the Delain DNA will still be there, and people could hear that even if the vocals are different.”
But how have the Delain fans responded to the changes so far?
“We played the first official show in November when I had the confirmation from the people that were there that still love the band. They’re so into it, and they’re so excited for the future,” explains Diana. “So that gave me really positive support, and of course, gave me a lot of self-esteem. It made me believe more in myself and in the fact that I can actually do this.”
Delain has a new album called Dark Waters. This is the first release to feature the band’s regrouped line-up. But was the band concerned about maintaining the continuity of sound on their latest offering due to the differing in personnel?
“To be very honest, I never worried about it for a second because making the album to me was business as usual,” explains Martijn.
“Of course, some things are different. And I think the previous members of the band have great talents and they’re great musicians. So, I’m not wanting to diminish that at all. But the way Delain worked was that Guus and I simply wrote the bulk of the music. So automatically the sound then is there. So, I had not a second of worry there.” He adds: “I think Diana did an amazing job with singing on the record and really put herself into it. But at the same time, not doing things that wouldn’t fit Delain. So, I’m really happy with that.”
Touring is very much on the band’s agenda for 2023, which will include a small run of UK shows. “I’m so grateful that I’m allowed to be on stage again, and I’m not taking it for granted. We’re taking it a little bit carefully this year. Because then people can get acquainted with touring; some people never toured before. But also because of the COVID aftereffects,” explains Martijn. “We did our first shows already, and they were fantastic. I will never forget them. Therefore, we are also already working on the second tour. I’m also thinking of doing a dedicated UK and Ireland Tour in 2024. That’s still a year away. But it needs preparations. But yeah, going to more cities in England, Scotland and perhaps also Wales. So yeah, let’s see.”
Dark Waters by Delain is out now via Napalm Records. The band will be touring throughout the UK during April.
Words: Adam Kennedy
Perhaps when you think about the Channel Islands, maybe rock music isn’t the first thing that springs to mind. However, one band planning to change all of that is the Guernsey-based post-grunge crew Coastal Fire Dept.
Listening to the band’s repertoire, you can certainly hear the 90s influence, although the band intend to push itself beyond the boundaries of traditional grunge music. “I suppose we’ve got one foot in 90s guitar-driven music because I think whether it was Britpop later on, or shoegaze, or grunge, or whatever, I thought that was the era,” explains guitarist and vocalist Ollie Goddard. “I think if you look at the older bands, it’s probably your Nirvana and Pixies that resonate for us. And then, more recently, bands like Title Fight and Balance and Composure. So, in the single, What Do I, I actually used a Balance and Composure single as an influence for production purposes.” He adds: “It’s definitely one foot in the 90s. But we try and put a little bit of a modern spin on it if we can because we don’t want to be just 90s grunge merchants. We want to do a little bit more than that.”
As one would imagine, there is somewhat of a grassroots rock scene in Guernsey. “It’s small and busy. So, you could find probably every genre over here. But you’ve probably just got a hard core of people that go to most gigs. We’ve got a couple of really good venues,” explains Ollie. “There’s a really good little music scene going. Most weekends there is music going on. You wouldn’t struggle to go to gigs, but there’s not a lot of us.”
Coastal Fire Dept has been going for almost ten years now.
“The band formed in 2013, as myself, and a friend called Bob, and we we’re just talking about music. Then I just noticed that loads of bands that he liked, I liked and vice versa. And so, we sort of got a band going, and gigged a little bit,” said Ollie. “We went through a number of changes. You know how hard it is to get drummers and we couldn’t find the right drummer. Every drummer was in about five or six bands. We got it up and running again, about three or four years ago, and that’s when we became really quite committed to being a proper band in my mind. Putting out singles, putting out albums, putting out music videos, and actually doing the whole hog. So, we’ve been doing it properly for about four years.”
The band name itself is rather quite intriguing. “I was walking home after work. We’re on an island, and I looked across the coast, and I could see the French coast. It was all red,” explains Ollie. “I thought, oh, it looks like it’s on fire. Then I thought I wonder if they’ve got a fire department to sort that out. And I got home, and I looked on Google, and there is no such thing as a Coastal Fire Department - I thought perfect. It means nothing.”
However, the band name does cause some confusion from time to time. “We often get people saying, are you Firemen or not? And, we’re not,” proclaims Ollie. “I suppose the most favourite story of ours is, there’s a big festival over here called Chaos. It’s run by the local biker guys and there are usually about 1,500 people there.” A biker girl in the crowd got the wrong impression about the band. “I said, we’re in Coastal Fire Department. She said - Oh, yeah, the strippers?” To her disbelief, the band reliably informed the
patron – “No, we’re a grunge band. And sure enough, they were very disappointed to see us.”
Coastal Fire Dept will release their sophomore album Outsiders in April. “For this one, these songs have probably come about two or three years ago. And what ended up happening is I take them into the studio with the band, and it’s almost like X Factor. I run them through an idea, or a song and they go yay, or nay and then we sort of whittling it down,” explains Ollie. “After we’ve sort of cut away all the chaff, and we’ve gigged it a little bit. This is what was left, and we recorded it. It’s just there’s an unconscious thread of feeling like an outsider or a bit of a loner or just on the outskirts of things. So that’s why we called it Outsiders.”
Moving forward, the band is pushing ahead creating more new material. “We’ve got a new guitarist on board. So, we’ve just been rehearsing away, getting ready. We start gigging from the 1st of April onwards. And also, when we were recording the album, we actually had a number of songs left over. So, we’re going to be releasing an EP a little bit later in the year,” explains Ollie. “There are one or two really nice songs that we thought rather than just canning them and moving on, we might just finish them off and drop them out. So yeah, we’re gearing up for a lot more gigs and an EP later in the year.”
Outsiders by Coastal Fire Dept will be released on Friday 14th April, via L’Islet Records.
Words: Adam Kennedy Photo Credit: Press Supplied
As major players in the vanguard of the NWOBHM, the Tygers Of Pan Tang are celebrating their 45th anniversary. If the gregarious, and Tygers mainstay, Robb Weir was told back in 1978 that this ever-changing band would achieve this major milestone, there’s no doubt that he would have roared with laughter. Instead, he’s purring with delight at the prospect of helming the Tygers with a new studio album about to be released and tour dates down in the diary. One of which is on the bill at our very own HRH Spring Festival for which the band are sharpening their musical claws as Robb explains: “We’ve played HRH two or three times and we’re always treated fantastically, and the staff are brilliant. It’s really well run. We’ve played it in the Ibiza as well and, without a shadow of a doubt, it’s going to be absolutely great.” With a new album of ten original songs to be released in May, Robb reveals what the durable Tygers fans can expect to hear live: “Hard Rock Hell will be the very last time we’re playing this current set, which has been running for just under a year.” Robb further details the up-
coming live setlist changes: “It’s going to be a major change,” he declares, “probably one of the bigger ones that we’ve ever done. Seven songs out and seven songs in and that will start after the Hard Rock Hell show, when we will have two full days rehearsing the new set. There’s quite a few shows this year, and we have to start to introduce the new songs with the new album coming out.”
There is a tremendous amount of positive goodwill for the Tygers Of Pan Tang, and this was in evidence as the rock fraternity loudly hailed their recent single release Edge Of The World. With its heavy melodic rock sound, and the Tygers’ trademark guitar harmonies and knuckle busting riff whetting the hard rock palate for what can be expected on their upcoming Bloodlines album, Robb reveals his thoughts on this new music: “We’ve always had a pretty good guitar sound, but the new album has outdone everything people were saying about the last album, Ritual, it’s going to be hard to top that but I seriously believe that we have.”
Robb likens the Tygers Of Pan Tang discography to that of building a stairway! Insomuch as every new album and EP - such as last year’s A New Heartbeat four song (two new, two re-recorded classics) release - is a step up from the previous and builds upon the TOPT’s remarkable legacy. With the recording process being executed remotely by each band member, it was left to the production genius of metal maestro Tue Madsen (Meshuggah) to piece together the multiple stems of music delivered by each band member. During our zoom conversation, hilariously punctuated by his pet parrot mimicking a car alarm, it’s patently clear the high regard Robb Weir has for the remarkable results Madsen has produced: “He’s been producing for a long time and has a fantastic studio; very state of the art in Denmark. He has done work for more extreme bands than the Tygers and he was recommended to us by our record company, Mighty Music, because they’re Danish as well,” remarks Robb in his unmistakeable North East accent as he continues: “I think it was probably a little bit of a challenge
for him, because he would normally do something a bit more extreme. So, I called him up to establish a line of communication and he’s a lovely fellow, such a gentleman. He’s invited me over to his house in which he lives on the edge of a forest, which he also owns. Apparently, when you walk through the forest, you come out at a beach and that’s his beach as well. I can’t wait to go.” It seems like a hard rock fairy tale of musical magic that Madsen has weaved across these new tracks as a spellbound Weir tells me: “What he did was take our clean guitar tracks, and he played them through his stack of amplifiers and got a guitar sound that he liked. And he’s mixed the two sounds together. So, it’s an absolute wall of guitars.”
Robb is enthusiastically proud of the overall results as he opens up on the sequencing process: “A New Heartbeat - from their ‘22 EP - is on the album. But the album for the UK and the European market has ten tracks on it. For Japan, and The States, it has
eleven tracks. We recorded twelve tracks for the album. So, there’s another track and all of them were fighting to stay on the record. I have, in years gone by, gone out and bought an album by a great band, come home, put it on, played it and there’s about three great tracks on the album and the rest are kind of OK.” Weir steps up this comparison with his thoughts on Bloodlines: “But the difference with our own and, of course, I’m going to say this, but I truly believe it, if you asked me to pick and play my favourite track, honestly, I couldn’t, as every track stands up! It really, really does. I’m just so proud of it. We’ve had some amazing feedback from the first single, Edge Of The World, which is the opening track of the new album” It could rightly be said that this settled Tygers line up is on the edge of something even bigger in their rollercoaster career. However, with a well-earned legend, what’s the state of relations with the many previous band members?
Robb beams from ear to ear when I mention John Sykes: “John and I speak to each other about four times a year via email. He’s
a lovely, lovely man. But, by god I’ve tried to coax him to release product. I’ve put him in touch with our record company, to get his album out that he’s got and hasn’t been released. Unless I got on a plane went across there and shook him... John and I used to room together when we were touring. We were quite good buddies and got up to all sorts of naughty and bad things, but we will not go there...,” chuckles a wistful Robb Weir who is relishing the prospect of going out and playing shows with a, possibly, recent career best album to unleash. Now, that’s a Tyger feat to roar about.
Words: Paul Davies
British hard rock legends Uriah Heep recently released their incredible 25th studio album Chaos & Colour. Like many groups who have endured the pandemic, Uriah Heep’s latest offering came to fruition whilst the band had time away from the road during COVID. Thankfully for their fans, Uriah Heep recently returned to the road whilst celebrating their landmark 50th anniversary. Frontman Bernie Shaw joined the group in 1986, and since that time has had many fond memories of touring the globe with Uriah Heep.
Recollecting some of his favourite jaunts with the mighty Heep, Bernie casts his mind upon the band’s first shows behind the Iron Curtain. “We were the first Western rock band to go to the then USSR. But also, the first time I went to the Berlin Wall, and Checkpoint Charlie, that was pretty memorable,” explains Shaw. “Going to South Korea and being the first rock band to go to South Korea and play in Seoul, that was a major one as well. So, I’ve been very fortunate that I’m with a band that doesn’t mind going and pushing the limits.”
Uriah Heep has never been afraid to venture into unchartered territory. “We were in Serbia. I think the dust hadn’t even settled from the war, and we were already there. We saw the bullet holes and AK 47 damage on buildings, and you go, we’ve got a show here tonight?” he says. “If the people can’t come to the music. We take the music to the people. So, we’re lucky we’ve had some really memorable moments.”
The band’s recent tour took them to some astounding concert halls around the globe. “Some of the venues have been really unbelievable, as in the architecture of the buildings,” explains Shaw. “The Estonia show probably sticks out because it was the most amazing theatre in the middle of Tallinn. It was all plush blue velvet seats, and there were three balconies.”
No matter how far the patrons are from the stage, the lead vocalist often encourages fans to come to the front where possible. “Once the doors are closed, and I’m seeing
the people above way up in the gods going nuts, I do on occasion invite them to come down. It will take a minute, if you want them to actually come down to the very front, like a mosh pit sort of thing - this is where the action is. In Estonia, I did that, and about 400 people must have come down, right in front of the expensive seats, and went nuts,” explains Bernie. “I think that’s probably why it stuck out, not only just the building, but the trick worked. The people came down, and they certainly weren’t expecting to be within sweating the distance of the band and for their whatever, Euro ticket. It just turned out to be a really, really cool, special show.”
Whilst COVID may have curtailed touring activity for Uriah Heep, it didn’t stifle the band’s creativity. “Mick and Phil were still together writing songs,” said Bernie. “I think it gave us a bit of fresh air where we could all concentrate on the writing side of things, because sometimes it can be very last minute, and you’re pushed with the writing. But you know, painters paint, writers write. Songwriters write music,
and it just all came together.” The result is the group’s latest record, Chaos & Colour.
For the band’s latest offering, they called upon producer Jay Ruston, who also worked on their last album, Living the Dream. “We had the same producer, the same studio, a whole mass of songs to go through. We don’t sit down. We don’t waste time in the studio. Like Living the Dream, it was done in two weeks. I think Chaos & Colour took 17 days,” explains Shaw. “If you know the song, you know your craft, you know how to play, things are in tune, and everybody’s got a good vibe why should it take any longer than three takes,” he says. “Luckily, we’ve got the right chemistry, musically and mindset wise, that we knew what we wanted out of the album. And we know the room. So, getting sounds took a matter of a couple of hours rather than a couple of days and we just got stuck into it.”
The vibrant artwork for the band’s latest album sleeve is eye-catching, to say the least. “We use those colours a lot in the light show. The magenta, the canary yellow and aqua
marine. So, to me, it already portrayed a little bit of us live,” explains Bernie. “I haven’t seen it yet on a rack in a record shop. But when you do, I know it’s going to have that effect. It’s going to grab the corner of your peripheral vision going - what’s that?”
With such a formidable discography behind the band, where does Chaos & Colour sit within the Uriah Heep repertoire?
“It’s the best album we’ve ever done,” jokes Shaw. “It’s like a child, isn’t it? You’ve nurtured and created this new thing.”
He adds: “It’s something very special, and very personal, and I think that’s why some bands take a year to do it because they don’t know when to stop. But I think it’s Heep, and I think it really represents this line-up as we are now almost 10 years together.”
Of course, it will always be tough to put the band’s current output alongside their seminal early works. “It’s hard when you’ve got albums like Demons and Wizards to go up against - the classic,” he says. “Do you just concentre
on this is the best album I’ve ever done? Or this is the best album this line-up has ever done? It’s probably up there with one of the best albums this line-up has ever done.”
Uriah Heep hopes to continue their touring activities in support of their latest release. “We’ve got one of the best bookers working out of Nashville for us. And it’ll be a world tour like it normally is for a full album release. But right now, I can’t tell you what or where,” said Bernie. “So, hopefully, we’ll have a good summer run with the festivals because I’d like to play at least a couple of shows in the UK again.”
Chaos & Colour, the new album from Uriah Heep, is out now via Silver Lining Music.
Welsh rockers Those Damn Crows got 2023 underway with a bang. With many sold-out shows throughout their February UK headline tour, and a new album under their belt, the five-piece outfit continues to go from strength to strength.
The band’s sophomore album, Point of No Return, reached the dizzy heights of the Official UK Top 15. What’s more, the group was recently bestowed the Bridgend Mayor’s Annual Citizenship Award for their lockdown-inspired Crowcast streaming series.
Headline tour aside, the group also had the privilege of performing on the main stage at Download Festival in 2022. Recollecting their set front man Shane Greenhall said: “It is the biggest stage we’ve ever played. And the beautiful
thing was it was rammed.” He adds: “I will never forget it. I’ve been to Download so many times with the boys. The last time we were there, I think it was obviously before COVID, and we watched Def Leppard headline. I remember Ronnie turning around to me and saying, we’ll get on that stage in five years. I said, tongue in cheek, no - sooner than that and then we were. So, it was a real pinch-yourself moment.”
The title of the new Those Damn Crows album, Inhale/Exhale, comes from a deeply personal place. “My dad died of lung cancer 11 years ago. The boy’s parents have died since making this album, which again is just unbelievable. Dave’s mum passed, Lloyd’s mum passed, and Ronnie’s dad passed. All obviously incredibly influential, but it was more of a case of how COVID set things up,” explains Shane.
Those Damn Crow’s latest album traverses many emotions for the band. “It’s a case of light and dark. Obviously, the stuff that was happening with my dad and all the boy’s parents. And then before you know it, we were writing from the heart on how brutal life can be, but how precious and beautiful it is too, and we should live it for every second,” proclaims Greenhall.
The band worked with in-demand producer Dan Weller on their latest album. Weller managed to get the best out of the band on their new recordings. The release also showcases the evolution of the band’s sound. “There’s so many elements and styles within our band as individuals. It’s not like we sit down and say well, we’re going to write a rock tune, or we are going to write an upbeat song. I’ll
come up with a riff, I’ll come up with ideas and lyric ideas, and then it gets put in the Crow Cauldron. So, it does sound like an evolution, absolutely. And working with a different producer is always going to do that because that’s another member of the band at that period of time. So, he [Dan Weller] helped loads there,” explains Greenhall. “For me, personally, as a creative person, I love my rock music. I love getting in the room and just jamming with the boys. But I do love the creative side of where’s this going to go. And you don’t really know until you do it. And then it falls out of the sky, and it’s almost magical. And you’re looking around going, how did this happen? How do we get here?”
The recording process for the band’s latest offering was to Shane’s liking. “It was incredible. It was so very enjoyable. I
think it’s probably one of my most enjoyable as a vocalist. I had fun in the vocal booth because we experimented a lot,” he says.
Moving forward there is lots on the TDC agenda for the rest of 2023 and beyond. “It’s very similar to when we split up with COVID, to be honest. There was all this stuff that was pencilled in the diary. Very exciting stuff across the ocean, so I’m just hoping that happens because I’ve been here before where the diary is pencilled in, and everyone’s like, Oh, my god, that’s amazing. So, it really depends. I know there’s a couple of things happening,” declares Shane. “We are looking to go to the States. We are looking to go to Europe. So that’s really exciting. And Canada, as well, apparently. So yeah, we are super excited and can’t wait as
those are new territories for us,” said Greenhall. “The next tour, we’ve got a tour bus, and we’ve done that a couple of times, and it’s amazing. But if we’re going to go over there, we’re back in a van, and we start again. But it is what it is. That’s the nature of the beast. We’ve got to do what we got to do. And we have that mindset. So even though we’re doing okay, as far as our standards are concerned in the UK, the world is a big place.”
Inhale/Exhale, the new album from Those Damn Crows, is out now via Earache Records.
Words: Adam Kennedy Photo Credit: Press Supplied
Interview By: Viki Ridley
Hello Ms GlamRat, please introduce yourself to the HRH MAG readers!
I host the HRH AOR Show every Tuesday from 1pm showing the best of AOR, Melodic Rock and Hard Rock both past and present. Every now and then I like to throw in a couple of Glam Metal tracks, and I love having the listener’s requests. I talk a lot, but to me, it’s like a weekly therapy session with great music thrown in. I try to make Tuesday afternoon pass a bit quicker.
Can we start with you explaining why you chose ‘GLAMRAT’ as your media name?
When I was at senior school, being called a rat was an insult, “dirty little rat”, “scruffy rat” etc, and I got bullied a lot. I wasn’t popular, my family didn’t have a lot of money and I was basically being called vermin because I didn’t fit in. It wasn’t just me, a lot of people in my group were bullied. As time went on, I thought, I may be a rat, but I’m trying to make myself better, glam myself up, I became a Glamourous Rat. If anyone ever called me a rat again, I can be happy about it. The bullies didn’t break me, I used what they gave me, and I’ve overcome it, for the most part anyways.
Your love of music is evident; can you define the moment that music first brought you joy?
My parents have always listened to music, varying in genres and styles. But music that brought me joy for the first time and opened my eyes to my taste in rock was watching Bon Jovi on Kerrang. Sat in my grandma’s living room watching the black and white screen, hearing the bass line. Watching the sparks fall from the lighting rig and Jon Bon Jovi spinning around with that smile and that opening line… eurgh… my love affair with Bon Jovi and 80s rock began, I was 13 coming up 14.
Who or what was your first single or album purchase?
I mean LimeWire helped this poor girl out back in the day, but my first purchase was Bon Jovi’s “Have a Nice Day”, and that album helped me a lot at the time. I saved up my birthday money and bought it at HMV in the Metro Centre. I didn’t want anything else. I played the album over and over again on my Walkman. When my family was made homeless, I could only take a few things into the shelter and believe me I took that album. I cried to the melodies, I sang to the choruses, and I’ve been overjoyed with that album.
First Gig? (And first rock gig if it wasn’t rock!)
My first gig (obviously) was Bon Jovi at Manchester Cricket Ground 22nd June 2011. My ex-fiancé bought us both tickets for Christmas. It poured down and Richie Sambora had just been released from rehab a couple of days before. I still have the videos on my hard drive somewhere. I cried so much; it was a dream come true to see Bon Jovi in the flesh. It was amazing!
You’re extremely interested in fashion and the lifestyle of the rock community, what is it that draws you to it?
I love the sense of community. For years, I never felt like I fitted in, anywhere. I was always a weirdo at school, that girl who loves rock music at work and when I joined social media, I found out that there were loads of other people out there like me. My mother has always had a keen eye for fashion, so I eventually picked up on that and out on a rock twist. I like to be effortlessly cool; I don’t know if it’s working, but I love my wardrobe. I see people from all walks of life in the rock community, each genre of rock has its own defining niche. I love the lifestyle and fashion in the community so much, my Final Project for University is all about it.
Tell the readers about your journey so far as a DJ, presenter, radio show host, you have already accomplished so much!
It’s been weird and wonderful, exciting, and changed my career path that’s for sure. I fell into it all by accident and everything has snowballed since then. It’s opened my eyes to the other side of the music industry, I’ve seen it from all sides and how underrepresented the female side is. Not that I’m a female crusader but sometimes, a little bit of a woman’s touch goes a long way.
How did you begin your work with HRH, had you attended any of the festivals in the past?
I saw an advert looking for DJs on a post on the HRH Sleaze page. I sat and pondered with it and a friend at work said “Charlie, you’re a gobsh*te and love music, why wouldn’t you be good at it?”. I sent in a 90 second demo recorded on my crappy laptop microphone talking about Crashdïet’s new single and sent it in. Didn’t even think about it until I got a call at work from Geoff Leppard, offering me the job. Surprised, completely, had a clue what I was doing, of course not. I’m lucky I have friends who do, and they’ve been a massive help. I had previously attended HRH Sleaze and I loved it so much, I never thought that within a year I’d be working there.
Do you enjoy interviewing people? It’s not as easy as it looks!
I love interviewing people, I like to find things out about people, the process of things, it can be a lot of fun when done right. I don’t like upsetting people, so I always ask if there is anything they don’t want to talk about so it’s not uncomfortable and then we roll. I like to ask questions that nobody really thinks to ask, usually something daft. When I interviewed Erik Grönwall (Skid Row, H.E.A.T) for the first time, I asked what happened to his dog when he went on tour, he said no one had ever asked him that before. I want people to be comfortable with me, more than just another interview.
Out of all of the artists and bands you’ve met to date, who has had you tongue tied or weak at the knees? Whether it’s because you adore, admire, or fancy the pants off them!
Doro Pesch was my first big interview; I wasn’t really aware at the time how big of an artist she was. She was adorable, I interviewed her on the tour bus before she took to the stage at Camp HRH in 2019. Michael Monroe has always been fun, quite a character but talking to Erik Grönwall had me buzzing for days. He’s an amazing vocalist, a talented performer and all-round great guy, the fact that he is dashingly handsome, doesn’t really matter *cough*
Is there anyone you would truly love to work with? What is the bucket list of things for GlamRat to further accomplish?
There is so many things I would love to do. I love this community, it would be nice to make my Final Project, “FRET” a reality. I am creating a website aimed at women in the rock community looking at fashion, lifestyle topics, women in the industry and things like that. Trying to make Cosmopolitan go rock, “Rock is not just music, it’s a Lifestyle.” Hopefully with my degree, I can achieve it in some description. I want to highlight this community with not just the music but the creators such as fashion, beauty, and lifestyle in general. Help independent businesses have a space to connect better to their community. I would love to interview Jon Bon Jovi from an adored fan perspective, but I would love to interview everyone and anyone. I would love for music journalism to be taken more seriously, give it a bit of a rejig, freshen it up a bit… add a bit of GlamRat.
Sophie Lloyd has witnessed a meteoric rise in recent times. From amassing a mammoth following online with her guitar videos to touring the planet with Machine Gun Kelly. Presently, the artist is preparing for the release of her debut solo album.
The guitarist extraordinaire has an action-packed year ahead. “There’s so much happening this year,” explains Sophie. “I’m off out again to America with Machine Gun Kelly in February for a couple of weeks just for one or two shows in Arizona, which should be fun.”
Sophie will be racking up the air miles with her transatlantic adventures. “I’m going to be back and forth from America pretty much every other month.I refuse to move there because I love England too much. I like the rain. I like the grey. I like complaining. America is too happy and sunny. So, I’ll do the 14-hour flight,” she says. “We’ve got a lot on. And then we’ve got our album coming out this year as well.”
Although for some artists life during the pandemic was challenging due to the lack of live opportunities. However, for Sophie Lloyd having a strong online following gave the artist further opportunities for growth. “I was relatively fortunate because my whole music career had always kind of grown online,” explains Sophie. “I came from quite a small town that didn’t really have many live opportunities. So that’s sort of why I got into YouTube and online and that kind of boomed. I felt like there was a big boom with TikTok, Instagram and YouTube over the pandemic because everyone was inside. So, in that sense, it was quite fortunate in that my
audiences grew.”
The pandemic came at a time when the artist had started to venture into the live music world. “At the beginning of the pandemic, I did my very first solo gig just before everything hit. In the February I played Paris Fashion Week. I was just starting to get out there and do some live shows, which I was really excited about. And then obviously everything closed down. So, I just sort of hyped myself up for it. And I was like, oh, I can’t do it,” she said.
Having developed her following online as opposed to in front of a live audience resulted in personal challenges for the artist. “I’m very open with the fact that I’ve suffered from performance anxiety and impostor syndrome by growing up online. I feel like you can develop that quite easily,” said Sophie. “That was the reason I joined Twitch, especially because I wanted to interact live, but still kind of have that behindthe-screen thing as well. That really helped grow my confidence with everything.”
The British guitarist recently released the first single from her upcoming album. A fiery number titled ‘Do or Die’. “We’re sort of releasing it single by single in a waterfall way. And every song on the album has a music video and stuff to go with it. So, it’s sort of a whole big thing of releases. So, we’re going to be very busy. But I’m excited for everything.” Said Sophie.
The aforementioned track featured guest vocalist Nathan James from Inglorious. “We’re both from the same town, which is Reading. So, we kind of knew each other through mutual
friends,” said Sophie. “I’ve always been a big fan of Inglorious because I just think their music is amazing,” said Sophie. “I knew I wanted to do this big kind of hard rock, Maiden-esque song, with a modern twist, like an 80s rock song. I couldn’t think of a better singer to kind of fit it.” Sophie adds: “I feel like Nathan has that power rock voice. So, it just felt like the perfect fit. We sent him over the idea and he really vibed with it, and sent us back the track,” she says. “It was all kind of done online, obviously, because of the pandemic. It was a fun way to work, but for the next album, I’d definitely like to be in a studio with a vocalist. I think that’d be a really nice way to work.”
Although the official plans for the album are to be confirmed, the guitarist has an idea of how she would like to proceed. “So, we’re hoping to release the whole thing around September time, that will be kind of our ideal release date. We would like to release probably about six or seven of the songs before it’s out, and then maybe the rest of them after it’s out. So, each one would still kind of have its moment.”
Sophie’s original release plans for her solo album were pushed back when she received an offer she could not refuse. “It was meant to be out last year. And then the Machine Gun Kelly tour came up and it got pushed back. So, it feels like it’s been going on forever. But we’re really pushing towards that,” she says.
But how did the British guitarist get the opportunity to tour the world with Machine Gun Kelly? “He just randomly messaged me on Instagram one day. Literally, it was just that. He just sort
of said, are you in LA? And I was like, I can be? And that was kind of it. We spoke on FaceTime. I sent him some videos of me playing live. And that was kind of it. I was over there rehearsing within three weeks. So, it was all very quick, and the guys were so nice,” explains Sophie. “It was quite daunting
for me going over there, pretty much on my own to a new country with people I’d never met. So, it was quite daunting, but they were so nice. We were immediately just like this big family. Everyone has each other’s backs.”
Very quickly Sophie found herself playing at arenas like Madison Square Garden. “I’ve never really played big shows. I was playing down my local pub with a few bands before this. And then suddenly, that first night when I went out on stage, I had this realisation where I was like, f*ck I’m actually playing really well. So that was where my imposter syndrome, I feel like kind of fell. And I was like, wow, I can do this. It felt like this is where I was meant to be,” said Sophie. “I was looking at everyone in the crowd and just seeing them so happy and excited. I was that kid crying in the front row - that was me. It’s so cool to just be on the other side and be looking at everyone having these cool moments. It’s a feeling unlike any other, and I feel so fortunate that I got to experience it on such a big scale as my first tour as well. It’s wild, and I’m excited for more adventures like that this year.”
Touring with Machine Gun Kelly aside – does Sophie Lloyd plan to take her solo project on the road? “Early next year probably is when we’re aiming for. So, we’ve got a little bit of time to put it together. Obviously, it’s a bit trickier because it’s a collab album, and every song has a different artist. But we’ve got an idea that we think is going to be really cool that still incorporates each artist, maybe doing some video performances and then always having a guest vocalist as well.” Sophie concludes. “It’s really exciting. We just can’t wait; it feels like this has been in the mix for so long. It’s nice to finally be releasing music.”.
SUNDAY 2 JULY
LONDON O 2 SHEPHERD’S BUSH EMPIRE
MONDAY 3 JULY
BIRMINGHAM O 2 INSTITUTE
TUESDAY 11 JULY
BOURNEMOUTH O 2 ACADEMY
Words: Adam Kennedy
Photo Credit: Andrew McMeekin
HRH Awards V is a Red Carpet Glitzy Affair with a lot of Big Stars that kick starts the Hard Rock Hell mothership, and 2022 was no exception! The categories this year were filled with exceptional talent but in case you missed it, here are the nominees:
LIFETIME ACHIEVEMENT AWARD
Zakk Wylde
STEVE STRANGE MJOLNIR AWARD
The Darkness
BEST INTERNATIONAL ACT
Nominees:
- Buckcherry
- Pretty Boy Floyd (Winner)
- Backyard Babies
- Tyketto
RISING STARS AWARD
Nominees:
- The Mercury Riots (Winner)
- The City Kids
- Black Aces
- Outlaw Orchestra
STONER LORDS
Nominees:
- Black Rainbows
- Kadavar
- Green Lung.
- Desert Storm (Winner)
LORD OF THE BLUES
Nominees:
- Billy Walton Band
- Troy Redfern (Winner)
- Pontus Snibb
- Simon McBride
YOUNG BLOOD
Nominees:
- Black Tree Vultures
- Straight For The Sun
- White Raven Down (Winner)
- Bad Actress
NWOCR STARS
Nominees:
- Doomsday Outlaw
- Hells Addiction (Winner)
- Pearler
- Gallows Circus
BEST BRITISH BAND
Nominees:
- Terrorvision
- Black Spiders
- Therapy?
- GUN (Winner)
MASTERS OF METAL
Nominees:
- Orange Goblin (Winner)
- Lawnmower Deth
- Blaze Bayley
- Acid Reign
Well, what can we say about HRH 15? Besides being a milestone achievement for the festival, it’s always a joy to return to sunny Great Yarmouth. And although the summer weather was in our rear-view mirror, the weekend’s stellar line-up certainly brought the heat.
For the early birds, LA supergroup The Mercury Riots kicked off the HRH 15 proceedings in style on Thursday afternoon. An upbeat set including a stellar cover of Hot Chocolate’s “Everyone’s a Winner” got the crowd nicely warmed up for the weekend. A special mention must go to guitarist Felipe Rodrigo, for getting in amongst the crowd with some incendiary fretwork and making an impromptu bar visit while the audience sang along with their closing number.
First up on the main stage, White Raven Down’s mix of melodic metal, soaring prog solos and a sprinkling of audience participation got the crowd going. It’s easy to see why the band was voted as winners of the HRH Young Blood award at the previous night’s HRH Awards. It’s always lovely to see a bend genuinely happy to be performing. The energy between the audience and performers was notable, especially during the band’s heartfelt dedication to lost loved ones.
Bolting out of the gates with face-melting, high-energy riffs, Australian rockers, Black Aces, raised the bar for the evening and blew the roof off the venue. Colourful song intros including a particularly graphic description of a morning after the night before led into more frenetic-paced tunes that kept the crowd bouncing. The band put on a masterclass of showmanship interspersing new material with crowd-pleasing favourites.
Local legends The Darkness closed out Thursday on the main stage. With a set of old and new material, including a personal favourite of mine from their latest album, “Welcome tae Glasgae”, the Brit quartet had the crowd in the palm of their hands. So much so that there were no complaints when Justin confiscated several audience members’ phones and set up the world’s first 360-degree frontman Beltorama with their cameras. Their seemingly effortless showmanship kept everyone thoroughly entertained and provided a fitting conclusion to the first night of the event.
Opening the main stage on Friday, The Kut, fronted by Princess Maha brought some grunge-influenced stylings to the proceedings. Melodic harmonies and riffs warmed the crowd up nicely and they rewarded the band with a sea of phone lights during one of the quieter tunes. With the announcement that they will be touring as support for Electric Six, there will be many more opportunities to catch them live in the future.
Irish six-piece BlockC took over on the second stage with their intricately crafted tunes and memorable hooks. Throughout the set, the talent of these musicians shone through as they changed both instruments and positions. The various influences on the band merged wonderfully, producing an engaging and unique sound. The guitar solos, in particular, are epic in scope, but everyone on the stage performed seamlessly to craft a highly polished show.
Australian rocker Cassidy Paris justifiably packed out the room for her first UK performance. Her infectious blend of 80s-inspired classic rock filled the venue to the point that it was one in, one out. With a mix of her own tunes and a spectacular cover of Joan Jett and the Blackhearts’ “I Hate Myself For Loving You”, it’s easy to see why so many turned out for the show. Cassidy’s impressive vocals, the arrangements and an assortment of guest artist appearances combined to make this arguably one of the finest performances of the day. As this was the first date of her UK tour, there are plenty more chances to catch her at venues around the county.
Whilst the international array of talent on display may have raised a few heads, The Gypsy Pistoleros flew the flag high for the UK scene during their multitude of sets over the course of the weekend. With their distinctive look, and arsenal of crowd-pleasing numbers, the Worcester-based outfit certainly won over the Great Yarmouth crowd, so much so that the band had a huge queue wrapped around the merch room after their set, and deservedly so. The band’s airing of their latest Peaky Blinders-inspired single “The Ballad of Tommy Shelby” along with the inclusion of “The Mescalito Vampires” were some of the many highlights on Friday evening on the main stage. With the Pistoleros’ diverse musical palette, there really is something there for everyone.
Legendary icons Skid Row headlined the main stage on Saturday night with a truly exceptional performance. Sadly, Snake Sabo tested positive for Covid and was unable to attend – we wish him a speedy recovery. The set was a highlight reel of some of the band’s finest work over the last three decades, and they still sounded as fresh and exciting as ever. Classic tunes such as “I Remember You”, “In a Darkened Room”, and “18 and Life” had the entire room singing along, whilst the more upbeat numbers such as “Psycho Therapy”, “Slave to the Grind” and “Piece of Me” had the crowd bouncing. Finishing up with the classic “Youth Gone Wild” brought to a close not just Friday at HRH 15 but the band’s UK tour. Hopefully, it won’t be long before they return with more classic tunes and maybe even some new ones.
Saturday – Ugly Kid Joe Are Still “So Damn Cool”!
Starting Saturday’s shenanigans on the second stage, Melbourne-based Wicked Smile drew in a strong crowd with their heavy rock stylings. Belting out thumping tunes with vocalist Danny Cecati’s incredible voice, the guys got the audience thoroughly invested. Joined by Cassidy Paris for a guest slot during the song “Stronger” solidified her as one to watch in the coming years. Cassidy will also join Wicked Smile on their
current UK tour.
North-East based outfit Thieves of Liberty opened the main stage on Saturday afternoon to great effect. Fresh off the back of their win at Highway to Hell, the five-piece treated the crowd to a selection of their tunes as proof of their deserved win. One of the highlights was the band’s latest single, “Calypso”. A tight, entertaining performance showcased the talent of the band and undoubtedly won over scores of new fans.
If anyone’s energy was starting to wane, Revival Black provided a much-needed wakeup call as they exploded onto the stage on Saturday evening. Guest vocalist, Kim Jennet, wasted no time getting in the middle of the crowd and whipping them up into a frenzy. At one point, she sang her way through the crowd, past the bar and the sound desk and back onto the stage without missing a step. Jennett only recently stepped into the role after the Liverpool-based outfit parted company with their previous frontman Dan Byrne. I have to say that it is a testament to the musicianship and performances of all involved that they delivered one of my favourite performances of the entire weekend.
Illinois’ glam rockers Enuff Z’Nuff took to the main stage, opening with a cover of The Beatles’ “Magical Mystery Tour”. This would continue to be a theme throughout the set as they paid homage to The Beatles and Wings with covers of “Jet”, “Helter Skelter”, and a particularly special cover of “Eleanor Rigby”. The rest of the set was a mix of classics, newer songs, and some rarities. Closing on hits “Fly High Michelle” and “New Thing”, the band delivered a thoroughly entertaining and satisfying set for both fans and newcomers to Enuff Z’Nuff and undoubtedly Beatles fans alike.
Finally, Californian-rockers, Ugly Kid Joe brought HRH 15 to its conclusion. Immediately rearranging the stage to create a makeshift podium from a couple of stage monitors, frontman Whitfield Crane led the crowd into a selection of their hits. Keeping the energy high and the audience engaged, they played through classics such as “Neighbour” and “Cats in the Cradle” as well as tracks from their latest release, “Rad Wings of Destiny”. Their cover of “Lola” had what remained of the audience’s voices singing along before dispensing with the convention of leaving the stage before an encore in favour of squeezing in a bonus track in the form of a storming cover of “Ace of Spades”. All that remained then was to close out the set and the entire event with their iconic track “I Hate Everything About You”.
Words by Simon Spindles Potthast
Chris Holmes will shortly be making his welcome return to the UK. Currently residing in France, the former WASP guitarist will make the short jaunt across the channel in June for his ‘Chris Holmes Mean Man’ 65 Tour.
In recent times, Chris has been battling with health issues, although he feels as though, by his admission, he is “starting to feel a lot healthier now,” says Chris. “I guess my whole last year or so, I’ve been stuck in a machine going through the cancer thing.”
The guitarist has always had a fondness for the UK. “I’ve always had the best time of my life touring in England versus anywhere in the world,” he says. “England has always been one of the best places - I love it.” His association with the country goes way back to the start of his career. “With WASP, it is where we got our foothold and took off from was England. Of course, the management was English,” explains Holmes.
Before returning to the UK, the artist will be performing at sea. “Before we play in England, we’re going to play on the Monster Cruise in Florida. I’ve never been on a cruise ship,” he says. “It was booked last year at the end of February. Two months before that I was diagnosed with cancer, and I had to cancel everything - it was a bummer. I was thinking about maybe putting off my treatment and doing the Monster Cruise. But I was like, I think getting healthy is a little bit more important. So, I did that.”
At this point in his career, Holmes is laid back about the commercial success of his work. “I don’t expect
my albums to sell like they did 30 years ago; they don’t even sell records anymore. It’s a different era,” he says. “I can play on my past name and whatever I’ve done in the past, that sells tickets for me. I’m lucky for that. I don’t look at my guitar playing as Eddie Van Halen, Tony Iommi or things like that, but I have read a lot of the comments about it. People say that it is unique and that I have my certain sound. Because it’s my sound, I don’t look at it that way. I kind of look at like, why would anybody like what I do.” He adds: “I’m just happy to be going. This June I’ll be 65 years old, which is retirement age in America. I don’t want to retire; I like to play too much.”
Chris Holmes will celebrate his 65th birthday on tour in the UK with a special show in Northampton on the 25th of June. “I’ve had some good birthdays. I’ve also had some bad ones. My last birthday wasn’t very good, because I had a tube in my nose and I was being fed. But yeah, this will be good. I think Sarah is going to plan to have a party and have some cake might be thrown in my face. I don’t know,” said Holmes.
The artist recollects a special birthday whilst on tour in Russia. “I played a show outside of Moscow at a festival. And I was just there playing with another group,” he says. “There were probably about 30-40,000 people, and they weren’t crammed against the stage. There were fires going on, and you could see cars around where it was kind of crazy.” He adds: “I think the last song was Animal and I was walking offstage.” The security wouldn’t let Chris get away so easily.
“I turn around, and there’s a barstool, and they’re lighting a candle with a birthday cake,” Holmes recollects. “The whole crowd was singing happy birthday to me. It was radically touching to me.”
Of course, Holmes’ current shows are somewhat different to those of his formative group. “We don’t drink blood, and do the pyrotechnics and stuff like that,” he says. “This is just a good kick-ass rock and roll show. That’s what they should expect. I hope I do that every time I play.” Chris adds: “I don’t have a new album out. I’ve just got my Unbearable Influence record, that’s the one that we’re touring on.”
But after all these years, does Chris Holmes still enjoy playing the music he created with WASP? “I enjoy playing the songs that I wrote in WASP,” he says. “When people hear them, they sing them and they like the songs. So yeah, I enjoy playing it. I enjoy playing Love Machine, and of course, Wild Child people love that song.”
‘Chris Holmes Mean Man’ 65 Tour will visit seven venues across the UK in June 2023. Chris will be performing a mix of W.A.S.P. classics along with his own original material, including tracks from his latest album ‘Unbearable Influence’ which was released in September 2021.
Following their recent appearance at HRH NWOCR, Doomsday Outlaw returned with the release of their third studio album Damaged Goods. Like most bands, the pandemic era certainly impacted not only the band’s touring schedule, but also their release plans for the record. “We were touring abroad when the pandemic started. We were in Spain, and we had this plan of 15 gigs in a row in all the Spanish territories,” explains Alez. “At that time, COVID was pretty much in China and some cases in Italy. So, we weren’t really prepared for what would have happened. While we were in Spain, they started the lockdown. We had to go back from Spain to the UK in a rush before they closed the border. That was quite an adventure. Obviously, all the gigs were cancelled.”
As the old story goes, the band were side-lined, with touring curtailed until restrictions began to lift. “Obviously, after that, we didn’t play together for 16 months,” confirms Alez. “But we had the chance to write some new material together, even at distance. So, we had some proper creative moments, also during the lockdown. When things calmed down a little bit, we’ve been able to find ourselves in a room again, and that was quite a sensation. That’s when we released the lockdown session, which is a live session of all the new songs. An EP, which was released, I guess it was in September 2020.”
With the band’s latest offering, they’ve expanded their signature sound. “Coming into Damaged Goods, I think we made a decision that we wanted to do something bigger and wider and include more of our influences because I think we deliberately kept stuff quite focused on the other albums,” explains Indy. “A lot of stuff that me and Steve enjoyed listening to was Aerosmith and The Stones, and there was very little of that influence in the last two albums. With Damaged Goods, it’s what we love, and it’s what we like.” He adds: “Phil’s the same, he loves loads of different things. He’s a massive Chili Peppers fan, and a big blues fan. So, we made a real effort to try and incorporate all of that. So even though it’s not the first album, apart from for Alez, I think it felt like a first album because we approached it completely different in every aspect from songwriting to performance to recording. So, it felt fresh and new all the time.”
Deaf Havana) and Dave Draper (The Wildhearts) on Damaged Goods. “They were my two options. I spoke to them, and basically, their diaries were quite full,” declares Indy. “Chris had done the Wayward Sons album, and so that was why he was there. And then Dave has done loads of Wildhearts and things I’m a massive fan of. So, they were my two options. But it turned out that neither of them had space in their diary to do a whole session.” Collectively they came up with a plan. “Chris did all the recording and the producing and then Dave did some extra sessions and the mixing and mastering. I think it worked out well because it gave a fresh pair of eyes on everything. Chris was great because he’s really good at challenging what you’re doing.”
“It was great to work with both of them,” confirms Alez. “I think they both took the best out of the songs we had, in terms of sound. It’s been really great. And the first half of the work with Chris was really creative in a writing sense. I think Walking the Line, and The Little Things were born in the studio while were sound-checking and trying stuff. So, the atmosphere was great. Dave gave the mastering a push a bit more. So, I think that they were two great choices for sound.”
The album title itself is open to interpretation. “There’s a lot you can read into it. I think the funny thing is, because we came up with that fairly early on, kind of in 2019, maybe even at the end of 2018. But then the more time goes on, we have line-up changes and then COVID and everything else, the more it sounds like it’s about COVID and it’s really not,” explains Indy. “It was just about trying your best and just keep going through it.”
The band’s latest offering had originally been intended to be released pre-pandemic, but the group took the wise decision to hold off until the return of some semblance of normality. “The original plan was to come back from Spain in March 2020. There was a single out in April, and then have the album out in June in time for festivals in 2020,” explains Indy. “We got as far as releasing Runaway as a single, and then it became clear that we wouldn’t be able to tour. We knew then that this was the best thing we’d ever done, and what we didn’t want to do is just throw it out there into the void, and then not be able to support it and not be able to talk about it.” A wise move, perhaps you agree. “We didn’t want to waste that opportunity with what we know is the best thing we’ve done. And so, we took a step back, went back into hibernation, and just waited until we could start doing it properly,” said Indy.
But how did it feel returning to the stage after two years of lockdown life and an absence of live music? “The guys sometimes
have fun with me because I have a little bit of pre-performance anxiety,” explains Alez. “The first day we performed together, I was literally panicking. I mean, it’s good because it’s all adrenaline. It’s all energy. But the first time we went on stage together after the pandemic was an amazing feeling; it was really great. I don’t know if I have any words that are enough to explain it. When I felt that tight sound that we have when we play together. It felt like, what did we miss during the last 18 months or so? So yeah, that was quite a moment.”
The band recently performed a string of release shows for the album. “Last week, we did three launch shows where we played the entire album from start to finish. And as I said, we are a live band. So even though we did write a couple of these in the studio, they were never intended to be unplayable,” explains Indy. “They were always supposed to be something that an audience could feed off and interact with. We’ve been playing quite a lot of it for the last couple of years. We put a few singles out last year just to keep our profile up and let people know we are still alive. But there were four songs that we hadn’t done before, which we did last week, and the whole thing went down really well.” He adds: “People were loving the songs and how they come across, the slower ones, the faster ones, the heavier ones. So, I think moving forward, we’ll have to make some decisions about what stays in the set and what gets moved in and out.”
Beyond the release of Damaged Goods, the band has irons in the fire. “The only stuff that we’ve got confirmed and announced is Love Rocks and Hard Rock Hell in November – the big main one. I’ve been talking to some people today about some interesting stuff. We’ve got some irons in the fire, but like I say, nothing is confirmed,” said Indy. “We want to be doing some festival shows and looking at some support tour-type things, getting in front of new people. I think that’s one of the things that we particularly like getting in front of people who don’t necessarily know us and winning them over. So, there’s not much out there in the wild to tell, but it’s going on behind the scenes.”
Damaged Goods by Doomsday Outlaw is out now via Republic of Music. The band will be performing at HRH 16 in Great Yarmouth. The event will take place between the 2nd and 5th of November at Camp HRH. For tickets and further information, please visit https://hardrockhell.com/.
As the singer of one of the biggest metal bands on the planet, Floor Jansen requires no introduction. The artist is presently preparing for the release of her solo album Paragon in March.
The artist’s latest album was catalysed by an appearance on Dutch TV. “It started with this TV show, De Beste Zangers asking me if I would want to be part of the show. Me never watching TV, I had no idea what it was. I soon realised, this is the ultimate way to present my type of music to a wider audience,” explains Jansen. “Metal is considered to be absolute underground in the Netherlands. It’s often looked down upon as just a bunch of aggressive guys with long hair that are smelly and Satanic.”
At the time, Floor wasn’t familiar with the other participants on the show. “I did not know everybody else who was going to be part of that season. But one I knew, and I was a huge fan of his back in the 90s when I started to listen to music, and that was Henk Poort, with whom I sang. As he was the Phantom in The Phantom of the Opera in the Netherlands. So, the first thing I said when I heard that he was going to join, I said I want to do a duet with him. That was before even knowing there was a special duets episode in that whole season. So yeah, that’s how it came to be.”
Together Floor and Henk performed a rendition of The Phan tom of the Opera. The video of their performance on YouTube has gone viral and amassed approximately 20 million views thus far. “We never actually sang it together until the day of the recordings of the episode. There are things that you can’t make with music, or with any thing. There are just things that can happen, yes or no. And with us, we had this chemistry together. From the first time we sang it during rehearsals, we had a nice connection with each other. Also, on a personal level. And that really came out as the evening progressed, and especially this song was the last song of the last episode.”
As they say, the rest is history.
Performing on the show allowed Floor Jansen to do something different and put herself in the s spotlight as a solo artist. “I was already a forty-plus metal singer. Am I going to do anything on TV just by showing up and singing? I didn’t think so. My ambition would have been to put my genre in a more positive daylight. But everything else that happened was a complete surprise to me. And the Phantom,
a song that has been done 100 million times by 100 million other people. There are 1000s and 1000s of videos out there would do anything special. No – but it did.”
Despite this, has Floor Jansen always had a burning passion to perform as a solo artist? “No, it really started after the sudden success of me on Dutch TV. Like, oh, this is really fun. It’s always good to have a plan B. When you’re in a big band, you never know what can happen. I don’t think anything will happen. But geez, I just got this opportunity handed to me on a golden platter. It would be almost stupid to not use this. But do I want that, to actually have that ambition? And what kind of music would I like to do? And do I want to write songs because I feel more confident as a singer, and as a songwriter,” she says. “But as soon as I started again, it was really good, and this is really fun. It’s wonderful to sing in bands; that’s why I’ve always done it, and I’ve never done solo before. But I did discover a new freedom in doing my solo stuff, and I got to steer things up how exactly I want to, and there’s fun in that too. Not just because I want to control things. But because it’s fun to be the creative energy behind something of your own.”
Paragon has allowed Floor Jansen to not only showcase her individuality and voice, but also her talents as a songwriter. Something which she doesn’t get the opportunity to do in Nightwish. “I’ve always been writing stuff, but for ten years now, I’ve been the singer of a band where I don’t write. And I sing in a band with a very extraordinarily good songwriter. So, I feel like I’ve been exploring my techniques and talents on the vocal and way more than I have on the songwriting,” she says. “So, when I started thinking of what I want to do for this project, if I’m going to go solo, what kind of music do I like? I’ve been doing metal and rock for over 20 years. I’m already in one of the biggest bands musically. I’m doing everything I want there. So, I want to do something else where less is more, there’s more focus on the voice or, in a different way, focused on the voice better said. So, I had to find my own sound, and that took a while.”
Working with a producer, Floor Jansen began to refine the sound for her solo project. “It wasn’t until I started working with Gordon Groothedde, who was also the producer of this album, that I could work with him to find my sound,” she says. “The order of things usually starts with music for me. But I do have a subject in mind, or I have a list of things that I want to write about. When the song starts to take shape, and it has a certain feel, then I know what it’s going to be about, and from there, it will grow together.”
The first solo single to be released from Paragon was Fire. A
track which became Dutch station NPO Radio 2’s Top Song. Thus, raising the bar very high from the off of this exciting new venture. “The first single, that’s the first thing you’ve been promising for years and been talking about, and it’s going to be completely different from metal,” explains Floor. “You don’t want to disappoint the metalheads. If they’ve maybe thought that I’m still going to do another metal song and then come out with something completely different. But what is the sound of Floor if she’s not doing metal? And maybe the whole world would just not like the song, or they couldn’t identify me with it. I think that was one of the biggest tasks of the whole project to really do something that is authentic to me. But it was wonderful to see how well received it was and everywhere. It’s really landed globally.”
But what do Floor Jansen’s fans think of the sound and direction of her new solo project? “Thus far, people have been surprisingly positive about it. Also, maybe because I wanted it to be so different from Nightwish. There’s no reason comparing it; it will be apples and pears there. And that’s something I did get back was that authenticity, the me in it’s really there. That they can both hear and feel it. That’s very much appreciated.”
There has already been a huge demand for tickets to Floor Jansen’s solo shows. As a result, more solo touring is on the agenda in the future. “So, we will do once again a short tour in the Netherlands. Once again, all those shows are sold out. So, we’ve added one in December as well. But everything that we’ll do right after the release is sold out in April. Then in May, I’ll go to Germany, and I will also do the German version of that TV show. So, I’ll do Germany, Austria and Switzerland for about ten shows there,” explains Floor. “Then it’s a lot of summer festivals with Nightwish. I don’t have much time left to do festivals with my own stuff. So just a few. Because we also will record a new album with Nightwish. So yeah, my first six months of this year are pretty packed. And after that, we’ll see because the UK is definitely on our wish list to come and play.” Floor concludes: “The world is a big place, and I’m already touring the world. So, my focus has to lie on just a couple of markets within this big world because I can’t divide myself up even more. But the UK is definitely high on the wish list. And we’re working on shows as we speak actually.”
Words: Adam Kennedy Photo Credit: Laura Zalenga
Paragon, the new solo by Floor Jansen, will be released on March 24th.Scottish doom stoner quartet The Rhubarb are poised to release their debut album, the poetically titled Symptom of Failure. The latter will be released in March via Milky Bomb Records.
So far this year, the band have been keeping things on the down low in the buildup to the album release. “We’ve been quite quiet rehearsing away for the album launch in March. We’ve been getting some new material together and tightening up all the old stuff. It’s still quite quiet, but as soon as March hits, we’re all good to go,” says guitarist Michael McConville.
Hailing from Glasgow, Scotland – The Rhubarb are proud of the strong metal scene that they are part of in the city. “There is a definite strong metal scene. Guys like Red Crust Promotions are putting on really good gigs. Guys like Johnny from Triple G are putting on really good gigs. There’s a really strong metal scene,” explains Michael. “Maybe not as much on our side of things for
the heavier, sludgy, stonier kind of stuff. But as a whole, the metal scene is great. It’s probably much like anywhere else where you can go to a show and meet people you know, and network with other band guys and just kind of see what the deal is.”
The Rhubarb was formed in 2015. “We were all going to college together at Riverside Music College in Busby, East Kilbride. I wasn’t actually in the band at the start, but we all met and became really good pals,” explains Michael. “We went through various different lineups. We had two guitar players at one point, then one guitar player, and then back to two, and then now only me doing it. There’s been a lot of different chapters and stages and processes that we have gone through to be what we are just now.”
Much like a lot of groups, the tracks on the band’s debut release have come together over a long period of time. “A lot of the songs
on the record we’ve been playing live for maybe about a year and a half, just to test the waters. As I said before, with going through a couple of lineup changes, the sound has vaguely changed,” he says. “When I joined, and the other guy left, we thought we’re going to hammer this down and try and test the songs and see what people think. We’ve got a fantastic response to a lot of the songs. So, it’ll be good for people to hear the recorded versions of them, because there’s always stuff that you want to be able to do live, but you just can’t do it. It’ll be great to put out those perfect versions of them for people to consume. So yeah, there’s a lot of nervousness and excitement for it coming out.”
The band are stoked about having a physical release for the album. “We’ve all been huge vinyl fans for our whole lives. So, getting the chance to put us out on vinyl with Milky Bomb Records is quite a big deal. So we’re very excited about that,” confirms Michael.
The band’s label Milky Bomb Records, have been incredibly supportive of their journey thus far. “Simon’s an awesome guy, first of all. An amazing guy to work with, he’s really knowledgeable,” he says. “When we had this recorded, we were fishing about to see if anyone was interested in putting it out. We were thinking about these cool labels that we will hit up and see if they’re interested in working with us, and if they like the material and if they fancy putting it out. And Milky Bomb was pretty high up on the list because we had mates who were on their label as well. So, we heard through the grapevine that Simon was doing some cool things and liked all kinds of music. We hit him up, and he ended up loving it, and it seems like a match made in heaven. So, we’ll very happily jump into this partnership together.”
There is a strong message behind the band’s debut album. “It’s basically about keep on moving on. It doesn’t matter who’s telling
you your sh*t or it’s not going to work out, just go your own way and keep moving on. Especially in the lyrics, there’s a lot of political stuff, there’s a lot of personal stuff, and we don’t tend to write about one thing. I think it’s a lot easier to understand these things after you have it all put together,” said Micheal. “It combines a lot of feelings that myself and Hannah have gone through in the past in our lives and we feel like we’ve really encapsulated that. It’s the hope for moving forward.”
These feelings are reinforced in the band’s album sleeve. “The main figure you see on the front cover is this person with a big hood, and then the light coming out of his eyes. The light means hope for the future. And then, on the back cover, there’s the other figure in the darkness, and the main figure is moving away from that. So, all of the anxieties, stresses and depressions in your life can be left behind, and you can move on.”
The band are looking forward to getting out on the road in support of their debut album. “We’ve got a couple of English dates booked. So, it’s going to be our first movement out of Scotland - which is going to be a bit exciting. So, we’ve got four dates planned. We’ve got Stafford, Hartlepool, Leicester, and London,” said Michael. “Since it is our first foray outside of Scotland - let’s see how it goes. And then in support of the album coming out, do a full band run and see where the wind blows. We’ve all been working extremely hard towards this album release, and it’s going to be a great relief once it’s out.”
Words: Adam Kennedy
Photo Credit: Press Supplied
Symptom of Failure by The Rhubarb will be released on the 24th of March via Milky Bomb Records.HRH NWOCR recently returned to the O2 Academy Leicester with another action-packed two-day line-up. The HRH Mag team were on hand to capture the action throughout the weekend.
At the start of Day 1, there was already a fair crowd in the main room for openers Bad Actress. Warming us up with an original brand of sleaze, they may be young and fresh, but what an impressive show. The cover of Poison’s ’Talk Dirty To me’ and the synchronised leg kicking was brilliant. Beth Blade and the Beautiful Disasters followed, and the feisty singer is on form today. Superb at keeping the audience in her grasp, we hear a mash of old and new, ‘Sin Eater’, ‘Lost In You’ and the ever-popular ‘Jack And Coke’ being highlights.
Brad Marr (Massive) introduced us to his latest outfit, no not the glitzy gold one he’s wearing, Sweet Electric. Not only a gathering of fine musicians, but this is also shiny rock on a different level. Brad bashes a Cow Bell while leaping around the stage to original tracks like ‘Heir To The Throne’, Livin’ It Up’ and ‘Killer Katherina’. Wow, they blew us away.
Longstanding members Dave Kerr and Andy Mewse of Silverjet have their set tuned to perfection. A mix of aggressive strings and melody make this band stand out for me. They dish out the delights of ‘Take My Pills’, ‘Everybody Used To love You’ and the newer ’Nasty Wish’ before leaving with ‘Hell Yeah!’
Back to the ground floor Collateral are just appearing. The shock of guitarist Todd Winger’s recent departure is
evident at first. However, nothing prevents Angelo Tristan from making an entrance and raising the temperature, this time it’s his black see-through mesh top! They fire up ‘Lullaby’ and ‘Big Shot’ encouraging us to singalong and as usual, they get the room buzzing with their lovable approach. ‘Midnight Queen’ and eventually ‘Merry Go Round’ steals the show.
In the smaller room Mad Haven, have only just returned from gigging in Australia, ‘we’re not jet lagged at all’ they tell me. The room is full for the three piece, and they pull out all the stops tonight, from Tom grating his strings on the barrier for feedback, to hearing the new song ‘Liar’. Grab the live album ‘The Wait To Continue’ for an introduction.
Sons of Liberty offer Southern Rock with finesse. They cruise into their songs with ease and the reaction from the HRH crowd is sensational. Rob Walker up front with Fred Hale and Andy Muse on guitars are totally gelled. ’Ruby Starr’ is a firm favourite with SOL fans, being last on the list. Welsh wizards of unrefined rock Pearler headline over on stage two. Wendell Kingpin and Co thrust themselves into pulsating tracks, that leave us gasping. No breaks in-between and the frontman does keep us amused with his sense of humour.
I wasn’t the only one who hadn’t seen The Jokers before so being unknown and having a technical hitch after one song didn’t help matters. It took all the experience of vocalist Wane Parry to turn this around and he did just that. Tracks from ‘Rock And Roll Bones’ and ‘Hurricane’ were well received and well before the end they had the audience enthralled. Who better than Vega to round off the evening, churning out massive favourites including ‘Worth Dying For’ and ‘Every Little Monster’ before their fans. The set was electrifying, and it was the first time I’d seen this particular line-up, who looked so together, all the way to the finale of ‘Hands In The Air’.
The end of Day 1 and it was so cool to meet up with the HRH family and friends again. A flurry of bands who all gave 100% and some exceptional performances.
The second day of HRH NWOCR II certainly packed a punch as a smorgasbord of international talent wowed the Midlands audience.
Kent-based Blues rockers Gallows Circus kicked off the second day of proceedings at the O2 Academy Leicester on the main stage with a mix of upbeat tunes and some slower, melodic numbers, showcasing frontman Ian Day’s soulful vocals. With a voice reminiscent of Ed Kowalczyk from Live, and their whisky-drenched, blues-hearted hard rock, the fourpiece did a marvellous job warming up the crowd for the day ahead.
Up next, and also hailing from Kent, energetic sleazy blues and goth stylings were served up in the form of Black Roze. Impeccably dressed frontwoman, Viixen, kept the audience’s energy levels high with her outstanding vocals and charismatic banter between the crowd and the band. A standout tune for me was their cover of Sweet Dreams which was practically dripping with sleaze. At The Devil’s Door tells the story of Viixen’s recent experiences with a life-threatening illness where she had to be resuscitated, which is full of haunting melodies before finishing out the set with a cover of These Boots are Made for Walkin’.
Opening the second stage, South London four-piece Ransom brought their brand of catchy punk rock, rock and roll to a packed-out room. Frontman Matt Fielder easily won over the crowd with his easy self-deprecating humour and classic rock-inspired vocals. Formerly a covers band, now playing their own material, including tracks about Lockdown in London and songs about Rishi Sunak, all in a classic rock style, are sure to win Ransom more and more fans as they continue to tour the UK.
To take us through to the twilight, four-piece blues rockers Daxx & Roxane took to the main stage. To my recollection, they were the first band of the day to break out a harmonica, which brought a much-appreciated texture to the set. They brought the tempo down a little during the middle of the set with a couple of melodic numbers containing harmonic solos
and thumping bridges before kicking it back into high gear with driving riffs and AC/DC-esque vocals. While on the second stage, the heavy, driving blues-rock of Electric Black saw us into the evening.
Yorkshire vocalist/guitarist Loz Campbell and her band brought heavy riffs, sultry vocals, and some raw energy to the show. An excellent performance from one to watch as she undoubtedly gains a bigger following and rises through the rock scene as she is about to head out on her first UK headline tour. As an indication of how heavy the tunes could get, drummer Tom played with such ferocity that he broke the kick pedal. The stage got a bit too crowded for some band members mid-set as the guitarist and bass player went on a walkabout through the crowd. And finally, we were given a hint as to some upcoming news about the forthcoming tour in the form of a cover of Cherry Bomb. What this means remains to be seen.
South of Salem took to the stage to the strains of the Halloween theme before exploding with their brand of high-energy riffs and thunderous bass. Blowing away any lingering Sunday cobwebs and getting the whole crowd singing along. The Bournemouth-based crew blasted through upbeat tunes as well as more melodic, thoughtful tunes such as Demons are Forever, serving as a reminder that we are not alone. Check the music video made during the pandemic as an anthem for those struggling with loneliness. This is a band that connects well with their audience and proved to be a firm favourite for the day.
Speaking of fan favourites, second-stage headliners, The Suicide Notes made fast friends with not only their sleazy blues rock offerings but also by passing around Jack Daniel’s to the crowd to keep the cold outside at bay. Crazy guitar solos, glorious rock and roll antics and massive drum solo concert endings from the insanely talented drummer closed out the second stage in absolute style.
Tales of depression and just how difficult life can be are given an upbeat, riff-heavy, bluesy hard rock makeover by Doomsday Outlaw. Opting to effect title changes, such as changing the catchy One More Sip to make it slightly more palatable than its original title, Drink Myself to Death. Despite nearing the end of the day and the weekend, the crowd were game for the audience participation segments and still in fine voice. Also, despite the late hour, there were firsts still to come in the form of an excellent slide guitar solo. Add on
top of that some epic blues piano, crunchy riffs, and masterful vocals.
Closing out the event, Leader of Down took to the stage. Founded by former Motörhead guitarist Würzel before his passing in 2011 with bassist Tim Atkinson, Leader of Down injected a shot of blistering metal into the hardcore fans still up for partying to the end. They were rewarded with not only an excellent set of material and performances including a homage to Jack Nicholson with the insanely catchy Here’s Johnny. But also, a guest appearance from original Iron Maiden guitarist Dennis Stratton, who joined the line-up to raucous applause for the closing numbers of the weekend, which took the form of belting covers of both Kill by Death and Master of the Universe by Hawkwind.
Words: Diane Davies & Simon Potthast
Photo Credit: Simon Dunkerley & Arta Gailuma
FRUIT SALAD LIGHTS
FRUIT SALAD LIGHTS
TUE 28th BRIGHTON CHALK
WED 29th
NORWICH EPIC STUDIOS
THU 30th
BOURNEMOUTH O2 ACADEMY DECEMBER 2023
FRI 1st FROME CHEESE & GRAIN
SAT 2nd LIVERPOOL O2 ACADEMY
FRIDAY 30 JUNE
MANCHESTER
BAND ON THE WALL
SATURDAY 01 JULY
LIVERPOOL O2 ACADEMY
SUNDAY 02 JULY
YORK THE CRESCENT
FRIDAY 07 JULY
BIRMINGHAM O2 ACADEMY2
SATURDAY 08 JULY OXFORD O2 ACADEMY2
SUNDAY 09 JULY
BRISTOL O2 ACADEMY
MONDAY 10 JULY
EXETER THE PHOENIX
WEDNESDAY 12 JULY
BOURNEMOUTH O2 ACADEMY
THURSDAY 13 JULY
BRIGHTON CONCORDE 2
FRIDAY 14 JULY
BEDFORD ESQUIRES
SATURDAY 15 JULY
LONDON THE GARAGE
FRIDAY 28th APRIL
BIRMINGHAM O2 INSTITUTE3
SATURDAY 29th APRIL
OXFORD O2 ACADEMY2
SUNDAY 7th MAY
LONDON O2 ACADEMY2 ISLINGTON
DEEPERPURPLE.BAND
SAT 18 MAR 2023 OXFORD O2 ACADEMY2
SAT 01 APR 2023 SHEFFIELD O2 ACADEMY2
SAT 08 APR 2023 LEICESTER O2 ACADEMY2
SAT 18 NOV 2023 LIVERPOOL O2 ACADEMY2
SAT 27 JAN 2024 LONDON O2 ACADEMY2 ISLINGTON
It was sub zero temperatures in London but British Lion brought all their tooth and claw hot ferocity to the stage in a show which left us frothing for more. Steve Harris, the shorts sporting darling of East London rock ’n’ roll bestowed his quintet upon the Islington Assembly on the second to last date of their 2023 UK tour. The last time I’d seen the guys had been at their packed-out Download Festival 2022 performance and by looking at the hefty queue outside the Assembly, it was clear no sort of popularity was about to wane.
Support acts Airforce and Voodoo Six both put in sterling performances with the former harvesting an Iron Maiden type galloping vibrato and the latter a tour de force in thunderous shreds and bellowing vocals. Warm ups don’t get much better or more fitting than this.
At just gone 9pm, with the leather jackets and long hair of London now united, British Lion take to the stage. Despite being on the last leg of their tour their combined energy is nothing short of inexhaustible. Cracking on with tracks from both their 2012 selftitled debut album and most recent 2020 album, ‘The Burning’, the guys weave in and out of a neatly arranged setlist.
‘This Is My God’, ‘These Are The Hands’, and ‘The Chosen On’ from the first record are strikingly poignant whilst tracks such as ‘Father Legion’, ‘City of Fallen Angels’ and ‘Last Chance’ from their most recent hits just as hard. Vocalist Richard Taylor guides the audience through with just enough in-between song chatter. ‘Spit Fire’ strikes a nice emotive chord before fan favourite ‘Lightning’ catapults
us to the heights of guitar virtuosity. Grahame Leslie and David Hawkins tag team those gloriously on point guitar solos whilst Simon Dawson comes out as a particular highlight of the show for headbangers and drum enthusiasts alike.
For all the adoration of the music there is a definite Steve Harris love affair between him and his audience. With his trademark West Ham United wrist sweat band and equally obvious burgundy and baby blue bass strap he goads audience cheers with just one look. It’s his unfiltered, undimmed bass sound that makes British Lion’s studio albums what they are and here I’m happy to say it’s no different. ‘Bible Black’ harnesses that twang with the zest never dropping from his axe wielding comrades.
The guys finish up with ‘Eyes of The Young’. Unbridled cheers from the crowd are matched only by the enthused horns they thrust into the air. British Lion giving us a masterclass in professionalism and perfectionism without ever dropping the bar once.
Words: Monty Sewell
Photo Credit: Eric Duvet
With Christmas just around the corner, a party mood was in the air as Volbeat and touring counterparts Skindred and Napalm Death descended upon the First Direct Arena in Leeds. A packed-out audience was in attendance in West Yorkshire for a turbo-charged bill of epic proportions.
With icy conditions and sub-zero temperatures prevailing throughout the day, Napalm Death had the task of thawing out the Leeds audience. The thrash metal legends’ short but explosive set not only warmed up the crowd but also their eardrums.
Skindred proved to be the perfect precursor to the headliners. Equipped with an arsenal of hard rock anthems and more energy than a case of Red Bull, the band had the Leeds crowd in the palms of their hands from the off. When you combine Benji’s charisma, enthusiasm and showmanship with Mikey Demus’ crunchy guitar riffs and the unstoppable rhythms provided by Daniel Pugsley and Arya Goggin you get a band to be reckoned with.
Tracks such as Kill The Power and Gimmee That Boom were built to be showcased in an arena setting. Whilst thousands of Yorkshire folk wholeheartedly doing the Newport Helicopter during Warning was a beautiful site. At the end of their set, Benji took a well deserved victory lap around Volbeat’s diamond shape stage.
At this time of the year, it’s not uncommon for a band to endure illness. After all, being on tour is not easy, by any stretch of the imagination. On this occasion, frontman Michael Poulsen was battling with a cold but soldiered on. As the old saying goes, the show must go on.
Having spared no expense on their arena production, the band grappled with their larger-than-life stage set, making each patron feel close to the action. Whether the fans were in the Parasite Pit in the centre of the stage or elsewhere around the arena, the group charged up and down the colossal structure whilst engaging with the audience.
Despite challenging circumstances for Poulsen, the arena crowd spurred the artist on like a choir of Volbeat backing singers, particularly during anthems such as Devils Bleeding Heart, Lola Montez and Last Day Under The Sun. Each of which featured early in the set.
A heartfelt performance of Fallen was dedicated to Michael’s father, whilst a foot-stomping rockabilly-tinged airing of Sad Man’s Tongue was one of the many highlights of the group’s sixteen-song setlist.
With inflatable balloons propelling their way across the arena floor Wait A Minute My Girl proved to be a hit with the Leeds crowd. The addition of both sax and piano during the latter was incredibly effective. Having battled with his cold, Poulsen took the opportunity to rest his voice during a ferocious instrumental rendition of Becoming.
Volbeat hurtled towards the finish line via Seal The Deal, and the song did just that with the Leeds audience. Furthermore, confetti propelled its way across the arena floor during the main set closer Devil Rages On.
Illness aside, Volbeat frontman Michael Poulsen proved that both himself and his bandmates were unstoppable during an astounding performance in Leeds.
Words and Photo Credit: Adam Kennedy
Worlds collided as two of the leading symphonic metal outfits from the scene descended upon the First Direct Arena in Leeds. It was a tour that hard rock and heavy metal fans had been looking forward to for some time. This co-headlining run had been due to commence shortly before the start of the pandemic but subsequently had to be rescheduled on several occasions. Finally, it was time for Within Temptation and Evanescence to bring their colossal tour to West Yorkshire, where an almost full house awaited them.
For those in attendance early in the evening, Veridia kicked off the proceedings. The Nashville-based outfit had spent the previous night in the city and spoke about how Leeds had become one of their favourite cities. Bedecked in a yellow leather jacket, and braids whilst flying colourful illuminated flags onstage, lead vocalist Deena Jakoub certainly grabbed the audience’s attention. None more so than when the band was joined by Amy Lee from Evanescence for a beautiful airing of, I’ll Never Be Ready. Veridia certainly proved to be the perfect precursor to the big two.
Co-headliners Evanescence was the second band of the evening. Of course, the group has been coming to the UK for many years. Amy Lee declared that never in her wildest dreams when she first performed in England at the age of 21, she would still be returning at the age of almost 41.
With a career spanning more than 20 years, the group delved into their discography throughout their sixteen-song setlist. Highlights included Going Under, along with a powerful rendition of Use My Voice. With ticker tape flying, set closers My Immortal and Bring Me to Life was the cherry on top of Evanescence’s stunning performance.
Amy Lee is the complete package. Whether she is belting out powerful metal numbers or sitting behind her piano during the
ballads of the group’s repertoire, Amy can do it all. Her angelic and somewhat incredible vocal range is a joy to behold throughout.
You would have to look back to 2014 for the last Within Temptation show in the North of England. Since that time the group have continued to grow in stature. The band’s show in Leeds concluded the UK leg of this mammoth co-headline run. Without question, the band intended to go out with a bang – in more ways than one.
First of all, let’s talk about the group’s production. Within Temptation’s performance showed their ambition. This was not just an arena show, it was a festival headliner-worthy performance. With a pyro-fuelled stage set that would give even Rammstein a run for their money, the Dutch outfit warmed up the audience with their fiery antics.
But it was not just the pyro that went off with a bang; the band’s setlist contained more bangers than a fireworks shop during November. With the likes of See Who I Am and Faster opening the set, the band’s fans were in Paradise, quite literally from the off. The latter also happened to be the title of the third song in the set.
There were many highlights of Within Temptation’s high-octane setlist with the likes of Stand My Ground, In The Middle of the Night and Raise Your Banner featuring. The latter was dedicated to the people of Ukraine, with Sharon den Adel proudly flying the nation’s flag throughout the track, which was a heart-warming touch during these troubling times. The inclusion of recent singles such as Supernova and The Reckoning showcased the band’s musical evolution whilst also bringing their setlist up to date.
As the band headed into the final stages of their fourteensong strong setlist, an outstanding airing of Ice Queen and the classic Mother Earth brought the group’s set and UK tour to its conclusion. It may have taken a long while for Within Temptation and Evanescence to share the road, but the World’s Collide Tour was certainly worth the wait. Perhaps the best arena show this writer has witnessed during 2022.
It was very much a case of a clash of the rock titans as co-headliners Black Stone Cherry and The Darkness descended upon West Yorkshire. Their colosseum of battle being the First Direct Arena in Leeds.
Now Black Stone Cherry and The Darkness may not necessarily be your obvious pairing for an arena tour. But let us assure you it certainly worked with each headliner bringing something different to the proceedings.
Of course, The Darkness does not do anything in half measures. And judging by the amount of pyro featured in the band’s explosive performance The Darkness weren’t concerned about their gas bill either. But we digress.
The Darkness propelled their way through a setlist packed full of Solid Gold. Greatest hits such as Black Shuck, Love Is Only a Feeling, and the anthemic I Believe In A Thing Called Love are the types of tracks that are perfectly suited to an arena setting.
Justin Hawkins, as ever, was the consummate showman. Bedecked in a black lace catsuit, the frontman’s onstage physical and vocal acrobatics included frequent leaps from the drum riser, headstands and traversing the audience on the shoulders of his security guard.
The Darkness delivered a set that was fuelled by fire and brimstone. The group raised the bar very high for their US counterparts to follow.
Black Stone Cherry was perhaps one of the first bands from the States to hit our UK shores following the pandemic. Only this time, the venues are much larger, allowing the Kentucky natives to add more production to the equitation.
Although The Darkness may have delivered a passionate performance, Ben Wells and Steve Jewell certainly gave them a run for their money. Wells, in
particular has more energy than a case of Red Bull. Whilst, John Fred Young’s power and enthusiasm behind his kit are unrivalled.
And it wasn’t just The Darkness’ pyro that illuminated the evening’s fiery proceedings as BSC added their own touch with Burnin’ at the top of the set.
Classics such as Me and Mary Jane, Soulcreek and Blind Man were on point as ever. Whilst new song Out of Pocket certainly showcased a heavier sound to the band’s new material and whet the crowd’s appetite for what’s to come.
An emotive airing of Things My Father Said slowed the proceedings momentarily in the latter part of the set. But not for long, as BSC brought out the big guns and went crazy for the last three songs during the anthemic White Trash Millionaire, Blame It on the Boom Boom and main set closer Lonely Train.
A noticeable difference on this tour was just how much BSC had reduced the emphasis on some of their bluesy jams seen on previous tours in favour of packing the show with a more concise and powerful setlist. This approach certainly worked in their favour. The quartet was in perhaps their best form in recent times and delivered a heart-and-soul performance.
When Black Stone Cherry and The Darkness roll into town, you get a lot of bang for your buck – and we aren’t just talking about the latter’s pyrotechnics.
Words and Photo Credit: Adam Kennedy
To sleep, perchance to dream wrote the bard of Stratford Upon Avon. Well, as everyone in the rock fraternity knows, there is no sleep until Hammersmith as Dream Theater shook the very foundations of this venerable venue to its historic core on this final night of their Top Of The World Tour show. The sight of fleet-fingered Jordan Rudess’ rotating keyboard as the distinguished bearded John Petrucci and hair to his waist John Myung conjoin on guitar and bass front of stage to rip out mellifluous notes is a sight to behold and especially hear. Together, they delivered a masterclass of musicianship to an astonished, but by no certain means sold-out venue, audience most of whom knew every word the highly affable James LaBrie sang. And there are plenty of words to match the epic proportions of this complex music.
LaBrie’s friendly and inclusive onstage demeanour clearly respects the community that the band’s fans have created around this monolithic Progressive Metal musical entity. Even the big of beard side of the stage security guard was visibly enjoying every nuance of the show when not distracted by his duties. With his huge percussive kit reassuringly set upon a drum riser, Mike Mangini infectiously roamed around his assembled surroundings like a man(gini) possessed. Driving the songs through undulating musical terrain replete with plenty of sharp chicanes, twists and turns of complexity, both he and the whole band fully deserved their end of set onstage champagne. In getting there, including opener The Alien they played four songs from the ‘new’ album. But they satisfyingly travelled back in time to pull a few rare rabbits out of their magical musical hat with Pull Me Under from their early classic -and James LaBrie’s first DT recording - Images And Words release. Also, 6:00 and Caught In A Web from the early 90’s Awake album. A Dramatic Turn Of Events’ Bridges In The Sky was welcomed like an old yet ageless returning friend. However, in an evening of many, many high points a beguiling suite of three tunes - Solitary Shell, About To Crash (Reprise) and Losing Time/Grand Finale - from Six Degrees Of Inner Turbulence probably edged ahead of a highly competitive setlist. Then again, at just short of sixty minutes of sonic sorcery, with the final three songs Pull Me Under, A View From The Top Of The World and encore exemplar The Count Of Tuscany to savour total sensory overload was magnificently achieved. This evening’s two-hour set included a backdrop of visual thrills of
ice mountaineering, mystical Mayan montages, space shots, air ballooning, skydiving and Tuscan country landscapes… complimenting the dramatic music on show.
It’ll probably be another couple of years until DT return with new songs to insert into an already peerless genre set. Nevertheless, there’s a shared iron belief and tight bond between the band and their fans and a near unparalleled recording catalogue to sustain a famine of live shows until the next time.
Words: Paul Davies
You would have to look as far back as 2014 to the last time US rockers Black Veil Brides performed in the North East of England. On that occasion, the group played at the O2 Academy Newcastle, which has now changed hands and rebranded as NX.
With nine years between shows, BVB’s latest gig on Tyneside allowed a new generation of fans to witness the seminal outfit live. Whilst many of the band’s hardcore legion of followers proudly wore their 2014 tour t-shirts.
To say that BVB euphoria had arrived on Tyneside is an understatement. The show was sold out well ahead of time. Fans queued around the block to secure their prize spot at the front of the stage. Whilst others took the opportunity to watch the show via the pristine views secured from the twotier balcony above.
Many fans arrived at the gig sporting face paint representative of BVB’s stage image.
Taking to the stage to the sounds of the Phantom of the Opera was perfectly fitting for such an occasion. The band opened the set with euphoric renditions of Crimson Skies, Coffin, and Rebel Love Song.
New song Devil with its frantic rhythm and heavy breakdown, had the crowd hanging on every word. The band towered over the audience from risers positioned at the front of the stage, bringing the fans closer to the action. BVB’s charismatic frontman Andy Black led the charge throughout.
Fan favourite Scarlet Cross was one of the many highlights of the set, whilst the symphonic sounds of the overture slowed down the proceedings momentarily. Wretched and Divine whipped the Geordie crowd into a frenzy.
BVB turned back the clocks with the inclusion of The Legacy, before wrapping up their main set with a crowd-pleasing performance of Knives and Pens.
However, the Newcastle crowd weren’t done with the band just yet, with cheers of one more tune resonating around the concert hall. A three-song encore aptly concluded with In The End.
It may have taken nine years for Black Veil Brides to return to Newcastle, but on the strength of this performance, it was worth the wait.
HRH Vikings is a mix of genres which call on everyone to raise their drinking horns, grab their garb and the odd “ Shield Maiden” and take the voyage to Sheffield for one of the most raucous HRH performances to date.
HRH Vikings featured 5 mind blowing sub genres of metal namely, Battle, Nordic, Pagan, Black & Death. Expect the unexpected as we went all out to recreate a Metal Viking Saga to challenge the very foundations it was staged upon. The Runes have been cast and the HRH Oath sworn have been summoned!
Photo Credit: Simon Dunkerley & Arta Gailuma
Given the raw amalgam of punk and glam that underpinned Mötley Crüe’s edgy and fiercely independent self-produced debut Too Fast For Love, few could have predicted the band would evolve into the bloated corporate rock machine set to roll through the UK alongside Def Leppard later this year.
British fans will get to enjoy the unique experience that is latter-day Crüe at least one more time during this summer’s Stadium Tour reboot. However, rather than pay an inflated ticket price to witness a band way past its prime, the more sensible move might be to invest in this shiny celebration of the glory years.
You see, long before Vince Neil and co. lost their way (and lost the battle against advancing years), the Sunset Strip’s poster boys were bona fide game changers laying waste to West Hollywood and beyond. During the 1980s Crüe were synonymous with playing hard and partying harder and within a decade the politically incorrect bastard sons of the Sex Pistols had delivered five back-toback records that soundtracked an era of relentless excess. All five and more have been remastered, reworked and remixed to death in the intervening years but that hasn’t deterred BMG from repackaging Too Fast For Love, Shout At The Devil, Theatre Of Pain, Girls Girls Girls and Dr Feelgood one more time.
So what’s new? On this occasion there’s the promise of each record reimagined as a flamboyant splatter vinyl recollecting many of Crüe’s more questionable fashion choices back when denim and Lycra were glam metal’s go to uniform. Housed in a leather-look box with embossed silver logo, there’s no doubt this premium package looks like the real deal. For a band often accused of favouring style over substance, Crücial Crüe is an appropriately colourful retrospective.
Kicking off with a relatively conservative black and white splatter (the visual calm before the storm), 1981’s furious Too Fast For Love is the sound of a band with nothing to lose but so much to gain. Nikki Sixx’s songwriting might have been in its infancy but the electric Live Wire and tantalising title track hinted at the stadium anthems to come. However, if the band’s naivety was all part of the charm during those formative years then it didn’t take long for the marketing men to latch on to a serious money making opportunity. Crüe’s flamboyant looks and earworm hooks were ready made for the FM radio/cable TV generation and 1983’s Shout At The Devil shifted a sensational 200,000 copies in its first week.
If Looks That Kill and Too Young To Fall In Love failed to gain a foothold in the upper reaches of the Billboard Hot 100 then Crüe’s reputation as the bad boys of glam rock was gathering pace. Kicked off Kiss’s tour prior to recording Shout At The Devil and unable to kick their addiction to drink, drugs and partying after the album’s release, the band’s off stage antics became headline news. Crüe’s bad behaviour, just as much as their bad-ass tunes, helped propel their second long player to quadruple platinum status. If the yellow and black splatter included here is more Stryper than Crüe then it’s still an insanely attractive disc. But it doesn’t come close to the so-called hot pink magenta/black splatter brilliantly setting off 1985’s breakthrough UK release Theatre Of Pain. With Tom Werman back as producer this was the top six Billboard smash that secured glammier-than-ever Crüe a truly global footprint.
Released against the backdrop of Hanoi Rocks’ drummer Razzle’s tragic death — at the hands of a drunken Neil — Theatre Of Pain landed with a bang inside both the Billboard Top 10 and the UK Top 40. Increasingly famous or progressively infamous? It didn’t really matter to Crüe’s laissez faire paymasters as the band’s crisp cover of the Brownsville Station hit Smokin’ In The Boys Room, über ballad Home Sweet Home and plenty more scrapes with the law kept them front and centre of the serious music mags and the gossip hungry tabloid rags.
By the time Girls, Girls, Girls (presented here on cyan blue/black splatter) added to 1987’s spectacular hair metal canon, Neil and co. were on a roll. The album that soundtracked an increasingly riotous lifestyle — the title track, Wild Side and Bad Boy Boogie leaving little to the imagination — debuted at number two on the Billboard chart and became Crüe’s first top 20 UK album. A decadent record released in different times, Girls, Girls, Girls nevertheless reveals the Sunset Strip’s scene leaders at the peak of their powers.
If Girls, Girls, Girls represented the meeting point between glam metal and stadium rock then Dr Feelgood (check out the Coke bottle green/oxblood splatter combo!) was evidence of Crüe’s eyes fixed firmly on the corporate prize. Within a decade the band had gone from rough and ready wannabes to polished multi-platinum performers. And if ripe upstarts Guns N Roses had already usurped the Crüe as the most dangerous band in the world then Neil, Sixx and Tommy Lee were still more than capable of testing the old adage that all publicity is good publicity.
Dr Feelgood represented Mötley Crüe’s final flirtation with Top 40 chart success (notwithstanding the 1991 remix of Home Sweet Home) in the shape of the anthemic title track, Without You and Don’t Go Away (Just Go Away Mad) and the band’s only number one album bookends this hugely satisfying recap of those prolific, often anarchic early days.
One for the trüe Crüe completist? Maybe. But such is the splendid range of splatter vinyls here there’s plenty to pique the interest of those harking back to hair metal’s kaleidoscopic peak — Crüe fan or not.
Words by Simon RushworthFormed in Mannheim, Germany in 2014 symphonic metal band Beyond The Black unleash their selftitled fifth studio album via Nuclear Blast Records.
Featuring ten songs plus three bonus tracks, it opens with ‘Is There Anybody Out There’. Ear mauling riffing is pinned down by wrist-snapping snare work. Sweeping orchestral strings and a melodic lead vocal from Jennifer Haben add poise, especially when the shout-out loud and proud choruses break free from their shackles.
An eerie intro for ‘Reincarnation’ heads into another raucous riff, and infectious choruses arrive early on headbanging grooves and band backing vocals. A symphonic metal masterclass comes from ‘Free Me’ as stratospheric height vocals could melt the coldest heart as the rest of the band roar along with 100% conviction, ending on a quivering vocal.
‘Winter Is Coming’ is truly joyous as uplifting lyrics herald a full-on metal meltdown to thaw out this winter. Choruses are belted out with chest-beating, call-to-arms clamour. They tip their hat to power metal furore for ‘Into The Light’ and come out with their heads held high and mighty to bring the hammer down.
A ballad of beauty sees ‘Wide Awake’ ebb and flow on a serene vocal that soothes the soul for four fleeting minutes, picking up pace midway on orchestral strings and sparse snare patterns, ending on a histrionic vocal and guitar solo. ‘Dancing In The Dark’ slams in with a pit opening riff of loud and proud fury, full of stadium-filling choruses and fretboard-burning solos.
‘Raise Your Head’ is a speaker-rattling rocker, and nirvana is reached from all-consuming choruses and molten metal guitar solos. The fuse is lit for ‘Not In Our Name’ to explode with lung-busting vocals that add muscle to the sumptuous choruses. The final track, ‘I Remember Dying’ is a potent ballad of an operatic vocal that swoops and soars around heartbreaking choruses to forge towards a thrilling outro.
Words by Dennis JarmanWelsh natives Those Damn Crows continue to walk their industry-championed line between hard rock and metal with their latest album release ‘Inhale/ Exhale’. Though the title may suggest otherwise, this ten-track record barely leaves room to breathe as the guys prove themselves once again worthy of those main stage antics. The mixes are slick, and the compositions are neatly strung together with iron instrumentations and rasp-filled vocals.
The whole album feels like one sucker punch fist to the sky. Easing us in it doesn’t take long before those epic, soaring choruses take centre stage. ‘Takedown’, ‘Man on Fire’ and ‘Wake Up (Sleepwalker)’ gift us with anthemic sweeps whilst ‘Find A Way’ features some gut-wrenchingly good guitar chug work. Compared to their debut and sophomore releases, Inhale/Exhale kicks the production up a notch. It’s what you’d expect to get when working with producer Dan Weller, but the subtle postproduction twinges and metalinfused sonic layers are really what make the album step forward from the rest.
Frontman Shane Greenhall’s vocals are tightly layered for that usual big Those Damn Crows sound, but we also get some clear cut-throughs on ‘See You Again’, lending itself to Greenhall’s hard rock range. Lyrically the whole album feels like a proclamation of self-strength, but it’s that final pocket of gold track, ‘Waiting for Me’, that bittersweetly rounds off the whole thing with applause. It’s rough-hewn rigour with plenty to stick on repeat. As a bundle, the record does feel written for those big stage shows, but it’s got enough intimacy to keep it bold but dear.
Words by Monty Sewell
Marking their 10th anniversary with this fifth album release, Wrong Side Of Paradise reminds us how far the BSR musical adventure has travelled. It’s been a rewarding sonic trip that has seen members depart along the way as the redoubtable frontman Ricky Warwick drives this band forward. Warwick’s creative force and defiant spirit are reflected in his committed delivery of WSOP’s eleven tunes.
The opening title track proves as much with its dystopian world gone wrong message delivered with powerful defiance by Warwick. Hustle details the travails of modern life in trying to keep the show on the road with a never say die attitude. There will always be a poignancy to Warwick’s vocal tone. It’s what got him the call of duty as frontman of the reformed Thin Lizzy touring band which elided into the Black Star Riders. While Scott Gorham isn’t present on this recording, he and Jimmy DeGrasso will join the UK tour. Nevertheless, longstanding BSR friend, Jay Ruston, has brought together all the recognisable vocal, songwriting and performance ingredients expected of a Riders recording fans first heard on a couple of singles at the back end of 2022.
Particularly Pay Dirt which digs a deep rock groove. Moulding a Northern Irish saying into a cracking hard rock song, Catch Yourself On is a reminder not to take oneself too seriously, stupid! This probably explains the inclusion of a cover of The Osmonds’ Crazy Horses and, whilst this take doesn’t deviate much from the original song, it produces fun vibes as does this album overall which is the salient element to a good hard rock record. This is a very good hard rock record and one in which Ricky Warwick can wear his Black Star Riders badge with justifiable pride.
Words by Paul Davies
The third album from Doomsday Outlaw has seen the band guided by Chris D’Adda (Deaf Havana) and Dave Draper (Wildhearts, Terrorvision). This partnership and the way the band have evolved over the last couple of years, has produced their finest work to date.
The twelve tracks featured on the group’s latest offering are strongly linked to frontman Phil Poole’s personal life. The vocalist has said, “This album is a continuation of the stories of my life, played out for all to see, filled with heartbreak and redemption. My own version of therapy, Damaged Goods is the latest chapter in my life.” When you hear Poole sing on this, you get the message loud and clear. He puts his heart into every single lyric.
‘In Too Deep’ is a familiar song to start the proceedings. The band brought it out as a single and have played the track live on stage. It’s a slow burning number with a heavy thump of a melody and lashings of bass from Indy Chanda. ‘If This Is The End’ takes it down even further, a powerful and seducing number, while ‘You Make It Easy’ grates and rumbles. The sunken riff is earth-shaking - it’s so deep.
Guitarists Alessio D’Elia and Rowan O’Sullivan pair up on some amazingly structured chords. ‘Runaway’ was the first single released and is a stirring piece, the drums of Nic Rudd being quite a force. The ease of how ‘One More Sip’ drifts along, is quite a shift in the pattern as we hear more of a chorus. ‘Walking The Line’ is a gradual build, a stupendous track with so much soul from Phil again. They end on ‘The Little Things’ and the title is the perfect description for this eloquent and graceful coda.
‘Damaged Goods’ is intense, emotional, and powerful, it will definitely be one of the top albums for this year.
Words by Diane Davies
Host is the new spin-off band from Paradise Lost, formed when vocalist Nick Holmes and guitarist Greg Mackintosh decided to come together and create a new sound. Their debut album IX combines Paradise Lost’s classic gothic metal sound with – of all things – a euro-pop beat.
The album was initially a disconcerting experience: the beat at the start of the opening track, Wretched Soul, gave little clue as to how the song was about to develop. However, the sound soon comes together to form a pleasingly cohesive ensemble. This is most notable in the second track, Tomorrow’s Sky. The euro-pop electronica is there at the start, but it quickly becomes enmeshed with an overarching classic gothic sound. Nick’s vocals remain as powerful yet haunting as ever.
IX is a comparatively short album, but it is one that is tightly written and composed. There are no fillers or bloated guitar solos that need to be endured. Each note, riff and lyric are there for a reason and that is what makes it such a compelling listening experience.
IX’s running order concludes with a cover of A Flock of Seagulls’ 1982 hit, “I Ran.” In this cover, Host take a unique twist by flipping the original on its head and transforming the song into something that feels cold and barren.
Despite the initially disconcerting experience, the album soon comes together to create an entirely unique sound and one that would be especially appreciated by those who already enjoy music from both the goth and EBM scenes.
Words by Peter Ray Allison
Proclaimed as ‘The Goddess of Hard Rock’, Jaime Kyle is not only a multi-award winning songwriter (her work has achieved 19 million sales worldwide), but she has also performed and recorded with some of the biggest names in the business, such as Bad Company, Toto, ZZ Top and Foreigner. Her music has been covered by so many top performers, take ‘Wild One’ for example, this song was recorded by Faith Hill and topped the charts for four weeks, it was also covered by Kelly Clarkson.
Feisty and determined, Jaime is never downtrodden, her positive attitude has won her numerous accolades, including being the first female from Nashville to achieve a major Rock deal in New York. Jaime’s powerful vocals and engaging spirit are the reasons she is seen as one of the forerunners of female artists that led the way for those like Taylor Swift. This new album was kindled by Jaime’s childhood in the Kentucky countryside, a place that allowed her imagination to flow. Jaime explains, “It’s about not being afraid to follow your own dreams and believing in yourself in the face of adversity.”
‘Wild One’ is a collection of twelve compositions that display the outstanding talents of this writer, performer, and producer. Besides the powerful title track and ‘Driving with The Brakes On’ that features Kris Barras on guitar, there are tranquil moments with ‘Blue Night’ and ‘Not About Love’. More gritty numbers like ‘Perfect Love’ and ‘Dirty Goodbye’ and the sublime ‘Broken’ provide contrast and leave you astounded. There is so much depth and creativity woven in these numbers.
I can hear Country roots and Rock inspiration combined with the smoothness of the production. ‘Wild One’ is an album that you can play whatever mood takes you, a stunning piece of work.
Words by Diane Davies
Schisms primarily occur in bands when simmering hostilities boil over especially when longevity breeds contempt between equally strong-minded members. Internal band politics, often petty, and the power play shift back and forth and come to a head as members splinter off to then argue their claim to the naming rights. This spectacularly occurred when The Quireboys found it necessary to eject founding singer Spike and continue to forge ahead without this mercurial frontman and, on the evidence of this album, the sold-out show this live recording is culled from proved to be a genius move. Under the guidance of Guy Griffin, the redoubtable guitarist since their debut album, A Bit Of What You Fancy, who has also stepped into the role of lead singer, the future looks very bright indeed for these veteran rockers. The addition of an orchestral backing from a string quartet and brass trio adds a finesse to the raw and gritty rock rumble across this sixteen-track selection from an eventful career, so far. Griffin is ably assisted by mainstays Keith Weir on keyboards and Paul Guerin on guitars plus Pip and Nick Mailing bringing up the rhythmic rear.
The contrast between crunchy rock blending with a sophisticated classical sheen, delivered by informally and formally trained musicians, has always been an alluring temptation for rock bands. On the evidence of this release, The Quireboys avoid the bear trap of pretension that awaits most rock bands who attempt such endeavours. Blackwater, from 2008’s Homewreckers & Heartbreakers record, particularly proves this point. The ‘taking it back to church’ southernhued swirl of guitars and organ swings a devilish rhythmic punch for the angelic string and brass section to glide over. Whilst not quite in the league of Little Feat with The Tower Of Power Horn Section -what is? - the addition of brass delivers a Louisiana vibe that works well with these oldschool tracks. Checking out how debut album ditty There She Goes Again’s barroom swagger and Original Black Eyed Son is transformed by joyous brass, hold out hope for a further studio orchestral collaboration. This live recording favourably fills a lacuna in new music from a band undergoing a major transformation and fortune certainly favours this brave band on this finely orchestrated release.
Words by Paul DaviesOn January 13th, 2023, Nashville based singer, guitarist, and Gibson brand ambassador Jared James Nichols released his self-titled third album via Black Hill Records. And judging by the power of these twelve songs, it’s more unleashed than released!
The album opens with ‘My Delusion’, but it’s far from delusional as his Gibson howls around bouncy grooves, and the rhythm section is no slouch, adding a backdrop for a put up or shut up vocal from Jared. Other highlights include the feisty ‘Easy Come, Easy Go’ as huge riffs up the intensity ante for four minutes of air guitar heaven. Nichols’ slinky slide work and ferocious feedback brought to mind early Ted Nugent.
A mean and moody vibe from ‘Down the Drain’ flows through this blues with balls heartbreaker, reflected by the emotion in the vocals. Wahwah guitar touches howl at the moon towards bombastic choruses.
‘Hard Wired’ is a yanking, cranking beast of a song as a skin flaying feedback intro settles into a steady pound for an ebullient earthshaker that settles down midway with dreamy guitar lines until all hell breaks loose for a fretboard burning outro.
‘Bad Roots’ is a bass heavy headbanger that rages hard and heavy on a hot rails to hell ride on an almost whispered vocal until it muscles up for a twenty four carat riffed outro. ‘Skin N Bone’ is a soul-searching ballad but with balls that loses none of its power for a short but sweet number to sooth the soul.
The album rather aptly concludes with ‘Out of Time’. A song that has a psychedelic feel that evolves from a serene intro of sparse guitar, bubbling bass, and one final blast of guitar. Job well and truly done!
Words by Dennis JarmanWith an impressive solo career that now spans well over 15 years, Finnish songwriter and soprano, Tarja has amassed a wealth of incredible material which is on show here in a collection of remastered hits and personal favourites. First up on the album however is a brand new track, Eye of the Storm. Opening with a haunting, almost tango-like melody which gives way to a more traditional symphonic metal feel. The song feels like a musical tapestry is being woven which combines folky melodeon phrases and crunchy guitar riffs with Tarja’s own inimitable soaring vocals to amazing effect.
The journey through Tarja’s selections begins with the single, I Walk Alone from her 2007 album, My Winter Storm. Glassy arpeggios mixed with orchestral hits, vocal harmonies and epic chorus combined to make this one of Tarja’s most commercially successful singles, seeing it chart in the top 50 across Finland, Germany, Austria and Switzerland. From the same album, there is also Enough and the alternative version of Die Alive. Among the showcase of singles can be found treasures such as Diva from 2016’s The Shadow Self. A captivating tune with an almost carnivalesque vibe that builds with swelling strings and a blasting horn-section before segueing into an amusing break at the circus and back again. You definitely get the feeling that this one is here as a self-deprecating nod and cheeky reminder to herself of some of the politics and relationships she has experienced over the course of her career. Other highlights on the album include the soulful radio remix of the ballad, I Feel Immortal from the 2010 album What Lies Beneath. Also, some of Tarja’s most impressive collaborations are featured here with artists such as Alissa White-Gluz, Björn “Speed” Strid and Jason Hook.
In summary, this release represents the highlights of a truly phenomenal career so far and the promise of so much more yet to come.
Words by Simon PotthastNamed after a misbehaving Cockerel, Taylor Grace Mitchell founded her band in 2019. Having a disability that affects her bones, she has faced bullying and the mental health issues that arise from being ‘different’ and overcoming them. These days she is full of self-confidence, and with Dad, Zander Brown on guitar to push her even more, the emerging band from the North-East have dropped a thirteen-track debut album that lies in a similar vein as Novacrow and the late lamented ‘Tomorrow Is Lost’, although NNN has more Classic Rock elements.
Taylor has a sharp and direct approach to her vocals that match her personal lyrics. We are in battle mode as ‘Judas’ and ‘What I Want’ revive life experiences, and the words of unrequited love on ‘Houston’ are some we can all relate to.
‘Little Frankenstein (The Franken-Lee Remix)’ is an offensive remark that Taylor once faced, but she has answered the name-calling with humble retaliation, “I know I’m in pieces, the pain never ceases, that ain’t gonna change, it doesn’t prevent me from being the best me”.
‘Little Cheryl’ has a really simple kick and echoes ‘The Pretty Reckless’ and ‘Joan Jett’ in particular, both influential figures for Taylor. The more strident ‘Shut Your Mouth’ and last track ‘End of Day (RELOADED)’ are both filled with guitar riffs that surge frantically before the cheeky giggle on the latter has the final say.
This isn’t just another female-fronted band; this is a girl who despite everything, can write songs about personal problems and difficulties, turning them with a ‘back in your face’ attitude. Having already supported bands like ‘Follow Deep’ and ‘Scott Cavanagh’ and reaching runner-up place at NE Volumes ‘Battle of the Bands 2022’, this is a band you shouldn’t overlook.
Words by Diane DaviesDance Devil Dance is Avatar’s 9th studio effort, featuring eleven tracks of what might be known as Swedish heavy metal.
The album features heavy riffs, blended with some occasional grunt work and a little dose of synth, and sound effects to compile this opus release. There are some great tunes here, kicking off with “Dance Devil Dance”, a statement to give direction to the rest of the album. You would be hard-pushed not to tap your feet on this tune with a great hook to get into the groove. Followed by “Chimp Mosh Pit”, you can imagine the live reaction just by the song title.
“Valley of Disease” follows with an aftertaste sounding a bit like Killing Joke to me, pounding your ears gracefully. “On the Beach ‘’ features more grit and wit, pulsating through your hi-fi if you’re willing. “Do you feel in Control” is a complete mosh pit in itself and is sure to have you stomping around in no time.
“Gotta Wanna Riot” is pure joy, with a little inspiration from Slipknot, if I dare say so myself. Nevertheless, I would insist you give this a twirl and don’t forget to turn it up to eleven. Next up, “The Dirt I’m Buried In”, would be the commercial side of Avatar featuring verses to dance to and a chorus line for all to join in.
“Clouds Dipped in Chrome” is another riff-laden stomper for the arena, with a fair amount of anger and passion in this little number. “Hazmat Suit” follows sounding more like traditional metal, for me, the weakest track of the album. However, the penultimate number, “Train”, shows a different angle to the band’s song writing. It tells a story reminiscent of a 50s horror flick narrated by Vincent Price, perfectly executed.
The album closes with “Violence No Matter What’’ featuring none other than Lzzy Hale. A classic for Avatar, a song made for Rock/Metal radio for sure.
Words by Russell Peake
This fleet fluted follow up to ‘22’s ‘The Zealot Gene’ finds Ian Anderson immersed in Norse tales hence the Rock Flute twist on this album’s title. Originally intended to be an instrumental release, Anderson once again adopts the Jethro Tull moniker to deliver a softer folkish rock album in keeping with the continuity of recent Tull and Ian Anderson solo releases. In fact, this is the sound of Ian Anderson continuing to construct a fine third act in a music career that has few parallels. It’s a third act that began with 2012’s ‘Thick As A Brick Part 2’ then ‘Homo Erraticus’ released under his own name. This album, along with last year’s ‘The Zealot Gene’, finds Anderson resurrecting the Jethro Tull brand. However, they are albums that slot seamlessly into the exclusive ranks of Ian Anderson’s exceptional solo discography.
‘RokFlote’ tellingly begins with an old Norse prophetic poem about the story of the creation of the world, its end and rebirth as Voluspo morphs from a beguiling narration into a flute of the gods poetic musical force. Tull fans were first alerted to a new album of music with the release of the single, Ginnungagap, filling the void with its sophisticated rock arrangement reminding of the compositional excellence one expects from Tull songs. This record has many such instances as Ithavoll, the meeting place of the god’s noted in Voluspo, is underscored by fuzzy guitar and pounding percussion. Smelting together the Thor and Odin mythology, Hammer On Hammer fashions a melodious tale of battle. Wolf howls ring out on the intro to Wolf Unchained as a chugging guitar motif blasts forth on possibly this album’s rockiest track. The fine mix of accordion, organ and flute clothed in a sparkling coat of folk-rock music on Trickster (and the Mistletoe) reminds of similar compositional instrumentation to be found on Tull’s ‘Broadsword And The Beast’ record. Similarly, The Navigators’ synths and guitar riffs hark back to ‘Broadsword’s’ admixture of old-world lyrical themes and heavy folk rock music. As does Guardian’s Watch with Anderson’s cultured arrangement of melody and complementary acoustic and electric instruments.
Overall, even though it is a restrained, quiet production, RokFlote is a recording that rewards upon repeated listen. In a para-physical context, one can imagine this subtle and carefully hammered into shape Norse tales inspired album will be warmly welcomed on Valhalla’s huge sound-system by the legendary Odin himself.
Words by Paul DaviesAccording to a reflective Jeff Pilson, the man who replaced Ratt-bound Juan Croucier with Dokken on the cusp of an MTV breakthrough, it was the egos that killed hair metal’s most gifted nearly men. Forty years after the highly regarded bass player jumped aboard a full-throttle rollercoaster ride of riotous rock and roll excess, it’s with a sense of regret, rather than celebration, that he looks back on the most colourful period of his storied career.
In a recent chat with the revealing Rockin’ Interviews podcast, prior to the release of this peakera boxset, Pilson admitted that Dokken’s various members — including outspoken founder and frontman Don Dokken — ‘just couldn’t get past our egos’.
And Foreigner’s rhythm king is in no doubt that failing to overcome those divisive personality clashes ultimately cost the band its best shot at hard rock’s big leagues. Maybe.
Or perhaps it was because of — rather in spite of — those egos that Dokken came so far in the first place.
Self-confidence and bravado often go hand in hand with prodigious talent: had it not been for Don Dokken’s single-minded approach being at odds with sidekick George Lynch’s fret-fuelled tunnel vision then a band that released three platinum albums on the bounce might never have made it out of the starting blocks.
‘New recruit’ Pilson might never have experienced the glamour, the glitz and the girls.
And Dokken might have stalled long before Billboard Top 20 smash Back For The Attack cemented a legacy well worth revisiting.
If the Los Angeles quartet was looking for a USP prior to the North American release of critically acclaimed debut Breaking The Chains they probably wouldn’t have chosen in-fighting and infantile squabbling as their tour de force.
Yet part of the fascination with Dokken — even in the early days — was that the singer and lead guitarist never really appeared to get on.
Professionally their potent partnership yielded some of the finest hard rock music of a generation and yet personally Dokken and Lynch simply didn’t hit it off. Band mates don’t have to be good friends in order to create damn good music. And let’s face it — Dokken’s band mates were never best mates. They didn’t need to be.
The Elektra Albums 1983-1987 is remarkable proof that conflict can, on occasion, reap rewards. And this long overdue five-disc set offers a stunning snapshot in time as Dokken somehow triumphed in the face of self-inflicted adversity.
If the reworked and remixed Breaking The Chains — the album was available in Europe two years prior to its US release — failed to capture the imagination of fans Stateside then tracks like Live To Rock (Rock To Live) and Nightrider did, at least, scream potential.
And there was just enough quality to persuade Elektra to give Dokken a second chance.
Redemption arrived in the shape of 1984’s feisty follow-up Tooth And Nail — an entirely apt title given that Dokken and Lynch were already at each other’s throats and unable to work in the same studio together.
Those strained labour conditions led to original producer Tom Werman handing over the reins to Roy Thomas Baker but the unlikely result was a sparkling example of genre-defining mid 80s commercial rock.
Into The Fire, Just Got Lucky and Alone Again all muscled into the US rock charts on the back of smart marketing and watchable videos — the combination of Lynch’s soaring solos and some seriously smooth vocal harmonies pacing a record many believe was Dokken’s best. Even the gamble of introducing the album with a 95-second instrumental paid off: almost Without Warning the flamboyant Lynch looked capable of giving Eddie Van Halen a run for his money.
Buoyed by the relative success of Tooth And Nail, a rejuvenated Dokken went for broke on 1985’s Under Lock And Key. Peaking at 32, it stuck around the Billboard 200 chart for an impressively stubborn 67 weeks with singles The Hunter, In My Dreams and It’s Not Love reminding the masses that Ratt didn’t have a monopoly on polished west coast glam rock.
Widely described as a US take on Def Leppard’s Pyromania, the unbreakable Under Lock And Key was masterfully helmed by production duo Neil Kernon and Michael Wagener.
Sonically superior to Tooth And Nail, the band’s third long player perfectly showcased Lynch’s impressively light touch as the dextrous six-stringer accelerated towards true guitar hero status. But how did Dokken feel about his sidekick’s seemingly unstoppable rise?
As long as Under Lock And Key maintained its relentless push towards platinum status it seemed the best of enemies were prepared to grin and bear it. Two years later and Dokken were back. Back For The Attack. And with a remixed version of hit single Dream Warriors bolstering an already rock solid setlist it appeared Don and George — despite their differences — were set fair for the stellar career their individual talents always deserved.
The brilliant Burning Like A Flame benefited from some Bob Ludwig wizardy as the master mixer sprinkled his magic all over the made-for-MTV hit. And Lynch’s four-minute instrumental Mr Scary was simply sublime.
Spread across two discs to complete this definitive 5xLP set, Back For The Attack still stands toe to toe with 1987’s most coveted releases — Hysteria, Appetite.., Whitesnake’s ’87 et al — as an example of technology and talent combining to create something truly special.
And perhaps Don Dokken realised his band’s ‘classic’ line-up had finally run its course against a backdrop of bad blood, brilliant songwriting and the odd Billboard hit. Two years later Dokken broke the chain…allowing Lynch to walk and closing the book on his band’s greatest chapter.
Words by Simon RushworthParis alternative trio Grandma’s Ashes have pulled it out the bag with their most recent release ‘This Too Shall Pass’. An album that is a perfect representation of how this band have nailed the art of intertwining genres to create a perfectly unique hybrid of sounds, covering everything from classic 90s grunge, progressive rock, hard rock and even elements of traditional folk.
We are given a delicate opening number with the beautifully layered acapella piece titled ‘À Mon Seul Désir’ setting a tremendous tone for what the rest of the album must hold. Second track in and we are hit with the punchy track ‘Cold Touch’ as a refreshing contrast to the introduction. A unique element to this release is the interlude tracks which break up the album as little pockets of sound surprises, highlighting technical vocals and gorgeous melodies. Every track had me hooked and intrigued to hear more with a few highlights of mine including Aside and Borderlands, both of which showcase a variety of sweeps and swerves with true musicianship.
A solid release that I hope is just the beginning for this talented group!
Freshly endorsed by Oranges Amplifiers, they are going to wreak havoc on stage for a while! Grandma’s Ashes’ new album ‘This Too Shall Pass’ arrives on February 17th 2023 via Nice Prod.
Words by Charlotte Hooper
There is no other living band as well connected as The Rolling Stones as this live album package proves with its blue-chip roll call of special guests. Culled from the Stones archives, this 2012 concert, recorded at Newark, NJ on their 50 & Counting Tour, is an intoxicating document of a band celebrating its half-century landmark. The entire concert CD also contains the then two new tunes Doom And Gloom and One More Shot recorded in a flash at a Paris studio prior to this tour. The Stones reconvened following a five-year hiatus after their two-year global trek Big Bang tour ended in 2007 and witnessing this CD/DVD package, it feels like they have never been away.
Recorded and filmed at their December 2012 Newark, New Jersey to commemorate the band’s 50th anniversary, the DVD includes a full concert plus three bonus tracks from a previous night’s show at this venue. With Jagger apering about, Keith and Ronnie riffing in excelsis and an ever inscrutable Charlie swinging perfect time, it’s a sensational on-screen live spectacle, originally shot for PPV, in which all special guests spill their musical guts. Lady Gaga enters the big red-lipped stage to scream her soul through Gimme Shelter. Bruce Springsteen rolls with the Stones on Tumbling Dice and Mick Taylor returns to beef up Midnight Rambler all to the total astonishment of the 27,000 strong audience proving that The Rolling Stones never fade away.
Words by Paul Davies
Guitar virtuoso Joe Bonamassa is well renowned for his live albums. The artist has recorded concert albums at some of the most prestigious venues in the world.
This time around we find JoBo at the legendary Red Rocks Amphitheatre in Colorado. But what makes this album any different from the many Bonamassa live albums released in the past? For each concert album that follows, Joe always delivers a show that is unique and unlike the others that came before it.
On this occasion, Joe performed the entirety of his recent studio album Time Clocks plus seminal tracks from his back catalogue.
Up-tempo opening number Notches grabs the listener’s attention at the top of the album. This track really comes to life and features a different dynamic from that found on the studio release.
The Heart That Never Waits is a wonderful slice of blues, that will certainly please the purists out there. Whilst the dramatic sounds of Curtain Call conjure up images of guitar greats such as Jeff Beck.
Bonamassa’s emotive guitar playing during Mind’s Eye is of particular note. Furthermore, just like on the studio album The Loyal Kind is one of the highlights of this wonderful live recording.
The passion, tone, and appreciation of space during Joe’s performance on Known Unknowns particularly stands out. Whilst a poetic airing of Time Clocks showcases a slightly more progressive rock sound to Bonamassa’s repertoire.
The album concludes with a pair of wonderful blues standards by way of Just ‘Cos You Can Don’t Mean You Should, and the riff fuelled Evil Mama.
Joe Bonamassa’s live performances continue to go from strength to strength. If you don’t believe me, listen for yourself.
Words by Adam Kennedy
Recorded when the needle of time seemed stuck in a deep and dangerous groove as the pandemic raged around the globe, Uriah Heep found themselves locked down in Chapel Studios firmly under the spell of a creative splurge. Bending their inimitable blend of hard and progressive rock music to their own vision, they crafted familiar musical ideas into the alluring songs that make up this entrancing album. All eleven compositions fit the continuum of their recent studio recordings whilst absorbing the classic 70s Heep sonic tropes for which they are rightly regaled. Having finally caught up with their interrupted 50th-anniversary tour, this 25th studio album finally sees the light of day. Produced by Jay Ruston, who helmed the controls on Chaos & Colour’s preceding album Living The Dream, a chink of recorded light was revealed with the release of the melodic powerhouse single Save Me Tonight. This whetted the voracious appetite of Heep fans for new music from their favourite band.
The influence of this melodic made-for-rock radio single thrums as Silver Sunlight also reveals Mick Box on searing guitar riff and soloing top form. An invigorated Bernie Shaw is also tremendous in the vocal department on possibly his best album performance to date. This quality throwback tune is reminiscent of the Sweet Freedom album era. Also harking back in time, Hail The Sunrise’s archaeologically inspired lyric documents the physical and spiritual toil and reward of erecting a stone circle for solstice worship. It’s dramatically elevated by Phil Lanzon’s swirling keyboards complimenting Mick Box’s guitar work on this mini-epic. Again, this song smartly mixes ancient Heep sounds with the newly discovered melodic hard rock ventures of their recent era. The old and the new continue to coalesce as Heep’s signature vocal harmonies come to the fore in Age Of Changes. Tight percussive and bass work, by Russell Gilbrook and Dave Rimmer, knit the rhythmic force together for Box and Lanzon to stretch out in the solo stakes to high and mighty effect. As if to prove that they can still deliver an epic rock ballad, One Nation, One Sun does the trick as if it’s pulled out of the air by a magical force firmly under Heep’s command. The core of Uriah Heep’s sound is this epic mix of guitar and keyboard motifs, rhythmic groove and, with Shaw’s exquisite vocals, it’s what this band excel at. This album is a recording on which rockers like Hurricane, Golden Light and Fly Like An Eagle sweetly rub up with the elegant, fairy-tale sweep of You’ll Never Be Alone. Such is the majesty of the songwriting herein. It’s akin to crystal rays of melodious music being injected into the ears further expanding the horizons of this line-up as they take the listener with them on a widescreen sonic journey.
As far away from being in goblin mode as possible, the overwhelming verve of Chaos and Colour significantly raises the profile and reputation of this British rock institution. The penultimate and this album’s longest track, Freedom To Be Free, re-enforces this viewpoint with masterful musicianship detailing this engrossing song. Yet, all wonderful experiences must eventually come to an end – until played again – and the final song, Closer To Your Dreams, mixes in all the ingredients, with a touch of Easy Livin’ vibe, that makes this band universally loved. It rounds off an exceptional album where all the songs compete with but doesn’t overshadow each other throughout the entirety of this album’s finely balanced eleven songs.
Words by Paul DaviesUnstoppable UK post-grunge outfit the Coastal Fire Dept charge into 2023 with the release of their sophomore album Outsiders.
Opening number What Do I Do sets the scene at the top of the release, with huge sounding fuzzy riffs and wonderful guitar tones. Whilst the heavy bass line featured at the top of Cry Your Heart Out has a subtle nod to bands like the Pixies, to whom the band are huge fans.
The frantic drum pace featured on Gentleman harkens sounds reminiscent of vintage Nirvana. The ferocious nature of the song will inevitably make it a favourite when performed live.
The infectious and emotive guitar riffs featured on Stranger Town immediately draw the listener in. It’s a real earworm from the off. The primordial screaming in the chorus of the song showcases the passion and intensity of vocalist and guitarist Ollie Goddard.
Stranger Town is a wonderful slice of alternative rock. Whilst Loner slows things down momentarily and also encapsulates the feeling conjured up by the album title Outsiders.
The album features an astounding rendition of Gouge Away by The Pixies. Whilst the band could have made a carbon copy of the track, they’ve really made it their own. The song is slightly faster than the original, in this format, it works incredibly well.
Outsiders concludes with the acoustic-tinged number Human Safari. A track that stands out as being slightly different from the rest of the songs on the album.
Hailing from Guernsey, the quartet has quite literally channelled everything into their latest offering. With one foot in the 90s and the other firmly into the present day, Coastal Fire Dept has delivered a release which will please not only grunge fans but lovers of contemporary rock music alike.
Words by Adam Kennedy
HRH Mag’s Diane Davies caught up with Steve Janevski of Wicked Smile to hear about their recent UK tour, his love of Tennis and what’s in the pipeline for 2023.
Have you recovered from touring yet?
Yes, it’s Summer in Melbourne, Australia so I’m enjoying the weather whilst I can. Both Wicked Smile and Cassidy had a very successful month-long tour (last November in 2022). It seems just like yesterday that we were at HRH in Great Yarmouth. The response for the entire tour was amazing!
You took your very talented daughter Cassidy Paris on the road with you, was that full of proud Dad moments?
Absolutely. Cassidy played to lots of packed rooms on the tour and the feedback from the crowd has been amazing. It really was such a proud moment to see Cassidy kick ass night after night. Any parent who watches their kid(s) succeed know that there isn’t a greater feeling. She recently signed a three-album deal with a respected label (yet to be announced) so there’s a great buzz happening which is amazing. Proud? - you betcha!
You have been to the UK a number of times. What do you love about us ‘Poms’ the most?
I have made so many lifelong friends in the U.K. Some people followed our tour around and saw us multiple times - the ultimate compliment. Whether it be the chats, drinks, or dinners, I am so blessed to have so many good ‘Poms’ in my life. I guess that’s a real positive about social media. We can continue the friendship even after our tour.
How would you describe Wicked Smile in relation to your other band The Radio Sun?
Wicked Smile has a heavier edge, dualling guitars and soaring vocals. For instance, we’d suit on a bill with Skid Row, Dokken or Iron Maiden. The Radio Sun is a melodic rock band influenced by bands such as Bad English, Nelson and Andy Taylor.
I’m a key songwriter in both bands and I love all music from melodic rock through to classic heavy metal. After several tours with The Radio Sun (currently on a well-deserved break) I have really enjoyed showcasing my new band Wicked Smile to the U.K. The response has been amazing!
Are The Radio Sun on a hiatus at the moment?
Yes - a well-deserved break. We made five albums and one EP in five years. We toured the U.K. three times, the U.S.A. three times and Japan
once - that’s a lot. It was just time to have a break. We’ll get back together when the time’s right. For now, I’m really enjoying the heavier music direction of Wicked Smile and playing guitar in the Cassidy Paris band.
How happy are you with the success of Wicked Smile’s debut Album ‘Wait For The Night’?
The response to our debut album Wait For The Night has been amazing. Some critics and fans named it in their Album of the Year lists which was extremely humbling. Wicked Smile was something that I started from scratch. I wrote the entire album with my good friend Paul Laine (ex-Danger Danger/The Defiants). I then handpicked people from the Melbourne scene to be in the band. Vocalist Danny Cecati really shines on the album. He has a Dio meets Dickinson type of voice that needs to be heard...and have you seen the length of his hair? (Steve is jealous lol).
The band are yourself and four others, Danny Cecati, Cav, Jason & Dave Graham. Did you all contribute to writing on the album?
No, the album was written by Paul Laine & myself. I knew exactly what kind of album I wanted to make. I wanted to make the best 80’s (influenced) hard rock album that I could. This album is a ‘tip of the hat’ to the music that I grew up with as a kid. I wanted the songs to be ‘all killer and no filler’. You’ll hear influences such as Rainbow, Dio, Iron Maiden, Savatage, Icon, Queensryche, Dokken and Skid Row on the album. I’ve always worn my influences on my sleeves, yet put my twist on things in a modern way. We have already started work on the second album which is more of a band effort. I’ve also written a few tracks with Paul Laine to keep things balanced.
What plans have you in store for Wicked Smile in 2023?
We’re playing lots of live shows. We’re playing our own headline shows around Australia and doing some support gigs. We’ll support Skid Row Australia wide in May which is going to be so much fun. Gigging with one of my all-time favourite bands will be surreal. We’re also planning to release a new EP/CD. We can’t wait for our fans to hear our new material.
Wicked Smile & Cassidy Paris will also be back in the U.K. in 2023 in late November/early December. We want our U.K. fans to embrace what we’re doing and be part of our journey. Look out for tour dates.
You must have played with quite a few big names over the years, did any influence or change your musical tastes?
Definitely. I got to meet and support Steve Vai back in the day. Not only is he one of the best guitarists in the world, he was such a nice guy. He was always friendly and always made time for our band to soundcheck
on tour (which he really didn’t need to do). Very cool! I’ve also had the pleasure of meeting George Lynch/Mr. Scary on several occasions. He is another genuine good person. He really appreciates his fans and is very humble. I would probably say that Dokken were a big influence on me as a teenager.
I like asking this one, how many guitars are in the house at the moment, and which is your current favourite?
We have nine guitars in our house. Cassidy has three (two Fender electric guitars (she endorses Squier guitars) and one acoustic). I have six (four Jackson Guitars (I endorse them), one Les Paul and one acoustic).
My favourite guitar is my Phil Collen Jackson guitar. It sounds amazing and has a great modern yet classic look about it.
What was the highlight of 2022 for you?
I’m not just saying this just because this is HRH magazine, but the response to Cassidy Paris and Wicked Smile at Hard Rock Hell 15 in November was my highlight of the year. Cassidy was on stage at about 4 pm in the afternoon and she packed the place out. You couldn’t get into the room! The Wicked Smile signing session went for 75+ minutes and was cut off only due to the next signing session. I was told that we now hold the record for the longest signing session by any band. This is particularly humbling as we are an independent band with no record company assistance. I think the crowd spoke in numbers and I’ll always remember this!!
I notice you’re a massive Tennis fan and went to the Australian Open in your hometown of Melbourne. Did you ever consider a Tennis career instead of picking up the guitar?
I used to play competition tennis and yes, I was a guest of a friend who is the coach of a doubles team at this year’s Australian Open... BUT rock ‘n’ roll has always been my number one passion. Records like Rainbow Rising, Judas Priest Screaming For Vengeance, Queensryche Operation Mindcrime, Dokken Tooth & Nail and Skid Row debut (and Slave To The Grind) influenced my music journey in a big way!
Words: Diane Davies Photo Credit: Press Supplied
Let’s take it from the top! How did you guys form, find your sound and build a relationship with HRH Record Label Off Yer Rocka?
Black Aces evolved out of the dirty old pub rock scene in our home town of Bendigo. had been playing in an embryonic version of the band for while when I found myself with a tour booked but no drummer. I knew Pete and Alex well as drinking buddies and they’re band would often play with us, so Pete jumped behind the kit and Alex joined on the bass soon after. Jazz was on board a couple years later as our rhythm guitarist.
With the line up sorted we started flogging ourselves right across this great southern land of ours.
By 2016 we dropped our first album and headed to the UK and Europe. This is where we came into contact with Jonni and Off Yer Rocka. We finished the tour by playing HRH, where we made enough of an impression to be offered a deal. From there it was all systems go!
We soon released “Anywhere But Here” and “Never Change”, as well as touring the UK in 2017 and 2018. A tour was booked for 2020 but that wasn’t meant to be.
Finally we went through the last shuffling of our line up when Jazz was given the incredible offer to join Airbourne. Luckily we had a great mate waiting in the wings ready to step up to the plate. Brett has taken to the band like a duck to water. He’s a fucking powerhouse!
You’ve recently dropped your single ‘Too Young’ – why did you choose this particular track as a leading single from your upcoming album?
We wanted our first single to be a statement. We are back! Driving back beat, slashing guitars, big chorus. As far as we’re concerned it was a no brainer
You have your third album on the way for 2023, what can we look forward to from this release, and talk me through the writing process, final decision making and group goals you had for this album?
This album has been a long time coming. Unlike previous releases we’ve had that bittersweet luxury of having the time to write and assess everything we want on it. It’s been a hard process; we wrote a ridiculous number of songs and finally whittled them down to 12.
It’s a very diverse record, we have really worn our hearts on our sleeves here. It all sounds like Black Aces, but a keen ear will hear everything from Motörhead to Cheap Trick, Def Leppard to Tom Petty.
We haven’t decided on the artwork yet. Hopefully someone thinks of something good!
You’ve printed on vinyl in the past – are you collectors? What are some of your favourite records?
I’ve got a pretty decent collection. I’ve got a few AC/DC rarities, some cool old Aussie rock stuff from the 70’s that you can’t find much anymore. One of my favourites that I own is an original copy of the Small Faces “Ogden’s Nut Gone Flake” with the fold out tobacco tin cover
Every band has stories from the road to share, whether its a special gig or the first time you shared the same space for a long tour - but what is your most ‘rock ‘n’ roll’ story to date?
Fuck there’s quite a few! Here’s a good one. We were playing this show in a country town in Aus. It was the sort of place that’s pretty common here, a big beer barn with a sports bar and TAB, bands play on the floor next to the pool table. Out the back there’s a heap of motel rooms all surrounding a shitty pool with a palm tree. So we’ve played this show and the publican has a bit of a habit of shooting syringes of tequila into your mouth while you’re trying to play. So yeah we are all blind. After the show we’ve been given a couple of the motel rooms, so we go back and kick on with who ever is around. Some time after dickhead o’clock I’ve gone to my room to crash. The next morning I go next door to Alex’s room to get ready to leave. I go in, he’s in bed and the arm chair is sitting next to him against the wall on top of the bedside table. I ask him why, he pleads ignorance. So I lift it down and there’s a fucking three foot hole in the wall! Finally he spills his guts. So I had all the grog in my room and he thought maybe he could kick his way through the wall to get at the piss in my fridge.
He kicked through the wrong fucking wall!
Album aside, what else do you have planned for 2023?
Well we’ll obviously be dropping the new album at some point later in the year, a couple more singles to go with it no doubt. Then just aim to back on the road here in Oz, if all goes to plan we’ll get on back to the UK and hopefully head over to Europe this time round too.
Give Too Young a spin if ya haven’t given it a listen yet. Keep ya ear to the ground, there’s bloody more to come!
Words: Charlotte Hooper Photo Credit: Adam Kennedy
Introduce yourself Adrian and tell us where you hail from?
Hello all I’m Adrian from Wales.
Tell the HRH MAG readers about YOU?
I’m 50 years young from Wales where HRH started. I’m single and well known for my cooked breakfast in the morning at the festival lol.
When was your first Hard Rock Hell Festival and what was it that made you attend?
It was the 3rd HRH Festival and a friend won tickets. I’ve been going every year since.
Adrian, you are an Admin for the Dark Circle Facebook Group. When and how did this begin?
I joined DC at my first HRH. Me and Lee White just booked for the very first Hammerfest and was told about DC. So, we joined up, and after Hammerfest I set up the DC page.
When did the love of rock and metal begin for you? What or who, got you hooked?!
I started with ZZ Top, Eric Clapton then got into Black Sabbath, Deep Purple and it grew from there.
Who and when, was your first gig, can you remember how live music made you feel?
Status Quo was my first gig in the late 80s.
Do you still feel the same way about music and live events?
Yes, I do but there’s a lot less jumping around and more sitting comfortably somewhere lol.
What is your favourite genre of rock/metal and why?
I still love my old school rock, but I do love the much heavier bands like Rammstein, Lamb of God, and Devil Driver.
What is your favourite/craziest/silliest HRH memory to date?
One of the stall holders going for a walk at night time and falling off the cliff. I still chat to him whenever I see him, and he still laughs about to this day lol.
To date, who has been your favourite artist to appear at HRH? Or your favourite event line up?
Zakk Wylde. I have had some amazing chats with artist Ivan Moody. Anthrax and many more at Hammerfest II. There was an amazing line up at Hard Rock Hell House of Horrors.
What are you looking forward too most in the upcoming HRH festivals? Seeing my HRH family again and seeing bands I’ve not seen and new bands.
Tell the HRH MAG readers what it is about HRH that makes you want to keep coming back?
Over the years the HRH family has got bigger and bigger, and we all get to meet up a few times a year to see each other and have chat good laugh watch bands together.
What does being part of the DC mean to you Adrian?
Free Pizza lol. When we meet up, we get to find out what’s going on in the rock/metal world. We get to talk to each other about bands and small festivals that some of us have not heard of.
Interview By: Viki Ridley