Concept Album

Sarayasign – Throne of Gold

Sarayasign – Throne of Gold
Melodic Passion
Release Date: 24/06/22
Running Time: 36:53
Review by Laura Barnes
9/10

We are currently in the presence of courage far greater than any lion or dragon-slaying knight. Step aside snake tamers, deep sea adventurers, people who bungee-jump for fun. This is bravery like you’ve never seen it before: Sarayasign’s debut album is a concept album. A bloody concept album!

For those of you who don’t follow music as obsessively as I do, a concept album is one of the riskiest things a band can do. Even for bands with a massive, quasi-religious following, the concept album can be a double-edged sword bathed in flame and venom. Even Judas Priest haven’t fully recovered from the unholy reaction to “Nostradamus”, and they’re Judas Fucking Priest for God’s sake (note: please do not take this as Nostradamus slander. I would not dare slander Nostradamus). Since then, culture has gotten even less concept album friendly. In an age of algorithm-tailored running playlists and Spotify shuffle mode, concept albums can easily get lost within the ‘I-have-no-time-right-now-so-I’ll-listen-to-this-abum-when-I-have-time’ folder because – you guessed it – there is never enough time. To this I say: move some shit around and make some time, because this debut album is unmissable.

Swedish Hard Rockers Sarayasign deliver banger after banger in the vein of Kamelot, Queensrÿche, Coheed and Cambria (with just a sprinkle of Dream Theater for a dramatic flourish, of course) that is guaranteed to have you singing your heart out whether you follow the story or not. Despite the strong and effective focus on storytelling, “Throne of Gold” never once forgets that it is an album and not a one thousand page Ken Follett novel. Expository monologues and incomprehensible interludes are nowhere to be seen and no song exceeds the ten-minute mark. Instead, the storytelling is built into Sarayasign’s song writing in a way that feels natural, authentic and compelling.

According to Sarayasign’s website, “Throne of Gold” kicks off an epic fantasy narrative that will be told over the course of four albums. In this album, Sarayasign have laid down the building blocks of this narrative with two interweaving story threads. The first thread introduces the world of Saraya to the listener, where chosen heroes are searching for a book that will vanquish the Darkness that is encroaching on the land. One problem: the pages have been torn out of the book and separated across distance and time. The second thread is much less far-reaching: a woman is stricken by grief after her husband dies in a car crash. Eventually, these narratives will connect in some unexpected ways. Although these two story threads seem wildly opposing in tone, Sarayasign maintains a consistent yet varied tone throughout.

That said, whilst songs in each storyline are all fantastically written, it is the second, more down-to-earth storyline that showcases Saraysign’s magical talent for sonic storytelling. Take ‘Distant Memories’, for example. The slower, foreboding verses fill the listener with the same dread felt by the widow as she waits anxiously for her husband’s return; the melodic chorus conveys the beauty and tragedy of lost love; the gentle piano bridge frames the moment of the husband’s death. As powerhouse vocalist Stefan Nykvist spins the yarn, the attentive listener will pick up on sound effects that propel ‘Distant Memories’ into goosebump territory: car radios, police sirens, and the husband’s fading heartbeat in his last moments of life. ‘Distant Memories’ is followed by ‘If Only For A Moment’, an unflinchingly earnest ballad that manages to look grief right in the eye without cloaking itself in bleakness. The lyrics are simple, but effective; Nykvist belts out lines like ‘Home is not where the heart is / All the memories are turning black’ with unwavering conviction and weeping guitars from Daniel Blohm and Jesper Lindberg (who, by the way, is the mastermind behind the vast story-world of Saraya) bring the song to its dramatic conclusion.

This isn’t to say that the songs following Saraya and its battle with the mysterious evil are subpar however. Whilst tracks like ‘Distant Memories’ and ‘Throne of Gold’ pack a spectacularly emotional punch in a way that surpasses earlier tracks like ‘Book of Wisdom’, every track delivers something unique. ‘Stranger in Ice’, for example, is one of the coolest tracks (pun intended) on the album. It features a guy on HORSEBACK galloping across a ‘blood red sky’ and contains enough euphoric ‘YEEAAAAAAHS’ to destroy your vocal chords twice over. What more could you possibly want?

Regardless of whether you’re a fantasy nerd or a high-flying executive metalhead who has no time for such far-fetched things, Sarayasign’s dramatic entrance into the Hard Rock scene will make you pay attention. With such a sprawling world laid out before them and the quiet confidence with which they write their music, it is clear that Sarayasign’s journey – much like their chosen heroes – has only just begun. If you follow my advice and give “Throne of Gold” a spin, then I guarantee you’ll want to see it through with them till the end.

TRACKLISTING:
01. The Book of Wisdom
02. When World’s Collide
03. Distant Memories
04. If Only For A Moment
05. Sandman
06. Run
07. Stranger In Ice
08. Throne of Gold

LINE-UP:
Stefan Nykvist – Vocals
Daniel Blohm – Lead Guitar
Andreas Axelsson – Keyboards
Daniel Lykkeklev – Bass
Jesper Lindberg – Drums / Rhythm Guitar

LINKS:

Disclaimer: This review is solely the property of Laura Barnes and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Primitai – Violence Of The Skies

Primitai – Violence Of The Skies
ROAR! Rock Of Angels Records
Release Date: 26/03/2021
Running Time: 64:15
Review by Beth Jones
9/10

Before I start to review Primitai’s new album, “Violence Of The Skies”, I have to offer the coveted and extra special (so special that no-one except me knows it exists, and it has no physical presence) award for the best website ever to have graced the internet. If you’re a Spectrum/C64 kid of the 80’s I implore you to check it out, and I promise that you will not be disappointed. Spectacular piece of marketing! I take all my hats off to whoever designed it.

Ok, now I’ve stopped playing on the Primitai website, I suppose I should get on with what I’m actually meant to be using this space for. Let’s have a chat about the album that goes along with this ingenious internet creation! This is a space themed concept album, telling a story about “escaping the end of the world, seeking new victories and facing unknown dangers.” And, aside from that, it’s solid Heavy damn Metal, which is why we’re all really here, right? We lust for new tunes to bang our heads to and get lost in, while the rest of the world tears itself apart. Well, this album can offer you that, for just over 64 minutes of your day at least.

Deep rooted in Classic Heavy Metal, but exploring things on the Power, and Progressive side as well, Primitai join a growing breed of ‘modern’ Classic Heavy Metallers, bringing back all the vim and vigour of the greats, in a more modern way. Powerful bass, intricate rhythms, and synth are the name of the game, along with the soaring harmonised vocals, epic solos, and the duelling guitar cadences that are so synonymous to Heavy Metal. It’s Maiden with modern, Priest with more power, and Queensrÿche with an extra ‘Je ne sais quoi’!

Every track is fast paced, and in your face, but each offer their own unique little twists, to create a full story (I particularly liked the little twiddle at the end of ‘Warriors Of Time’). ‘Innocent’ has a real chug to it, especially in the middle section, which helps express the exciting direction that this sound is taking, as well as exhibit a number of other styles from across the eras. The guitar sound here I find quite 90’s Grunge in a lot of places. There’s plenty of classic European Power Metal influences rammed into this rather tasty pick and mix, as well. One such example is ‘Put To The Sword’.

‘The Cold Surface Of The Moon’ starts off with solitary piano, with effects that make you feel that it’s echoing in the emptiness of space. This is a marked change from the tracks preceding it, but it pretty quickly ramps up into another roaring anthem. However, I would say that this is one of the most classic sounding tracks on the album, with a lot of 70’s prog vibes going on in it, too. I’m a sucker for the old sound, so I think this is one of my favourite tracks on the album. This feel also continues in the following track, ‘I’ll Live Again’. However, after starting with solitary guitar, here there’s more punch when everything kicks in, and we get one of those epic guitar solos I mentioned earlier.

All in all, this is an exciting and toe-tapping album. And I really only have one criticism, but it’s nothing to do with the band, or anything that could have been controlled, it’s more a general irk with the need for everything to be digital these days (when I were a lass, you were lucky if you had a cassette player that didn’t eat your tapes, and you always kept a pencil handy just in case). The files we get to review from are usually MP3s and they compress the shit out of everything. I’ve got pretty dodgy ears anyway, but add into that the hell of compression, and I find that the vocals become muddy. This irritates me immensely, because Guy Miller has a superb voice, and the vocals should be star of the show in this genre (shut your face guitarists – you get your chance in the solos, and I’m a vocalist, so I’m biased).

But that aside, cracking album. Listen to it, have a play on their website, and that will be an afternoon well spent.

TRACKLISTING:
01. Stars Are My Guide
02. The Uprising
03. The Violence Of The Skies
04. Valley Of Darkness
05. Warriors Of Time (feat. Vladimir Djedovic and Mladen Pecovic)
06. Innocent
07. Put To The Sword (feat. Paul Quinn)
08. The Cold Surface Of The Moon
09. I’ll Live Again
10. The Storm Kings (feat. Tom Draper)
11. The Huntress (CD Bonus Track)
12. Prophecies (CD Bonus Track)

LINE-UP:
Guy Miller – Vocals
Srdjan Bilic – Lead and Rhythm Guitars
Scott Miller – Bass and Synth Arrangements
Jonathan Warren – Drums
Sergio “Cheko” Pedro Giron – Rhythm Guitar on ‘Innocent’/ co-Lead Guitar on ‘The Uprising’, ‘Innocent’, and ‘Stars Are My Guide’

Special Guests:
Paul Quinn (Saxon) – Guitar Solo on ‘Put To The Sword’
Tom Draper (formerly of Primitai, Carcass, Pounder) – Guitar Solo on ‘The Storm Kings’
Mladen Pecovic – Guitar Solos 1 and 2 on ‘Warriors Of Time’
Vladimir Djedovic (The Tilt) – Synth Arrangement and Keyboard Solos on ‘Warriors Of Time’

LINKS:

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

The Spectre Beneath – The New Identity Of Sidney Stone

The New Identity Of Sidney Stone Cover Art

The Spectre Beneath – The New Identity Of Sidney Stone
Self-Released
Release Date: 27/11/2020
Running Time: 60:01
Review by Simon Black
10/10

The best part of this (unpaid) job is days like this. When you listen to an album from a new band you have never heard of that absolutely ticks most of your boxes. This is actually the sophomore release for Cheshire-based The Spectre Beneath and, like 2019’s “The Downfall Of Judith King”, is a conceptual piece with a fairly dark story of criminality, shallow graves and resurrection – because in this game you just gotta love the Prog / Power concepts…

Importantly though, this is fundamentally where this album feels different. So many of the cookie-cutter variety of Progressive and Power genres (particularly those from mainland Europe) really overdo the concepts, to the point where they are clichéd and intrusive. These oft-repetitive albums go through endless contortions to fit the format and only really work if you are prepared to listen to the whole thing and embrace its underlying minutia…or more likely, you just let it go completely over your head and move on to something else. When concepts work, they don’t intrude, they are a bonus – the exemplar of which is probably Queensrÿche’s “Operation: Mindcrime”. Yes, it’s a very cleverly crafted concept album, which like the layers of an onion unpeel one at a time giving you a little more on each and every listen, yes there are musical refrains and themes that build and echo throughout but most of all the concept is a bonus, as each of the songs works on their own. This is what I see happening on “The New Identity Of Sidney Stone” and as a test I put the album on shuffle to see if I still felt as strongly about it. That would be a resounding yes.

The reason for this is some absolutely top notch song-writing and arrangements built around the two pillars of L. Lockser’s enigmatic vocals and Pete Worrall’s blistering guitar and bass work (presumably live the ‘additional’ guitar work of Vini Assis becomes a bit more fundamental). The guitar is an absolute core of the effectiveness of this band’s sound. It’s got a much dirtier guitar effect sound than is normal for Power or Progressive acts and added to this the relentless pace of the riffage which owes more to the gruelling effect you get from someone like Slayer, along with a bit of repetitive old Iron Maiden harmonisation instead of endless solos and you get close to the sense of unease this approach instils. It also works an absolute treat especially when you have a sticksman like Consta Taylor who can keep up the pace and positively delivers the master class schooling on blast beat delivery. Perhaps the most disconcerting part of this is the ambiguous Lockser’s vocals. I get the strong sense that she is not from a Metal background, as the style and phrasing owe more to Soul than the Rock end of the spectrum, although she can definitely belt it out when needed.

Fundamentally this feels like a very new and interesting band and although I can see obvious genre paths to bands like Nevermore, the sound of The Spectre Beneath is uniquely their own. The eclectic mix that makes this happen is why this is such an original and refreshing act to listen to.

‘Clockwork Heart’ (Lyric Video)

TRACKLISTING:
01. Clockwork Heart
02. Voice In The Static
03. Broken
04. Have You Waited For The World To Change?
05. 20 Shillings A Town
06. The Last Light In The House
07. The Criminal
08. The Funeral
09. The Premature Burial
10. The Phone Call
11. The Exhumation

LINE-UP:
L Lockser – Vocals
Pete Worrall – Guitar/Bass
Consta Taylor – Drums
Vini Assis – Additional Lead Guitar
Martin Worrall – Piano/Keyboards
Katy Lennon – Additional Vocals

LINKS:

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Ward XVI – Metamorphosis

Ward XVI – Metamorphosis
Metal Rocka Recordings
Release Date: 25/09/2020
Running Time: 49:43
Review by Beth Jones
9.5/10

Well hello there my fellow crazy fiends. Now, those who know me will know I’m a fairly measured soul, and I’ve also been referred to as ‘the shy and retiring type’, even demur (pahahaha)! But those who know me well, will know that underneath this cleverly disguised exterior, I have a darker, more deranged side, that’s held back for special occasions. And this is one of those occasions, so please forgive my musings. Getting the chance to become an inmate on Ward XVI at Whittingham Asylum is something quite appealing to me. And getting admitted here is simple. You only have to share in the joy of the deranged, unhinged and slightly peculiar. And that is something I can definitely do!

The latest wing of Ward XVI – “Metamorphosis” – is about to open, and us lucky special inmates get to have a sneak peak, and tell you what it’s like! I’m afraid that I was admitted to the ward fairly recently, so missed the arrival of the other wings, and am now exploring them out of order, Tarantino style, apparently! But I’ve been told, that if you explore them all in order of their creation, you can see how they all fit together!

So, what’s it like here in “Metamorphosis”? Well, as you would expect from Ward XVI, it’s conceptual and follows a theme. It’s a chilling and macabre circus of the mind. The kind you dream about after too much cheese late at night. Its haunting accordion melodies conjure images of deranged, black and white striped clowns doing odd things with organs – and not the sort of organs you can play… At least not without draining the blood from them and drying them substantially first. This is backed up by the solid rhythms and riffs, and some pretty trippy electro work. Get the probes out nurse, I’m ready for my lobotomy!

The first sounds you are hit with upon entering “Metamorphosis” are that of a conversation between doctor and client, setting the scene of the decent into evil madness, the reasons for which will become clearer as we move along. This leads into ‘The Cradle Song’, which paints the picture of where the madness started. A lullaby with a dark twist, complete with ominous music box sounds. The haunting melodies and guitar work here set the mournful tone.

As you move along the twisting corridors of “Metamorphosis”, the bitterness stemming from years of neglect sing out, with Psychoberrie’s vocals delivering all the disturbing tones and nuances you would expect from one so deranged. This is pummelled further into your brain with the freak circus melodies, strange ambient sounds, and the measured work on guitars, and ska inspired bass and drums that sit below the melody.

I think my favourite area of this new wing is ‘Shadows’. It’s melancholy and disturbing, and finalises this new chapter in a perfectly dark way. Its message is sorrowful, and its lilting melody matches the hurt within the walls of the asylum…

In case you didn’t understand any of that, here’s the important bit! If you like to be taken on a theatrical journey into the madness of despair, in the style of Alice Cooper or Avatar, then Ward XVI, and this new album, are for you. It brings another level of depth and depravity to their ‘Shock Rock’ style, both musically and production wise, it’s masterfully handled. The instrumentation is ingenious, mixing ska style off beats and classic rock riffs. The use of sound effects, as well as spoken word, and some operatic and harsh vocals, add to the drama, darkness and madness throughout. Lyrically this disturbing concept album creates a deep and sorrowful picture, that draws you in from the very start. Terrifyingly beautiful, or beautifully terrifying? I’ll let you decide. Until the next chapter, inmates. Stay safe…And don’t let the shadows bite…

TRACKLISTING:
01. Retrogression
02. The Cradle Song
03. Mister Babadook
04. Daisy Chains
05. Broken Toys
06. Imago
07. A Goodnight Shot
08. Burn The Witch
09. Catch Me If You Can
10. The Verdict
11. Shadows

LINE-UP:
Psychoberrie – Vocals and Lyrics
Dr Von Stottenstein – Guitar
Wolfy Huntsman – Bass

Guest Appearances
‘Retrogression’: The Psychiatrist – Chris Barton
‘Verdict’: The Judge – Steve Walker
Drums -John Badger
Martin Crawley – Keyboards & Accordion
Anabelle Iratni – Operatic Vocals
Russ Custard – Guest Vocals: ‘Shadows’

LINKS:
www.wardxvi.com/
www.facebook.com/WardXVI/
www.twitter.com/WardXVIOfficial
www.instagram.com/wardxvi
www.wardxvi.bandcamp.com/
www.youtube.com/channel/UCwqyXfqFGUbz0T-1wFXCjjQ
www.open.spotify.com/artist/1iB6Fms5mWFqlK0vJi07of

Cats In Space – Daytrip To Narnia

Day Trip To Narnia Cover

Cats In Space – Daytrip To Narnia
Harmony Factory/Cargo Records UK
Release Date: 01-03-2019
Running Time: 52:33
Review by Tsarina Wilson
10/10 (Only because I couldn’t give it more!)

Cats In Space “Epic Long Player” album is everything I expected it to be. From the amazing art work of the album cover to the punchy, catchy tracks, this band never disappoints. I had the pleasure of reviewing their last album and, as with this album “Daytrip To Narnia”, once again they have gone above and beyond to give us a fun, bouncy, rock album with tracks that will just bowl you over.
The guys, who include Paul Menzi on lead vocals and “screams”, Greg Heart on lead guitar, tubular bells and acoustic vocals, Dean Howar on lead and rhythm guitars, Andy Stewart on piano, synthesizers, vocoder and organ, Steevi Bacon on drums, percussion, timpani and vocals and, last but not least, Mick Wilson on vocals, acoustics and additional synthesizers, have such a unique sound it certainly makes them stand out for me.
The guys have certainly caused a stir since they exploded onto the scene in 2015 with their debut album “Too Many Gods” and they have earned their right to be still going strong after touring with legendary rock giants Deep Purple, Status Quo and Thunder playing UK arenas, plus playing Hyde Park with Phil Collins and Blondie. But somehow, I think the best is yet to come for these guys! They are a total breath of fresh air.
‘Tragic Alter Ego’ reminded me very much of ‘Good Old-Fashioned Loverboy’ by Queen, with also the hint of the lyrics from ‘Play the Game’, but they also remind me of bands like ELO and Kiss.
But don’t think for one minute this band is your standard run of the mill band. They deliver great guitar riffs, brilliant vocals plus some great synths with a fun and light hearted air about them.
That said this album is one of two halves. The second half (tracks 8-14) make up ‘The Story Of Johnny Rocket’ which takes you on a trip into space and, let’s be honest many of us have dreamed of that. This is great song writing with a twist, terrific harmonies and just a great feel good factor to it.
‘Thunder In The Night’ is the track where “Johnny” meets the future Mrs Rocket, ‘One Small Step’ continues their story and the slower song ‘Twilight’ is quite melancholy compared to other tracks but the harmonies are so good.
The last track concludes the “Johnny Rocket” story and ends in an uplifting mood telling us never to give up hope and I’m sure these guys never did. The whole album is like a story within a story and you get little hints of their influences. It maybe just a few notes of guitar but makes you think “wow that could be…” Some lyrics certainly make you reminisce, especially when they mention “The Soup Dragon” and, for those of you not old enough to remember, it’s from The Clangers! But thank you! You have now made me feel very old!
This album “Daytrip To Narnia” has it all, storytelling, fun, rock, great clear vocals, great harmonies, but above all it’s just a damn good listen.
So, make time for it either in the car, in the office or at home as it’s an uplifting and great album.
The whole album “Daytrip To Narnia” is a pleasure to listen to, a real “pick me up listen”
Some tracks have a real 70’s rock feel while others have quite deep lyrics, but one thing for sure is I hope I get to review their next album as well.
The album will be available on standard CD, 12” 180g white vinyl and the extremely limited addition Narnia Box which are numbered, premium quality wooden boxes full of Cats In Space goodies including the new album, a 12”of Thunder In The Night, which includes unreleased tracks like their version of Led Zeppelin’s ‘Communication Breakdown’ ‘Man in The Moon’(acoustic) a Johnny Rocket woven patch, dog tag, guitar plectrum, six collector cards and a cover of Slade’s ‘How Do You Feel’ featuring Danny Bowes from Thunder on 7” vinyl. (Ok just take my money now hahaha)
TRACKLISTING:
01. Narnia
02. She Talks Too Much
03. Hologram Man
04. Tragic Alter Ego
05. Silver And Gold
06. Chasing Diamonds
07. Unicorn
08. The Story Of Johnny Rocket I: Space Overture
09. The Story Of Johnny Rocket II: Johnny Rocket
10. The Story Of Johnny Rocket III: Thunder In The Night
11. The Story Of Johnny Rocket IV: One Small Step
12. The Story OF Johnny Rocket V: Twilight
13. The Story Of Johnny Rocket VI: Yesterday’s News
14. The Story Of Johnny Rocket VII: Destination Unknown
LINKS:
https://www.catsinspace.co.uk
https://www.facebook.com/catsinspaceband/
Tweets by CATSinSPACEband
https://www.instagram.com/catsinspaceband/

https://www.youtube.com/channel/UC6u18E3uWblUypQJu8_UAcA

Promo Pic1

Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.