Dokken – Tooth And Nail (Review)

Dokken – Tooth And Nail (1984)

When their debut album Breaking The Chains stiffed in the US, Dokken’s record deal with Elektra was on thin ice. Backs against the wall, the band would have to fight Tooth And Nail (see what they did there?) to keep their rokken roll dream alive. But when they should have been forming a united front, the band members were fighting among themselves. Producer Tom Werman decided early on that he’d had enough and the band had to complete the record the only way they could. Separately. Guitars, drums and bass were finished up with Roy Thomas Baker during the day, while frontman Don Dokken recorded alone with Michael Wagener during the night.

Fortunately the struggling, warring band had some top notch material to draw from. Superb L.A. glam meets Ozzy/Scorpions-style Euro metal. A lush and ominous guitar intro leads into the superb thrashabout title track. Just Got Lucky and Into The Fire have humungous raunchy hooks. Alone Again is classy manfeels and When Heaven Comes Down is a heavy, stately centrepiece.

Back Cover – Rock Candy Reissue

And, amazingly, considering the fractious nature of the album’s creation, it’s the raw, live vibe and delivery that is the real magic on Tooth And Nail. There’s a moment in Heartless Heart where a drum and vocal bridge suddenly explodes into harmonised arena rock heaven. It sounds like a band playing the gig of their lives, having their moment of world-beating peak performance flow. George Lynch firing off godly guitar licks left, right and centre and Don, aloof and weedy on the debut album, now generating massive sparks of excitement with committed and charismatic ease. Tearing it up in the daytime, burning it down at night, straight to the top… Tooth And Nail is the sound of a band fighting for their lives and winning heroically.

HMO RATING: 5 out of 5

[Dokken – Heartless Heart]

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Humble Pie – Smokin’ (Review)

Humble Pie was one of those 70s bands that struggled to capture their magic in the studio before scoring big with a live album. But following the success of the essential Performance: Rockin’ The Fillmore they were then faced with the challenge of coming up with a satisfactory studio follow up. An even more daunting prospect given that the supergroup was now rendered considerably less “super” following the departure of founding member Peter Frampton.

Frampton felt that the audience had decided the heavy blues rock direction that The Pie had to go in and that meant the pastoral acoustic diversity that he contributed to previous albums was no longer required. The accepted narrative is that the band’s first post-Frampton outing, 1972’s Smokin’, is a harder rocking affair but that’s only partly true. The whole album is more consistently rooted in soulful, bluesy rock but there’s still plenty of mellow diversity. So for every hard-riffing track like Fixer you get an Exile On Main Street-style rootsy outing like Old Time Feelin’.

But the standout moments of Smokin’ are undoubtedly the louder tracks. The smouldering boogie of Hot N’ Nasty, a fat riffing cover of C’Mon Everybody and the superbly greasy rocker 30 Days In The Hole are all brilliant showcases for the peerless vocal power of Steve Marriott and the guitar chemistry he forged with new recruit Clem Clempson. The mellow tracks aren’t as exciting or memorable but tracks like the Zep-blues of I Wonder impress and add crucial depth and variety.

Smokin’ lives up to its name. It’s a rockin’, feel-good time with a loose and natural production and delivery that successfully captures the band’s live prowess. A gradual, coke-fuelled decline in quality on subsequent albums makes this Humble Pie’s studio peak and ensured that the band would remain overlooked and under-rated, especially in their native UK. But fans of rootsy rockers like The Stones, The Faces and Cream (as well as more modern acolytes like The Black Crowes) should definitely check out The Pie and Smokin’ is the perfect place to start: a great band and legendary frontman at the top of their game, proving that they could rock in the studio just as well as they could in the Fillmore.

HMO Rating: 4.5 out of 5

[Humble Pie – 30 Days In The Hole]

The King Is Blind – We Are The Parasite, We Are The Cancer (Review)

The King Is Blind’s previous album Our Father was a high-point of 2016 and it’s very pleasing to have them back with a follow-up so soon. And their second album We Are The Parasite, We Are The Cancer doesn’t just follow up their last release, it also follows on the imaginative and thorough God/Satan concept that has ran through all of the band’s music. This time the story brings us up to modern day: the pesky Satan pledging the destruction of mankind and, drawing power from our abuse of sin, sending seven plague princes to generally stir things up and give us all a hard time. Serves us right.

Like its predecessor, WATPWATC blends a bunch of extreme metal approaches – death, black, doom, grind – into a crushing, grooving whole. But this is a more threatening and foreboding outing: the rage and intensity is ramped up and the superb production adds layers of nightmarish, urban ambience. The highlights are many: Patriarch is a furious and discordant opener, Bolt Thrower/Memoriam frontman Karl Willetts lends his wonderful vocal thuggery to the filthily-anthemic Mantra XIII (Plague Avaritia) and Godfrost (Plague Invidia) is just pure carnage. And any album with a hidden Mano-quote is fine by me!

The band is on burly form throughout. Guitars and drums are hit thick and hard and Steve Tovey sells each song with intense and committed vocals. But the album is not without its flaws. I find the Gojira-esque harmonies on Like Gods Departed (Plague Acedia) a bit dull but the track’s awesome Candlemass riffing and its building excitement render that a minor complaint. And, although the increased brutality means that the album doesn’t quite sink its hooks in like Our Father did, the cathartic impact and the almost Floydian atmosphere of tracks like As Vermin Swarm (Plague Ira) and the acoustic-laden The Burden Of Their Scars leave a considerable impression.

With WATPWATC, The King Is Blind continue to impress: honing, intensifying and adding depth to their own brand of monolithic metal. It’s a bold statement of intent and I reckon this promising band still has more to offer. In the meantime, the latest chapter of The King Is Blind’s story will please old fans and attract new ones. And I guarantee a growing legion of devotees will be waiting to see what these British bruisers, and that Satan, get up to next.

HMO Rating: 4 out of 5

**We Are The Parasite, We Are The Cancer will be released on Oct 13th and can be purchased here**

Kingdoms Disdained – Morbid Angel’s New Album Due 1st Dec 2017

Some surprise release news towards the end of the week there, with a big announcement from death metal veterans Morbid Angel. Their new album Kingdoms Disdained is due out on 1st December 2017 and the band has also unveiled the cover art and a new track Piles of Little Arms.

Kingdoms Disdained follows on from the band’s last album, the disastrous (if oddly-enjoyable) Illud Divinum Insanus* and the eventual dissolution of that album’s line-up. Now, joining the mercurial and ever-present Trey Azagthoth, we have returning bassist/vocalist Steve Tucker and new members Scott Fuller and Dan Vadim Von on drums and guitar respectively. And, strengthening the link to the band’s past, ex-guitarist Erik Rutan has taken on production duties too.

Given the controversy surrounding the previous album, this upcoming effort is already being subjected to a ton of scrutiny. Many aren’t happy with the artwork. I think it’s a bit too similar to the artwork for The Grey Eminence, the most recent album from Steve Tucker’s other band Warfather. I’d be more excited if they had come up with something a bit more unique but I don’t mind it and, until I’ve seen it on a physical edition, I’ll reserve judgement. The latest track Piles of Little Arms is also OK, if not particularly remarkable. What do you reckon? 2017 has been a banner year for death metal. Do Morbid Angel still have what it takes to lead the pack in such a competitive climate or are they set to become also-rans?

We’ll find out for sure on December 1st.

(Thanks to Nick Green for the heads-up about this!)

*This leap from “I” to “K” means that the 2015 RSD release Juvenilia has been counted as part of the official Morbid Angel A-Z canon.

The Obsessed Announce New Reissue of S/T Debut

Some exciting reissue news courtesy of Relapse Records. The self-titled debut album from doom legends The Obsessed is set for a remastered re-release on November 17th 2017. It was originally released in 1990 and, despite occasional reissues here and there, has been out-of-print for years.

It’s a big gap in my collection and one of those albums that I periodically consider shelling out for online. So this reissue is hugely welcome and a must-buy for me. And, as if the album reissue wasn’t good enough on its own, it will also come with previously unreleased bonus tracks, including a live set as well as the highly sought-after Concrete Cancer demo. It will also feature expanded artwork, never-before-seen photos, and extended liner notes from frontman Scott “Wino” Weinrich.

The classic band recently returned with their fantastic new album Sacred and this reissue just seals the deal on an excellent year for fans of Wino and doom metal.

The Obsessed will be available on 2CD, LP, 2LP, and digital formats via Relapse Records. Physical bundles and digital pre-orders are available via Relapse Records here and streaming services at this location.

Cradle Of Filth – Cryptoriana: The Seductiveness Of Decay (Review)

Cradle Of Filth are a British institution, one of the most recognisable and successful extreme acts to come from these shores. But, while they are loved and loathed by many, they’ve never made a huge impression on me either way. I’ve bought and enjoyed a fair few albums of theirs over the years but I’ve never had that phase where I’ve obsessed over them, where they were my band. Until now.

Although I was late getting to it, I was thoroughly impressed with 2015’s Hammer Of The Witches, and the band’s latest album continues in that vein. Themed around the Victorian obsession with death, Cryptoriana: The Seductiveness Of Decay is a darkly fabulous romp of hard-hitting gothic metal, delivered with expertise and passion. The overall approach is still the band’s patented blackened Hammer Horror style but there’s a whole wealth of approaches employed. Heartbreak And Seance’s romantic melodrama, thrash fury on Wester Vespertine, You Will Know The Lion By Its Claw’s pitch-black savagery and there are wonderful trad metal gallops and harmonies throughout (most thrillingly in The Seductiveness Of Decay). Best of all, vocalist Dani Filth puts each song over and then some: a spirited and veteran performance of considerable taste, breadth and character.

Hammer Of The Witches reached some peaks of excitement that aren’t quite reached here but its a nano-gripe about a near-flawless album. And, on the flip-side, the latest album has none of the excess that detracted from its predecessor. For all its expansive grandeur, Cryptoriana… is tight and direct. The pedal is to the metal at all times and the band’s cinematic flourishes are weaved and layered skilfully throughout the songs with no boring intros or interludes to be found. The style is familiar but the album is fresh and stakes its own unique place in their canon. An utterly wonderful release from a veteran band at the top of their game. My band.

HMO Rating: 4.5 out of 5

… and classic rock too!