Festival Review: Graspop Metal Meeting 2019 (#GMM2019)

GMM2019 was for the second time in a row sold-out. After some concerns I had due to last year's edition, I was relief to see that the organizers did a great job fixing most of them. From the logistics to the line-up, this edition was way better. The weather was perfect, slightly too hot on Sunday, but OK, it was manageable. I watched 28 full shows in three days with a good variety of styles, stages and genres. I was in all stages and they all sounded good. However, I felt that the Main Stage sound was low. If someone was singing near you, you would clearly hear. While the line-up was better, the headliners were worse. Within Temptation is not a headliner for Graspop and Kiss and Slipknot have been there so many times already. In any case, putting it all together, it was my top 3 GMM of the 12 I have been. So below the bands I saw and how I enjoyed each show. It's not a technical assessment but really just a personal perspective.

*****
Architects
Great setlist, incredible energy. Those guys are climbing the bill and the one-hour set at the Main Stage 1 was a really good call. This is my favorite modern metal band in the metalcore scene and looks like they will continue to grow.

Beast in Black
I've already seen them this year and will again in the fall and yet I made sure to watch it again. It was the best decision. The setlist was a shorter version from the European tour but all the best songs were still there. The energy was high in the crowded Metal Dome and we were all having so much fun. I'm so glad this year we got some decent cheesy power metal.

Candlemass
My first time ever seeing them! Hard to believe but better late than never. It was magical and perfect. Great songs and sound. I was impressed with the singer Johan Längqvist delivering very well the Messiah Marcolin era songs. Additionally the two best songs of the great new album and two from his (and band's) debut 33 years ago.

Glenn Hughes

Perfect show for a sunny festival in the main stage. His performance was phenomenal and the setlist jaw dropping. Mistreated was one of the top moments of the whole festival and that's for a show with Smoke on the Water, Burn and Highway Star. It says all.

Hatebreed 

Another perfect band for the main stage. Short high energy fast songs from beginning to end. Headbanging, crowd surfing, mosh pits, it had everything. The songs are memorable and if you've seen them a couple of times before, singing along is inevitable.

****

Amon Amarth 
As always fantastic show! But it's time to bump them up to headline status and get a longer setlist. Some favorite songs were missing and it all felt very short. While it lasted though, it was great.

Def Leppard
It was a lot of fun. First time I see them live and it was long overdue. I'm not a huge fan, but Hysteria was a very important album in my early metal years. The setlist did not disappoint and most of my favorite songs were present. There was an excess of ballads but it was expected.

Gloryhammer
As a friend wrote today, the second place of the festival for cheesiness goes to Gloryhammer. The show was super early, I almost missed it. But to my surprise it was already quite full. The setlist was made up by several songs from the latest and great album plus a couple from the other two albums. The crowd was not tired of cheering to Hoots and we all had a blast. It would've been even better at the Metal Dome.

Gojira 
Every time I see them I like them more. This time around everything was sounding perfect and my favorite songs were played, it felt like a show crafted for me. I was waiting to hear "Vacuity" for some time. The only problem is that I was a bit far and with a very hot sun in my back.

In Flames 

Most of the songs are from the last 3 or 4 albums, once you accept that, you will have a good time. Anders Fridén is a great frontman and knows his thing. The band is really tight and this time their sound was great as well. Some songs I could not pay attention due to constantly helping crowd surfers. Well, "when in Rome..." so I also had my crowd surfing moment.

Ne Obliviscaris 

One of the very few prog bands this year did not disappoint me. A show with 4 songs and a lot going on: Two singers, violin, a phenomenal bass player, and so forth. The song choices were spot on and the sound was great.

Power Trip
The only problem here was that the headchace from the previous day was not gone yet, so headbanging was hard. The fact that those songs are massively groovy, thrashy and heavy made it all more difficult. Joke aside, this band is so good. It was my only time at the Jupiler Stage and it was worth it. "Executioner's Tax (Swing of the Axe)" was one of the best songs played that day. 

Slayer
What can we still say about Slayer? They will be missed even if it's 50% of the band left, their songs are just great. I loved every concert of the 10 that I have been and their supposedly last one was no different. All the great hits were there, some deep cuts and just one from the last album.

Whitechapel 
This is a new band to me but their 2019 album is fantastic. While I wasn't super familiar with every song on the setlist, I still had a blast. Phil Bozeman is a hell of a singer and the band was highly energetic.

***

Anthrax
The 9th time I see Anthrax live was not very different from the last few ones. I love them and the show was very good. But I did not like the set list very much. "In the End" and "Now it's Dark" are not festival songs when you have such short time.

Behemoth
It would've been a much better show in the Marquee. The band is great and the setlist was well crafted. But under a scalding sunlight it looses its appeal. Maybe seeon they can headline Main Stage 2 or the Marquee.

Children Of Bodom
This band has been on my radar since their debut, but for some reason only now I'm getting really into them. The last album helped because is great. They played four songs out of it and some fan favorites. But I personally missed some of my favorites and didn't recognize a couple. Everything else was perfect.

Death Angel 
The very first band I saw this weekend. So yes, it was too early but still very good. Those guys are thrash veterans and know how to put a show. It featured songs from all 3 phases including two new ones and lots of energy.

Disturbed
"The Sound of Silence" was one of the best songs during the festival for me, I loved it. Most of my favorite songs were played. But I personally did not get a good spot and most importantly the choice of 3 to 4 ballads right in the middle of the set was a big let down. I lost my energy...

Grand Magus
While the show was not bad, it was really enough to pull me in. Maybe was the setlist or just because last time they were at Graspop I had a great time and expectations were high.

King Diamond
He knows how to give us a show, literally, it's like a theater and the stage design is always so impressive. It feels like we are transported to another dimension and are not in the festival anymore. But the show was late and quite a few beers were on me by then. So unfortunately I missed some of the magic as I didn't recognize a few songs (and missed a Mercyful Fate song). "Sleepless Nights" was another festival highlight.

Kiss
This is the third time I see Kiss in a farewell tour, sixth overall and fourth at Graspop. So by now even though the show is always great and the setlist full of classic sing along songs, it all feels a bit to scripted and repetitive.

Possessed
While the show was great and the band did really well, I didn't recognize many songs. The Marquee was half empty so it also lacked some energy.

Slash feat. Myles Kennedy & The Conspirators

That's a controversial one. I like old GNR and the Slash album with several singers and only 3 songs were from those. I also do not like Myles' voice...but "Back from Cali" and "Nightrain" were worth the show.

Trivium 

"Like Light To The Flies" was another top moment of this year edition. I have been waiting to hear it live for years, it was just great. Those guys are Graspop veterans and know what they are doing. I missed more classic songs from the first albums

**
Slipknot
I have a hard time enjoying headliners specially that late. It was super crowded and I was tired. Moreover I was a bit bored in the early part of the set.

Orange Goblin
Not sure why the title track of the new album was not played since it's really good. It was an early show in a hot Metal Dome. It was the only show with technical problem that I saw. The band did its best, but I was not ready for it yet.

Whitesnake 
I watched from the distance and while impressed that the guy can still (for the most part) sing is impressive. Some of the best hits were there, but also the ballad and a few new songs. His former bandmate worked better for me on Friday.

Within Temptation 

Again crowded, late and in this case very boring. 

Album Review: BARONESS Gold & Grey (06/14)

Gold & Grey is the fifth studio album by Baroness and it's been released on the band's own label, Abraxan Hymns. As with previous releases by the band, the album's artwork was designed by front-man, band lead, only original member and rhythm guitarist John Dyer Baizley. According to himself "It will stand as the 6th and final piece in our chromatically-themed records". I was sure the album would be called Orange, but Baizley wouldn't be that obvious. It does look orange-ish though.

I'm relatively new to the Baroness camp, but it's been a rewarding journey since I first reviewed 2015's Purple (the fourth album). Purple was within my top 10 list of that year which led me to go back to their earlier records and catch them in a coupe of live shows. The shows were great and so is the entire colored discography. It's hard to define Baroness music. It's progressive, boundless and emotional. They are associated with the metal scene, but it's really much more rock (and this time around very psychedelic as well) than heavy music. Regardless of labels, it's very good music.

Gold & Grey is not an easy digest as it's just over one hour in 17 tracks. It was very close to be a double album (like 2012's Yellow & Green), hence interesting that it features two "colors" as well. The instrumental "Blankets of Ash" followed by the super melancholic "Emmett - Radiating Light" seem to define the album split right in the middle. Before those, the first 8 tracks and 30 min are full of rockers such as the album opener and the energetic and catchy "Throw Me An Anchor". The second half is darker (or should I say grey?), slower at times and more experimental. E.g. there are three short instrumental songs with samples, jazzy moments and weird noises. The album closer "Pale Sun" is a fantastic modern take on early Pink Floyd and late The Beatles blended together. Another highlight for me is when Baroness go more progressive with longer tracks such as "Tourniquet", "Cold Blooded Angels" and the video single "Borderlines". The consolidation of Gina Gleason in the guitars/vocals gave Baizley more musical options. She brings her personal style for the guitar duo but more importantly a new dimension to the band vocal harmonies. Also the fact that the guitars are not very heavy or loud in the mix makes the bass shine in this album and I really appreciate that, it's refreshing. However, the production is not very dynamic and a bit too loud.

It's gonna be weird to have the next Baroness album not being titled after a color. I guess at some point it was bound to happen. But I'm sure the music will continue to evolve and be great. For now, we have plenty to indulge ourselves with Gold & Grey's diverse, exploratory and catchy nature.

SCORE: 80/100
DR: 4
Genre: Progressive Rock/Metal
Released by Abraxan Hymns on June 14th, 2019

Album Review: FIRESPAWN Abominate (06/07)

Firespawn is a Swedish death metal super-group formed in 2012 by LG Petrov (Vocals, Entombed A.D., ex-Morbid, ex-Nihilist), Alex Impaler (Bass, Necrophobic), Victor Brandt (Guitar, Entombed A.D.). Later Fredrik Folkare (Guitar, Unleashed, Necrophobic) and Matte Modin (Drums, Raised Fist, ex-Dark Funeral) completed the roster. Abominate is already their third full length album.

Guess what? Firespawn sounds like a Death Metal band from Sweden. Yes, despite claims that they explore new sounds and it's something different, I really don't hear it. Abominate  is evil and voracious death metal with melodic components. It features 11 songs in 42 minutes. There's a short instrumental, so it's really 10 songs with only one reaching 5 minutes. It all means that it's a very straightforward death metal album. None of this makes it a bad album, by no means. But it also makes it difficult to stand out in a crowded genre. The opening track "The Gallows End" is an interesting one, nice groove, cool riffs, a certain oriental evil feel to it and cool bass/drums intro. "Cold Void/The Hunter" is another highlight for me due to the interesting acoustic intro, the groovy feel and the tempo changes. Actually most of the second half of the album after the instrumental appeals more to me than the first.

While Abominate is a love statement to evil death metal delivered by a super group of fantastic and accomplished musicians, I'd be surprise if I ever come back to it. Those few listening sessions were fine but there was little that stood out. It's really a lack of personal connection, because I'm sure for many others looking for extra death metal records, Abominate will accomplish it for them. 

SCORE: 75/100
DR: 6
Genre: Death Metal
Released by Century Media on June 7th, 2019

Album Review: GLORYHAMMER Legends from Beyond the Galactic Terrorvortex (05/31)

"Mighty warriors of the galaxy!" Gloryhammer, an Anglo-Swiss power metal band founded by  mastermind Christopher Bowes (Alestorm), have forged their third album! In case you don't know them, each member of the band represents a character in a story concept. The band appears on-stage in armor and costumes. This third time, we follow Angus McFife XIII (singer Thomas Winkler) into another dimension.

Following an expected intro track with a narrator, the album displays 9 tracks of "nuclear-fueled high-velocity heroic power metal", the likes of which you've heard in bands such as Rhapsody of Fire. As you can read from their own words, Gloryhammer is not apologetic when it comes to make epic music bigger than the "universe". They follow Malsmsteen's motto "more is more" to the fullest and don't take themselves too seriously. The formula works and their previous album is a masterpiece of modern power metal. Going into their third adventure my question was can Gloryhammer live to my high expectations? Well, yes and no. In the 2019 context, this is one of the most fun records I heard so far. On the other hand it is slightly inferior to 2015's Space 1992. The only reason for it is that the guitar and vocals are a bit less heavy while the symphonic elements were turned up to 10. It is not necessarily a bad thing and it gives the album a distinctive characteristic within the discography, but I miss that punch from 2015. Gloryhammer has always taken a lot from Rhapsody of Fire. But now it's even more pronounced due to the symphonic arrangements. There are hints of Manowar and DragonForce, but less used than previously.

In terms of song writing, creating memorable melodies, hooks and catchy choruses, Legends from Beyond the Galactic Terrorvortex is as good as Gloryhammer has ever been. The new adventure starts strong with three songs already on their live setlist, including the first single "The Siege of Dunkeld (In Hoots We Trust)". Then in the middle of the album two jewels: One of their strongest songs ever which is titled after the band's name (try not to sing it along) and "Hootsforce" a future live favorite as well. The album closes with the 12-min epic "The Fires of Ancient Cosmic Destiny". I specially like how the album was constructed because in between those songs there are a couple more that at first did not impress me. However as they are nested in between my favorites, soon enough I started to dig them as well. The production is typical modern power metal, limited dynamic range but not too bad. The guitars are a bit low in the mix, but overall the albums sound quite OK. 

Terrorvortex is a worthy addition to Gloryhammer's discography following the same formula that got them here, but also creating a distinctive feeling. There's no doubt that fans of the band will dig this and so will fans of symphonic power metal overall. I'm looking forward to see them live again and for their continued success. For the eternal glory of Dundee!

SCORE: 85/100
DR: 6
Genre: Power Metal
Released by Napalm Records on May 31st, 2019

Album Review: DESTRAGE The Chosen One (05/24)

Destrage is an Italian progressive metalcore band, formed in 2002. Prior to The Chosen One, they released four studio albums. I came in contact with the band when they were touring to promote their previous album A Means to No End (2016). Destrage makes modern metal, very progressive and eclectic. It's actually very difficult to label them within any other genre. There are elements of metalcore/mathcore/djent in the lines of Periphery and The Dillinger Escape Plan, but also Death/Thrash Metal, Industrial, Hard Rock, among others.

The Chosen One is one of those rare cases of progressive music executed in short songs. The album is only 38 minutes, all tracks except the closer "The Gifted One" are around the 4:30 minute mark. But a lot happens in those few minutes of each track. It's a roller-coaster with ups and downs even within a song. The single and opener title track is a good example, the song is aggressive and yet catchy. It feels like a blend of Avenge Sevenfold and German thrash metal. The song opens with a cool guitar riff full of licks, a tool that the band uses at other moments. Musicianship in general is one of the albums highlight. Not only the guitars but also the drums and of course singer  Paolo Colavolpe who is very versatile and supports the band with their genre gymnastics. The chaotic "Mr. Bugman" closes with an almost Pink Floyd like instrumental session. That's how far their eclectic tendencies go. There are some very heavy moments on the album like "At the Cost of Pleasure" that opens like a Meshuggah song but Destrage somehow manages to perfectly blend it with their soft side. The  more accessible side of the band is clear with "Hey, Stranger!" and its almost pop chorus. "Rage, My Alibi" is the song with the most pronounced use of industrial samples. All in all, every of the 8 songs is very unique uses different tools. For a progressive music fan like me, this is all very positive. The one criticism I have is that The Chosen One looses some steam in its last third part.

The Chosen One is a fantastic piece of modern metal. Destrage blends many music styles in a way that actually works. I can't praise them enough for accomplishing that while keeping the songs short and catchy and balancing heaviness and accessibility.

SCORE: 79/100
DR: 5
Genre: Progressive Metalcore
Released by Metal Blade on May 24th, 2019

Album Review: FULL OF HELL Weeping Choir (05/17)

Full of Hell is an American grindcore band formed in 2009. Trumpeting Ecstasy, their third studio album, was met with positive reviews when released two years ago. I personally put it in my top 15 albums of 2017. I do like some grindcore bands and albums, but it's not my go-to metal. So as one of the few I do like, I had high expectation for their fourth studio album, and Relapse debut, Weeping Choir. But also unsure if they would continue the same musical path.

At first look, it seems that it does. As it was the case with its predecessor, Weeping Choir features 11 tracks in 25 minutes. The album starts with the same brutality and the first three songs display that voracious headbanging metal madness that I remember. "Thundering Hammers" impressed me the most for its fantastic groove. The album is dynamic with pauses, samples, tempo changes and two vocal styles. The slow tempo, dark and long song, "Armory of Obsidian Glass" is a haunting tune and very interesting example of this dynamic applied well. Full of Hell use of electronics and samples is accentuated in Weeping Choir and that's something that I generally don't appreciate much. One of the only songs above 3 minutes "Rainbow Coil" is just noise samples, I had to skip it. The good news for me is that "Aria of Jeweled Tears" follows it with a good usage of samples (machine guns?) in a song that could be mistaken with The Black Dahlia Murder. "Silmaril" on the other hand focus more on deep low guttural vocals bringing this fantastic contrast and dynamic that Full of Hell do so well. The most brutal jazz song award goes to "Ygramul The Many", a subtle homage to The Dillinger Escape Plan.

This was not an album that I appreciated in the first couple of spins. And it didn't have the same impact that Trumpeting Ecstasy had on me. However, it's very easy to listen to it repeatedly due to its dynamic and short length. Later on it started to grow on me, so give it some time. There's no doubt that the album is explosive and pissed, but also very dynamic and full of interesting details. At the end of the day Weeping Choir is a worthy addition to Full of Hell discography and it certainly kept me interested in this growing band. 

SCORE: 80/100
DR: 5
Genre: Grindcore
Released by Relapse Records on May 17th, 2019

Album Review: ARCH / MATHEOS Winter Ethereal (05/10)

Fates Warning is one of my favorite bands of all times. Here you can find my Fates Warning discography review. Guitarist Jim Matheos has been its driving force for thirty-five years and John Arch was the original front-man of that band singing in the first three albums. That includes 1986's Awaken the Guardian, one of the most celebrated masterpieces of progressive metal. Twenty-five years after Arch left Fates Warning, the duo released 2011's Sympathetic Resonance under the Arch/Matheos banner. It's hard to believe it's been 8 years! But the wait is over.  They have reunited to follow that record up with Winter Ethereal.

The fantastic and unique guitar playing and music writing from Jim Matheos is obviously the strong anchor of the album. Matheos keeps the music not too far from the Fates Warning sound. However, collaborating with John Arch brings a different side to Matheos music, as he would say himself, for Arch/Matheos "more is more". For starters, the album is long and the songs complex. Arch likes to sing over complicated parts and creates crazy melody lines. Winter Ethereal actually displays some of the best melody lines I've ever heard from the duo. The second pillar that defines Arch/Matheos sound is Arch's high pitched voice and impressive range. As a classic "love or hate" situation, his singing style is not for everyone though. But for us on the love side, it's so good to see that after all those years we still get new material from Arch. Despite the fact that he is turning 60 this year, he continues to go strong and even improving his performance and unique tone.

Another welcomed change that brought diversity to the music is the musicians supporting the duo. As opposed to the first album, for this one the duo assembled a lineup featuring not only of present and former Fates Warning drummers and bassists (Joey Vera, Bobby Jarzombek, Joe Dibiase and Mark Zonder) but also other noted musicians, such as Steve Di Giorgio (Death, Testament), Cynic‘s Sean Malone, and drummer Thomas Lang (stOrk). Frank Aresti is also back to perform a couple of guitar solos.

Winter Ethereal features nine tracks and clocks in at almost seventy minutes. The only song below the 6-ish minute mark is the first single "Straight and Narrow" with 4:20. A fast paced and heavy track featuring some awesome drumming. The album opens with a nine-minute masterpiece "Vermilion Moons" that exemplifies the brilliance of the whole album. From the get go, the creativity and uniqueness of their sound is clear. The song starts with a cool heavy guitar riffs and instead of drums and bass to join immediately after, we first get a second guitar playing a clean arpeggio! Certainly not what I expected. Then the beautiful singing followed by some very cool drum fills. Overall the song is heavy, with ups and downs and full of those very interesting guitar layers and superb drumming. The vocal melody foreshadows what's seen in the whole album: very interesting, complex and yet catchy and melodic. You will immediately feel compelled to get the lyrics and start singing along. All the eight songs that follow keep the same quality level and I wouldn't cut any out. Some shorter songs are more on the fast pace and heavy side like the single discussed, "Wanderlust", and "Solitary Man". "Tethered" is a welcomed beautiful melodic and slow song that helps us catch some breath. The other tracks are longer, progressive and full of interesting details. The guitar solo duel in "Never in Your Hands" is just an amazing call back to Maiden's Smith/Murray old days. The guitar tone on "Wrath of the Universe" makes the guitar solo sound almost like a saxophone. Then the 13-min closer "Kindred Spirits" is full of heavy and beautiful moments, also some great solos and overall an emotional ending proclaiming John's love for animals.

I don't have much to complain about Winter Ethereal. The production is clear and well mixed, but it's a bit on the loud side. Yes, it could be shorter and it violates my rule of max length by 13 minutes. But I don't really know where to cut it. Other than that, this is one of the best sonic experiences I had this year and Winter Ethereal is already a strong contender for album of the year. The guitar work, the emotions, the powerful and catchy singing, the song writing and drumming are all perfectly combined in a unique display of emotion and uncompromising creativity that only Arch/Matheos can deliver.

SCORE: 85/100
DR: 6
Genre: Progressive Metal
Released by Metal Blade on May 10th, 2019