Reviews roundup – Dead Of Night vs. Leaves’ Eyes vs. Son Of The Wind vs. Ohmwork
DEAD OF NIGHT
The Dead Shall Rise
Eh, up, it’s time for some female fronted symphonic metal. But in a shock move, it’s not from over there in Euroland. It’s from over here. Rochdale to be precise. Which is nice.
It’s the debut album from the three piece band, fronted by Courtney Cecere, a lass barely out of nappies, but in conjunction with keyboard player Carl Eden and guitarist Hadian Gates, they’ve put together a rather good record.
Heaven knows, there is a lot of competition out there but with a wee bit of work and a big slice of luck, Dead Of Night could well be a band to look out for. They’ve got all the moves down pat and they’re melodic enough not to scare away the masses. Tunes like ‘As I Am Now So Shall You Be’, ‘Riding Into Hell’ and the epic ‘Ghost Stories’ can stand up against anyone, and they are definitely onto something good here.
King Of Kings
And on the subject of the big boys, here come Leaves’ Eyes. I say big boys but despite their longevity they’ve never really broken through into the upper half of the league. I saw them years back in Glasgow and even though I enjoyed it, there was an inexplicable something that didn’t click.
I’ve also enjoyed their albums, without ever feeling the urge to drool. And the reason for both is quite simple. Liv Kristine. The music is great, but she never really convinces, unlike her solo albums, where she seems to find the right space and sound. And so it is with “King Of Kings”.
Some of the music is amongst the best they’ve ever recorded, as they embark on the tale of Harald Hårfagre, the first king if a unified Norway, back in the ninth century. It’s a stirring tale, soundtracked with a suitably ambitious score, hence why the double edition, complete with instrumental versions will be a real treat.
It’s symphonic, goth and folk metal, all wrapped up in a great production. Fans will love it.
SON OF THE WIND
Son of the Wind
From Norway to Iceland, to meet up with the one time metalhead, who is partial to a bit of AC/DC, and who has certainly done something a bit different here. Smári Tarfur, for tis he, packed away his electric guitar, left the world of rock behind him and tramped off to Eyjafjallajökull Glacier in the south of Iceland.
Apparently, he then funded this album bu busking to any passing polar bears, as he immersed himself in the world of ambient, acoustic guitar noodling.
And that really is it. An eighteen minute track, a thirty minute track and a sixteen minute track, all of which seem to involve him sitting on the toilet with a tap running, playing the same guitar motif over and over again. I suppose it’s supposed to be spiritual in someway as he immerses himself in the power of nature via the Seljalandsfoss waterfall.
Me, I just need a pee.
Ghost Town Artist
Ohmwork may have named themselves after a Geezer Butler album, but it’s neither his solo nu-metal grooves nor his Black Sabbath doom that they’re purveying. No, it’s more of a late eighties Judas Priest vibe that they’ve got going, with a few modern Maiden time changes thrown in for luck.
And it’s pretty good. They’re still a young band, on their second album, although it seems that Messrs Rasmussen, Bendiksen and Nyrud have been in an assortment of bands before. However, this is what they want to do, and it’s a good choice.
There is some modernity to their music, so the “kids” won’t file it away under dad rock, and on songs like ‘Burning Question’, ‘Reptile’ and ‘Bloodstone’ they show that they’ve got some skills going on.