#like the sheer amount of amazing immortal songs performances..........

[sanstropfremir]

do u have any favorite covers kpop groups did of others?

oh boy do i EVER!!!

so you can only embed ten videos a post so unfortunately some of these are just gonna be links, but i have MANY beloved covers and i'm gonna start with the cover kings themselves a.c.e!!!!

plus also their twice medley cover, their youngblood cover, and donghun's cover of driver's license from their online concert last year. i do NOT want to talk about how in my feelings about them i am i need roka to give them back to me right now.

my all time fave stage of any survival show ever: the mega power vocal love in the ice cover from mixnine. there's literally no other stage that tops this for me i am dead serious:

onewe rewires my brain every single time they do a cover:

please see also: the chaser, eraser, dna, closer, bad guy

sungkyu's time walking through memories cover:

the original version is one of my fave songs of all time but onlyoneof fucking BODIED dawn on this one:

see also: dolphin, nine's cover of 23

seungwoo come back please:

does it count if there's a former idol in the band? bc south club did a fucking INCREDIBLE cover of next level mashed up with the guitar riff from smells like teen spirit:

it's not a cover of a kpop song but literally i cannot NOT link the rose's cover of ilysb:

ok last one she's not at all an idol but i would literally die for song so hee it was so nice of her to let bts cover her song:

ALSO!! if you are interested in covers i am going to recommend two shows: double trouble and superband!!! i wrote a post about my fave double trouble performances here and a bit explaining about the show. superband is a show where musicians get grouped up to form bands and compete! it's like a survival show but like 1000x better and the musicians are literally some of the best in korea. there's two seasons, here's two of my favourite performances (mostly there's too many to pick from and also a lot of the perfs from season one have been wiped from youtube):

this goth rock cover of oops i did it again (yes that one) pretty much singlehandedly won craxilver the show (featuring my beloved feral piano man)

this strings cover of creep (sorry about the subs and crop but see above) from hoppipolla, the winners of season one

also watch immortal songs

[kickdownthewalls]

TOP 20 ROCK/METAL ALBUMS OF 2018

This has been a year of surprises and disappointments in pretty equal measure. Judas Priest blew me away with their latest record (and tour) and Immortal made one of the most triumphant comebacks in metal history. On the other hand, Voivod’s new one felt strangely by-the-numbers, as did the latest from Riot V and Monster Magnet. Still, the sheer amount of releases out there, just in the traditional metal and thrash scenes, is somewhat mind-boggling, and there were plenty of excellent albums to be found.

(Countries represented this year: Italy, UK, Sweden, Norway, Germany, USA, Canada, Switzerland, Portugal, and Denmark).

20. BURNING WITCHES - Hexenhammer

Switzerland is a tiny nation, but they have given the world some of the most creative and diverse bands over the years, from Krokus to Celtic Frost to Samael and beyond. Burning Witches combine elements of melodic thrash and classic heavy metal for a sound that works quite well and is perfectly suited to Seraina Telli’s powerful vocal delivery. The album has its ups and downs but the title track and “Open Your Mind” are both flat-out brilliant.

19. PERPETRATÖR - Altered Beast

This is how I like my thrash metal: fast, evil, dirty, but still well-played and composed. Perpetratör hail from Portugal and this is only their second full album, but it is a scorcher. Songs like “Extreme Barbarity” and “Terminal Possession” are brutally fast in the vein of the early Germans, but the band explore some more mid-tempo riffs here and there as well. Like all my favorite thrash bands, these guys sound like they are playing just on the edge of what they can get away with and the effect is electric.

18. ARTILLERY - The Face of Fear

These Danish thrashers are one of those bands that has always had consistently quality releases but, for whatever reason, never really made the impact others in the genre have over the years. While the line-up has changed over time, the current incarnation has done three albums together now and sounds quite comfortable here. The drum sound is a bit ‘bonky’ for my tastes, but the quality of the tunes rises above it. Bonus points for the variety of songs on offer, too, from speedy, complex thrash, to power ballads to straight-ahead heavy metal.

17. LUCIFER - II

Lucifer’s brand of retro doom rock is both obvious in its influences and original in its assembly of said influences. The jazzier side of early Sabbath is the most prevalent element at work here, with riffs that range from heavy and evil to mournful and atmospheric. Despite some line-up changes, the sound is pretty consistent with the excellent debut from 2015, with perhaps a bit more clarity in the production (though nowhere near polished-sounding, fear not).

16. WITCHING HOUR - ...And Silent Grief Shadows the Passing Moon

The number of excellent bands with ‘witch’ in their name is strangely high this year and Germany’s Witching Hour are another to add to that list. This is their third full-length and displays a great deal of maturity and talent for writing complex yet compelling songs. Elements of black and thrash metal abound, but there is a lot of other stuff going on here, too, and lots of melody. The bass playing is particularly impressive and really adds a whole extra dimension to the music, while the vocals are a potent mix of plaintive and grim and complement the dark, intricate songs beautifully. This was a late-year release and, given some more spins, it will likely rise on this list.

15. SATAN - Cruel Magic

It is rare that a band can pull together their classic line-up the way that Satan did in 2013, let alone one that can then proceed to release three albums back-to-back that fall right in line with their old material. Cruel Magic is the latest of these and has all the hallmarks that made Satan great: finely-crafted heavy metal that is speedy and complex, organic production, and an overall sound that is truly their own. They may have only caught the tail-end of the NWOBHM but damn if they weren’t one of the scene’s best and it is heart-warming to see and hear them continuing the legacy 35 years later.

14. ABYSMAL GRIEF - Blasphema Secta

Abysmal Grief are Italian doom masters that create a sound that is heavy, gothic, creepy, and relentless all at once. Most songs are in the 8-9 minute range and are usually centered around a few core riffs, but the way the band build them up and vary them throughout really pulls the listener in. Keyboards are used quite a bit and to great effect, while the vocals range from mournful to menacing. The band has kept a very consistent style since day one, with only the production getting a little better with each release, and Blasphema Secta sounds both heavier and cleaner than anything prior.

13. STRIKER - Play to Win

Been following these stalwart Canucks since their debut EP a decade ago and I’m glad to see that they have continued to evolve and refine their sound with each new album. Play to Win is probably the most ‘commercial’ release to date, with tons of melody and big choruses, but there is still plenty of heaviness on tracks like “Heart of Lies” and “Summoner” to keep a nice balance. Striker has gotten really good at writing distinctive songs that aren’t just a collection of riffs but actual, well-constructed tunes.

12. BULLET - Dust to Gold

This Swedish quintet has been bashing it out for 15+ years and still manages to release an invigorating collection of hard rockin’ metal tunes. Stylistically, Dust to Gold covers a fair amount of ground, from heavy metal in the vein of Accept and Grave Digger to more upbeat rockers ala Krokus and AC/DC. The common denominator throughout is a sense of fun that is missing from entirely too many albums these days.

11. LEATHER - II

Leather’s powerful voice was always the thing that raised Chastain from a good band to a great one and I’m pleased to report that she sounds just as good in 2018 as she did in 1988. The opening track “Juggernaut” is one of the best speed metal songs I have heard in a while and the rest of the album is consistently good, too. Shades of Dio and Priest color the wide range of tunes here and the band turn in some excellent, spirited performances. Glad to see Leather back on the scene and, as much as I enjoyed the Chastain reunion records, I think this one is even better.

10. HAUNT - Burst Into Flame

Although I enjoyed the first Haunt EP, the full-length debut really takes it up a notch. This is classic, old-school heavy metal that reminds me a bit of the first couple of Cauldron albums, with some wonderful dual-guitar work thrown in for good measure. The vocals are clean but remarkably restrained compared to some of the screamers out there, making for a nice change of pace. Songs “Reflectors” and “Burst Into Flame” have a haunting (ahem) timelessness to them and the album flows really well from start to finish.

9. THE NIGHT FLIGHT ORCHESTRA - Sometimes the World Ain't Enough

Despite featuring members of Soilwork and Arch Enemy, this is a long, long way from death metal, melodic or otherwise. Although the band’s first effort had a distinctly late-70s hard rock vibe to it, each record since has taken the listener deeper into the world of 80s AOR. Unlike a lot of the sterile, radio-friendly acts from that actual era, NFO bring a warmth and heartfelt approach that really brings the music alive. This is the band’s fourth album and probably their weakest, but it still stands well above the average album of 2018. Songs like “Turn To Miami” and “Pretty Thing Closing In” are immediate, timeless classics.

8. THE CROWN - Cobra Speed Venom

Although Deathrace King is still one of my top 5 death metal records of all time, The Crown never really were able to duplicate its genius. Cobra Speed Venom, however, comes damn close. It has all the brutality that the band is known for but brings back a lot of the punky/thrash energy and memorable riffs that have been missing for a while. The first three songs might be the best start to any album this year; just relentless, mayhemic brilliance. Top it off with one of the coolest and most original album covers I’ve seen in a while, along with three bonus tracks that are actually worth adding, and you have one hell of a return to form.

7. SAXON - Thunderbolt

Saxon certainly made some missteps in the late 80s, but I can’t think of another band that has remained as true to form over the years, while also consistently putting out quality albums and touring relentlessly. Thunderbolt is no Wheels of Steel or even Call To Arms, but it is still a solid record that is as good or better than the last couple. From the melodic timelessness of “The Secret of Flight” to the moody “Nosferatu (The Vampire’s Waltz)” to the raging “They Played Rock and Roll,” there is also a diversity rivaled only by Priest on this list.

6. BLACK OATH - Behold the Abyss

When it comes to true, epic, soul-crushing doom metal, Black Oath have become true masters. I have been following this band since the Portrait of the Dead single back in 2010 and am pleased to say they just keep going from strength to strength. Behold the Abyss balances a lush production, clean vocals, and plenty of melody, with dreadnought riffage and blissfully dark, esoteric lyrics. A rich, dynamic work of black art.

5. SIGN OF THE JACKAL - Breaking the Spell

This amazing Italian band has created a style that is equal parts early 80s Warlock and late 80s Judas Priest. Great, driving metal tunes that sometimes border on speed metal with plenty of screaming solos and hooky choruses. The recording, the mix, the energy, everything about this record is incredibly old-school and authentic, right down to the 32-minute running time.

4. AUDREY HORNE - Blackout

Ever since these Norwegian rockers abandoned all pretense and went full-on retro with their Youngblood album, I have been hooked. They compose hard-hitting rock tunes with tons of hooks and Lizzy-esque harmonies that give a nod to metal and punk without really being either. The first three songs - “This is War,” “Audrevolution,” and “Blackout” - are all perfectly built and give a great cross-section of the band’s diverse sound. Toschie’s vocals are as unique as his fashion sense and, as much as I loved the last two records, I think this one may be their best yet.

3. BRAINSTORM - Midnight Ghost

Brainstorm has long since perfected their style (as far back as Soul Temptation, some fifteen years ago), and each new release is really just varying levels of execution. As good as Scary Creatures was a couple years back, Midnight Ghost is truly brilliant and may possibly take the title as my favorite Brainstorm outing. All of the usual plusses are in place - great production, top-notch musicianship, catchy tunes - but the songs themselves are just a tad bit more finely honed and memorable. “Ravenous Minds” and “When Pain Becomes Real” in particular are killer and there is nary a dull moment here.

2. IMMORTAL - Northern Chaos Gods

My first Immortal record was At the Heart of Winter and it is still my favorite black metal album, hands down. The combination of raw, icy riffs with the mind-blowing drumming and just enough melody to keep it all together was/is intoxicating. Immortal has never done a bad album, but some are definitely better than others and Northern Chaos Gods is one of the best ones. The ferocity is up there with Pure Holocaust and Demonaz’s vocals, while not quite as distinctive as Abbath’s, fit the music perfectly. The band wisely took their time to put this record together and the results speak for themselves.

1. JUDAS PRIEST - Firepower

Priest has been one of my favorite metal bands since I first got into them back in ’82 and they are still right up there with Sabbath, Accept, and Mercyful Fate, with a catalog that is as diverse as it is brilliant. After the disappointing Nostradamus and good-but-not-great Redeemer of Souls, it was a real pleasure to hear Firepower, a true, all-guns-blazing Priest record. The production is 1000% better than anything they have released in the last two decades and the material is both diverse and top-notch. Songs like “Firepower,” “Never the Heroes,” “Children of the Sun,” and “No Surrender” have such a classic sound to them and Rob has not sounded this good since Painkiller. Even the weakest tracks (“Lone Wolf” and “Sea of Red”) have grown on me a bit, so I am confident that Firepower will go down in history as one of the band’s crowning achievements.

I must also mention some very impressive EPs, demos, and singles that were released this year, namely those from CIRITH UNGOL, ROUGH SPELLS, ÜLTRA RAPTÖR, PULVER, SIGNIFICANT POINT, TENTATION, ANCIENT SÉANCE, SABÏRE, and OCCULT BURIAL. If you aren’t familiar with any of these bands or haven’t heard their latest, I highly recommend getting acquainted immediately.

As usual, my list could have gone on much longer, but here are the bands that just missed the top 20: AMORPHIS, AURA NOIR, BEHEMOTH, BLACK REBEL MOTORCYCLE CLUB, BLACK VIPER, BLADE KILLER, CAULDRON, DIMMU BORGIR, DREAM CHILD, GOAT WORSHIP, GRAHAM BONNETT BAND, IRON ANGEL, KHEMMIS, KRISIUN, NIGHT VIPER, PRIMAL FEAR, PROFESSOR BLACK, RIOT V, SABOTER, SKULL FIST, SUBSTRATUM, TAD MOROSE, VISIONS OF ATLANTIS, VULCAIN, WHITE WIZZARD, WITCHFYRE, and WYTCH HAZEL.

What is on the horizon for 2019? Well, I am already psyched about the new ones from CANDLEMASS, DELAIN, ROCK GODDESS, FLOTSAM & JETSAM, CHAINBREAKER, SOILWORK, WITHIN TEMPTATION, MORTAL SCEPTER, HAMMERFALL, and TYTUS, plus possible releases from SACRED REICH, DEATH ANGEL, and EXCITER all have me really looking forward to the coming twelve months. The world is crumbling around us, but at least the metal scene is stronger than ever!

[devils-gatemedia]

The opening night of the short UK leg of the Kissworld 2017 tour was tinged with sadness after the recent tragic events in Manchester. Tonight’s gig was made all the more poignant by the amount of young children in attendance. Watching so many happy, excited kids, wearing Kiss make up, and in some cases, long mullet wigs, really hit home how devastating the Manchester attack was. Security was ramped up, with a visible police presence throughout the area, and no bags or rucksacks allowed. Sad to see, but reassuring. If ever there was a band to provide a welcome distraction away from the heartache, then that band would be Kiss. Forced to cancel the Manchester gig due to the venue still being closed (remember that fact before typing your bile, keyboard warriors!), Kiss set out to put on a show for people never to forget, and by Lucifer’s beard, that’s exactly what they did.

Kiss usually take out a young band to open for them on the road, the last trip around these shores in 2010 saw Taking Dawn earn their spurs. The European leg of this tour featured British upstarts Raveneye, and for the handful of UK dates these were replaced by New York’s The Dives. Get the obvious one out of the way, The Dives feature Evan Stanley on guitar and vocals. Stanley as in Kiss legend, Paul Stanley. Rather than focus on the connection, it’s simpler to focus on what the band sounds like and how they perform on a live stage. The four-piece play a brand of power pop/rock, straight out of New York, but heavily influenced by The Beatles. When Stanley says “Here’s one you might recognise…” you know instantly it’s going to be a Beatles cover, (“Don’t Let Me Down”, if you’re playing along at home). The four part harmonies are perfect, and fellow guitarist and vocalist Mike Lefton does a mean fab four trademark head bob as he takes over lead vocal duties. Stanley is an engaging, confident frontman, who at times reminds me of a young, ‘The River’ era Springsteen, but although ‘Don’t Take It Easy’ could easily have come out of the same clubs that spawned Springsteen, Southside Johnny, etc, and the mid-section of ‘Mandy’ echoes Springsteen’s ‘Rosalita’, the rest of the set is pure Liverpool, born and bred. T shirts are thrown out into the crowd, the debut EP is plugged heavily, and before they bring their fun, short set to an end, Stanley announces that the band will be pressing flesh on the merch stand. Fair to say that the band left with oodles of new fans in their back pockets.

As far as gig intros go, the curtain drop has always been my favourite, and no-one does a curtain drop quite like Kiss. Hell, even the raising of said curtain after The Dives finished their set is greeted by loud cheers, and it’s a cue for mass selfies with the curtain as the backdrop. So, after the last strains of ‘Rock & Roll’ fade out from the PA, the house lights drop and the immortal lines, “You wanted the best, you got the best, the hottest band in the world… Kiss!” come booming out, the curtain drops and we’re straight into ‘Deuce’. The wattage on display from the massive lighting rig and stage production has lights flickering all over Scotland as the grid struggles to cope with the power surge. The band are all elevated on platforms and begin their descent from the skies as every pair of eyes in the house follows them down. For those catching Kiss for the first time, it’s the musical equivalent of a kid going to Disney World for the first time… “where do I look, where do I look?!”. Gene Simmons is stomping around like Godzilla awoken early from his hibernation. The cameras pick up fans slack-jawed look of amazement. How can anyone be cynical when they see the obvious joy that Kiss bring? Paul Stanley is as twinkle-toed as ever as he pirouettes across the stage brandishing his guitar, complete with customised Scottish artwork. Tommy Thayer brings the riffs, and at the back, Eric Singer shows yet again why he is such a highly-respected drummer. What a glorious noise they all make.

This is Kiss with all the bells and whistles… and by bells and whistles, I really mean smoke, flash bombs, pyro, and fricken laser beams! There is something strangely reassuring about a massive rock “show” during these uncertain times throughout the world. For nearly two hours, it was a case of check your fears and concerns at the door as Kiss steamrollered their way through five decades of music. Pausing after a breathless ‘Shout It Out Loud’, Paul Stanley led a minutes silence for “our brothers and sisters in Manchester”, as a message of unity flashed up on the giant screens. After this touching moment, it was highlight after highlight as Simmons took over on ‘I Love It Loud’ from the under-rated ‘Creatures Of The Night’ album. ‘War Machine’ was another welcome visit to this gem of an album. If you’ve seen Kiss before, then you know what’s coming. When ‘Firehouse’ starts you know that Simmons is going to spit fire. You know that his demonic bass solo will see him flying to the rafters for ‘God Of Thunder’… but even though you know what’s about to happen, it’s still awesome when it does. Kind of like when Ben Gardner’s head pops out of his wrecked boat in ‘Jaws’! Another gimme is when Paul Stanley introduces Tommy Thayer. You know it heralds ‘Shock Me’, and the resulting solo will see rockets fired out of his guitar. But it still elicits “ooohs” and “ahhhhs” from the crowd, regardless if they knew it was coming or not. One of my own highlights occurred during ‘Flaming Youth’, when the screens came to life with images of the band throughout their career. The grainy black and white pictures were a fantastic trip down memory lane, and it was a lump-in-the-throat moment when they stopped on a picture of the much-missed Eric Carr. Another touching moment.

The make up, the larger than life personas, the massive production… all usually mean that the quality of Kiss’s material is often overshadowed. The closing quartet of ‘Black Diamond’, ‘Rock and Roll All Nite’, ‘I Was Made For Lovin’ You’, and what else but ‘Detroit Rock City’ are as strong a closing twenty minutes as you’ll see this year. The confetti cannons at both ends of the hall erupt, the pyro goes into overdrive, and the firework guy has buggered off to the loo and forgot to press pause, but it’s the songs that stick in the mind. ‘Rock and Roll All Nite’ is so simple it shouldn’t work, but it does. As divisive as it was in 1979, in 2017 ‘I Was Made For Lovin’ You’ is a mammoth, crowd-pleasing anthem (who saw that one coming in 1979?). One after the other, each topped the previous in crowd reaction, and the look of sheer joy on the faces of the crowd was amazing to witness. Kiss in 2017? They came, they saw, they conquered… again.  

Review: Dave Stott

Images: Lara Vischi

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    Live Review: Kiss – SSE Hydro, Glasgow The opening night of the short UK leg of the Kissworld 2017 tour was tinged with sadness after the recent tragic events in Manchester.