Andrew WK @ HMV Forum, London

Sometimes nostalgia can be the best feeling in the world. The memories and meanings that one relates to a song is something that stays with you forever. The fact that the man in question of writing such songs is the biggest party goer of all time, explains why when these two points are blended together to create such a buzzing audience tonight.

Despite the album showcased tonight celebrating its tenth anniversary, ‘I Get Wet’ appears to be a strong favourite across all demographics, as the anthemic ‘Party Hard’ is still heard in every club to this day. This and the fact that every song on this album contains positive vibes, bouncy riffs and quirky pianos mean an hour of Sir WK becomes the best and most tiring hour of your life. Many will leave tonight with bulging biceps after fist pumping to tracks like ‘Ready To Die’ and ‘I Get Wet’, whilst others will suffer a sore head and Andrew proves he isn’t a one-album wonder with new tracks in his encore, such as aptly named ‘Headbang’.

His “party band”, wife and the icon himself show no sign of calming down, as they pogo around the stage and Andrew’s screams can be heard consistently even in between songs, and it doesn’t surprise you that he does motivational speaking in his spare time. The energy from his lovely Cherie Lily and soppy ‘She Is Beautiful’ stops the show from being a complete sausage fest for the girls in the crowd and if anyone here left unhappy, they clearly do not have a partying pulse in their body. Despite the Forum recently being attacked for its poor sound quality, there is nothing negative to say about tonight.

Reviewed by Lily Randall.

Published on Soundshock.com. Click here for images.

Gorod – ‘The Perfect Absolution’

GOROD – ‘The perfect Absolution’ [9]

So it would seem that nowadays the metal scene has become even more picky in what is and isn’t “acceptable” by claiming technical death metal is too pretentious. Quite frankly, if you put out an album like Gorod have with ‘The Perfect Absolution,’ it’s most definitely a case of “if you’ve got it, flaunt it.” After finishing a trilogy of albums led by a conceptual story, the fourth album from Gorod follows the story of a 10th century King of Kiev (as you do), showing the first sign of how imaginative this band are.

Sonically, the record manages to twist and turn through groovy brutality and guitar wankery without it being too much. Opener ‘Birds of Sulphur’ acts as an epic trailer for the rest of the album, with new vocalist Julien “Nutz” Deyres growling in a French tone similar to that of fellow countryman Joe Duplantier. ‘Carved into the Wind’ adds unique jazz influences, one of Gorod’s unique selling points, without it sounding cheesy and most certainly not losing its bite.

This could be one of the albums of the year because, unlike many bands, Gorod don’t show off their skills just for the hell of it but because they manage to integrate everything necessary to create something technical, catchy and heavy all at once. I mean, how often do you find yourself subconsciously dancing around time changes that suddenly have you headbanging?

Reviewed by Lily Randall
The Perfect Absolution is out12th March on Listenable

You’ll like this if… you want something that will make your head explode in the most beautiful way possible.

Published on Soundshock.com

Asphyx – ‘Deathhammer’

ASPHYX – ‘DEATHHAMMER’    [9]

Despite its name, death metal is not going to die out without a fight and when old school legends like Asphyx come back with “reunion” albums, the scene feels stronger than ever. The resurrection of the Dutch forefathers is one that should be celebrated more than Jesus on the Easter weekend, as Martin Van Drunen’s vocals sound as raw and ravenous as ever since re-joining the band in 2007.

‘Deathhammer’ is THE example of how to mould death and doom metal into something truly terrifying. Sticking to their old school sound, the riffs are as raw and gnarly as the excellent artwork, as the tempo speeds up and then brakes to a sudden eerie crawl, dropping into a black hole of doom.

This sudden contrast by no means causes a stuttered structure as each track liquidizes into another. Thrashy chunks of the album include title track ‘Deathhammer’ which has already shown to be popular through internet leaks, while ‘We Doom You To Death’ does is exactly as it says bludgeoning your ears with some nasty sludge tones.

Asphyx manage to achieve what many bands don’t with this release, by keeping to their original sound that made them pioneers, yet still evolving to prove they have more for you to digest. After eight full lengths, ‘Deathhammer’ still leaves you baffled at the musicianship and solid production Asphyx conjure up and confirms that as far as the band are concerned, they still kill the old way.

Reviewed by Lily Randall

‘Deathhammer’ is out now on Century Media

You’ll like this if… your ideal death is to be battered by an aural hammer of doom

Published on Soundshock.com

Municipal Waste – ‘The Fatal Feast’

MUNICIPAL WASTE – ‘THE FATAL FEAST’ [7]

It is crazy to think that Municipal Waste have managed to party and puke their way to thrash recognition for over a decade now and with that in mind, they know that deep down they don’t really need to change. So they don’t. ‘The Fatal Feast’ is the fifth album from the US wasters but their first with Nuclear Blast, which shows through the high quality artwork and video for this release.

Once the record is spun, you realise that evolution and a change of direction is completely unapparent. Admittedly, it is their longest album (38 minutes) and you can see that they showcase a little more technicality in their riffs and overall playing but deep down it is still alcohol-fuelled, anthem-worthy and ferociously thrash with their always expected humorous lyrics.

They stick to their roots with tracks reminiscent of debut ‘Waste ‘Em All’ however some also mirror 2009’s ‘Massive Aggressive’, meaning Waste fans of all eras are bound to get their teeth stuck into ‘The Fatal Feast’. But let’s be honest, with tracks about being sick on yourself, constant screeching vocals from Tony Foresta and songs that are bound to get you head banging into another universe, you’d be content anyway.

Reviewed by Lily Randall

‘The Fatal Feast’ is out April 13th on Nuclear Blast

You’ll like this if… your lifetime ambition is to be an alcoholic astronaut that parties hard

Published on Soundshock.com