Metal

Album Review: Shihad – FVEY

Shihad FVEY vinyl record cover
Standard

Last time I saw Shihad play was on Boxing Day a few years back in Lower Hutt – the eternal dwelling place of the bogan. The band played a few songs from each of their releases in chronological sequence, starting with their début EP Devolve, and concluding with their most recent album, Ignite. It was a good cross-section of their history, showcasing their sound as it evolved from the speed metal of their formative days through to the more radio-friendly songs of recent years. The downside to this was that as the show progressed it became clear that Shihad’s later releases pale in comparison to their more aggressive early works. In my opinion Shihad had peaked with The General Electric.

This is why FVEY (pronounced Five Eyes) makes me so happy. It’s a nod to Churn and Killjoy, but with the use of production and mastering technologies 20 years more advanced. Listening to the album teaser was enough to make my hairs stand on end. Being able to the blast the finished product on 180 gram vinyl is a glorious experience.

No doubt Jaz Coleman played a part in this. His influence was unmistakable in the brutal industrial metal that was Churn, and lingering traces could still be felt in the raw anger of Killjoy. And once again the Killing Joke singer has returned to the producer’s chair to impart his wisdom. This record was one of the last to be recorded at Coleman’s York Street studios, allowing the band good use of one of New Zealand’s premium recording studios.

Coleman can still be heard in this record, both musically and thematically.  Title tack ‘FVEY’ sounds like it could comfortably be part of Killing Joke’s 2010 release Absolute Dissent, and some of Jon Toogood’s lyrics resemble those of the songs on Killing Joke’s MMXII.  Anger, distrust of the authorities and conspiracy theories seem to be common themes throughout.

It’s raw but at the same time clean. They’ve captured the heaviness without muddy distortion. Not an easy feat, seeing as how the guitars are drop-tuned so ridiculously low. Frontman Jon Toogood has described the record as “intense” and “blistering”. He’s not wrong.

Where did the band re-discover this energy and determination? The album title FVEY points towards paranoia over our international spy network. Maybe something to do with a fat German millionaire buying off our politicians? No doubt Shihad are riled up about various social injustices, and FVEY is the creative by-product of these feelings.

I’ve always loved Shihad. I own every album and watch them live every time they come to town. It was always a given that I’d be buying FVEY. But this time round I feel safe recommending this album to my friends, not something I could have said about the band’s recent outputs like Ignite or Beautiful Machine.

Killjoy-era Shihad is back in form. And with an accompanying tour promised; I find this very exciting.

 

Joseph James

Live Review: Iron Maiden’s Paul Dianno at Bodega, Wellington

Standard

Paul Dianno with Killrazer

w/ Entrails and Razorwyre

Bar Bodega, Wellington

Thursday 1 July 2010

 

Early Iron Maiden was essentially an epic sounding punk band. Just listen to a track like Sanctuary for example; it was punk without being an actual punk song, in the same manner that Paranoid was for Black Sabbath. The cause of this was original singer Paul Dianno, who featured on Iron Maiden’s first two albums, as well as a handful of EPs.

Dianno was replaced by Samson singer Bruce Dickinson due to issues regarding drugs and personal conflict within the band. Dianno’s voice is harsher than Dickinson’s operatic wail, but he has an ample vocal range, ranging from deep growls to punk style to higher wailing.

Opening act Razorwyre (formally known as Gaywyre) played a crowd pleasing set that they’re starting to get a reputation for. No points for guessing who their influences are: they emulate NWOBHM bands such as Judas Priest and Iron Maiden with precision, with touches of thrash thrown into the mix. The hair was huge; the riffs were razor-sharp and the solos stunning. And of course who else but a band so inspired by Iron Maiden to open for Maiden’s original singer?

When the Dianno and band Killrazer finally graced the stage their presence was certainly noticed. The dry ice was so dense I could barely see the musicians on the stage not even two metres in front of me, but I could certainly hear them.They opened with Wrathchild, which certainly did the job of working up the crowd. Though he didn’t move about much Dianno certainly commanded the stage as only a well seasoned performer can.

In between songs Paul spoke freely with the crowd, telling us about all sorts, topics including his ex-wife, a drinking incident. Sometimes the cockney accent made him hard to understand, but his jokes were funny and he seemed like a down to earth musician trying to make a living, rather than the cocaine fuelled ego that he once was. Dianno even allowed his backing band Killrazer to play a few of their own songs throughout the set. They played a much heavier technical metal style which added some extra variety to the set.

As promised on the promotional poster, Dianno and the band worked their way through all of the tracks on the eponymous Iron Maiden album, some of which hadn’t been played by Dianno for 15 or more years. He said that a few tracks like Remember Tomorrow were specially chosen to be played exclusively to Australian and New Zealand audiences.

After a heated altercation with some punter disrespecting late AC/DC singer Bon Scott, Dianno and band ripped into a rousing cover of AC/DC’s Highway to Hell. The tribute was enough to leave Dianno with teary eyes, but he pulled the song off well. Unfortunately the Spice Girls and Lady Gaga covers Dianno joked about never eventuated.

For me, the best songs had to be Prowler, Iron Maiden and Running Free, although I probably could have also guessed as much beforehand. There’s just a timeless quality about those songs that always manage to excite. They concluded with Sanctuary, a song that packs a punch and sums up Dianno-era Maiden. Not the most extravagant and epic, but more hard and fast and punk-sounding.

I had regretfully missed Iron Maiden when they came to our shores early last year, so when I had the opportunity to see Maiden in an alternate incarnation I knew I could not miss it. Whilst this was obviously not going to be as impressive as a current large-scale Iron Maiden performance, I don’t feel that I missed out so much anymore. Sure there wasn’t any Eddie, 13minutes song or larger than life stage set, but it was still one hellova good night.

 

Joseph James