Review by Mike Trandafil

It is not very often you get an opportunity to review an album from an Adelaide heavy metal band, and being a huge fan of the genre it was with both excitement and trepidation that I hit the play button on Devonera’s new album 'The Burning Gates'.  I haven’t heard a really good, traditional style metal band from Adelaide since the now defunct Skintilla, so my expectation levels weren’t that high. Having always been a fan of the classic metal singers ala Halford, Dio, Dickinson etc, the vocals were always going to make or break this album for me, as the growling vocal style is not my thing. Fortunately for me all my fears were allayed as the majority of the vocal work by Steven Brown is very reminiscent of Blaze Bayley the ex-Iron Maiden vocalist. The band also contrast this with growls but they are used sparingly to accentuate the heavy parts of the songs, in a similar vein to Bullet For My Valentine, and they actually further enhance the dynamics of the tunes.

This album to me personifies heavy metal in its truest sense, exceptional musicianship which is at times brutal, but contrasted by eloquent passages and strong melodic undertows, tight arrangements and soaring vocals. 'The Burning Gates' is everything that is good about the genre, the music respectfully pays homage to the masters but still manages to retain a modern and original edge. The songs themselves transcend through a diverse spectrum of musical styles ranging from beautiful, intricate musical passages to downright brutality but at all times manage to retain a balanced sense of cohesion. Heavy metal should be like this, bombastic one moment and then dissipate into beautiful melodies before tearing your head off again, and this album achieves exactly that.

The album was recorded at Against The Grain Studio which for years has had a reputation for producing great quality metal albums. The Devonera boys along with Andy Kite have done a very impressive job with the production, it is sharp, packs a punch and does a great job of showcasing the musical talent of this band. The guitar work of Matt Bagalene and vocalist/guitarist Steven Brown, Elliot Smith’s bass and the drumming of Cameron Steuart all sitting faultlessly in the mix.

Stand out songs are the opening track 'When The Angels Cried' which thunders along like a runaway train. 'Rise Of The Pharaoh' with its haunting interlude, the Hammerfall-esque ballad 'Still (Beyond Salvation)' and the epic 'The Burning Gates' which would not be out of place on any Iron Maiden album. If you are a fan of classic metal meets progressive metal with a bit of post-hardcore thrown in for good measure, this album is for you. I know I will be catching Devonera’s next show and 'The Burning Gates will make a welcome addition to my CD collection.


Review by Mike Trandafil

‘The Burning Gates’ is available for purchase through the Bandcamp website, or you can pick up a hard copy at a show.

www.devonera.bandcamp.com/album/the-burning-gates
www.facebook.com/devonera
www.devonera.com

If you consider yourself an aficionado of Adelaide music and are not yet acquainted with Zen Stella, pay attention! The five-piece alternative group are getting ready to release their debut, self-titled EP on September 16th, and after a 12 month recording process, it’s well worth the wait.

There is so much to love about the five-track release, it’s difficult to know where to begin. The first two songs are very reminiscent of A Perfect Circle, which isn’t to say that they are direct copies, but more-so that they combine the same mixture of melodic vocals over bass-heavy music. It is refreshing to hear such a well polished release that doesn’t mix out the bass, but rather uses it to drive the songs.

The EP opens with Deviate, a track that perfectly introduces the band to listeners, capitalising on vocalist Ryan Lucivero’s unique voice.  Zen Stella’s style may not be new, but they pull it off better than most. While it is evident throughout the EP that all members of the band are extremely talented, none distract from the others, and in fact the balance of sounds is perfectly achieved and consistent. Stand out track In Limbo has all the qualities you could want from a song. While not a heavy track, there is enough oomph to push it from being your average alt-rock song, to being one you’ll go back to listen to over and over. The vocal harmonies compliment the ‘heaviness’ in a way that they shouldn’t. There are some bands, such as Tool and Opeth, who can pull things off that shouldn’t work. While it would be premature to lump Zen Stella in with these acts so early in their career, it’s promising to listen to tracks like In Limbo and be able to instantly recognise the same uniqueness that makes such bands so interesting.

Part two of the EP is equally as enjoyable, but for different reasons. The songs take on a more progressive approach which fluctuates between highlighting Lucivero’s vocal talents and focusing on showing off what guitarists Seb Hudson and Cameron Kittel are capable of. Wrapping up the EP is Souvenir a song that fuses sounds that would not be out of place in a jazz piece, with heavy vocals and a true rock’n’roll sound. In six minutes, we are taken through a rollercoaster of a song, concluding a thoroughly enjoyable listening experience.

No expense has been spared in the making of this EP. Mastered by Leon Zervos (Muse, Dream Theater, Santana) the quality is very refreshing, and so wonderful to hear on a local release.  Zen Stella are a truly unique band, standing out in the prog-rock scene Australia has for so long been so successful in. There is no reason their debut EP should not propel them to the top of people’s ‘must see’ lists, and attract a lot of much-deserved attention.


Review by Sofie Marsden

Standout track Hail Ming has an industrial metal feel to it as it combines a military-like drum beat with snarling vocals, and a truly unique guitar solo. The song merges well into the album’s interlude Coming Attractions. This track, along with the sinister intro and outro numbers, adds to the movie soundtrack feel of The Dixie Dead.

WEDNESDAY’s Southern roots and love for outlaw country music is evident throughout album, with subtle Southern influences sneaking into his typical rock sound. This is most apparent in the record’s title track. The Dixie Dead carries a feeling of rock ‘n roll meets Texas cowboy; a catchy, upbeat number that somehow incorporates the darkness of country music into what is otherwise a fun song.

It just wouldn’t be a WEDNESDAY 13 album without a track to send chills down your spine. Ghost Stories does just that. There is a maturity to the song that does not come across in some of the other tracks. It is a hauntingly beautiful song that somehow maintains the same heaviness of the rest of the album, but takes on a much creepier tone. The emotive elements of the song are evocative of the Skeletons album, but musically it is unlike anything WEDNESDAY has released before. The elegance of the song comes from the simplicity and minimalism of the music, despite the addition of a piano track. This combined with the slow, strained vocals, creates a truly unique song that should sound out of place on the album. However, it works in relation to the other songs. Stylistically, Ghost Stories stands apart from the remainder of The Dixie Dead , but if the album is viewed as a story or a soundtrack, it fits perfectly amongst the violence and horror.

There isn’t a great number of WEDNESDAY 13 songs that come across as being particularly personal. It doesn’t get much more personal than Fuck You (In Memory Of...). The song is reminiscent of FRANKENSTEIN DRAG QUEENS’ I Love To Say Fuck, in that it’s bound to be a crowd favourite, with a catchy chorus and more swearing than you could poke a fucking stick at. Not only that, it also has a genuine, fun quality to it that takes the listener back to the Transylvania 90210 days.

The album ends on a high with Hands of the Ripper. The wailing guitar solo in particular ties the album up nicely. Artists such as WEDNESDAY 13 aren’t given the credit they deserve, mostly due to the fact that the music is far from serious. But it’s the clever combination of humour and horror that makes The Dixie Dead such an enjoyable listening experience. It’s a mixture of clever song writing and outstanding musical talent, blended with inspiration taken from b-grade horror films, which makes this album so unique.

The record features WEDNESDAY’s trademark rock ‘n roll sound, and contains throwbacks to his previous releases both musically and lyrically. However The Dixie Dead is not a rehash of past albums. Instead it stays true to what fans have come to expect from a WEDNEDAY 13 release, but with a fresh new take.

The Dixie Dead is without a doubt WEDNESDAY 13’s heaviest release yet. It is also his most technical in terms of extra effects, guitar solos, and high production value, which combine to make it his best album so far. 

The Dixie Dead will be released February 22nd on 3Wise Records.

 Review by Sofie Marsden

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Review by Rebekka Rechten

Those familiar with Adelaide’s lively metal scene will no doubt be aware of Octanic. The current line-up recorded their debut self-titled album in October of 2010, and now after a year and a half, it is finally available to the masses. The first thing that is apparent is the outstanding look of the physical album. At a time where internet sales are dominating the music business, it’s refreshing to see such a well designed release, featuring the design work and art of local artists.

Octanic are known for their big, melodic metal sounds, and their ten track debut does not disappoint. Opener Aeternus Imperium combines classic metal sounds with a unique blend of keys and guitar, with vocalist Jay Shepherdson moving seamlessly between aggressive growls and melody. With the assistance of the Adelaide University Choral Society lending their talents to this number, it certainly sets the tone for the rest of the album.

It would be foolish to try and group Octanic into one genre. The rest of their album follows suit from Aeternus Imperium in that they blend multiple metal sounds to create a unique mixture of styles. King For A Day takes a melodic hard rock route, leaning heavily on synth sounds, while Addict takes a gentler approach with a traditional piano introduction. 

One of the standouts of the album is Deadworld, a heavy, in your face number, that manages to combine post apocalyptic themes with a choir with phenomenal results. 

There’s something to be said for bands who can write catchy metal songs, while maintaining a certain level of heaviness. Octanic’s debut features three such songs. While Solus may not necessarily be considered ‘heavy’ in most circles, it is most definitely a metal song. The slowest on the album, it still manages to fit in solos by both guitarists, Daniel Cederblad and Stefan Butler.

Pariah is the only track featured on the album that also appeared on the band’s 2008 EP Industry, but the re-vamped version far surpasses the original. With catchy lyrics and Andrew Baillie’s heavy synth sounds it’s a certain standout of the album. Not to be out done, however, The Devil Pays Higher wraps things up perfectly. It’s fun, high energy and catchy. It’s heavy, but you can still move to it. It perfectly bookends the album, and yet you’re left wanting more, not because something is lacking, but because listening to the album is such a genuinely enjoyable experience. 

Review by Sofie Marsden.