Ithilien (Belgium) + Incursed + Hilotz, 05.22.2016 at sala Edaska, Barakaldo

I'm not used to going to concerts on Sunday, but this time I needed to do so. Last concert with Incursed's actual lineup, the one I've known since I discovered them one year ago. I just couldn't miss the event. And, to tell the truth, I was so excited about it, that I truly thought that Incursed headed the show, which was not true, obviously...

18:45 and it was time to go in. The place was rather small, just to make everything so homely. First sign of what was coming. I could also see part of the soundcheck and foresee that the evening was about to be extraordinary. 

Hilotz, from left to right: Mikel, Etxahun and Pablo

First of all, it was the turn for Hilotz (Lasarte-Oria, Basque Country) to go onstage. Early in the first song, I thought of writring this, as I was caught in the heavy riffs they delivered. A hard, strong wall of sound, gutturals that felt like something was being ripped off within me and bass lines that made me collapse in pleasure. I was also delighted by the cowbell sound coming from the drums amidst such extreme sounding, overwhelming guitars that filled the whole venue. Furthermore, they pretty much mastered the art of combining fast riffs with slow or mid tempos, more distorted sounds with more acoustic lines, etc. No doubt these guys have a high potential. However, I feel they still lack something the experience will give them, and I'm gonna quote my friend and personal photographer during the concert: They play, but they don't play together, as one. I guess everything takes time, but definitely, I'm gonna swallow each one of their songs until I learn them.

Sabrina and Pierre from Ithilien

Then Ithilien (Belgium) came. The first things one could see before it all started was that there was a lot of people on a stage that left almost no room to move around comfortably, and that an astonishing musical deployment was about to take place: bagpipes, a hurdy-gurdy (I had to ask what it was, it is such an awesome instrument, please check it out), or a bouzouki amongst others. The lights came down, and only their ready silhouettes could be made out in the dark. And then it all exploded and the very first note worked out the magic. They made themselves big on such a small stage. It was a pity that no one else but me in the audience had listened to at least a song. And they were so static like waiting for who knows what to happen. Instead, I was headbanging harder than ever (up to that moment, of course). I enjoyed every single note, and especially paid attention to the hurdy-gurdy and the bagpipe. Hey, it didn't sound through any microphony system and it could be perfectly heard over the crushing guitar/bass riffs, awesome. Maybe, what I liked the least was the drums. I usually prefer well defined and accentuated double bass drum strokes, and this time the drums sounded a bit blurry, but still amazing. I stood in awe along the whole set and couldn't help buying a T-shirt, as a way to thank them for their great job.

Jon Koldo "Flying hands" Tera, from Incursed

(from left to right) Narot, Jonkol and
Palas from Incursed

At last, the most awaited moment: Incursed (Bilbao, Basque Country) got onstage to delight us all with their viking-themed aesthetic and music. And there I was, in the front row, with bright eyes and the look of an excited child. I could say that we, the audience, gave everything we had, but it wouldn't be fair: we only reflected and maybe boosted what they gave us from up there. I absolutely enjoyed Narot's wild energy and gutturals (and jokes), Mr. Jonkol "Flying hands"'s keytar lines and clean vocals, Juan's bass lines, and Asier's drumming, of which I had already had a taste back in August last year; and of course, the stunning guitar lines by Palas, who had barely had time to learn all the songs in the absence of Asier and from whom I got my flower garland souvenir. Man, I admire you for that effort, and thanks for the garland *chuckles*. Songs such as Tidal Waves, Beer Bloodbath and Suaren lurraldea (the last two are probably my favourites) couldn't be left out of the setlist and we all danced, jumped and sang to them (and I headbanged even harder than with Ithilien, letting myself go), as vikings having fun, drinking beer and conquering another milestone. Neither could a heavy version of A-ha's Take On Me, to which we had a good time, and in my case, a fair share of laughs (of true happiness, of course). Although we were all emotive (both the audience and the band) because Narot and Juan are leaving, there was no place for sadness, only for fun, and good music and vibe.

Incursed says: Never stop messing around!!

To sum up, it was the perfect evening, I ended up knackered, covered in sweat after three hours of shows. My neck still hurts from all that headbanging. I have to say that the bands playing were very brave, playing for so few people. I know, we assume them to act like that, but it's something we still have to recognize and admire. I didn't only discovered that they were incredible bands, but also that there are very kind and talented people playing in them. You can follow these bands in these sites:


Hilotz:

• Facebook: http://www.facebook.com/hilotz666/
• Webpage: http://www.hilotz.com/
• Twitter: https://twitter.com/hilotz666
• YouTube: https://www.youtube.com/user/HILOTZ666

Ithilien:

• Facebook: http://www.facebook.com/Ithilien.Music/
• Webpage: http://www.ithilien.be/
• Twitter: http://twitter.com/ithilienmetal
• YouTube: http://www.youtube.com/user/Ithilienmusic

Incursed:

• Facebook: http://www.facebook.com/IncursedOfficial/
• Webpage: http://www.warbanner.eu/incursed/
• Twitter: http://twitter.com/IncursedBand
• YouTube: https://www.youtube.com/user/IncursedOfficial

Last, but not least, I'd like to thank Jon Rodriguez Martin, aka Jack Kalavera for his excellent photos.

Bryan Adams 01.29.2016 at BEC Bizkaia Arena, Barakaldo

Watching a concert from the seats in the venue (a stadium in this case) is like watching from outside, but without being outside actually. A roaring wave comes from behind and carries you into the flowing energy that is going down to the court

yard, where more people stand up to see their beloved artist but, at the same time, you can observe the vibe that surrounds the atmosphere. And then it starts.

I must say that I am not a big fan of this man, after half an hour all the songs sound more or less the same, except for some fragments that are rhythmically and musically attractive to me. However, the fact that he can have the audience so engaged from the very beginning is a very positive point to highlight. There were ballads, more rock-like, and popish songs to complete a really balanced show. The effects and scenography were also undeniably well elaborated. In other words, I can tell you it was indeed an enjoyable show.

What I remember the most amazing of all, were a couple of moments that were close to ecstatic. Usually, the artists tell the people to sing with them in the middle of the song, or that's what I am used to, but this time he told the audience to sing the song from the beginning. And I was in awe to hear how 18000 people could sing along, almost perfectly in tune and with an intensity that needed no microphony system to be heard from up high where I was. It's definitely something that makes a deep impression. Then, near the end of the show, we were told to hold up our mobile phones with the flashlight on. Again, an epic moment. So many of us had the lights on that no other light had to illuminate the venue, plus it all seemed like a starry bright sky. One could really feel the energy.

So, as I said in the beginning, I may not be a great fan, but I must recognise that I indeed enjoyed the show to the very last moment!

Metalmania 10.10.2015 at Azkena, Bilbao

As a friend of mine says, a cover band is meant to be an almost sure success. A cover band give their best in order to sound like their idols, and thus, quality is ensured. But I guess this concert was a level beyond. Let me show you...

First of all, I must admit (though pretty ashamed) that I arrived late, due to some let's say technical problems. But it was a two-hour-and-a-half show and I enjoyed two full hours of it. It wasn't even a problem to arrive in the middle of a song. Fortunately or not, the audience wasn't at their highest level of enthusiasm, so I had the opportunity to see the adrenaline rising, minute by minute, note by note.

The venue was pretty small, but it had its advantages. There was a friendly atmosphere, comfy, and fellowship filled the air. Nothing could be better when the singer, Heny, encouraged all of us to approach the stage and even sit down on it (I was there, sat just in front of him) in order to sing Nothing else matters together. It was definitely a magic spell.

Another great moment came hand in hand with Master of puppets, one of Metallica's best known songs. "Master! Master!". Even without a microphone our voices were well heard in the bar. It was also funny to see how the guitarists and the bassist got off the stage to stroll through the audience playing their part. And, of course, hits such as Whiskey in the jar (which brought some of the happiest memories to my mind), Sad but true, Battery, or The day that never comes couldn't just be left out of the setlist. To sum up, they made a good choice.

However, although the fun is a key part of a musical show, it's not everything. What really made the concert be an extraordinary event, was the combination of this emotional part with their technical skills. I can't get out of my head especially the powerful voice of Heny, or the perfectly defined bass lines Sergio played. To put it simple, they were playing Metallica to the last consequence, and they did so more than amazingly.

Edguy + Masterplan 10.18.2014 at Santana 27, Bilbao

I could summarise the whole show in just two words: Fucking Awesome. But then you would start wondering why, for sure. So let's tell you a little bit.



First of all, we had the German band Masterplan. To tell the truth, I didn't even know what to expect from them, for I had only listened to the last album, just by chance and while doing something else. But I ended up freaking out and enjoying their share of the show just as if I knew every song. In fact, I must confess that what I paid most attention to was the bass player. His playing was absolutely perfect and the bass lines were melodic, complex and totally out of the ordinary.

One couldn't say less of the rest of the band who were putting their heart and soul into every single note they were playing. Great voice, exciting drumming and guitars, extraordinary bass lines and a keybordist making fun of everything. There was a good vibe between the members and that definitely reflected on the audience, who made the venue shake out of emotion. I definitely went back home converted into a Masterplan fan.

Then it was the turn for Edguy. Once again, I must confess: I was excited about the show, but, although I love Edguy, it wasn't one of the bands I would give everything to see live. Until yesterday. I'm not exaggerating if I say that I was deeply impressed by the quality of the show, and that I was so exhausted at the end of it that I couldn't even stand on my feet. The only bad thing was that the show lasted for too short (Although I don't know. Had it been longer, I could've died of tiredness).

The setlist was carefully selected, presenting the most representative songs in the last album (Space Police- Defenders of the Crown) without forgetting about the most symbolic hits of the band (King of Fools, Lavatory Love Machine, Tears of A Mandrake...). For the pleasure of my ears, Rock Me Amadeus was included and we all sang and danced to its rhythm and melody.

As far as sound is concerned, I was absolutely surprised by how well everything sounded. Only the voice had to sound louder, but I guess that perception was due to my position. (I was in the front rows). Tobias did a perfect performance, singing every note in tune and every high pitch perfect (with a magnific sustain and well centered and projected into the crowd). As for the rest, no single note wrong, out of time or tune, and choirs were accurately performed by Tobias Exxel, Dirk and Jens (with special regard to Space Police which is no piece of cake, and the "game" between the voices was really nice).

We also enjoyed funny speeches from Sammet (and even funnier improvised vocals that we had to repeat, as though it was an "even more difficult" kind of game) and a nice drum medley with Felix performing even the famous Imperial March (Star Wars). It was also exciting and motivating to know that this show was being recorded, so we, the audience, gave our 110%, and definitely beat Madrid audience. Definitely. For sure they were emotioned by the warmness received from us.

At last we ended this incredible night with a warm and sincere promise of having them here again. We hope that happens soon. 

Arch Enemy- War Eternal

"What we've got here is failure to communicate"... No, that's another thing. However, we are not so far from the meaning of this sentence. This new Arch Enemy album is not exactly what I expected. It is not even "real" Death Metal. In some tracks, like You will know my name, or Stolen life, they sound like Power Metal with guttural voices; and, in some others, like No more regrets, they seem to be a failing attempt of Symphonic Metal outfit. Anyway, let's talk about some aspects of this War Eternal.

It starts with a Preludium, which heads what is going to be symphony-like structure. After this first track we can find a series of songs, amongst which we also find the typical instrumental track which acts as a break in the musical continuum of the album and reminds us of previous melodies we have heard. After all, some say music is based upon memory.

Musically, there isn't anything especially interesting to find. There are the usual chaotic riffs that could define a Death Metal band, combined with the melodies which give them the status of Melodic Death. Although some of them are pleasant to be heard (as the melodic lines in War Eternal), some others trespass the boundaries of simplicity, just in order to sound even childish. One really bad point of this work is the excessive use of the same sequence of chords, which make the music seem much less elaborated. Furthermore, all the songs have almost the same structure, with heavy, fast and obscure riffs in their verses and grand melodies for the choruses, making all of it a little bit plain and boring. Only You will know my name sounds a little bit different.

On the other hand, there are the good aspects of the album (not everything was bad). We must remember that it is the first release of Arch Enemy after they changed their vocalist. Alissa perfectly lives up to our expectations, with her strong guttural voice, plenty of wrath when necessary (in On and on, her voice sounds like an epic warcry). Nevertheless, although we can hear some very shy clean backing vocals in songs like Avalanche, I still deeply miss Alissa's ability to shift between clean and guttural vocals. Anyway, she performs great gutturals which she can pitch and tune (something that I haven't heard so many times). Another thing that will not disappoint you is the fast and groovy rhythms of the different riffs we can hear.

The lyrics are another important point in assessing a new album. And, this time, they seem to be the only really good thing of it. Rich in vocabulary and rythm, they transmit exactly what they intend to with an astonishing intensity. Some of them are even catchy, which is always good.

At last, but not least, we must talk about the last song, which is a cover. I guess we can all agree that it perfectly conveys the sound and style of arch enemy. Nonetheless, a lot of details of the original are lost (sound, atmosphere, melodic lines, attitude...). Therefore, I think it was not a good choice to include it.

All in all, I cannot say that War Eternal is a disastrous album. not even bad or very bad. However, deep in my heart I know that it could be much, much more (and much better). I expected more myself. Anyway, I encourage you to give it a try, so that you create your own opinion.

Sabaton- Heroes

Undoubtedly, this new album is a power metal hit by Sabaton. In each song, we can hear the characteristic rhythm patterns of this genre, as well as the typical keyboard and synth sound that makes you think straight of the band. Heavy guitars that sound like the inexorability of a tank, hymnic choruses, and military rythms are, as in every other album, present in Heroes. But there are, too, some details that remind us of other (maybe more melodic) genres.

This is not exactly what we call a conceptual album, where, track by track, a story is told or a single concept developed. However, every song relates to each other, as they describe the most remarkable actions of the different so-called war heroes that fought in the WWII. So, the title of the album perfectly meets the content we can expect to find in it.

Musically, it is worth mentioning the fact that, in songs like Inmate 4859 or The Ballad Of Bull, we can find very classical melodies (maybe reminding us of the baroque or classical style).

On the other hand, although the album in its vast majority is based upon the typical chord sequences (different combinations of the chords of the I, IV and V grades of the natural scale), and this makes the harmony tremendously simple, there are still surprising changes of scale and less typical cadences. In spite of the simplicity, the music gets your attention from the very beginning.

Another positive point would be the use of other instruments, such as the glockenspiel, to compose more delicate melodies, as well as the creation of different atmospheres. For example, in Inmate 4859, the sound turns darker, and heavier, just to convey the sad and hard meaning of the lyrics. We can also name the single, To Hell And Back, whose Indian-like melodies evoke the American lands.

The lyrics are not of less importance. Well written and with extreme accuracy, they tell facts of different countries, from different points of view. It is as though your history book was sung by your favourite band. Sometimes striking (as in Inmate 4859), sometimes catchy (as in To Hell And Back), and sometimes with phrases in other languages (among which Latin is a must-be, but also we find Italian and German), but always a good piece of musical poetry.

At last, we should talk about the three covers included: one of Metallica (For Whom The Bell Tolls), another one of Raubtier (En Hjältes Väg) and the last one of Beast Battle (Out Of Control). The three of them make good versions, although En Hjältes Väg is the best one, due to the similarities between the voices of the two vocalists or the sound of the bands. In Out Of Control, we con perfectly notice that the original voice is too different from Joakim's but it still works good, and Sabaton's versión sounds heavier and with a somehow "thicker" sound. For Whom The Bell Tolls is a good job too, but there is nothing remarkable about it.

Definitely, listening to this album has been a deeply emotional experience, and some songs have reached the very bottom of my heart, even making me cry. However, there is a bad side to it: it wasn't until the second time I listened to it that I started to feel all this things. Moreover, although I think it is a very good job, I still consider Carolus Rex the best album by Sabaton, maybe due to the fact that there is a version recorded in Swedish, which sounds more natural to me. Just to finish, I leave you the video for To Hell And Back, for you to listen.

Edguy- Space Police: Defenders of the Crown

Space Police: Defenders of the Crown is the title of the new Edguy album. Released on 18th April 2014, it could be named the best in their career (also according to Sammet's opinion). While it is true that it sounds heavier than usual, even heavier than Mandrake, released in 2001, it is worth saying that it still remains burlesque and full of joy. It maintains the atmosphere of every Edguy's album up to date.

On the one hand, we can well find some epic tracks, for instance the one that gives name to the album: Defenders of the Crown. It shows a range of musical resources (musical lines, vocal performance...) that could be found in any of Avantasia's albums, specially the ones belonging to the Scarecrow saga. On the other hand, we find the typical funny songs, as is the case of Love Tyger. It reminds me of Trinidad (from Rocket Ride, 2006) or Lavatory Love Machine (from Hellfire Club, 2004).

One of the best things that I can say of this musical masterpiece, is that Tobias Sammet has done an astonishing job on vocals. He shows us his best version of himself, with very well controlled high-pitched notes in the right places, and an almost lyrical voice in some moments, but without giving up his usual singing. Not less surprising is his performance of Rock Me Amadeus by Falco, which he sings in a slightly deeper vocal range, and once again, perfectly. I must say it is a very well done cover, that lives up to the expectations of an Edguy fan and doesn't change the original version dramatically and to worse.

Within this wide range of songs, one won't miss the rock and hard rock stuff. We have Alone in Myself, which is a beautiful rock ballad or Aychim in Hysteria, whose atmosphere reminds me of Gotthard or Def Leppard. But, once again without losing that Edguy thing.

And at last, but not least, there's something I'd like to mention, beacuse it is something important to me, and I usually pay attention to it when listening to music. This album has beatiful bass melodic lines. Not only does it contribute to the heavy, and slightly dark sound of the album, but it also gains great importance at some points, as in the track The Eternal Wayfarer.

And this is all for this first post. I hope you enjoy it.