HARD ROCKLIVE REVIEWSPHOTO GALLERIESREVIEWS

Sundays are rough, aren’t they? Sandwiched between the end of the weekend and the impending return to the grind, and this particular Sunday feels like the 100th week of January: cold, dreary, and downright miserable in Manchester. Yet despite the chill in the air and the persuasive Sunday blues, a crowd eagerly packed themselves into the snug confines of the sold-out Club Academy, hungry for a dose of unadulterated rock ‘n’ roll. BUCKCHERRY made a triumphant return to Manchester after a five-year absence, bringing songs from their latest studio album Vol. 10 to their UK audience for the first time, along with tracks from Hellbound not yet played on our shores.



Supporting acts included THE TREATMENT, RUBIKON and local support DEAR SUPERSTAR, each bringing their own blend of rock and roll, 80s hair metal and modern metalcore. The venue was jam-packed from the moment doors swung open – an impressive feat for a Sunday night – drawing fans from all walks of life, united by their love for music and primed for a night of pure rock ‘n’ roll energy.

Kicking off the proceedings were local support and Manchester-based hard rock band DEAR SUPERSTAR, returning after a 13-year break. Having already shared a stage with BUCKCHERRY, these guys couldn’t have been more stoked to grace us with their presence, delivering a fusion of 80s metal vibes with a modern, punchy metalcore twist. Despite being lesser-known on this lineup, the energy and enthusiasm they brought to their set was infectious. With the announcement of their upcoming third studio album, they made it clear that DEAR SUPERSTAR are back, louder and prouder than ever, making them ones to watch out for. A thrilling start to the night with promises of even bigger things to come.

Rating: 6/10Rubikon live @ Club Academy, Manchester. Photo Credit: Ellie D Photo

Next up is RUBIKON and they’re everything you’d expect from the US hard rock scene. Vocalist Jae Sims starts their set by walking onto the stage, taking off his shoes and diving headfirst into their opening song, The Gun. RUBIKON proceeded to unleash a relentless barrage of tunes, each one packed with infectious bass riffs that have since found a spot on our “tasty bass riffs” playlist. After 22 years on and off of being a band, the gratitude for finally hitting the UK shores was clear as day. Travelling across the pond from Boston, Massachusetts the five-piece served up a hefty dose of big bouncy guitar riffs, with groovy beats. Or, as Sims eloquently put it “funky grooves to fuck to”. Adding an extra layer of excitement to their performance, Sims chucks free t-shirts into the crowd, encouraging people to head over to merch for a chat and more free t-shirts. With a resume that includes sharing stages with heavyweights like DISTURBED and SHINEDOWN, it’s no surprise that RUBIKON know how to deliver the goods, despite the limited stage space available to them at the Club Academy. A powerful and punchy start to the evening.

Rating: 7/10The Treatment live @ Club Academy, Manchester. Photo Credit: Ellie D Photo

Cambridge rockers THE TREATMENT were the final openers of the night and it was clear a lot of the audience was already well-versed with their music. They wasted no time in firing up the crowd, showcasing shredding solos, fiery riffs and catchy choruses. Frontman Tom Rampton was an absolute powerhouse and his infectious energy spread like wildfire. From the first note of Let It Begin to the adrenaline-fueled encore of Bite Back, the band kept the energy levels at an all-time high. Despite the somewhat ambitious move of prompting the audience to clap through a five-minute guitar solo, proving that sometimes, there can be too much of a good thing, the five-piece proved themselves more than worthy of the support act slot. Amidst the clapping fatigue, there was no denying the energy that THE TREATMENT brought to the stage, encouraging the audience to join in with the party. With their sixth album on the horizon undoubtedly accompanied by a tour, these guys are a must-see for fans of classic drugs, sex, and rock ‘n’ roll.

Rating: 7/10Buckcherry live @ Club Academy, Manchester. Photo Credit: Ellie D Photo

The night, for all its fantastic support acts, is about BUCKCHERRY. Emerging from the rebellious mid-90s music scene, this quintet defied the odds and carved out a legacy that has endured for a remarkable (nearly) three decades. With their 30th anniversary on the horizon in 2025, Josh Todd and his dynamic rock ‘n’ roll ensemble stand as a testament to resilience, vitality and the timeless power of rock ‘n’ roll.

Navigating through their arsenal of hits, including the infectious grooves of 54321, Ridin’ and Good Time, the Californian five-piece ensured there wasn’t a dull moment in their set. Adding a twist with a spirited cover of BRYAN ADAMS’ classic Summer Of ‘69 for good measure. The setlist was a journey through the sleazy, gritty, and rebellious underbelly of rock ‘n’ roll. With themes of partying, sex, and drugs interwoven into every riff and lyric.

The band members themselves were a whirlwind of motion, constantly engaging with the crowd and feeding off the energy of their fans. Bassist Kelly Lemiux, also known for playing bass in ska punk band GOLDFINGER, is not afraid to get up close and personal with the crowd, often venturing to the barrier to share a moment with fans in the front row, the other members matching his energy. Lead singer Josh Todd powered through the night with a chest infection, having cancelled shows in Nottingham (there’s nothing more hardcore than prioritising your health) just a few days prior. But on this night, they showed no signs of slowing down.Buckcherry live @ Club Academy, Manchester. Photo Credit: Ellie D Photo

It’s very easy to lose your edge over the years, especially in an industry where fresh talent emerges at an unprecedented rate, but despite the passing years, BUCKCHERRY have stood the test of time. They might not have the most insightful lyrics or be the most technical band out there, but man, do they know how to have a good time. They have continued to captivate audiences with their unmistakable sound and uncompromising attitude, and the chaos in this compact Manchester venue was proof of their enduring legacy. Amidst the chaos and sleaze that permeated every aspect of their performance, there was a sense of camaraderie and joy that was impossible to resist.

Ending the evening with their biggest hit Crazy Bitch, with the sleaze factor cranked up to 11 and beyond, BUCKCHERRY once again proved that rock ‘n’ roll is not just alive and kicking, but thriving in all its unapologetic glory.

Rating: 8/10

Check out our photo gallery of the night’s action in Manchester from Ellie D Photo here:

VARIOUS ARTISTS – BLANK GENERATION: A STORY OF US/CANADIAN PUNK AND ITS AFTERSHOCKS

Am I officially an old codger for saying I simply cannot stomach most punk rock post-1994, and find the '70s first-wavers to be the chef's kiss? Well, if you see eye to eye with yours truly, then you're sure to get a kick out of the new 5-CD box set, Blank Generation: A Story Of US/Canadian Punk And Its Aftershocks. As its title clearly states, you can forget about hearing any selections from punk's UK counterparts (Sex Pistols, Clash, Damned, etc.) here – as it's 100% North American.

Think back to what mainstream rock was like in the mid '70s, and while there were of course some artists offering up some inspired, hard-hitting rock ‘n' roll, by and large, it had become bloated, self-indulgent, and long-winded. Thankfully, punk rock came along and gave rock a much-needed kick in the genre's keyster. Heck, even if you're a staunch metalhead and don't particularly fancy punk – punk was an obvious inspiration/influence on such subsequent metal movements as the NWOBHM and thrash metal (and if you consider hardcore, industrial, and grunge to be metallic, feel free to add those genres to the list as well).

Such all-time punk classics as the Ramones' “Rockaway Beach,” the Heartbreakers' “Chinese Rocks,” the Dead Boys' “Sonic Reducer,” Richard Hell's “Blank Generation,” and the Dead Kennedys' “Holiday In Cambodia” still prove to be no bark and all bite all these years later. Also, such underrated tunes as the Stimulators' “Loud Fast Rules,” Pure Hell's “Noise Addiction,” the Gun Club's “She's Like Heroin To Me,” X's “White Girl,” and Devo's “Come Back Jonee” fill out the tracklist nicely.

TODAY IN METAL HISTORY 🤘 FEBRUARY 7TH, 2024 🤘VAN HALEN, BON JOVI, KISS, METAL CHURCH, EXTREME

TODAY IN METAL HISTORY 🤘 FEBRUARY 7TH, 2024 🤘VAN HALEN, BON JOVI, KISS, METAL CHURCH, EXTREME




TALENT WE LOST

R.I.P. David Jack Peverett (FOGHAT, SAVOY BROWN): April 16th, 1943 – February 7th, 2000 (aged 56)



R.I.P.
Mark St. John (Mark Leslie Norton; KISS): February 7th, 1956 – April 5th, 2007 (aged 51)

HEAVY MUSIC HISTORYTHRASH METAL HEAVY MUSIC HISTORY: Hordes Of Chaos – Kreator

This retrospective is dedicated to the incredibly insightful and meticulously researched article our author wrote about KREATOR’s Violent Revolution (2001) before realising it was the wrong album.



There’s an argument to be made that out of all the bands who benefited from the mid-2000s thrash resurgence, none did better than KREATOR. As the millennium dawned, Mille Petrozza and his veteran band mates were at a low point and seemed destined for the dustbin of history. But flash forward to now and they’re an institution. They’re a festival headlining band with a devoted global following and attract the sort of critical kudos that other thrashers can only dream of. In 1999, they were on the verge of being forgotten but nowadays, they get mentioned among the genre’s greats.

And when it comes down to it, they achieved this simply by being bloody good at writing thrash metal. After spending the nineties experimenting with their sonic palette to somewhat…mixed results, they returned to their roots with 2001’s Violent Revolution and began a slow, gradual return to the top of the pyramid. The nineties weren’t a total wash out (1997’s Outcast is an underrated gem), but stripping away the excess and playing no-nonsense thrash metal set them on an upward trajectory that hasn’t yet peaked. They’re currently on a six-album winning streak and there’s no indication that they’re finished.


Right smack in the middle of that run is Hordes Of Chaos. Released on SPV in 2009, it embraces the band’s no-nonsense ethos and takes it to a raw, venomous conclusion. With the exception of the vocals and guitar solos, the bulk of the material was recorded live on an analog tape recorder. Consequently, it has a ramshackle, almost punk vibe. Hordes Of Chaos comes across like little more than a demo because, well, that’s what it is, and it perfectly suits the atmosphere. They hadn’t produced an album like this since 1986 and it shows. Try playing this and Pleasure To Kill back to back; sure, Petrozza’s vocals have noticeably improved, but otherwise there’s not much difference.

This clearly struck a chord as Hordes Of Chaos was a big success. KREATOR could rely on their European fans to turn out, but this was their first album to chart in America. A co-headlining tour with fellow neck-wreckers EXODUS saw their stock rise further and roughly one year later, they inked a deal with powerhouse label Nuclear Blast.

It also helped that going back to basics contrasted with their previous record. 2005’s Enemy Of God was a thrash metal epic; an ultra-heavy, fifty-five minute masterpiece of paranoia and madness. It was a pivotal moment in the band’s history, arriving at a point when many young metal heads were still feeling let down by METALLICA’s St. Anger (2003) and looking for the real deal. It’s an excellent album, one of their bests, but it’s also got a big budget, blockbuster vibe. Enemy Of God is almost an hour long and has a crisp, pristine production, whereas Hordes Of Chaos is shorter and nastier.

This is emphasised as soon as the record starts. The opening title track has a brief melodic intro but quickly turns into a full-pelt monster. It also boasts a simple but effective chorus, Petrozza screams the song title repeatedly, followed by the words “everyone against everyone” over and over again. It’s straightforward, brutal and catchy and became an instant staple of their live shows. The accompanying music video which sees a loincloth wearing barbarian carving a bloody path to kingship left a mark too. This was thrash at its most stark, pulpy and violent.

From there, Hordes Of Chaos barely pauses for breath. Warcurse and Escalation fly past at breakneck speed, Destroy What Destroys You marries technical precision and hyper aggression, and Absolute Misanthropy can only be described as every KREATOR stereotype rolled into one. Enemy Of God was peppered with mini epics, but here, only To The Afterborn so much as hints at a wider sonic palette. If Enemy Of God is a lion in the prime of its life, stood atop pride rock with its mane billowing in the wind, Hordes Of Chaos is a mangy hyena tearing scraps off a giraffe carcass.

The reaction from fans and critics alike was incredibly positive and saw their stock rise. But curiously, the raw intensity that made Hordes Of Chaos a favourite seems to have been a one-off. The follow-up, 2012’s Phantom Antichrist, had a slightly more progressive edge while Gods Of Violence (2017) and Hate Über Alles (2022) continue Enemy’s epic vibe. All of these records are terrific and each has further cemented KREATOR’s post-millennium run as a second golden age, but they don’t have the rabid viciousness of Hordes Of Chaos. They’re arguably better now than they were in their eighties heyday, but Hordes Of Chaos stands out. It’s KREATOR at their most stripped-back, a wide-eyed and deranged album and even if it’s not their best, it is their heaviest. For a few years there, when Mille Petrozza would shout “I want you to kill each other” at their live shows, it didn’t sound like a mosh call. It felt like he meant it.

STRIKER - ULTRAPOWER

Longtime fan here of these Edmonton Canadians, one of the first from the New Wave of Traditional Heavy Metal in 2010 with their debut (preceded by an EP and demo), Ultrapower is now their seventh album.

Six years since the excellent Play To Win, got to be honest this new album had me worried based on the Dragonforce like title and ‘80s throwback clothing choice and change from the denim and leather. But, single "Circle Of Evil" did not fail, fast heavy riff driven, yet as always melodic with a catchy hook. Singer Dan Cleary the lone original member has a distinct voice and strong delivery, the big backing vocals add to the power packed chorus, see "Best Of The Best". Striker at the start were more speed metal, but even in 2014 and the third album City Of Gold they knew the importance of the melody without compromising the heavy metal. A little saxaphone (see the video) and keyboard melodies compliments "Give It All", and both work. Very ‘80s movie soundtrack.

Sounds like a couple cowboys are ready for a showdown in the intro of "Black Magic" but then it quickly switches to a punchy rhythm and drums driving the tempo in a juxtaposition. Wow, is this one fast and frantic. "Sucks To Suck", (to me) not one of the better ones on the album, but yeah it's as fun as it sounds with big vocals.