Despite the ongoing lockdown in many parts of the Überverse, we are still receiving a healthy bundle of submissions for our coveted ‘Video Of The Week’ title. Many of them are produced against the background of continuing quarantine conditions in some countries, while others reflect artists being able to return and flex their creative muscles once again – and our winning offering this week does just that…
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This declarative third album from Swedish night stalkers Vampire crawled out of the dank sewers of Gothenburg and into ÜR’s inbox around a month or so ago, but somehow got mired down in the folder marked “must give that a listen when we get a chance”. Events conspired to make sure that it sat in there for a few weeks, until it came time for a bit of spring clean and it popped back onto our radar – and, boy, are we glad it did, as it is a hugely impressive offering from these blackened deathmongers.
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The name Mike LePond will be well known to ÜR’s more metallic-minded readers, as he has served for the past 20 years as the bass driver of ÜS symphonic metal titans Symphony X. Having released his debut solo album in 2014, he subsequently appended the title of same to his own name to mould the moniker under which he has now delivered this third self-led opus, which once again sees him employing the now time-honoured power metal combination of historical themes and big-ass anthems, and doing so with the affluent ease you would expect of a musician of such pedigree.
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There is a saying about some things being better left unsaid. Equally, there are some things which, once said, should never be repeated. And that latter point, to be brutally honest, is the crux of Monk’s issue with this, the first of Toby Jepson’s post-Little Angels album, which has now been remastered and is about to be re-released to coincide with the 25th anniversary of its initial appearance.
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It would be extremely easy to dismiss this, a collection of songs written by Chester Bennington and previously only recorded as a series of demos with the members of the high school band of brothers he briefly fronted before going on to find his ultimately-doomed international stardom as frontman of nu-metal superstars Linkin Park, as something of a belated money-spinner, a cashing-in on the memory of a fallen hero. But, that is to do a severe injustice to this project, which genuinely captures a moment in musical history and brings it back to startling, poignant life in a way in which its progenitor no doubt would be justifiably proud, as Monk explains…
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