Fans of German metal giants Running Wild will findthemselves blasting the hell out of album number fifteen,the splendidly lovable “Shadowmaker”. While it doesn’trecall the unashamedly badass “Black Hand Inn” or thespeed metal-loving “Pile Of Skulls”, it finds Rock ‘N’ RolfKasparek in fine form, pummeling his way through tenmid-paced metal anthems complete with catchy choruses,tasty but simple riffwork and, of course, his trademarkrasp.

“Piece Of The Action” kicks off the album in aparty-metal fashion, while “Riding On The Tide” is a sliceof Running Wild perfection, building from a pirate-themedriff to a heroic refrain. The majority of this material is light intone, more fun than epic, and though it doesn’t race alongat power metal speed, it’s German through and through,with large choirs, melodic solos, and a harmless dose ofhumour.

Genre: Heavy MetalSPV

Considering the amount of time it took Rolf tocompose these tracks, they are startlingly strong. “I AmWho I Am” is one of the heaviest tracks here, destined tokick it live (if they ever get out there to play it), whilemystic closer “Dracula” is the longest, most creative track,boasting powerful atmospheric touches and the finest guitarwork on the album. My only gripe is the cringe-worthysalute to rock that is “Me & The Boys”, which pains me tosay because the tracks that surround it, “Locomotive” andthe groovy title cut, are two of the best on the album.

With plenty of variation, “Shadowmaker” is acaptivating listen from start to finish, one that true RunningWild devotees will devour the moment they get their handson it.

POWERPOINTS: 12345671234567123456712345671234567BRUCE TURNBULL

RUNNINGWILD

“Shadowmaker”

ANATHEMA“Weather Systems”

Genre: Melodic Atmospheric Progressive RockKscope

If previous album“We’re Here Because We’reHere” was a superb return forAnathema after a seven-yearhiatus, “Weather Systems”, theLiverpudlian quintet’s ninth, isutterly and completelymagnificent. In fact, to do thisrecord justice is hard and toquote the opening spokenword segment of “InternalLandscapes”, the achingly

beautiful closing song which begins with one man’s account ofhis near-death experience, “as a matter of fact, it’s impossible todescribe. Verbally, it cannot be expressed; it is something thatbecomes you and you become it.” That, in a nutshell, is this albumto a tee.

The Cavanagh brothers et al, have never seeminglyfound it difficult to create music that’s deep, emotional and moving,and this album is certainly no different. If anything though, it resetsthe bar and sets it astronomically high. Such is the majesty andintensity, yet simplicity of the music on “Weather Systems”, trackslike “Untouchable Part 2” and “The Lost Child” have moved meto tears on more than one occasion and I have no problem inadmitting that. In a world that is more and more intent on immediacyand vacuous sentiment, Anathema stand as bastions of the polaropposite.

Kicking this masterpiece off is “Untouchable Part 1”, anurgent, fast-paced acoustic-guitar led piece that sets the tone forthe entire record by featuring some gorgeous melodies that tugat the heartstrings. And then, with the aforementioned“Untouchable Part 2”, Anathema slow things right down andunleash their not-so-secret weapon in the form of female vocalistLee Douglas. Her contribution has been upped significantly onthis release and it’s an inspired move, as she sounds angelic onher own and dovetails perfectly with Vincent Cavanagh whenthey duet. And whilst Anathema are happy to experiment withnewer sounds and aural textures on the likes of “The StormBefore The Calm”, they are equally at home glancing over theirshoulders to the past, evidenced by the vocal anguish displayedon “The Beginning Of The End”, for example, which harks backto the “Judgement” days.

Topped off with a warm, rich production, this is a near-perfect tour-de-force that needs to be heard to be believed. TheBeatles be damned, this is the best band that Liverpool has everproduced, no arguments.

POWERPOINTS: MATT SPALL

IRON MAIDEN“En Vivo”

Genre: MetalEMI

Maiden and theirmanagement have been onrecord for around a decadenow with the fact that everyMaiden tour until the end oftime will be accompanied by aCD/DVD/blu-ray to cement itsplace in history. Some may seeit as the milking of a cash cow,but legions of fans the worldover see it simply as anotheropportunity to wallow in the

spectacle of Maiden in what is their natural environment.As seen and heard on “Rock In Rio”, Maiden and South

America have a long-standing mutual love affair and this latestlive offering, recorded on 2011’s Final Frontier tour in front of50,000 rabid Chileans in Santiago, hammers home the point instyle.

The two-disc, seventeen-song set list is exactly the sameas that witnessed by European fans and the fact there is a fifty/fiftysplit between post-2000 reunion material and older tracks speaksvolumes, not only for the strength of the songs, but Maiden’sunswerving belief in themselves as a relevant creative force.

The likes of “El Dorado” and “The Wicker Man” matchclassics like “The Trooper” and “Two Minutes To Midnight” blowfor blow, while the soaring “Coming Home” sounds as if it’s beena staple of the set for decades, rather than months.

RUNNINGWILD

“Shadowmaker”

PAGE 40 - POWERPLAY ISSUE 142 - MAY 2012