Madam X
Monstrocity
Released 31st October (The USA), 3rd November 2017 (Europe)
Heavy Metal/Glam Metal / Hard Rock
Released via EMP Label Group/ SVP Europe
The American heavy metal band Madam X are back after a long hiatus with a new album called ‘Monstrocity’, their first full length release since their debut album which came out in 1984. The band was originally formed back in 1981 by sisters Roxy and Maxine Petrucci. They remained active throughout the ‘80s before their drummer Roxy Petrucci joined the hard rock band Vixen. This album features the original line-up including the Petrucci sisters and vocalist Bret Kaiser.
Resurrection seems like a fitting title for an opening track for a band returning from a long break. They are back and ready to rock your world with a brand new, energetic heavy metal tunes filled with shredding guitars and powerful vocals. Similar things can be said for the title track which really puts the emphasis on the guitars.
While first few songs sound more modern, Freak Parade’sounds like it was originally written in the ‘80s. The chorus has that distinctive, cheesy 1980s style ‘glam rock’ feel to it. The glam rock influence might have something to do with the addition of Vixen’s Janet Gardner on guest vocals. Then there’s the oddly titled but highly catchy ‘Big Rock Rolls Heavy’, one of the more metal-sounding, fast tracks on the album. This would be the song to play at the start of their show to really get the crowd going. The guitar work is superb, drumming is great and the chorus is one of the most memorable ones on here. “Give me metal or give me death!” The icing on the cake is a re-recording of the band’s biggest hit High in High School which really puts a new spin on the song.
In summary, I’ve had lots of fun reviewing Madam X’s latest opus. It is much heavier and more metal than I expected it to be. I like that the band is able to stay true to their roots while creating something new and exciting. Glam metal isn’t normally my thing but I really enjoyed ‘Monstrocity’.
4/5
Iza Raittila
A drawing of Lisbon in ruins – like the video for “In Tremor Dei” – as backdrop, one stand on each side of the stage for the Crystal Mountain Singers, and the new orchestral version of “Em Nome Do Medo” started playing at ten in the evening. Recorded, serving as intro, as the original version would be performed live later on the encore. So the first song to actually be performed was the title-track, Fernando Ribeiro singing it wearing a raven Venetian mask. As the album had been available in streaming format for a couple of days, a good share of the crowd was already singing along; the singles “Todos Os Santos”, “Evento” and “In Tremor Dei” had pretty much the whole house backing up the lyrics, not just the choruses. Moonspell are known for their powerful shows but when the crowd responds accordingly, interacting like they did that night, it’s always an overwhelming thrill.
Overwhelming was also the presence of fado singer Paulo Bragança. On my album review I’ve described his voice as “riveting” and that the outcome of his collaboration with Moonspell was “mind blowing”. It’s so much more when you experience it live that there’s no accurate words for it.
In a “city and venue that always welcomed them so warmly” (quoting Fernando himself), the tragedy told in this new album turned into rapture; Fernando said he understood that it would take us a while to get used to “1755”, not just for being new but also for being sung in Portuguese, but for what I saw that night no adjustment period is required.
For the cover of “Lanterna Dos Afogados” (by Os Paralamas Do Sucesso), the lights dimmed and Fernando held a lantern – the backup singers as well – enhancing that light-at-the-end-of-the-tunnel feeling which the songs bears.
The album is a little less than one hour long, so even with the usual chit-chat – “dial 17 55 if you want more information. By now we know everything there is to know about earthquakes” was quite funny – it was too short for a concert. So they came back to play a 7-hit encore. No matter how many times you listen to those final “Alma Mater” and “FullMoon Madness”, the shiver down your spine is simply mandatory.
Heavenwood set foot on stage at nine sharp. As I’ve mentioned last time I’ve seen them (see 
As Madder Mortem hadn’t played here for quite a while, they were more than happy to go back before the release of “Red In Tooth And Claw”, which is the album they’re currently promoting; just as happy as the crowd was to listen to “M For Malice” or “Hangman”. So it was contradictory when, after playing “Armour”, Agnete M. Kirkevaag apologized for depressing us on a Friday night; but I don’t think anyone felt depressed, as the emotional overwhelm that Madder Mortem’s music boosts is quite gratifying – especially live, when one can witness how much the band members give themselves to the performance.
Everybody was already hyped, so when the first chords of “Canvas” echoed, we all reached the ultimate climax – listening to the crowd singing through and through, but especially along the guitars in “Jinn”, was a goose-bump sponsor. We were often applauded and awarded with a heartfelt smile from Marcus Jidell, while Joel Ekelöf, also with a sincere smile, thanked us for our support, ever since the first SOEN concert here, 5 years ago, when opening for Paradise Lost. That one was also memorable, but this night was simply unforgettable.
Valkyrian Music 