Metal Hammer Golden Gods Awards Nominations 2016

The Metal Hammer Golden Gods Awards will be held at the Eventim Apollo in London tonight, celebrating the very best in Metal and Rock music from the past 12 months. Big name nominees battling for honours this year include Lamb of God, Tribulation, Babymetal, Slayer, Cradle of Filt, The Prodigy, Bring Me The Horizon, Parkway Drive and Anthrax. The results announced later tonight during a star studded ceremony packed with exciting live performances will be the result of intense fan voting. Full list of nominees below, check back soon for winner details

‘Best New Band’:

Black Peaks
Cane Hill
Creeper
Heck
The Black Queen

‘Best Underground’:

Enslaved
Myrkur
Rotting Christ
Sunn O)))
Tribulation

‘Best UK Band’:

Architects
Asking Alexandria
Cradle Of Filth
TesseracT
The Prodigy

‘Best International Band’:

Amon Amarth
Babymetal
Ghost
Killswitch Engage
Slayer

‘Breakthrough’:

Avatar
Beartooth
Deafheaven
Northlane
We Came As Romans

‘Best Live Band’:

Anthrax
Bring Me The Horizon
Lamb Of God
Nightwish
Parkway Drive

‘Dimebag Darrell Shredder Award’:

Alpha (Ghost)
Graham “Pin” Pinney (SikTh)
Joe Duplantier (Gojira)
Kristan Dawson (Bury Tomorrow)
Lzzy Hale (Halestorm)

‘Best Independent Label’:

Basick Records
Holy Roar
Prosthetic Records
Season Of Mist
UNFD

‘Best Video’:

Anthrax – “Blood Eagle Wings”
Iron Maiden – “Speed Of Light”
New Years Day – “I’m About To Break You”
Parkway Drive – “Vice Grip”
Slayer – “Repentless”

‘Best Video Game’:

‘Destiny: The Taken King‘
‘Fallout 4‘
‘Metal Gear Solid V: The Phantom Pain‘
‘Star Wars: Battlefront‘
‘Until Dawn‘

Non fan-voted categories to be awarded include:

‘Best Album’
‘Riff Lord’
‘Inspiration’
‘Icon’
‘Global Metal Award’
‘Spirit Of Hammer’
‘The Golden God’

Mother’s Day Review

The Plot

Three generations come together in the week leading up to Mother’s Day in a series of neatly intertwined feelgood stories delivered by an all-star ensemble cast.

The Good

Though it’s out of season upon release here in the UK (Father’s Day is just round the corner!) director Garry Marshall gives this collection of sweet stories that surround mothers day the light and bright look it deserves. The four main stories tackle struggles with widowed fathers, divorced mothers, estranged daughters and a young couple who are just starting their lives together with their child.

To take us through the various plots, we get a typically all-star cast including Jennifer Aniston, Kate Hudson, Julia Roberts and Jason Sudekis to name a few. Those familiar with Marshall’s well established formula will no doubt know exactly what to expect with this third offering. Just like Marshall’s previous holiday themed rom-coms New Year’s Eve and Valentine’s Day, eventually the characters bump into one another in some way. Providing a predictably satisfying array of combined conclusions to each conveniently interwoven plot line.

The crucial benefit of having multiple stories and a vast cast of familiar faces is that there’s more chance of audiences finding something or someone they like, while there’s less risk they’ll notice any weaker elements or all the shameless genre cliches. In essence it’s a safety in numbers approach, pioneered by the genre redefining Love Actually and still proving a surprisingly effective trick for repackaging overly familiar saccharine material for holiday box office crowds.

The Bad

The main problem for Mother’s Day, apart from the mistimed international release, will be if audience expect anything more form this than Marshell’s past holiday-themed ensemble efforts. In truth this new film actually may struggle to even merely meet expectations of being of a similar caliber to its modestly appreciated predecessors.

Mother’s Day’s script doesn’t honestly offer much in terms of humour, even managing to make Jack Whitehall’s usually brilliant stand-up skills feel wooden and bland. This wouldn’t be as much of an obvious problem were it not for the fact that his character’s stand-up routine is used a key plot point. The only think that makes this squandering of comedy potential even more frustrating is that Jon Lovitz hosts the film’s poorly scripted stand up competition but never actually makes any jokes of his own.

The film might raise a smile or the occasional giggle from less demanding audiences and those with a particular taste for Marshall’s tame trademark comedy style. However even those who do enjoy Marshall’s ensemble holiday homages will probably find they preferred his more entertaining past efforts and would truthfully be happier re-watching Valentine’s Day or New Year’s Eve..

The Ugly Truth

If you’re a fan of the surprisingly persistent trend of holiday themed rom-com compilations, you’ll no doubt find something to keep you entertained. Just don’t expect anything of the same classic quality as Love Actually.

Review by Johnny Ellis

Preacher Episode Two Review

The Plot

Jesse tries to be a ‘good preacher’, unaware that a mysterious duo is after him…

The Good

Following its strong opening episode, Preacher continues in episode two (titled, See) with the same approach, feeding us bits of information but not handing it over all in one go. Just after having set up the world of the show two weeks prior, See kicks off by jumping back 135 years to 1881 with an intriguing little cold open in which we follow a cowboy in search of medicine for his sick daughter. It’s a short scene and doesn’t give too much away but it’s clear that this will be important further on in the series.

Back in the present, Preacher, having decided to stay with his parish after last episodes run in with the as-yet unexplained see-through alien, baptizes his congregants and continues to get pestered by Tulip as she tries her best to persuade him to accept the mysterious job she has lined up, going so far as to even kidnap him (sort of).

But without a doubt, the highlight this week is another fight sequence, this time involving a chainsaw and set inside the church. While it’s not as ballsy as the triple serving of fight sequences we were blessed with in the pilot, it’s just as entertaining and even more gory than we’ve already seen. Plus with Cassidy involved it’s obviously got some laughs in it.

On the subject of Cassidy, his character seems to be progressing slightly, with confirmation that his vampire tendencies are quite traditional at least in terms of his relationship to sunlight. While it’s not much, this tiny scene is ever so slightly heartbreaking.

And for the second time in a row, Preacher decides to use another Johnny Cash song for it’s soundtrack. This weeks selection being ‘Rusty Cage’ which fits in perfectly though is the only notable song in the episode unfortunately. Here’s hoping the Cash trend continues however!

The Bad

While the pilot had some issues which were too early in the show to truly have a bad impact on it, episode two continues the trend slightly and feels slow in its progression. It is only episode two, but as part of a ten episode season, See feels like it’s hitting some of the same beats of its predecessor and at times becomes even more confusing, particularly with its approach to the mysterious duo who seem to be intent on doing something to Jesse. Whether that’s killing him remains to be seen. If that is their intent they seem to be going such awkward ways at achieving it.

What also remains to be seen is  how exactly the climax of the pilot has impacted Jesse. Not only his newly discovered powers (which, lets face it, take slightly too long for him to discover) but also how they’ve already caused an incredible feat from the final scene of the pilot. The fate of Ted Ryerson is briefly mentioned so it’s clear that the news has travelled back, but it’s a shame we don’t see Jesse himself hearing of this. Perhaps had he heard sooner, the climax for this weeks episode would have happened sooner too…

The Ugly Truth

Preacher continues to intrigue, even if it feels like it’s slowing the pace a bit compared to the pilot. But now that Jesse seems to be finally realizing his powers, perhaps the show will start to gain the momentum it began with.

Review by Johnny Ellis

Han Solo Movie To Start Shooting January

While Lucasfilm and Disney continue to work on Rogue One, the first of the planned Star Wars spin-off films due to be released alongside the main saga, The Force Awakens c0-writer Lawrence Kasdan has been busy talking about the forthcoming Han Solo movie.

Speaking at the Atlanta Jewish Film Festival, Kasdan revealed that LEGO Movie directors Chris Miller and Phil Lord are ‘working on [the script] and they’re about to move to London to start shooting in January.’ while also confirming that he’s still very much involved with Episodes 8 and 9, talking to Rian Johnson and Colin Trevorrow respectively about the upcoming installments.

While no release date has been confirmed just yet for the Han Solo film, nor a title, what we do know is that Hail Caesar star Alden Ehrenreich will be taking on the iconic role of young Han Solo. Time will tell if he is worthy of filling Harrison Ford’s smuggling space boots…

Rick Astley 50 Album Launch

Cult singing sensation Rick Astley turned back time last night to deliver a sumptuous performance of vintage and brand new material at exclusive Soho Venue 100 Wardour Street. Marking the official launch of his triumphant comeback album 50, the ever young pop prince delighted the gathered crowd of lucky journalists and onlookers with an joyously intimate performance.

Moving seamlessly back and forth from his classic hits to his latest material Astley demonstrated that beyond his inescapably iconic pop anthem Never Gonna Give You, Up he possesses a truly impressive vocal power that has only grown with age. Though still sporting a boyish quiff, Astley speaks passionately an humbly about his lengthy singing career. Attributing his enduring success to literally having Angels On His Side, inspiring the title of one of the catchy up tempo additions to his widely praised new album 50.

Astley’s earnestly literal approach is consistently evident. The album title celebrates his own 50 year journey and his comeback single Keep Singing is a clearly worded hymn to the cathartic power of perseverance and expressing himself in music. Astley is the first to acknowledge that whenever he sings good things seem to happen for him. That’s just a true for the audiences that continue to enjoy his playful presence.

Aside from genuinely boasting a strong soulful voice, what most clearly distinguishes Astley from so many former pop superstars is that he is isn’t bitter, jaded  or hopelessly self deluded and clinging desperately to vain  past glories. When Astley speaks he has a self-deprecating northern wit that immediately reassures audiences that he knows exactly what year it is and how fortunate he is to still be performing to eager audiences. It’s a rare and welcome thing to have a self aware and upbeat star relishing a new lease of creative life.

50 is an album that places Astley’s vocal charms in a proper soulful context. The new tracks, particularly the recent singles, have the pulsing heat of  confessional hymnals. Again it’s simply  a relief to see a musical performer evolving in an appropriate and welcome direction, rather than watching an increasingly  forlorn Mick Jagger pouting around on stage alongside Lady Gaga or Selena Gomez. This album isn’t a cry for help or attention. It’s a piece of work crafted by a musician never perhaps given the proper respect his voice and talents demanded, thanks to having been so affectionately wrapped in bubblegum pop packaging.

It’s only fair to acknowledge that if fans are expecting to hear 13 cover versions of Never Going To give You Up, then the new album clearly isn’t that. Also if anyone wasn’t endeared to the well publicized Keep Singing then in truth the albums consistent tone and style won’t leave to much room to change your mind.

That aside seeing Astley on stage is a  pleasure everyone should take given the opportunity and 50 is a worthwhile acquisition for anyone who enjoys good music and an even better comeback story.