|
|
April / May 2005Necro | Hobble | Freakhouse | Sybreed | Of Infinity | Sonic Warfare | Dan Lorenzo | Estee Louder | The Cringe | We Are Childhood Equals | VRR | Capitollium | Jumbo's Killcrane | Darkthrone | Jigsore Terror | Die Warzau | Hecate Enthroned | Cipher System | Transient | Rigor Sardoncous | Requiem Aeternam | Valerian | Divination | Confessor | Sounds from the Trenches | The Savoy Truffle | Monarch | Ghengis Tron | Jujitsu | Draghead | Uncle Light | Heavycore | Ikonoklast | Downtown Brown | Transient | Ramesses | Brodequin | Vixen | Scum of the Earth | Darkwell | Marilyn Manson | A Perfect Murder | Visions of Atlantis | Goatsnake | Elis | Scalla Mercalli | Theocracy | Enuff Z' Nuff | Boned | Destruction | Carnal Rapture | This is Exploding | Jorn | Callenish Circle | Vreid | Lunacy | S.M.I. | Quick Change | Blastmat | Kreep | BigFastCar | Kaamos | Ezra Stone | Randy Ellefson | Silent Force | By Night | Crionics | Scenteria | Matahari | Gatja | Skincrawl | Anachronism | Yigga Digga | Thine Eyes Bleed | Transmission 0 | Tearbyte | Esqarial | Rammstein Siege of Hate | Steel Prophet | Beyond the Flesh | Jet Motor Crash | Lacrimas Profundere | The April Skies | Brookfield | Mennen | Y.O.C. | Pale Existence | Tony Koretz | Croatan | Sub Noize Souljaz | Die Romantik | Urinal Puck Ministries | Mistelein | Pantheon | Funerus | Juggernott | The Hidden Hand | Soilwork | Mors in Tabula | The Provenance | Metal Mike's Painmuseum | Athanator Vicious Art | The Lizards | Marduk | C.I.A. | Alice's Garden | Fixer | Havochate | Summon | Ooverkill | Angra | American Dog | Neal Schon | Crowbar | Concept 7 | Entombed | Rhapsody | Icarus Witch | Alex Gomez | Rage | Girls Under Glass | Stiv Bators | Azrael'S Bane | Toast | Hed P.E. | Josh Small | Crossfade Icarus Witch Icarus Witch are set to cast a hell of a spell on the metal world. They work their metal magic by playing classy, traditional style/power metal, melodic but heavy, and with a dark aura to it. They are influenced by many of the all time greats like Maiden, Priest, Helloween, Iced Earth, Crimson Glory, King Diamond/Mercyful Fate, Seven Witches, etc. Singer Matthew Bizilia sounds a great deal like Crimson Glory's Midnight, while guitarist Steve Pollick blasts out some Yngwie-style guitar wizardry. This is a five track disc, with the title track kicking things off, and it's actually a cover of an Alice Cooper classic. I think the Witch dudes could give old Alice a run for his money with this one-it's a chiller! Matt sends tingles down the spine with his voice, and the whole song has a spooky feel to it, more so even than Alice's original! The remaining songs are all originals-"Curse Of The Ice Maiden", "Haleyon" (a short instrumental), "Winds Of Atlantis", and "Dragon Ryder"-and are all excellent metal tunes. This is heavy metal the way it was meant to be, played by a very talented band who know how to write songs. These guys have what it takes to be up there with the big boys, and beyond! Alex Gomez Blues-that sums up this album in one word. Alex Gomez plays blues in its purest form, sounding like it came straight out of the Bayou, raunchy, gritty, and raw. Alex sounds like he's taken his cue from legendary bluesmasters like Muddy Waters, Bo Diddley (the opening track, "Macon Bacon", sounds a lot like the song "Bo Diddley"), and Stevie Ray Vaughn. Alex can sure play a mean slide guitar, and he sings in a rough, whiskey soaked voice. On the whole album, it sounds like it's just Alex and his guitar. He doesn't appear to have a backup band. They make a hell of a duet, and Alex could play many actual bands into the ground! He keeps it pure and down to the bone, cranking out them smokin' blues jams, with no fancy stuff and no farting around, just letting the music speak for itself. Rage It's not often a band that began back in 1984 can still remain relevant 20 years later let alone still release time-tested music. Where many such groups were dismissed long ago into an age of extinction that saw them either pushed aside by more aggressive newcomers or simply self-destructing and disbanding never to be heard from again, there's a much different character to the European-bred bands that made their mark and still thrive to this day. Rage is amongst the latter and "From The Cradle To The Stage" is proof positive. Integrity is a trademark of German Metal. In spite of their ongoing personnel changes, the roots of the music and the founding figures remain entrenched in tradition that speaks volumes to their continued successes and strong presence on the scene. Peavy Wagner brought Rage to life, first in the form of Avenger, then to become Rage in 1985 with the release of "Reign Of Fear." At the time the German Metal scene was fledgling with the rise of forthcoming greats like Running Wild, Helloween, Gravedigger, Sodom, and so forth. Some 20 albums, a few EP's, a Best Of, and a classical album later, their third live recording is a culmination of their history and perseverance, displaying 27 tracks over two-discs presented by what is arguably their strongest line up to date. Today's Rage also includes guitarist Victor Smolski and drummer Mike Terrana, members since 2000, neither of which are household names on the German front, but their talents are evident from the earliest moments from the driving "War Of Worlds" from the recent "Soundchaser" album, and none more so than the ripping version of the "Black In Mind" classic "Sent By The Devil." Half the fun is hearing the latest line up shred through the old classics like an audible DSL-led download dusting the dps of the old phone line. There's much to be said for advancing technology, but even more for the evolving of the art and thus the advancement of technique the double-bass drumming intensity, searing solos and recording dynamics place the listener dangerously close to deafness, albeit in resoundingly clear surround sound production. Peavy's voice remains as grating as ever, the perfect argument for Death grunts and piercing screams, with an occasional Paul Di'Anno likeness at the extremes, relevant to the identity of Rage as anything. Nothing is lost on any one part - the trio's delivery is effective to the end, which doesn't arrive for some two hours later, all perfectly matched, loud, harmonic and instrumentally precise. Amongst the 27 tracks there are naturally a few unexpected surprises, including Avenger's "Prayers Of Steel" and "Suicide" from their "Reign Of Fear" follow up blazing back to back, along with the sensitive onslaught of "Set This World On Fire" from the "Unity" album in 2002. Released simultaneously with a double DVD set, "Cradle" proves a winning formula in plowing through the years and pulverizing many worthy competitors as well as the naysayers, not to mention the misinformed bore of the "Machine" mentality. The real "Rage" stands as one of the German Metal greats and amongst the upper echelon in Power Metal circles, period. Girls Under Glass One of the elite of the Electronic music community for nearly 20 years, Girls Under Glass continues to impress on their 10th album, a 12 track masterpiece that flawlessly mixes Goth, Industrial, Electronic, and Metallic elements into a complete work that captures the band at their creative peak. Vocalist "Zaphor" comes alive in a flood rush of emotions that combine darkness, desperation, longing, and hope - reference tracks 3 and 4, the KMFDM-styled "Ohne Dich" with its rough-edged gruffness and German lyrics to the danceable Depeche-like "Truly Living" or the spiritually uplifting flutter of "Deliverance"; the guitar Rock and melody of "Love Is In My World" to the intensifying "Feuerengel." "Wonderworld" catapults the Girls back to the New Wave days with a beat-driven synth opening while "In The Darkness" and "I'm Alive" are pure drama delivered in whispered tones, sensual atmospherics and feminine wiles. GUG have spread continued to spread their wings from album to album, song to song, unafraid of explore, attack, or embrace the unknown and it shows in their output that's both challenging and close to home. "Zyklus" is further testament to their depth and durability, conquering Stiv Bators The name Stiv Bators is legendary in Punk circles amazing when you think of how short-lived his original outfit, the Dead Boys, was back in the day or the fact his solo career wasn't exactly littered with gold records and glamour. The "day" of the Dead Boys lasted maybe two years, but their breakthrough contributions at the forefront of the NYC Punk scene in the late '70s cannot be denied. Bators was as famous for his onstage antics as his offstage pranks - as we discover from reading the thoughtfully penned and thorough cover booklet accompaniment to "L.A. Confidential," Bomp's latest entry into the untold and still unfolding story of the freakish frontman, forever the child star that never was. This collection is the result of several previously recorded sporadically released singles during his days with Bomp, circa 1980 87, as well as some unreleased sessions, demos, and alternate mixes that first awoke in the 1994 release, "L.A. L.A." "Confidential" takes the best from the first and lathers it with plenty more unexpected moments and unprovoked spontaneity. For anyone familiar with Bators' post-Dead Boys material, he headed for a more commercial direction, dare we say Pop, yet nothing like typically Top 40 in its time. Rather, Bators returned to the "roots" of the matter chugging back a decade and a half and exploring the unheralded Garage Punk styles of the '60s with a classic Rock edge. The first result was the acclaimed "Disconnected" record in 1980, while the rest was made up of what we find on the "L.A." records. Patched together and preceded by a number of visits by the likes of The Damned's Brian James, former and later Dead Boys member David Quinton, Kim Fowler and Sham 69's Jimmy Pursey, not to mention a number of "assorted freaks" who crashed a studio session and created an impromptu version of "Louie Louie" full with plenty of implausible drunkenness. It wasn't until Bators broke out on his own that we learned he could also croon, similar to an Elvis Costello or even Tom Petty, not to mention a respectable likeness of one Jim Morrison during one of his left of center live stretches. Tracks like "It's Cold Outside," "Not That Way Anymore," "The Last Year," and "Have Love Will Travel" explore the softer, gentler persona of the man known for strangling himself onstage and various assorted phallic tantrums. Of the 18 tracks total the last eight are alternate mixes of previously released material and rare demos that inadvertently adhere to the strict qualifications of pure noise in its all its unsaturated indecipherable glory… particularly pleasing on the old James' tune, "Neat Neat Neat" which Stiv supposedly didn't study the lyrics… not that you'd know it from hearing it. The excellent liner note recollections smattered across the 24 pages come from people there from the beginning like Frank Secich, Quinton, and the recently departed founder of Bomp, Greg Shaw, all of whom put a respectable and real personal spin on Bators' life in and out of the studio… the supermodel as the case may be. Azrael's Bane This little ol' band from Texas plays melodic, polished power metal, in the vein of bands like Hammerfall, Gamma Ray, and (early) Blind Guardian. Not the kind of thing you'd expect from a rough and tumble place place like Texas, but here we are. Bane play like most power metal bands, with galloping riffs (twin guitars, no keyboards), and melodic, clear vocals, using five part harmonies, similar to Queen or more-recent Savatage. I heard some Iron Maiden influence in a couple of their songs-opener "Shine" starts off like "Aces High", and "Rainbow's Edge" reminded me of "Stranger In A Strange Land". There's one ballad in "Foolish Pride", and the last three songs, "Psycho Serenade", "Lie To Me", and "Saints And Sinners", actually go in a somewhat heavier and darker direction. "...Serenade" is about a serial killer (they even borrowed the theme music from "Halloween"), and all three reminded me of Fates Warning. This album is nothing that hasn't been done before, but it's still some pretty decent power metal all the same. These guys do what they so very well. Toast Toast is an eclectic alt-rock band that's based in Virginia and their unique brand of music can now be heard on their second release, "All In." Actually, the press material that came with the disc mentioned that Toast should be placed in the alternative progressive rock category and, to be honest with you, I don't really hear the progressive element in their music. I do hear a slight nod to Nirvana here and there, maybe some Pearl Jam. I'd compare 'em more to Moody Blues for the simple fact that they're so "out there," if you know what I mean. The music is really diverse and I'm not really sure who their target audience would be. College radio? Maybe a slightly older crowd? Ah, it's probably people who have an open mind when it comes to music, people who can listen to something and enjoy it for what it is without putting a label on it. Wasn't really something I totally got into. It did have a few tunes that caught my attention, "Judgement Day," "Party Girl," "Mr. Spider," which, for some strange reason, I could picture Alice Cooper doing this one and the last track on the disc, "Sun On Me," brought The Police to mind. So, I'm hearin' all kinds of stuff here. Maybe it's just me, I don't know. Give it a listen and see if you can figure it out. http://www.toastcd.com Hed P.E. Okay, we have another metal rap album to talk about here. I know a lot of people who don't dig this style of music. But, I happen to enjoy it, especially when it's done right. Hed p.e. does the trick for me and it's about time that I get to hear somethin' new that's got a lot of kick and a lot of balls. "Only In America" sure beats the hell outta a lot of the music that you'll find on the shelf these days. Gotta love it. With the intro, "Foreplay," and the first track, "Represent," Hed p.e. brought N.W.A.'s "Straight Outta Compton" to mind which, to me, is the ultimate rap record. There will never be another release as great as this one. The best anybody can do, be they a straight rap band or a metal rap band, is second best. So, if you can stand in the shadow of N.W.A.'s finest hour and not come off soundin' like a sucker, you've got something to offer and something that's worth listening to and that's just what Hed p.e. has got for you. Hell, they've got two tunes on here, "Represent" and "Raise Hell," that could do it on their own and when you add eleven other tracks to that, you're droppin' the bomb and blowin' up everything that's not worthy of listenin' to which, in this case, is the "pop shit" that Hed p.e.'s raggin' on in "Raise Hell." This is the kind of music you should be listenin' to right now. So, pick up a copy of "Only In America" and, like the band says, if you think it's too loud, bitch, get the fuck out! http://www.hedrocks.com Josh Small I would have passed on this release just as soon as I found out that the main instrument used on this recording was the banjo and the label the music got tagged with is folk, alt. country and bluegrass. But, a few seconds into the first track, the line "Fuck me? Well, fuck you too" caught my attention. Now, I don't mind a little foul language in my music. However, it's not something you expect to hear in a banjo/bluegrass song and, I've gotta admit, the only reason I continued to listen was because of the word fuck. If that's not enough, track two is called "Fall Motherfuckers Fall." That certainly got my attention. After a few tunes, the shock of hearing the naughty language wore off and I wasn't really interested anymore because this is just not a style of music that I can really get into. Gotta give the guy credit, he can grab your attention. The thing is, people who are really into this kind of music probably wouldn't appreciate the four letter words. In fact, I've been to a bluegrass show or two in my time (don't ask) and the crowd was a lot older. I felt like I was the youngest person there. Take away the pre-teen kids who were there only because mommy & daddy didn't have a babysitter and I probably was the youngest person there. So, with that in mind, I find myself wondering who Josh Small's target audience is. Maybe people who like Will Oldham, Ryan Adams and Whiskey Town, artists who were mentioned in the press material as being similar in style. You got me. Ah, so, what do I really think? Well, it's not my cup of tea. But, it's a quirky little release that I'm sure some of you might find entertaining. How's that? Crossfade Do you like rock? No do you really like rock? If yes, then check out this band from South Carolina who have been blowing up the rock charts better known as Crossfade. Crossfade is topping the charts and blowing up the radio stations across the world. With songs such as Cold which has the tough rock image, fierce melodic sound and letting you know who is boss and So Far Away that is just lyrically empressed. Crossfade also produced, wrote, and recorded their self titled album in their basement SugarStar Studios in West Columbia South Carolina. It is no wonder why these guys are moving up the charts. EarCandy for your ears!! For more information on Crossfade log onto http://www.crossfadeonline.com for details. |
