Another album that I've had forever that somehow has never been reviewed. Well, not forever, but well over a year. Must have listened to this album 15 times. It's one of my go-to albums for certain moods. Something rootsy, bluesy, singer-songwriter-y. You know, something harder than my normal Cat Stevens, but not heavy rock. Something earthy and powerful, yet acoustic-based. Real authentic, country-tinged rock.
Yes, Corey Koehler is my go-to guy.
In truth, I don't know much about this cat, but I remember exactly how I got ahold of this little treasure. I was scouting out websites/blogs to send our own Ripple releases to for review and press. I don't recall which site Corey ran, but when I wrote him, he told me he was done with the site to concentrate on his music. One thing led to another and the album was downloaded into my iPhone.
Where it's been ever since.
Let me re-emphasize that last sentence. At the Ripple we get hundreds, sometimes thousands of submissions each month. My iPhone is only a 16G. That means I regulate the music on my phone like crazy. Nothing stays on my phone (except Ripple bands) because I have to constantly be clearing space to download the next group of albums I need to review.
But Corey Koehler has been there for over a year. And I plan on keeping him there.
First, is Corey's voice. Thick and earthy, rough and textured, yet still smooth and killer emotive. It's a voice that caught me right away. And after listening to this album, I still haven't found a good comparison voice. Sometimes I think Darius Rucker from Hootie and the Blowfish. Don't let that turn you off. Whether you liked Hootie or not, Darius had one helluva voice. And so does Corey.
Next is the tone. With that acoustic guitar strumming away, these songs rock to a good, steady beat. Slide guitar tones fill the spaces perfectly, adding that electric flavor over the strum of the acoustic. The slide gives each song a country grounding, but this isn't country. It's just solid, earthy rock. No boring, maudlin acoustic slow jams here. Even the ballad, "Take this Ring" keeps me mesmerized with it's steady acoustic strum and heart-felt pleadings for a lifetime of love.
Finally, we got the songs. "Change the World" is a steady-rocking call for action. A fight against apathy. "You wanna change the world, you can't stand by/And just so you know man, it starts inside." Corey's voice simply floats through this rebel wake-up call. I've played this cut for lots of folks, including Pope, and it's captured each of us. A should-be hit.
"On My Way" follows next with the acoustic picking and slide intro. Another call for action, a step away from the complacency of getting stuck in life. This time, more personal focused on Corey's own feelings of resurrection. Another killer melody, and sing-along perfect, which leads right into the already mentioned "Take this Ring." A song so sincere in its emotion, you can almost hear Corey's voice choking back the tears. "Minnesota Got Colder," is an ode to a lost brother. "One Step at a Time," is a character sketch like Jim Croce used to write. In fact, "One Step," boogies along with such an easy groove, I bet Jim would be proud.
"Perfect Ten" and "All the Girls" bring us to an end with a wry smile. In "Perfect Ten" Corey chuckles as he realizes that his search for the perfect girl is just a fantasy while in "All the Girls" Corey gives one final middle finger to all the women who've broken his heart over the years. Both songs perfectly are perfectly crafted and cook along over the beat of Corey's strummed acoustic. Easily, I can hear these played live on a hot summer day, on a deck over looking a lake. Cold beer in hand.
I don't really know where Corey stands with his career or goals, but damn if he hasn't put together one of those earworm records I can't stop listening to. Check out his website if you want to hear it or track me down. Ask me to pull out my iPhone. Corey Koehler will be there.
In the world of rock n' roll, there's a lot of crappy bands, a few good bands, and fewer great bands. However, every now and then there's those bands that come along where you listen to them and immediately go, "They've got it!" That phrase right there is hard to describe. It's something within the music, something genuine, something that just clicks. When I first heard Dead Sara's EP The Airport Sessions, I immediately said that very very phrase to myself - "They've got it!"
Now that Dead Sara has released their first self-titled full length album, it's been a breakout year for the band. They have just made a featured slot on the Warped Tour and will be touring with The Used across the USA. Last year, they opened for Bush, and they are riding high with their first single, "Weatherman," a hard rockin' song that's been gaining a lot of buzz for the band.
Fronted by the versatile vocals of Emily Armstrong, whose range can handle blues, soul, as well as unleash a gritty rock n' roll howl full of intensity. Besides Armstrong's amazing vocals, the electrifying band is also driven by Siouxsie Medley's guitar playing, a no non-sense style that blends melodic and heavy riffs into a perfect cocktail of hard rock.
Not to take away from the other members of the band. After all, a band is a cohesive unit. Either the chemistry is there or it's not. Bassist Chris Null and drummer Sean Friday also add to the electrifying dynamic of this band with their straight-forward style. Dead Sara is a tight band that knows how to write damn good songs, whether they're straight up rockers or heartfelt ballads. This album has intensity yet diversity as well. It's far from a boring one-dimensional album.
The albums opening song Whispers And Ashes eases you into the album. It's more of melodic song and has a hint of a U2 vibe. The song is extremely well-written, and a bit of a departure from the sound off their EP.
One of the stand out tracks on Dead Sara's new release is We Are What You Say, an up-tempo song with a massive hook that's just undeniably - catchy. The song is no slouch, however. It rocks, and I think this song should've been the album's first single, as opposed to Weatherman.
Monumental Holiday is another fast-paced rocker that just has one of those great riffs that's reminiscent of the 90s grunge/punk sound. I can see this song on a soundtrack to an action film. The movie that comes to mind? This tune is perfect for another Crank flick.
Test My Patience is another great song that rocks good and proper, but the great thing about Dead Sara is the genuine emotions they capture in their songs. The three ballads - Dear Love, Face to Face, and Sorry For It All are extremely soul full. It's on these songs, you can really hear Emily Armstrongs amazing singing chops as well as lyrical writing talent.
Though Dear Love could very well be the album's hit song on the lighter side, Sorry For It All is by far the most heartfelt. Although I prefer their original version with just guitar and vocals, the new album's version is an interesting take on the song.
I've been waiting a long time for their album to come out. As I've said countless of times to people, Dead Sara is going to be a huge band in mainstream rock, and there's a reason for that. Don't believe me? Just take a listen. You can find Dead Sara on the Warped Tour and on the road with The Used!
As of the date of my submission, there's no downloadable content available from Sleep. Which means I have to stream it to hear it at all.
It's not like the album's called Dopesmoker, or anything... that implies one would do well to listen to this one NOT chained via headphones to their computer....
Fine! I'll stream it! Anything to just hear it!
Because I am a whore for Sleep! And Southern Lord in general! I even bought a freaking Sleep shirt for my wife, who doesn't even like metal! And she wears it! And gets compliments on it! And then says, "It's his."
Even though I have the first two iterations of Dopesmoker (Jerusalem and Dopesmoker), I am (quite figuratively) dying to hear this one-- it's remastered, there's Arik Roper's new stoner-via-Dune esque cover, there's crazy anecdotes about the recording of the album, e.g.: Pike stated that the "song was getting slower and slower and then it got weird. We started tripping out and second guessing ourselves." Recording the album was difficult. Pike recalled that "there was so much to memorize for that album, and we had to do it in like three different sections because a reel-to-reel only holds 22 minutes. It was really cool, but it was one of the hardest things I've ever done in in my life." SLEEP were in the studio for one month then went home to rehearse and returned for another month. Pike noted that they ended up with two or three different versions of the song. It also features an unreleased live recording of a live performance of “Holy Mountain” from San Francisco’s I-Beam in 1994.
When Racer sent this to me I was literally listening to the older version of Dopesmoker on the stereo. It's fate/ kismet/ karma/ destiny....
Ironically, there is no weed with probably a quarter mile of me. Interpolate as is your wont, my minions. You may find this fact journalistically-dishonest (Pike and co. have said repeatedly that Dopesmoker was written to be heard while stoned), but I feel I must fully disclose.
So:
I've heard this new version a dozen times now: the first thing you notice is that the riff entering at around 0:15 is much clearer and louder. I don't really know that much about remastering, mastering, et cetera, and maybe they've only made it louder, but I can actually hear the pick hitting the strings, whereas on the version of Dopesmoker I'm familiar with, it's a bit harder to pick that out. At this point, I want both versions of Dopemoker on vinyl, at jet-engine volume, to truly try and parse the differences between the two editions.
Of course, my lineage is mostly German and Scandinavian, a notoriously-detail-oriented/obsessive people, and I personally am anal-retentive as fuck, so maybe I'm overdoing things.
Again: interpret as is your wont.
At about 21:30, once everything but the main riff drops out, you can again hear the strings over-vibrating against the pickup... which is pretty cool. I feel like I'm standing right next to the band in a small room without carpeted floors. The lyrics, too, are a bit more clear: the first line "Drop out of life with bong in hand" is easier to understand, as is the classic, "Lungsmen unearth the creed of Hasheeshian."
Man. That's some obscure poetic shit that Rimbaud, William Burroughs, Baudelaire, Rumi and Kerouac would find obtuse.
How can you not love that?
If nothing else, the reissue reiterates why it's such a great record (if you truly let it in, stoned or not)-- it just comes in and sweeps itself through your brain, it says to you we have all the time in the world, let's use it thinking of far-away lands that before this record you found impossible to believe existed....
If you already have the old version of Dopesmoker? If you're really into it, you'll wanna check this out. Otherwise, stick with the old version. Tune in, turn on, burn out, daddy-o....
This is one of the easiest reviews I'll ever get to write. Cortez is one of my favorite contemporary bands playing mid-tempo heavy rock. They have a new DOUBLE ALBUM on 180-gram vinyl with great cover art that's worthy of acrylic on denim. All the kick ass songs I've been hearing them blast out at shows the past 4 years are now documented and now I know what the songs are actually called. It's the full meal deal! Be warned, there isn't a parental advisory sticker on the cover but there are a lot of pottymouth lyrics.
Since their 2007 EP Thunder in a Forgotten Town, Cortez switched singers and lost a guitarist but the changes only made the band stronger. Lots of bands out there are playing in a heavily Sabbath influenced realm but Cortez is one of the few to utilize more than just the usual Master/Volume 4 riff rehash. For those of us who have spent decades analyzing the Sabbath family tree know just how much killer shit there is that people tend to overlook. The reason why all those Black Sabbath, Led Zeppelin and Deep Purple records are so classic is the variety. Cortez understands that and plays the music they want to hear. I wanna hear it ,too and have been playing the hell out of this!
Album opener "Johnny" is the perfect introduction to Cortez. Guitarist Scott O'Dowd laying it down hard and heavy. Drummer Jeremy Hemond comes in with one of his patented Cozy Powell-esque drum fills to signal bassist Jay Furlo to start thudding away and singer Matt Harrington starts belting it out big time. This is a fast and catchy song that I guarantee that you will cause you to increase the volume at least twice before it's over. The rest of side one is equally killer. "All Hail" is slow and powerful while "Until We Die" has a killer trippy jam in the middle. "Ride On" is easily my favorite Cortez song. Kick ass speed limit rock with references to cheap beer and dirt weeed. You will definitely want to crank this one loud when you cruise around the parking lot looking for a spot at the Priest concert. It's too bad radio stations don't play album sides anymore, this would be a good 'un for people to get down to this summer.
And the other sides ain't bad either! Side two shows them stretching out with some psychedelic warrior jams like "Wormwood" and the Mountain-influenced "Beyond The Mountain." "Monolith" has some excellent Corky Laing style cowbell and "Immigrant Song" moans. Side three has great songs like "Nice Try" and "Northlander" but "Satan" towers high above them. If you ever wished "The Tempter" by Trouble wasn't so damn pro-Jesus, then you've got a new favorite song. Also, anyone that loves the song "Warhead" will be thrilled. Side four (!) has raw demo versions of "Johnny," "Until We Die" and "Monolith" as a nice bonus. The music's heavy and the vinyl's heavy. What more could you want?
--Woody
Not sure of the exact street date on this one but their record release show in Boston is 5/5 with special guests Mighty High.
Tenacity and perseverance…two of the most essential personality traits to have as a rock musician in this day and age. As the old saying goes, if at first you don’t succeed, try, try, try again. This is no more pertinent than when discussing a certain Jack Dickinson. In 2006 Jack put together the initial line-up for Stubb; a hard rocking stoner/psych/jamming three piece. Fronting the band and cranking his guitar, Stubb very quickly built up a strong live reputation in the UK scene but no sooner had the train started rolling when the wheels fell off and Jack found himself without a band. The erratic Stone Turner briefly filled the void until Jack was thrown a lifeline by two friends and fellow musos. Enter the Trippy Wicked duo of Chris West and Peter Holland. Chris is easily one of the finer drummers in the UK stoner/doom scene and his easy, fluid yet hard hitting style was to be the rhythmic kick Stubb needed to rejuvenate their sound and breathe them back to life. Peter Holland, Trippy Wicked front man and guitarist may have seemed un unusual choice to fill the bass slot but his perspective as a guitarist now allows him to jam on the bass alongside Dickinson with ease as well as providing some very welcome backing vocals to add extra dimension to the core sound. And so it came to pass, Stubb were reborn!!!
It turns out West is not only a fine all round musician but also an enterprising bastard who, when labels failed to deliver, decided to form his own and this Stubb album is the first fruits of this…and you may be hard pushed to find a better album with which to kick-start the whole shebang.
Firing up the engine with old favourite “Road”, it’s clear from the outset that West and Holland’s rolling groove and Dickinson’s Hendrix inspired lead playing were destined to meet in some form of psychedelic supernova. This song as always a highlight of the original band’s set, in no small part to Dickinson’s syncopated and synchronised guitar vocal runs. The song writing is simple and effective built around an easy free flowing riff but bound up in a ton of groove. Holland’s bass playing adds an extra level of diversity that the band missed before playing around the riffs under the solos as opposed to just maintaining the riffs. The fact that he’s playing his bass through a guitar amp in an old school style just adds to that authentic 70’s vibe.
“Scale The Mountain” eases back on the pace but retains the weight and groove of the previous track and allows West free reign to open up on the drums and display some deft jazzy touches. Here also, Holland’s vocal contributions prove to be a perfect counterpoint to Dickinson’s own. Whereas the latter has a rougher, more bluesy tone, Holland punctuates the song with his higher register, Chris Cornell-esque wail that pulls the song up into a higher plain.
Holland kicks off “Flame” with a nice elastic bass line before being joined by the rest of the band. The vibe here is easier and more relaxed pushing the band’s blues influences to the fore. The live instrument recording serves to accentuate the inherent soul of the song keeping it clear and unfussy and allowing the groove to do the talking. It also has to be said that, throughout the album, Dickinson displays some very tasteful chops on the guitar that have barely been touched by the last 40 years of influence…the guy has a very old head on pretty young shoulders.
“Soul Mover” offers a welcome step up in pace with its acidic, early Monster Magnet reminiscent punked up psych rush. Here Dickinson tells us “Oh Baby I don’t know what you like, but I’ll keep you satisfied”. Presumably there will be an element of trial and error and guesswork in the lad’s love making!!! I was initially worried that the new Stubb album may be given over too heavily to aimless jamming but it couldn’t be further from the truth. The songs are all tight and concise and the jamming elements stay on the right side on tolerable offering just the right level of unpredictability without ever crossing over into self indulgence.
On “Crosses You Bear” the band offer their first respite from the fuzz overload with a delicate, folk driven acoustic ballad that shows that Dickinson is not only a tasty finger picker but capable of delivering a vocal with some true emotional depth. Melodically this is a clear stand out track…and over far too quickly.
The Big Muff muscles its way back onto the scene on “Hard Hearted Woman”. Another tale of heartbreak and loss, a theme that seems to run through many of the lyrics here. Musically this draws less from the psychedelic end of the heavy spectrum and plants its size 9’s firmly into muscular 70’s hard rock with yet another killer riff before playing out with some mellow, bluesy yet tasteful axe heroics.
Next up we have the potential album stand out. “Crying River” is a Neil Young flavoured mid paced ballad featuring dual lead vocals from Malin Dahlgren from Swedish folk duo the Polly Tones. This is an achingly beautiful song that also features Dickinson’s most emotive playing on the whole album and shows that the band are so much more than just a bunch of heavy rocking hairies!!!
The seven plus minute “Galloping Horses” plays the album out on another fat, rolling groove that is almost literally dripping with 70’s testosterone. It practically smells of Denim aftershave and chest hair before changing tack at the mid way point into something altogether more esoteric and spacey.
Do I have any criticisms? Yeah a couple but they’re most certainly far from being deal breakers and more a question of taste than anything else. Firstly, although Dickinson shows a real flair for a vocal melody and has a decent set of pipes with which to put this across, his delivery doesn’t yet show the same level of confidence as his guitar playing, occasionally sounding a little awkward. It is still relatively early days for Dickinson as a vocalist and in time he will grow deeper into the role and really define his personality as a singer. It is also something of a shame that, given Holland’s ability as a singer, his skill isn’t utilised to a greater degree to provide counterpoints and harmonies with Dickinson to create a vocal breadth that could be truly spectacular. When the technique is employed here it provides a major lift and could prove to be a real selling point for Stubb lifting them above their contemporaries. Lastly, don’t come into this album looking for divine lyrical inspiration. The lyrics, for the most part are ridden with clichés that either drip with psychedelic mysticism or broken hearted melancholy but come across as fairly uninspiring, meaningless sixth form poetry. Fortunately I rarely take much notice of a band’s lyrics and let them gloss over me unless they really carry some form of intrigue or weight like Neil Fallon’s from Clutch. So in this case the lyrics didn’t prove to be a major distraction.
On the far greater plus side, this is an excellent debut album from a supernaturally talented bunch of musos who know every trick in the book when it comes to creating some awesome, kick ass heavy rock and roll with true passion and guts. Stubb’s debut album is definitely a triumph of, not only dogged determination from all involved, but of sheer class! You will be hard pushed to find a better debut album this year…so don’t bother looking, just get this.
I’ve been a fan of Michael Amott for a while now. He certainly has all the death metal cred he needs, having formed Arch Enemy back in 1996, after doing a stint with the immortal Carcass, and prior to that forming Swedish death metal OG’s Carnage. So his metal pedigree is about as rock solid as they come, at least in my book.
I kept hearing about this other band of his, Spiritual Beggars, which he started around the same time as Arch Enemy, but was not metal at all. The description I always heard was “stoner rock”. I finally checked them out with the release of their most recent album, “Return To Zero” from 2010. And then beat myself repeatedly about the head and face for taking so long to get into this band.
I don’t know that stoner rock is the right pigeon hole for these guys, at least not on this newest release. I put this CD in and had to take it out about 2 minutes later to see if they had maybe put the wrong CD in the case, because it really sounded like some vintage Deep Purple from the classic “Machine Head”/”Made In Japan” era. If I had to tell someone what this band sounds like, that would be my reference point, although there is definitely stuff that would also be right at home on the “Perfect Strangers” release as well.
But please don’t take that to mean that these guys are just Deep Purple clones. In fact, they are far from it, but they do have that similar riff based groove going. “Return To Zero” opens with the titular intro, just a little synth-y thing that lasts less than a minute, then right into “Lost In Yesterday” we go. It’s a very nice, moderately heavy, moderate tempo song and gets things going. “Star Born” is up next, and it picks up the tempo without losing the groove. Then we have “Chaos Of Rebirth”, which has heavier, slightly ominous feel to it, but maintains that nice groove feeling. A really good quartet of songs to start things off, and they really establish the tone for the balance of the album.
“Spirit Of The Wind”, track 6, is my absolute favorite on this album. I could literally listen to that track on a daily basis. It is more of a ballad, definitely not rooted so much in the riff and groove as the rest of the tracks, and is a really beautiful song. If you only knew Mr. Amott from his death metal stuff, this one will really take you by surprise.
This is a really solid release and I can’t recommend it highly enough. In fact, on the strength of this album I have gone and purchased the rest of the Spiritual Beggars catalog. They really are that good, and listening to the earlier stuff I can see how they were tagged as stoner rock. My only wish is that the releases came along a little more often than every three or four years. Check out this other side of Michael Amott, it is well worth doing.
Great news waveriders. This amazing album, and the entire Freak Kitchen catalog, is being reissued by Lasers Edge. Land of Freaks is released 5/22. Dig it and this classic Penfold review.
“Hello everyone. My name is Chef Penfold. Welcome once again to ‘Cooking With Penfold’. I’m very happy you could join me today. Folks…wow, do we have a great show for you! If this is the first time you’ve tuned in to the broadcast, allow me to fill you in on what you’ve missed. At the beginning of last month, we here at ‘Cooking With Penfold’ decided to take a culinary trip around the world, bringing you my favorite recipes from thirty different countries. Today we’ll be showing you how to make a fantastic casserole hailing from Sweden. And to make today’s program extra special, I’ll be joined by a very special guest. He is a true master of the culinary arts, and I am honored to cook beside him. Without further ado, ladies and gentlemen I present to you the one…the only…Swedish Chef!”
“Hellu Cheff Penffuld, I'm gled tu be-a here-a. Bork Bork Bork!” “Thank you Swedish Chef. It truly is an honor to have you as a guest on my show.” “Theenk nutheeng ooff it. I'm joost here-a tu help.” “You’re too kind Chef, too kind.” “Nunsense-a. Su vhet ere-a ve-a gueeng tu be-a mekeeng tudey?” “I’m glad you asked Chef. Today, we are going to be making Janssons Frestelse, otherwise known as Jansson’s temptation. It is a creamy potato and anchovy casserole, named after a famous Swedish opera singer, which is traditionally served around Christmas time but is eaten year round.” “Oh guud! Thet is oone-a ooff my fefureetes! Bork Bork Bork!” “Yes, it’s one of my favorites too!”
“All right, we’ve gathered all of the necessary ingredients. Arrayed on my cooking table we have 1.2 kg (2½ lb) potatoes, 400 g (14 oz) onions, 375 g (13 oz) spice-cured anchovy filets, 600 ml (3 cups) heavy whipping cream, salt, white pepper, breadcrumbs, and butter. Now the first step is to peel the potatoes and onions and then cut them into thin strips or slices. Chef, if you’ll please peel and cut the potatoes I’ll take care of the onions.” “Off cuoorse-a.” “Great. I’m finished slicing the onions. Now I’m going to gently sauté them in a little butter, but I’m going to make sure not to brown them. While I’m seeing to that, Chef would you please grease that ovenproof baking dish sitting over there? Oh, you’re ahead of me I see. You’re already covering the bottom with a layer of potatoes. That’s fantastic! Okay, I’m going to add half of my sautéed onions and half the anchovy filets. There we go. Let’s add another layer of potatoes, and then the rest of the onions and filets. Beautiful! One last layer of potatoes and the hard part is over. Now, I don’t want to tempt you too much Chef, but do you know what comes next?” “Zee fletteneeng?” “That’s right, the flattening of the surface.” “Oh buy, ooh buy! Bork Bork Bork!” The Swedish Chef flattens the surface with his customary gusto! “All right Chef, thank you. That’s flat enough. We’re down to the last few steps here folks. First, we add a few turns of pepper from the mill and just a little salt. Next, we’re going to pour the cream on until we can almost see it through the potatoes. That’s it. Lastly, we’re going to put a few dabs of butter on top along with a sprinkling of breadcrumbs to add some nice texture. Okay, all that’s left now is to put this dish in the oven where it will cook at four hundred seventy five degrees Fahrenheit for about an hour.”
Waveriders, while we wait on the delicious casserole to finish baking, I want to tell you about something else from Sweden that is incredibly exciting. This non-edible, non-perishable entity I am going to discuss is the band Freak Kitchen. At this moment there are no ifs, ands, or buts about it. Freak Kitchen has established itself as one of my all-time favorite bands, and they released one of my favorite albums of 2010 (it was originally released in October 2009, but I was unable to obtain a copy in the US until 2010). That album’s name is Land of the Freaks. Using what I like to think of as incontrovertible evidence, I’m going to emphatically explain why all music fans need to become familiar with this album and its intrinsic greatness.
Freak Kitchen is a trio. No…scratch that. Freak Kitchen is a power trio! The band, brainchild of guitarist/lead vocalist Mattias “IA” Eklundh, has been in existence since the early 1990s. Their debut album Appetizer came out in 1994. After three additional albums the original trio disbanded, leaving Mr. Eklundh the task of finding two new bandmates. Shortly thereafter a new trio was formed with the addition of bassist Christer Ortefors and drummer Bjorn Fryklundh. Land of the Freaks is the group’s seventh overall album, and the third for version 2.0 of the band. But enough of the history, let’s talk about what’s most important…the music!
Here is where it gets interesting. Freak Kitchen is typically classified as a progressive metal band. I am not going to argue with that. What I am going to do is flesh out a couple of intricacies that make this particular progressive metal band unique. First of all it is critical to note that the songs contain as many pop elements as progressive ones. What does that mean? Easy. When you break down one of their songs you will find wacky time signatures, ridiculous playing, grand thematic changes, etc. But here is the catch. If you don’t concentrate on uncovering these elements, you won’t notice they exist thanks to the band’s pop sensibilities. Nothing, no matter how flashy, disrupts the flow of a song. That means unlike some other progressive metal bands I can name, there is never a moment of mid-song headbanging recalibration.
Second, also stemming from the pop sensibilities, the songs themselves never outstay their welcome. The longest track on Land of the Freaks is five minutes and forty two seconds. All of the others end before the five minute mark, most before four minutes. I’m not trying to imply that epic-length songs are bad (I love quite a few of them myself), but I am saying that I like knowing I don’t have to specifically set aside a half hour to fully enjoy one song. Third the contributions of Mattias Eklundh, both vocally and on guitar are spectacular, plain and simple. To say that he is a gifted guitarist is an immeasurable understatement. His tonality, technicality, timing, and musical IQ are second to none. The fact that he is also a fantastic vocalist is icing on the cake. His clean vocals are able to perfectly match the mood of the song whether it calls for all out aggression or heartfelt tenderness. In a time where a lot of metal bands are choosing the growling option, it’s nice to know who I can turn to when I need a break. So what about that album?
Land of the Freaks is terminally ill. “God Save the Spleen”, the opening track, has been my go to neck snapper for well over a year now. The monstrous guitar tone, devastating main riff, and bottomless groove cast a magic spell upon my person. I-Can’t-Stop-Listening-To-This-Song! But let’s not stop there. Other top-shelf metal anthems on this album include the South-Asian flavored “Teargas Jazz”, the deceptive “Murder Groupie”, and the phenomenally amusing anti-fascist “Honey, You’re a Nazi”. Feel like something different? No problem. Try the transformative “OK” which begins like a ballad before morphing into a rocker, or the straight up acoustic ditty “Do Not Disturb”. Not good enough? Fine. How about “Hip Hip Hoorah”, a danceable metal song. That’s right…danceable (don’t ask me to demonstrate; I promise you’ll be sorry you did). What I’m trying to get across is that there is a chasm-wide variety of material on offer here. No matter what you’re looking for, Land of the Freaks will fulfill your order. Ooh, looks like our casserole is ready!
“Okay folks, it’s time to take our dish out of the oven. Chef wait! That baking dish is going to be HOT!” “Ehh! I boorned my hunds! “Chef!? Are you all right Chef?” “Oh dun't vurry ebuoot me-a, I'll be-a feene-a. Bork Bork Bork!” “Thank goodness! You had me worried with that whole blowing air on your hands thing you have going there. Well folks, this dish will make six to eight servings. I hope you enjoy Jannson’s temptation as much as I do. Thanks again to my honored guest the Swedish Chef for helping me cook today. Join us next time when we continue our culinary trip around the world, won’t you? This is Chef Penfold saying goodbye for now.”
Ladies and Gents, wave riders of all ages, Welcome to the venue. Are you ready to rock? I said, ARE YOU READY TO ROCK!. . . . There, that’s more like it. Here is your performance guide,
Who is performing?
Heavy Manic Souls, a four-man band, originally formed in France in September 2009, by guitar god, singer, writer and band founder Chris Francheteau, also known as Chris Rolling (don’t ask why), that also includes skins player Rod Chaillou; heavy-bottomed bassist Eric Robin; and blues vocal master Eric Dufour. Unfortunately, the band in this form is no longer around and it is now a two-piece band which, when you hear the album, I believe you will find to be an absolute tragedy.
To what will we be listening?
Heavy Manic Souls’ self-titled album. The album was made in five days. It was mainly recorded live with overdubbed solos and vocals and mastered at Pigsound Studios in Los Angeles. It consists of the following tracks:
Change The Reality Juggernaut (Fury Road) Lone Star State Song Rollerball Cigarette Heads Or Tails Escape From Earth Down In The Rain Badass Motherfucker Uncle Pirate Blues Heavy Foot, Cool Hand
What type of music will we hear?
Heavy blues rock. I think you will find it to be some of the best heavy blues rock you have heard in a very, very long time.
What does it sound like?
Robin Trower, Hendrix, Cream-era Clapton, Stevie Ray Vaughan, Johnny Winter, Rick Derringer, Randy Bachman, - all rolled into one.
I actually did send away for the "uncensored" cassette cover of Tomb of the Mutilated, i.e., the undead cunnilingus, and had the first three CC cassettes.
I'm not gonna lie-- for the most part I didn't get them, or death metal in general, as I've written about before. Beyond Cryptopsy and Asphyx, death metal usually seems trite to me, like the sort of things that an adolescent would write about "the world" before they'd ever actually been in it. Ben Ratliff, the music critic for the New York Times, once said, regarding Cannibal Corpse, that they had a fascination with gore and zombies that "bordered on sweet."
I've never been able to lose that comparison when listening to most modern death metal, particularly the "brutal" kind, versus "tech" death.
It really IS sweet. Like your kid brother who collected monster figurines. Like Mark Petrie from Salem's Lot (pre-vampire hunting) and his collection of Hammer horror figures.
There's a "manufactured" horror here, one they think real horror comprises, rather than what it actually contains. Henry Rollins screams about real horror. The disillusionment of genuine black metal, screaming about a "loss of faith and the hysterical fear and sadness it contains," (Ratliff again) sounds that horror. Even Bad Religion evoke a real freaking out in the face of modern life.
Most death metal, Torture included, is a parroting, an echo, of horror-- one sounded from the safe suburban zones that have managed thusfar to successfully avoid genuine agonizing friction with the "real world," as it were.
Is it bad?
No, not a bit. It's well-written, groovy death metal, from guys who've been doing it for many years.
It's just that it's got to be experienced with the same mindset you use when you see a horror movie that's well done.
You know it's fake as hell (as opposed to a drama or even a documentary), but it still gets under your skin. It still rocks you, as it were.
"Demented Aggression" roars out of the gate with blast beats (and shows other, newer, bands that having been around for decades doesn't mean you have to mellow-- this could've been recorded by 18-year-olds); "Scourge of Iron" and its initial open-chord chug stand out, as does the blistering "Encased in Concrete"....
"As Deep as the Knife Will Go," and "Followed Home, Then Killed," are comically personal to me: as a forensic psychologist for almost 15 years (and this in 7 medium- or maximum-security prisons in 6 states), about half of these song titles are the MOs of the vast majority of my former clients-- someone's been reading FBI Profiler John Douglas-- or watching a shitton of Law & Order: SVU and taking copious notes.
Anyway, it's Cannibal Corpse-- it's death metal at its best.
I have literally all of Coltrane's Impulse! label CDs, as well as the vast majority of his recordings for a myriad other labels.
The Olatunji Concert (below reviewed, if you're patient) is Trane's last live recording: he died at age 40 in 1967.
Putting any Coltrane CD/record on is like devout Catholics lighting a censer: I trust it completely.
Coltrane taught me to love jazz (and was my gateway drug to the whole genre, if you will); he is why I play tenor and soprano sax. He is why I play anything but a guitar and drums.
In my mind Coltrane, like early-era Metallica, is the ideal artist:
in the grandest, most pretentious, and most indespensible way possible, he's what all humans should aspire to: he does what he wants, when he wants, in an attempt (however futile or not, depending on your view) to connect to Divinity.
To express himself as purely as possible, and to be heard in this way by others.
So with this first of the posthumous releases (obviously?), we get what is referred to as "late-period Coltrane."
For those of you not up-to-the-minute on jazz mythology (which probably speaks well of you), "late period" Coltrane means free jazz, which means solos as absolutely-goddamn-long-as-we-wanna-take-them.
In all honesty, it means the type of jazz that may've, in some great probability, turned you off of jazz in the first place (if you're not a fan). It means noodling, and annoying effete intellectuals describing using the "negative space" in soloing-- it means balding geeks who majored in music composition talking about "playing what's not there, man...."
Now, you're gonna have to trust me here. But I think I'm onto something, and you might benefit from reading further:
Jazz...
is the greatest form of music-- ever.
Even beyond metal-- and this is from someone who has listened to, for the most part worshipped (and reviewed, as perhaps you've noticed) metal for over 30 years.
I love metal like a mother loves her children-- no hyperbole.
But jazz, real jazz, is music with talented musicians who feel each other's presence like Jean Gray psychically feels Scott Summers-- it's the closest humans get to God Making Sound.
I know: it's quite a claim.
Both 'Trane's grandfathers were preachers-- and I genuinely doubt this is a coincidence. If you listen to a typical interview with him, he sounds like the archetypal preacher-- slow-spoken, contemplative... suggestively all-knowing, yet humble.
I owe a small fortune, the GNP of a small island nation, in student loan debt for my psychology degrees-- but I would punch Carl Jung and Rollo May in the FACE for the chance to talk to John Coltrane, even for a few minutes.
The fact is, I could've review any Coltrane album: for my own site, I've review several of his (in my mind, however limited that may be) better records. But note the cover photo, above: we're talking about a man who made his reputation on playing a particular instrument (the tenor, and later the soprano, sax) and was so debilitated by disease that he couldn't continue to play the tenor sax physically (they usually weigh about 22 lbs) and SO LAID DOWN AND CONTINUED TO PLAY THE FLUTE ON SOME TRACK BECAUSE IT WAS ALL HE COULD PHYSICALLY LIFT.
This fact embarrasses me when I complain about my callused hands from playing the guitar.
The wailing, the noise from the tenor, pushes you towards some questions:
is it clinically interesting, as in "so this is what a psychotic break sounds like?";
is it viscerally interesting, as is "Yes! This is touching God!";
Yes to both, though I guess is depends on for whom you're rooting.
It's three (though essentially two) tracks over its hour-long-ish running time. The first track is a half-minute intro from Dr. Billy Taylor (who unfortunately died recently) and the remaining two tracks are "Ogunde," (29 minutes, from Trane's recent Expression LP, his last studio recording), and the Coltrane standard "My Favorite Things" (35 minutes) in a form Julie Andrews only dreamt of in her opium night-sweats. Assuming she had those, I mean. She seems kinda clean-cut, but you never know.
Pharoah Sanders is here too, on the tenor, as is Coltrane's wife Alice on the piano, along with Jimmy Garrison on the bass, Rashied Ali on drums, Algie DeWitt on the Batá drum and Jumma Santos on percussion.
If you're new to jazz, genre-curious, one might say-- do NOT start with this.
That would be like someone who's decided they like might like Bon Jovi being told to check out Watain. This is the extreme end of free-jazz, and even many jazz aficionados don't like it. If you want to dip your toe in, start with Coltrane's Ballads or Miles Davis' (also featuring Coltrane) Kind of Blue. Then decide if you wanna go further.
If you do play it, play it loud and give it your utmost attention. I'm not gonna lie-- this record is perfectly suited to being very, very high.
Against all odds, I've become a big fan of Mott The Hoople over the past few years. I always liked some of their songs but never bothered to explore their music in great depth because I never thought I'd really like it. I've never been a fan of Bob Dylan or the Rolling Stones and both of those artists are big parts of the Mott sound. They have an association with one of my all time least favorites, David Bowie. But for some reason I was drawn to them and started checking out their first few albums that were released on Island Records. Probably had something to do with the fact that I've always loved the Dictators version of Mott's "Moon Upstairs" on their live album Fuck 'Em If They Can't Take A Joke. The original version is on a great album called Brain Capers that's become a real favorite of mine. In 2009 I was a guest on the Ripple radio show and wound up talking a lot about the Mott reunion with Ripple friend Bob Vinyl and his cousin who went to England to see one of the shows. So when in 2011 it was announced that the Ballad Of Mott the Hoople documentary was being released on DVD I couldn't wait to check it out. It was a pain in the butt to actually find in a store but the incredible Vintage Vinyl in Fords, NJ had it in stock.
The story of Mott is pretty unique in the history of rock n roll. Named and molded by insane record producer Guy Stevens, Mott The Hoople recorded 4 albums for Island Records between 1969 and 1971. Guy was impressed when guitarist Mick Ralphs burst into his office demanding an audition after waiting around hanging around for a few days. Guy was even more impressed when they lugged a massive Hammond organ up a couple flights of stairs to play for him. My band practices on the 3rd floor of a walk up. I can verify that doing something like this requires a HUGE commitment to your art. They didn't have much commercial success but attracted a rabid following for their high energy stage shows. The band decided to break up but were encouraged by David Bowie to continue and he offered his services as producer and gave them their first hit "All The Young Dudes." Bowie's manager had Mott wear glammy clothes and they finally achieved success.
All of the band members are interviewed and their honesty is very refreshing. It was Mick Ralph's idea to go in a country rock direction on the album Wild Life and he says that he wound up apologizing to the band for this mistake (Mild Life is how they refer to it). Ian Hunter's especially blunt and delivers some great quotes. Roger Taylor of Queen talks about how they gave Mott a run for their money when they opened for them. Ian says "we never had any problem following them." Some of the band members talk about how once they became popular that Ian became the leader of the band and it was no longer a democracy. Hunter's reply is "the band was always a democracy. That was the problem." I also really like how the band all agreed that it was great that Bowie helped them out but they wanted to get out from his shadow immediately. They dumped Bowie's manager and declined working with him as a songwriter or producer. Turns out they were right. The follow up album to …Dudes simply titled Mott was a bigger hit and contained even better songs. I've always thought "All The Way From Memphis" was a much better song than "All The Young Dudes." Watching the live footage of the band in their prime (wish there was more of it) made me realize why I liked the band so much. Even in their glam clothes Mott The Hoople was a kick ass band. It's obvious they were all real rock n rollers and were very confident on stage but never resorted to Jagger-esque pantomime. Watching bassist Pete "Overend" Watts is hilarious. It's obvious Pete Way of UFO got a lot of inspiration from him and we all know Steve Harris of Iron Maiden patterned his onstage persona on Way.
This DVD should be required viewing for anyone in a rock band. When Mick Ralphs presents Ian Hunter with a bunch of songs that Ian feels he's not capable of singing, Ralphs departs to form Bad Company. There were probably some hard feelings at the time but both of them agree that it was the best thing to happen to each of them. Rather than compromise, they moved on and Ralphs works with Hunter off and on to this very day. Replacement guitarist Ariel Bender is also honest in the fact that he rejuvenated the band on stage but fell short in the studio when it came time to write material. The DVD ends when Hunter departs on his solo career with Mick Ronson. The rest of the band got in some new members and carried on simply as Mott but not much is mentioned about that here. There could easily be another documentary about that bands sad demise along with Ian Hunter's career ups and downs. If you don't know much about Mott The Hoople this documentary will be very enlightening and entertaining. Ian Hunter is touring again in 2012 and is playing right in my own neighborhood at the end of March. He's in his early 70's but word has it is still putting on great shows. For an even more Mott The Hoople madness, check out the new issue of Shindig Magazine for a massive article in the current issue with some killer photos.
Imminent Sonic Destruction. When you read a band name like that, it makes you think twice before you open the file and start listening. I mean, what if the band name is literal? What if you start listening and unleash destruction upon the planet?
Thankfully, that didn’t happen. In fact, there isn’t much about this release that would lead you to think of destruction at all. Not that it is all pretty music or anything like that. But I’ve heard music that makes you think that the end of the world is like, right now.
This release reminds me a lot of Devin Townsend Project stuff. There are some real prog touches in here, mixed with some heavier, metal type music, and some flat out death metal vocals at times. There are some very interesting juxtapositions of pretty synth parts with raging metal guitars, blasting double bass drum and the aforementioned death metal vocals. Things that you don’t normally hear in a metal release, but then, that’s what makes an album like this standout. This isn’t cookie cutter stuff that sounds like everything else.
Imminent Sonic Destruction is a project of Detroit based guitarist and vocalist Tony Piccoli. He has recruited various other Detroit musicians to form this band and put out this release. Most of these guys have a pedigree in prog styles, along with some metal, and it helps create some really good music. This is the kind of album that rewards you with multiple listens, but even from the first listen you get pulled in by the melodic hooks. There are some crazy time changes that keep you on your toes, and some very interesting songs that really keep your attention.
My favorites on the album are “Monster” and “Sick”. Both are just awesome examples of how to put a variety of metal styles together in ways that just work. And the lyrics to “Sick” will stick with you; there is definitely some weight to the subject matter in that one. Overall, there are some shorter songs, although nothing shorter than 5 minutes, and a few really long ones, and the shorter songs seem to work a little better for me. I’m still trying to decide if prog is really my thing and the longer songs have a lot of different passages that just don’t grab me as much as the shorter ones. But to each his own, and the album overall still works very well.
If you dig Devin Townsend, Meshuggah, or Dream Theater, or wished all 3 of them would just do a mash up album, then you will think your prayers have been answered with this release. Put it on, chill out, and enjoy!
The music coming out this year has been nothing short of incredible and really hard to keep up with. I'm behind at least a couple months on what has been released. With that said, I am finally getting around to writing up Beautiful Things, the latest album from one Anthony Green. It's an incredible album to say the least.
Most people know Anthony Green as the front-man for post-hardcore Saosin and Circa Survive. Over the past few years,his focus has increased on his solo career. Green expands his musical chops by implementing bits of country, rock, pop and electronica. Musically Beautiful Things is all over the place, but it's in a good way.Calling Beautiful Things a diverse record is an understatement.
The first stand out track on this album is the song "Blood Song". If an alternative country song is what you're looking for than look no further. Lyrically this song is what you would expect from Mr. Green. "Who's gone, buried in the well?" Who's gone, buried in the well? Nobody knew him, he had only arrived. Who's gonna break it to his wife? Who's gonna break it to his wife? She died giving birth to her fifth and final one... Who's gonna rescue all his sons? Who's gonna rescue all his sons? Bares heavy burden, but you could give them away... Who's got a home for them to stay? You can't sell the children, but there's hell to be payed. And I'm not giving these orphans away...er dream... Who's gone, swallowed by the sea? Who's gone, swallowed by the sea? She was only twenty, but she fucked like thirty three. Who's gonna round up all her things? Who's gonna round up all her things? Nobody liked her, but they loved it when she'd sing. Who's got a bell for us to ring? We won't make a sound 'till her body's in the ground... And I'm admitting the voice sounded strange... Said, "You'll get no more sleep at night. You no longer sleep at night. You No longer dream. You won't get no sleep..."
My favorite track on this album is only available on the deluxe edition. From my past reviews you know I am quite fond of Deftones/Crosses/Team Sleep crooner Chino Moreno. Well, the track "Right Outside" features him. The mix of dueling croons from Moreno and Green make this track special. Not to take anything away from Anthony Green but Chino Moreno's added vocals make this track amazing. Lyrically this song speaks of break up and the endless wait for someone. "What did you ever see in me? You know that diamond ring will set you free. While you are waiting for that dream.. I'll be waitin' in the morning when you're coming to your senses. Don't keep tellin' me you didn't mean it just to make me stay. How did you get so far away? How did you get so far? What did you ever do for me? You thought those eerie eyes would break you free. Are you still waiting for that dream? I'll be waitin' in the morning when you're coming to your senses. Don't keep tellin' me you didn't mean it just to make me stay. How did you get so far away? How did you get so far? Something in our dreams to keep the stars away.. Something in the stars control our fate.. I'll be waitin' in the morning when you're coming to your senses. Don't keep tellin' me you didn't mean it just to make me stay. How did you get so far away? How did you get so far? I'll be waitin' in the morning when you're coming to your senses. Don't keep tellin' me you didn't mean it just to make me stay. How did you get so far away? How did you get so far?"
Anthony Green's Beautiful Things is truly that, beautiful. With the great range in music genres, it's 41 minutes of Green stepping out of his comfort zone. Lyrically I loved this album as it is brutally honest. Like most music in this genre, I used it as a nice break from my normal metal and hardcore jams.
-Cicatriz
Anthony Green goes good with: Saosin, Circa Survive, Team Sleep, Crosses, Deftones, Team Sleep, Thrice, Dustin Kensrue, The Sound of Animals Fighting
Amy Winehouse's "Body and Soul," even if it weren't arguably the most famous "jazz improv" tune (via Coleman Hawkins' 1939 recording of the standard, where, arguably for the first time, a soloist did not use the main melody of the tune and struck out on his own, ushering in modern improvised jazz as we know it today), just KILLS her version of this song--
I don't doubt for a second (speaking purely sonically, this without knowing her extensive substance-abuse history or recent death) that she absolutely meant what she sang: hers was a voice with genuine and obvious experience.
It's also a great reminder why nearly everyone else on this pretty much sucks: they're all just doing covers-- they don't bother to try and make the song their own, it's just a re-hash, full of over-reverence for the source material.
Lady Gaga (surprisingly?) is actually really cool-- she's one of the only ones trying to do something new with her tune. She's having a lot of fun with "The Lady is a Tramp," and this sense of fun infects Bennett, whose performance seems boosted by this. There's no gravitas here (not that there has to be, just see Buddy Greco's version of this tune for evidence of this), but she's clearly enjoying herself-- and in this, she entertains you. Whereas Winehouse is a singer, first and foremost, Gaga is the most obvious entertainer, and she reminds you what this means as you listen to her with Bennett-- you want to keep listening.
Faith Hill is surprisingly a good (ranged) singer on "The Way You Look Tonight," but is bland overall; it's the Christina Aguiliera problem-- great, nearly-athletic voice, great range-- with nothing to say.
You know-- the polar opposite of someone like Billie Holiday, Paolo Conte, Leonard Cohen, Gil Scott-Heron or Tom Waits.
Especially when considering that there is a truly great Johnny Griffin version of that tune on A Blowin' Session, which also features John Coltrane and Hank Mobley. It's Epic company to try and match up to, and Hill utterly fails.
Willie Nelson, after Gaga and Winehouse, hits 3rd place-- he can barely sing (I love Willie, but don't you dare try and deny it), but is 20x more interesting than the others in his version of Ellington's (via Johnny Hodges) "On the Sunny Side of the Street."
Bennett himself is surprisingly (refreshingly) gracious, in that he essentially "backs up" everyone with whom he sings-- he gives them the spotlight. I already respected Tony Bennett, but this puts him in Ronnie James Dio "I am a gracious, well-mannered badass" territory.
Pre-release emails from Small Stone are always something to get excited about so I usually download them right away. I snagged this advance for Greenleaf without checking the hype sheet and just started listening right away. First thing, I thought was "damn, this sounds a lot like Dozer!" I really loved their last album Beyond Colossal and played the hell out of it. After a few minutes, it was obvious that Greenleaf was somehow connected to Dozer. After referring to the bio, I was not surprised to learn that several members of Dozer, Truckfighters and the guy that has engineered their albums. Can't go wrong with that configuration.
While Dozer builds off of Black Sabbath, Greenleaf seems to use Alice Cooper as a base (mainly Love It To Death and Killer). This is good news for me since I LOVE Alice Cooper. The production is pretty dry with lots of room for all the instruments, very reminiscent of Love It To Death. Opening song "Jack Staff" even has some "Sun Arise" style muted string scraping. We're off to a good start! My all-time favorite Swedish band Union Carbide Productions were also huge Alice Cooper fans, as well as The Stooges, MC5, Mothers of Invention and Captain Beefheart. Dozer and Greenleaf continue in that tradition but veer more towards the heavier side of classic rock with a lot of Black Sabbath, 70's Judas Priest, early Grand Funk Railroad and Deep Purple. Probably The Doors, too. Can't go wrong with those influences filtered through potent beer and long months of darkness.
Fast and hard songs like "Lilith" sit along trippy workouts like "Tree Of Life" but most of the album is mid-tempo heavy rock. The guitars are very heavy but not overly distorted or tuned down, leaving lots of room for a nice big bass tone and booming drums. The vocals are cleanly sung with a bit of distortion to give them some bite. There's not a bad song on the album and the closing title track is an especially moody pounding jam with some excellent organ playing. Jon Lord and Craig Frost would be proud. The album is only available on iTunes right now but the physical CD will be coming out in June. Don't snooze on this one.
Having recently reviewed the latest super effort from UFO, it only seems fitting that I turn my Ripple gaze towards former-bandmate/crazy guitarist’s new album, Temple of Rock. After all, Michael and UFO will be forever linked on the strength of their early-mid ‘70’s output--some of the best rock of the time.
Now, Michael Schenker for me as a solo artist has always been a hit or miss proposition. Some albums positively cook, while others . . . well, . . . don’t. A friend once told me that buying a MSG record was “a lot of waiting around for the guitar solo.” And I get it. Without Mogg, Schenker’s songs were patchwork at best. The last Schenker album I’d picked up was the decidedly mediocre Be Aware of Scorpions with a hillbilly bearded and disheveled Schenker on the cover, looking daze and confused. Now, Schenker’s battles with his demons has been well-chronicled, as has his problems with alcoholism, and I’m not going to go into those, other than to say that Schenker’s peace of mind clearly has an impact on the quality of the album being produced.
So, having said that, it’s great to see Schenker, looking fit and trim on the cover of Temple of Rock—his muscles ripped, his flying V held aloft as if a sacrifice to the Gods. The inside photo that the cover was drawn from confirms this. Schenker looks healthy and strong. That’s a good sign.
Seeing the list of artists contributing to the album is another good sign. The main band consists of a “Who’s Who” of Schenker’s career with Pete Way on bass, Wayne Findlay on Keys and Herman “the German” on drums. UFO, MSG and Scorpions represented right off the bat. Way cool. I’m not going to guess about the politics that had Way performing on Temple of Rock, but not UFO’s Seven Deadly, I’m just going to enjoy this all-star band. Add to that, contributions from UFO-alum, Paul Raymond, Michael’s brother/Scorpion Rudolf Schenker, Former-Rainbow keyboardist Paul Airey, the bass of Neil Murray and some drum adds from Carmine Appice, Simon Philips, and Chris Slade and we have a who’s who of 70’s-80’s AOR rock. Tasty.
So, the big question is; how does it all sound? And the answer is a resounding “kick ass.” Man, at times Schenker sounds more brilliant than he has in decades. Songs like “End of an Era” find the mad axeman rejuvenated and brimming with passion. Just about as mean as I’d ever heard him play. The riff is nasty and carnivorous, ready to eat right through your cranium. Carmine Appice and Elliot Rubinson drive that song from the rear while Airey drops in some tasty Hammond B3 organ. But most important, the song is about Schenker and he doesn’t disappoint. Fills and riffs and screeches and solos fly from the German’s fingers like the good ol’ days. Positively testosterone raged and inspired. And as always, at this best, no one solos like Schenker. A mighty combination of flying speed and control of melody. Overall, the song is fast and furious.
“Fallen Angel” also has a beefy Schenker riff played with flair and style all leading up to “that” guitar solo. “How Long” also tears right out of the starting gate, charging along on the back of Schenker’s guitar. Then, in a really cool moment of inspiration, “How Long” gets a reprise at the end of the album in a monstrously extended jam version called “How Long” (3 Generations Guitar Battle Version)” And the song is just that. Bring in Michael Amott and the legendary Leslie West, let them loose with Schenker in a call-and-response assault and we got a guitar freak out to make fanboys drool. If you’re like me, you’ll be listening to each frame, trying to identify each guitarists contribution. Note by note.
“Hanging On” is another standout track with its slow build over Schenker’s stuttering riff. We got the main band here with Raymond and Rudolf joining in. And it all works. The song propels itself with a meaty bite and some killer guitar work. This song also features the best performance of producer/songwriter and vocalist Michael Voss, with his thin, raspy voice working perfectly with Schenker’s guitar.
But this also brings us to the major weakness of the album. Voss may have done a helluva job producing the album, and for the most part, his songwriting contributions are solid (there are some blasé filler songs here) but to my ears, he’s just not the right vocalist for this album. Not that there’s anything wrong with his singing. Hell, he sings better than I could. I’m just not a fan. There’s something generic in his tone, a distinct lack of distinction. On some other album, that may not be such a downside. But with Schenker playing so inspired, Voss’s vocals stand out for me as not living up to the promise.
Never is this made more clear than on “Before the Devil Knows You’re Dead,” where Doogie White steps up to the microphone. Holy crap! I didn’t know I was a Doogie White fan, but damn, does he blow it apart here. Now we got it going. A strong powerful voice, channeling the best of Dio on this track. And that to some killer keyboard fills and another inspired Schenker run and we get a glimpse what the whole album could’ve sounded like. Man, if only White had sung the whole thing. Later, when Robin McAuley rejoins his old partner on “Lover’s Sinfony” we get that same sort of feeling. Not as strong as White (and the song’s not nearly as good as “Before the Devil Knows You’re Dead) McAuley nonetheless brings more of a voice to the song and helps it to soar. If either singer had taken the lead, this may rank as one of the best Schenker albums ever. As it is, it’s still a damn good album, just not quite to it’s potential.
Still, it’s great to have Schenker back. May the mad German axeman stay healthy and continue to reign over his Temple of Rock.
Wave riders, you rock blues aficionados may know The Ben Rice Band if only for their bridesmaid finishes in music competitions and blues awards. However, there is no question about the Band’s twelve track release, Pour Me Some Whiskey. It is an absolute winner.
I was introduced to Ben Rice and The Ben Rice Band by a Duck. The CD was sent to me by my daughter who attends the University of Oregon. Ben Rice hails from Newberg, Oregon and she saw the band perform in or about Eugene. She was sufficiently moved to send me the CD. Once I heard it and checked out video of the band’s performances, I understand why she was so moved to actually send the album to me.
Imagine Robert Randolph and Joe Bonamassa merged into one person playing with Lee Rocker and Slim Jim Phantom and you get an idea of the style of The Ben Rice Band. It is hard rocking blues driven music. Some critics have called it “Rockabilly, Swamp Rock, and Soul infused Country” although the Band’s publicity says, for Ben, it “is the kitchen sink of Blues mixed with his band mate’s influences of Punk, Hip-Hop, and Classic Rock.” All of those descriptions are apt summations of what you hear on Pour Me Some Whiskey. Ben Rice sings and plays dobro, lap steel and a cigar box guitar. He also occasionally plays bass. Tommy Rice plays a stand-up bass and Ryan Rustrum plays`drums. On the CD Paul Biondi is also given credit for providing horn tracks.
Ben is the songwriter and he writes a mean song The album has everything from a self-described “Johnny Cash meets Motörhead” hard rock - Wreck On You; a Stax/Volt Memphis soul - I Know You Love Me;. a fast swing jump blues - Chop You Up; a delta bluesman-inspired Mississippi Bayou music - Don’t Worry Mama; and every a rockin’ blues sound you will likely not find anywhere else.
As much as the Band’s music stands up by itself, I am told, and their video confirms, their live shows are a blast. Ben Rice’s slide and fret work is superb. Tommy Rice is a madman on stage, twirling, spinning, standing on, and occasionally setting fire to his bass. Ryan Rustrum sometimes comes out from behind the kit and drums on the strings of the bass while Tommy frets the notes.
My daughter is right. You should take a gander at The Ben Rice Band and Pour Me Some Whiskey.
I gotta be completely honest with you. I started listening to this release and thought it was just going to be a perfunctory listen, just so I could tell Racer that I had given it the once through but didn’t really care for it. But a funny thing happened. I got through the whole album, no small feat because it is a long release, and had to listen to it again. And then I listened to it again the next night. Before you know it, I’m writing this review. So I guess you could say that I dig this release.
Beyond The Bridge is a new project from Peter Degenfeld and Christopher Tarnow. Unless you’re really into European metal those names probably don’t mean anything to you, but trust me, these guys know what they are doing. They write some really interesting and infectious songs, stuff you will be humming to yourself and find bouncing around in your head for days after you listen to this. This is progressive metal, and I would add that there is certainly a symphonic flair to it. And it’s a concept album, so when you put together the phrases “progressive metal concept album”, you might understand my first paragraph and my original apprehension over the album. But it works pretty well. To quote from the press release, the concept deals “with the polarity of human sensuousness and superhuman awareness”. The Old Man in the title is “a bon vivant who has lived through all the highs and lows of human sensations”. The Spirit is “the personification of all wisdom and awareness that is unachievable to mankind but that lacks the ability to feel”. They are voiced by a male and female singer respectively. I’m not sure what that all means, but the end result is some great music, and that’s all we care about, right dear reader?
There are a couple of absolutely beautiful numbers on this album. “World Of Wonders” has a great melody and lyrics, and is of the aforementioned tracks that will stick with you. The other purty track is “Where The Earth And Sky Meet”. Both of these are great ballads and great examples of songcraft. I really enjoyed them.
A couple other tracks that really stood out for me are “The Triumph of Irreality” and “Doorway To Salvation”. Again, extremely well written music that really does make you feel, make you think, and does all of the things that music should do.
In all, the album is just very professional and well done. Being in the progressive genre, you get your fair share of the “wheedly deedly” moments when the guitar player or keyboard player just can’t fight the urge to spray a barrage of notes out into the ether, but those moments do not dominate and most of the playing is restrained, especially for this genre. For me this would be the perfect album to have in the middle of your CD changer on a road trip, mixed in with some heavier stuff, just to break things up. You can just drive and just feel the music, and later on in your hotel room you’ll be humming something from this album, I guarantee it. Unless you’re gonna do some hookers and blow that night.
There may not be many people around who remember Peter Accident and the Duck Revolution, but I do. Most importantly, I remember the spiky-haired, freakazoid guitarist, sliding across the stage on his knees at the High School Talent Show, shredding away on his Telecaster to some homemade punk song far in excess of the limited talents of the band around him.
That was Chuck Prophet. And even then, I could tell.
Walking through the halls of high school, it was apparent that Chuck wouldn’t be long for our small town. I don’t know if it was the Los Angeles vibe of his birthplace that just didn’t fit in with the small, semi-rural town in Northern California, or if it was something else. Some unexplained longing that seemed to permeate through his skin. His way of walking one step to the side of everybody else.
I wouldn’t say that Chuck and I hung in High School, but we were always right with each other. We shared that common acknowledgement of being outsiders in a place that didn’t really like outsiders. And we were-- two misfit, semi-loners who found their refuge, their escape. . . nay . . .their reason for existence, in music. For Chuck it was the burgeoning punk scenes of LA and San Francisco that fueled his passion. For me, it was the NWOBHM. But the specifics of the music didn’t matter. Punk or metal. When we passed each other in the hallways, we gave that knowing nod of outsider acknowledgment. We were always right with each other.
Peter Accident and Duck Revolution wasn’t destined to be long for this world, but it was just the first stop on Chuck’s lifelong musical journey. In 1982, I went to see REM at the Keystone in Berkeley on the Murmur tour, and there was my old classmate, Chuck, opening the show. Don’t remember what he played, or even if he was any good, I was just psyched to see my friend on stage, still tearing it up with the knee-sliding abandon as he did with the Ducks. Chuck saw me and invited me backstage where we hung and talked and I had the opportunity to be completely ignored by Michael Stipe (not in an offensive kind a way. He was in his hide-behind-my-long-bangs shy days).
And even then, I could tell.
Living in Los Angeles after High School, I gained some miniscule measure of notoriety as a DJ at the local punk station KSPC FM, where Chuck and I crossed paths again. Not in person, but in the grooves of the records I was spinning. Chuck had taken up residence with the rootsy/Paisley Underground heroes, Green On Red, just in time for their classic, Gas Food Lodging, lending them that killer guitar work that brought the band world-wide acclaim. I was a big Green on Red fan even before Chuck joined, spinning them weekly on my radio show. Green on Red made it big in Europe, even as the band wilted down, ending up simply as a duo with Chuck and founder Dan Stuart. (If you’ve missed any of the Green on Red albums --even the first one before Chuck joined-- go check em. Great stuff.)
And even then, I could tell. More waited ahead.
The end of Green on Red, didn’t spell the end of Chuck’s music. From his solo debut, Brother Aldo in 1990 through to his current release, the San Francisco-themed album, Temple Beautiful, Chuck has crafted a solo career that has made him a hugely respected purveyor of fine Americana. Blending his off-country roots with some raw, distorto-blues, and a Tom Petty-ish talk/speak/singing voice, overseas Chuck is seen as an American treasure. A roots icon on the order of John Hiatt, Ry Cooder, Tom Waits, or Ryan Adams. I’ve always thought it was strange that Europeans appreciate Americana roots music more than Americans do, but there it is. In Europe, Chuck is definitely appreciated.
Now, so far, this hasn’t been much of a record review, and in truth, at this point I could plug in any one of the titles of Chuck’s 12 albums. They’re all consistently good, and pretty much universally praised. But for now, The Hurting Business, released in 2000is the one moving my mojo. Perhaps it’s the blending of dirty, raunchy blues, like the gritty “Shore Patrol,” that doesn’t shy away from a little turntable scratching, or the downtempo, near-trip hop beats-under-the-roots-vibe of the ironically melancholic “I Couldn’t Be Happier.” “Rise,” is a masterpiece of bluesy mood, distant menacing western atmosphere, with some effect-laden guitar. The combination of the downtrodden, but steady beat, and Chuck’s near-whispered vocal is so sultry it’s like sex captured on vinyl. Title track, “The Hurting Business,” crashes into the garage with a swirling farfisa organ and some crunchy guitar chords, as the whole things swings and sways with a mutated-blues-drawn surf-vibe.
“Apology” is a straight up roots ballad that speaks to the universal truth-- that of being wronged and wronging others. Consider this Chuck’s “Everybody Hurts,” that blends right into the turntablistic-punky blues of “Diamond Jim,” complete with Tom Waits-esque coffee can percussion. And don’t forget “It Won’t be Long,” a tenderly-aching ballad of the highest Tom Petty order.
And in the end, that’s the key. Chuck has such a deep wealth of songwriting talent that he can dig down and twist his soul to bring out whatever moves him. With The Hurting Business, it’s Chuck’s willingness to experiment with the form of the roots, bringing in that eccentric blend of hip hop/trip hop beats, blues, and grind that makes the album work. It’s never boring, always unpredictable, and a listen that never fails to satisfy.
Having collaborated with Warren Zevon, Lucinda Williams, Soloman Burke, Cake, The Silos, Alejandro Escovedo, Jackpot, and having had his songs covered by the likes of Boz Scaggs, Gordon Lightfoot and Kelly Willis amongst others, the world is starting to see that which those of us who'd witnessed the chaos of Peter Accident and the Duck Revolution always knew. And Europe touts.
Oh Prog Metal!... how I love thee! Let me count the ways. With all your crazy complex time signatures, dark brooding chord progressions, unexpected change ups, dramatic guttural vocal gymnastics and complex melodies. Not to mention the demanding , exceptional musicianship to support that astounding landscape.
The more complex, the more brooding, the more intertwined, the more exploratory - the better.
And so, New Jersey natives DARK EMPIRE leap from the battlement brandishing downtuned weapons with their full frontal sonic assault in their third release, “From Refuge to Ruin”. But why beat around the medieval bush Gollum? HOLEE CRAP can these bad ass muthaphuckahs throw down!! And write stupendous layered compositions to boot! Just like the summer midway carnies holler, “DING!! We have a winnah!”
Right from the get go (and the lion’s mouth), the DARK EMPIRE lads get busy “fusing elements of extreme and classic metal, 70’s prog rock with vibrant and meaningful lyrics”. At the risk of sounding like a LARP clutching a decanter, they summon forth a splendiferous amalgam of unique, as yet uncharted musical soundscapes cultured in a raw, aggressive framework. In layman’s terms, this shit is freakin’ EPIC!!
Taking over the vocal reigns is the powerful and versatile new recruit Brian Larkin. For the first time out, this gifted barker has made an astonishing impact with his range, storytelling and tonality. Keyman songwriting genius and lead guitarist Matt Moliti is a one man wrecking ball. His relentless attack shows no quarter. Each and every track is a staggering testimony to the fine balance of intricate note placement and arrangement delivered with devastating, bunker busting, heat seeking riffology. This dude knocks it out of the friggin’ park and then some! Interestingly (to quote the lion again), he also “lends a chilling death vocal counterpoint to Larkin’s leather-throated melodic lines.” Underscoring Moliti’s commanding, elaborate guitar work and Larkin’s arresting vocals is the prolific, complex thunder and deep rhythmic resonance of bassist Randy Knecht and the “Dave Lombardo-meets-Gavin Harrison” skin scorching drumming of session player Matt Graff. These two dudes are off the hook!
The perfectly orchestrated combination of all of the above is enough to make you blow your proverbial load. Kudos to Producer Jeremy Krull for doing a superb job on the pristine and powerful production, recording and mix. The band “injects fresh new influences” into their follow up to 2008’s more Thrash oriented “Humanity Dethroned”. Like their hero pioneering predecessors Genesis and King Crimson, “DARK EMPIRE inventively utilize vintage Mellotron and Hammond Organ samples throughout the new album, as well as delicate 12-string acoustic interludes and haunting, atmospheric melodies”. Yup, couldn’t agree more. But as their bio reads “this doesn’t undermine the push the band has also made in the heavier end of the dynamic spectrum, now utilizing seven string guitars, crushing doom metal entities and blistering death metal inspired riffs. These new elements serve to compliment, not overshadow the band’s thrashy progressive metal roots. It’s indicative of the dark and doomy broadened range of styles found throughout”. What he said.
Let’s poke into their auditory arsenal, shall we?
A PLAGUE IN THE THRONE ROOM comes as familiar territory to existing fans with a thrash percussive line feel to it, like much of their previous work. But the injection of fresh directions quickly begins to take hold when Larkin’s leather throated, guttural vocals are suddenly and surprisingly backed by Moliti’s death metal growls as an uncommon prog undercurrent. And just when you thought cookie monster was all tied up on the mic, he tears your earholes a new one with a SMOKIN’ solo midway through! Time and time again the boys flawlessly demonstrate uber tight musicianship. Crazy tight really – especially Moliti’s signature stop pick riffing. Not to be outdone by himself (is that even possible?) he and bass invader Knecht come roaring back with a bone rattling chug-a-lug carry through riff. This ain’t Riffology 101 folks. This is a post-graduate Master class. And like a great prog metal band after my own heart, they introduce a gorgeous, ominous atmospheric background Mellotron wash towards the finish. Familiar, but still very much welcome.
DREAMING IN VENGEANCE – KA-CHING!!... smokin’ tune! This song’s right in my prog metal wheelhouse. Downtuned right out of the gate with tasty middle eastern influenced instrumentation and chording. Free range fret runs a plenty on this one powered by a killer, singular, turbo charged lead off riff. This puppy boasts a couple of intriguing variances on the traditional death metal growler vox as well, quickly pursued by soaring vocals and merciless, pounding guitar runs. Tight, tight delivery supercharged with complex rhythms and sa-weet post glistens. Gorgeous guitar flourishes abound and once again (not surprisingly) Mr. Moliti knocks another scorching solo out of Yankee stadium. This kick ass little ditty’s a slice of fret shreddin’ heaven with some serious bad ass chord progressions. And fitting piano lines hang hauntingly in the distance conjuring up looming soundscapes.
THE CRIMSON PORTRAIT – the lone guitar intro eerily similar to Metallica’s “Nothing Else Matters” greets your earholes off the top, but there’s no coffee served on this proverbial porch. These bad ass muthas launch straight into another full, brooding keyboard washscape (thanks for reading the memo!) backed by a full onslaught of tight, well balanced instrumentation. A clarion of clear, balls out vocals refreshingly dominates this time around, propelled by bold, fiery, chugging riffs and a double bass kick that just won’t quit. In a surprising production manoeuver, the integral cookie monster vocal venom now underpins Larkin’s front and center vocal presence, creating an interesting textured layer aka. Alexisonfire. I have to say the chorus in this tune is just flat out gorgeous!... beautifully constructed - wow (a personal fave) followed again by yet another mind bending, face melting, fret shredding solo.
DARK SEEDS OF DEPRAVITY unveils itself with a meek, classical string intro that powers right into a full on speed metal type framework with a one two punch of supreme masterful riffaciousness. Larkin shines on this one with multiple voice textures and range, trading off in a steel cage death match with Moliti’s incessant growls. This sonic onslaught suddenly bursts into a stunning, bleak, ethereal keyboard driven soundscape backed by a more plodding beat. Then, just when you think the lads had prematurely abandoned the genius that is this song, they come roaring back with another deadly riff. Moliti not only struts his technical and creative stuff here, but captures some awesome tones as well, as evidenced by more mysterious, exotic eastern influences in the short but impactful solo.
FROM REFUGE TO RUIN – the title track offers up a sentimental Genesis “Carpet Crawlers” inspired intro. that pleasantly resurfaces at different times throughout the song. But in true DARK EMPIRE fashion, this balladish opening quickly and decisively moves into heavier territory. In keeping with the intro., the overall song is a much more open (albeit heavy) landscape with a breathtaking mix of instrumentation. Thought provoking lyrics also run rampant - “Though it’s treacherous but we carry on through perilous wastelands and hope to find our way home” and “Are we left for dead? Are we space between the stars? Are we standing still? I can’t find it in my heart. Will you persevere?”. This orchestral gem then slides effortlessly into heaviosity with distant discordant strings and jaw dropping drum fills. Wait! What’s that?!... a flute you say? Yup… and guess what? It works. Like any great song that’s ever incorporated the delicate instrument, it’s paramount to pick not just the right moments, but the most fitting ones. Jeremy Krull nails it. Hence the “other side” expansive, sky’s-the-limit beauty of Prog Metal. But not to digress. Never tiring, the boys plow headfirst right back into uber dissonant, riff mad heaviness and finish with a classically inspired anthemic extro. that would make Yngwie Malmsteen proud.
LEST YE BE JUDGED ups the speed metal irons again with some signature off-the-hook Moliti noodling dancing over top. Again Krull has layered the simultaneous multi-textured soaring vs. growl vocals to great effect. Red hot buzz saw guitar tones abound in this number driven by galloping rhythms, haunting chord choices and killer percussive work from Mr. Graff.
WHAT MEN CALL HATRED bursts out of the gate with a blitzkrieg BLS/Zakk Wylde inspired fret line. Then it suddenly and purposefully switches gears with the vocals and a verse line similar to Dream Theater. It’s all good! Well, almost. Not sure the cookie monster vox are really necessary here. They distract from the awesome melody and seem like overkill. Not to be detoured, the boys throw up a sonic slam dunk with superior down tuned guitar tones, a couple of monster solos and some nice distant brooding reprieves.
BLACK HEART’S DEMISE begins with some sweet, open ended lightly reverbed progressions reminiscent of the beginning of I Mother Earth’s iconic “One More Astronaut”. In true DE fashion, this outer ring of the sonic palette morphs into familiar old school thrash beats. And unlike the last track, the death metal voicework flows in perfect unison. Always pushing the proverbial production envelope, Producer Krull now flips the earlier vocal paradigm on its head and moves some of the soaring, up front singing to the back seat as supporting harmonies. Once again, the band show their highly decorated chops with great chord structure and progression choices in the verse, super tight riffing punctuated by countless stops all impacted by razor sharp bridge riffs over a complex, thundering rhythmic foundation. And as if that wasn’t enough, there’s Mo-liti shredding runs all over top. Whew! *wipes sweat from brow*
THE CLEANSING FIRES is a 13 minute + brooding giant of pure epic, unabashed prog metal glory! Starting with a poignant acoustic opening and the clearest vocals to date, the band plummets right into a speed metal abyss hitting a concrete wall going 90. Can’t think now… too percussed… head pounding… exploding! Out of the impact I’m met with guttural pipes, chugging riffs from the depths of Hades and combative death metal utterances. Then to my sheer delight!... down down down goes the tuning. What ensues is an EPIC battle between not just one, but THREE unique vocal styles – death metal growls, guttural torn mid-range vox and high flying voice work! It comes off like a freakin’major league feature film soundtrack. Move over Lord of the Ringlettes!... DARK EMPIRE’s in town. And they ain’t takin’ any prisoners. The remainder of the track is flush with non-stop, killer riffs and some tidy FX highlights presented in perfect balance. These guys never overstay their welcome in any particular mood driven moment, constantly thrust forward by Graff’s precision, machine gun double kick and Moliti’s well executed trade off noodlefest solos.
At the end of the day, prog metal is about drama, values and substance real or imagined, and this song and album deliver it in spades! It digs deep creatively and technically and covers multiple sonic landscapes with bountiful, brooding atmospheric strains. Prog metal lovers take note! This new release is an absolute MUST HAVE in your collection. You can thank me later. Any fan of Dream Theater, Symphony X, Nevermore and Firewind amongst others will dig these guys. EPICNESS RATING? 9 behemoths out of 10.
