Peaceville Records, Rating: 8/10
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Autopsy were outsiders during the death metal boom of the late 1980s. While rising regional scenes in Florida, New York, and Sweden were beginning to define the young genre’s sound, Autopsy were out in the San Francisco Bay Area, surrounded by thrash and punk bands. Possessed, arguably the first death metal band, were among their only true peers locally. That isolation, paired with their commendable stubbornness, twisted their musical vocabulary into a thrillingly alien tongue. “Even going back to the first album, we didn’t do anything that maybe we were supposed to be doing, what would be the quote-unquote ‘norm’ of the time,” founding drummer and vocalist Chris Reifert said in an interview with Machine Music.
That first album, 1989’s unimpeachable Severed Survival, is one of the most original death metal albums of the decade. Autopsy absorbed the down-and-dirty energy of the Bay’s punk, hardcore, and thrash scenes, but even more notably, they embraced the slow, blues-based doom of bands like Trouble and Saint Vitus. There’s an undeniable groove to Autopsy’s music that’s unusual for death metal, and a lot of that is thanks to Reifert. He’s the rare extreme metal drummer who can bend the shape of a song to his will, and in guitarists Eric Cutler and Danny Coralles, he found willing partners who could ride his warped groove and add their own violent splashes of color. That’s still Autopsy’s core trio on their latest full-length, Morbidity Triumphant, and punkish, doomy death metal is still the core of their sound—but the addition of bassist Greg Wilkinson seems to have reinvigorated the band. Autopsy have gone through bass players at roughly the same clip Spinal Tap went through drummers. Wilkinson, a metal lifer who also plays in Brainoil and Deathgrave, is the eighth person to step into the role. Around the same time he joined Autopsy, he also teamed up with Reifert for a sludgy duo project called Static Abyss, and the obvious joy of their collaboration bleeds into Morbidity Triumphant. Though Wilkinson only contributed to one song as a writer (the excellent “Final Frost”), his assured playing anchors the entire album. In one of its most memorable moments, he plays the menacing, dirgelike opening riff of “Skin by Skin” unaccompanied, establishing a center of gravity for the song while Cutler and Coralles layer on wild paroxysms of shrieking, flailing guitar. With Reifert behind the kit, Autopsy has always been a rhythm-driven band. He’s death metal’s Bill Ward, and in Wilkinson, he’s found his Geezer Butler. Reifert is also one of death metal’s all-time great vocalists, and he’s in fine form on Morbidity Triumphant. Most death metal singers walk down one of a handful of paths—deep, dry gutturals; throat-shredding, higher-register barks; or a wetter, mid-diaphragm growl. Reifert’s approach is to careen across all three tracks on an out-of-control dirt bike. His isn’t the kind of vocal range that’s measurable in octaves, but as a death metal singer, he can go anywhere from the catacombs to the belfry. The way he jumps between styles only serves to emphasize the unhinged quality of his voice. Opener “Stab the Brain” depicts a stomach-turning “ritual abortion sacrifice,” and Reifert’s retching amps up the nausea factor tenfold. On “Tapestry of Scars,” Reifert embodies a sadomasochist with pathos (“When I cut, my soul’s revealed/Clean is ugly, only scars are real”). Eventually, he seems to lose himself in his own method acting to deliver the album’s most unsettling passage, jumping outside of the meter to ramble in an off-kilter cadence: “Fuckin’ stabbing/Stabbing/Ugh, stabbing!” It’s a trick he’s used before, and it always serves to make the chaos in his narrator’s head feel a little more viscerally real. It’s not the only time on Morbidity Triumphant the band returns to familiar ideas: crazed vocals, punk attitude, churning doom riffs, expressive bursts of lead guitar. Old-school death metal is a crowded scene these days, with albums by aging OGs and new blood alike coming at a faster clip than ever. Without having to reinvent themselves, Autopsy still stand apart from the pack and their brand of bloodletting still sounds fresh. |
Highway Sentinels- The Waiting Fire, Louder Than Loud Records, 2022. (7/10) Rating.
Highway Sentinels is a project created by Steven Rosen and Jimmy Waldo.
Steven, himself a legendary author, journalist and guitar enthusiast going back to the 1970s, be it traveling on a plane with Led Zeppelin or as a close friend of Eddie Van Halen, he has always been at the forefront of rock journalism and its surrounding culture.
Jimmy Waldo, founding member of Alcatrazz and New England, as well as having performed and recorded with the likes of Quiet Riot, Vinnie Vincent, Blackthorne, Pretty Maids, WASP, Skull, The Scream and many more, Jimmy has an astounding resume and a catalog of recorded music few can rival.
During the lockdowns of 2021 the two men set about recording a batch of songs that they had been working on for a number of years, some dating back even decades were brought into the mix.
The right vocalist had to be found as the guys wanted one consistent singer throughout to tie it all together, too many records these days are made up of singer 1 plus singer 2, 3, and 4…
And while there are a number of highly skilled guest guitarists on this record, the guys felt it important to also present this as a band-union so it not come across as yet another “chuck all these guys together and see what happens” type of project.
Each guest soloist was chosen for the song, rather than “name value” alone.
David Reece was this vocalist, his work with Accept, Bangalore Choir, Bonfire and as a solo artist speaks for itself… he was given complete freedom to write lyrics and vocal melodies.
A couple of songs come from the past, “Afterlife” and “We Won’t Be Forgotten” come from Jimmy’s past with Blackthorne, and “Victim Of The Night” a song David had recorded with Bangalore Choir which never found it’s way onto the classic debut of that band.
Mark Zonder on drums brings an enormous pedigree to the record, known worldwide as the longtime drummer of Fates Warning and Warlord as well as the newly launched A-Z band with Fates Warning vocalist Ray Alder it all made sense to have Mark Zonder be the featured drummer on this record.
On bass we have Donnie Van Stavern, from the much loved metal legends Riot, Donnie’s involvement means that no one has to worry about the bottom end falling out of a song, or having to have the guitarist re-cut the bass parts in a backroom somewhere… Donnie only plays one way… and that is go for the throat full on metal!
All together this is “Highway Sentinels” a record rooted very much in the traditions classic rock.The album is titled ‘The Waiting Fire’….. but now you will wait no longer.
David Reece – Vocals; Steven Rosen – Guitars; Jimmy Waldo – Keys; Donnie Van Stavern – Bass; Mark Zonder – Drums
Highway Sentinels is a project created by Steven Rosen and Jimmy Waldo.
Steven, himself a legendary author, journalist and guitar enthusiast going back to the 1970s, be it traveling on a plane with Led Zeppelin or as a close friend of Eddie Van Halen, he has always been at the forefront of rock journalism and its surrounding culture.
Jimmy Waldo, founding member of Alcatrazz and New England, as well as having performed and recorded with the likes of Quiet Riot, Vinnie Vincent, Blackthorne, Pretty Maids, WASP, Skull, The Scream and many more, Jimmy has an astounding resume and a catalog of recorded music few can rival.
During the lockdowns of 2021 the two men set about recording a batch of songs that they had been working on for a number of years, some dating back even decades were brought into the mix.
The right vocalist had to be found as the guys wanted one consistent singer throughout to tie it all together, too many records these days are made up of singer 1 plus singer 2, 3, and 4…
And while there are a number of highly skilled guest guitarists on this record, the guys felt it important to also present this as a band-union so it not come across as yet another “chuck all these guys together and see what happens” type of project.
Each guest soloist was chosen for the song, rather than “name value” alone.
David Reece was this vocalist, his work with Accept, Bangalore Choir, Bonfire and as a solo artist speaks for itself… he was given complete freedom to write lyrics and vocal melodies.
A couple of songs come from the past, “Afterlife” and “We Won’t Be Forgotten” come from Jimmy’s past with Blackthorne, and “Victim Of The Night” a song David had recorded with Bangalore Choir which never found it’s way onto the classic debut of that band.
Mark Zonder on drums brings an enormous pedigree to the record, known worldwide as the longtime drummer of Fates Warning and Warlord as well as the newly launched A-Z band with Fates Warning vocalist Ray Alder it all made sense to have Mark Zonder be the featured drummer on this record.
On bass we have Donnie Van Stavern, from the much loved metal legends Riot, Donnie’s involvement means that no one has to worry about the bottom end falling out of a song, or having to have the guitarist re-cut the bass parts in a backroom somewhere… Donnie only plays one way… and that is go for the throat full on metal!
All together this is “Highway Sentinels” a record rooted very much in the traditions classic rock.The album is titled ‘The Waiting Fire’….. but now you will wait no longer.
David Reece – Vocals; Steven Rosen – Guitars; Jimmy Waldo – Keys; Donnie Van Stavern – Bass; Mark Zonder – Drums
CLEANBREAK- Coming Home, Frontiers Music. (8/10) Rating.
Frontiers Music continues their partnership with James Durbin as he continues on his path to wave the flag for almighty heavy metal with his new band Cleanbreak! Mike Flyntz of Riot V, Perry Richardson of Stryper and Robert Sweet, also of Stryper round out the line-up.
After Durbin's well received debut album (under the moniker "Durbin"), "The Beast Awakens", James was eager to explore more opportunities to create heavy metal music within the label family. After some discussion about his inspirations and the musical path he wanted to pursue, Cleanbreak was born. Cleanbreak sees Durbin paired with guitarist Mike Flyntz of Riot V and the rhythm section of bassist Perry Richardson and drummer Robert Sweet, both of Stryper. Durbin had been doing deep dives into the label's past releases and was eager to work with Alessandro Del Vecchio on the Cleanbreak album. The two paired on songwriting and also had contributions from Nasson (Sinner's Blood, Chaos Magic), Marco Sivo (Poison Rose), Bill Hudson, Giancarlo Floridia, and Alan Moise.
Their goal was to craft an album that paid homage to a more traditional American heavy metal sound, ie. Riot, Fifth Angel, etc. and for that task Mike Flyntz was an ideal choice. But before Flyntz joined the fold, an ideal rhythm section was needed. Having worked with Stryper on multiple recent releases that are, coincidentally, the heaviest of the band's career, Robert Sweet and Perry Richardson seemed an ideal pairing to get involved with Cleanbreak. Both are criminally underrated players in the genre and it is a delight to see them shine in Cleanbreak, just like they do in Stryper.
While the concept of record labels putting together 'supergroups' has been around for decades, Frontiers Music Srl has, over the course of the past decade or so, really established a thoughtful, enthusiastic approach to the practice. Revolution Saints, The End Machine, Black Swan, Sweet & Lynch, Sunbomb, W.E.T., and Nordic Union are just a few examples of bands that have landed with great acclaim. The artists get to enjoy the opportunity to write and create music outside of the confines of their 'day job' and fans get the opportunity to hear even more new music from their favorite artists.
“Coming Home” Tracklisting:
Coming Home
Before The Fall
Dying Breed
We Are The Warriors
Dream Forever
Man Of Older Soul
Still Fighting
The Pain Of Goodbye
Cleanbreak
Fin My Way
No Other Heart
Total length: 0.45.22
LINE-UP:
James Durbin - Vocals
Mike Flyntz - Guitar
Perry Richardson - Bass
Robert Sweet - Drums
Guest:
Alessandro Del Vecchio - Keyboards, Background Vocals
Produced, mixed & mastered by: Alessandro Del Vecchio
Executive Producer / A&R: Serafino Perugino
Social Media:
https://www.facebook.com/CleanbreakMetal
https://www.instagram.com/cleanbreakofficial
Frontiers Music continues their partnership with James Durbin as he continues on his path to wave the flag for almighty heavy metal with his new band Cleanbreak! Mike Flyntz of Riot V, Perry Richardson of Stryper and Robert Sweet, also of Stryper round out the line-up.
After Durbin's well received debut album (under the moniker "Durbin"), "The Beast Awakens", James was eager to explore more opportunities to create heavy metal music within the label family. After some discussion about his inspirations and the musical path he wanted to pursue, Cleanbreak was born. Cleanbreak sees Durbin paired with guitarist Mike Flyntz of Riot V and the rhythm section of bassist Perry Richardson and drummer Robert Sweet, both of Stryper. Durbin had been doing deep dives into the label's past releases and was eager to work with Alessandro Del Vecchio on the Cleanbreak album. The two paired on songwriting and also had contributions from Nasson (Sinner's Blood, Chaos Magic), Marco Sivo (Poison Rose), Bill Hudson, Giancarlo Floridia, and Alan Moise.
Their goal was to craft an album that paid homage to a more traditional American heavy metal sound, ie. Riot, Fifth Angel, etc. and for that task Mike Flyntz was an ideal choice. But before Flyntz joined the fold, an ideal rhythm section was needed. Having worked with Stryper on multiple recent releases that are, coincidentally, the heaviest of the band's career, Robert Sweet and Perry Richardson seemed an ideal pairing to get involved with Cleanbreak. Both are criminally underrated players in the genre and it is a delight to see them shine in Cleanbreak, just like they do in Stryper.
While the concept of record labels putting together 'supergroups' has been around for decades, Frontiers Music Srl has, over the course of the past decade or so, really established a thoughtful, enthusiastic approach to the practice. Revolution Saints, The End Machine, Black Swan, Sweet & Lynch, Sunbomb, W.E.T., and Nordic Union are just a few examples of bands that have landed with great acclaim. The artists get to enjoy the opportunity to write and create music outside of the confines of their 'day job' and fans get the opportunity to hear even more new music from their favorite artists.
“Coming Home” Tracklisting:
Coming Home
Before The Fall
Dying Breed
We Are The Warriors
Dream Forever
Man Of Older Soul
Still Fighting
The Pain Of Goodbye
Cleanbreak
Fin My Way
No Other Heart
Total length: 0.45.22
LINE-UP:
James Durbin - Vocals
Mike Flyntz - Guitar
Perry Richardson - Bass
Robert Sweet - Drums
Guest:
Alessandro Del Vecchio - Keyboards, Background Vocals
Produced, mixed & mastered by: Alessandro Del Vecchio
Executive Producer / A&R: Serafino Perugino
Social Media:
https://www.facebook.com/CleanbreakMetal
https://www.instagram.com/cleanbreakofficial
Liv Kristine- Enter My Religion, Allegro Talent Media. (6/10) Rating.
In 2021 LIV KRISTINE's EP "Have Courage Dear Heart" was released and now we present the re-release "Enter My Religion" of the charismatic and nature-loving Norwegian. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings.
The album was remastered at ANDY CLASSEN's Stage One Studio. Not only the sound has been refined; also the cover and the photos, which were taken during a special photo session in the studio of KAI R JOACHIM from that time. The photo material shows a special depth and authenticity of the experienced artist, moreover, she hows herself in a very personal light - sometimes delicate and up close, or completely different - as a woman - absolutely self-confident in the whole large cosmos.
The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE's delicate voice. The opener "Over the Moon" (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. "Fake a Smile" is an airy ballad, with LIV KRISTINE's voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track "Enter my Religion" is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with "All the Time in the World". Straighter and more guitar-driven is "My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition "Coming Home".
'Streets of Philadelphia' - BRUCE SPRINGSTEEN's theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. "You Take Me Higher" is extraordinarily different and more dance-oriented, with a subtle drum'n'bass overlay.
With "Trapped in Your Labyrinth" and "Fake a Smile" LIV KRISTINE spoils her listeners with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.
"Enter My Religion" convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.
In 2021 LIV KRISTINE's EP "Have Courage Dear Heart" was released and now we present the re-release "Enter My Religion" of the charismatic and nature-loving Norwegian. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings.
The album was remastered at ANDY CLASSEN's Stage One Studio. Not only the sound has been refined; also the cover and the photos, which were taken during a special photo session in the studio of KAI R JOACHIM from that time. The photo material shows a special depth and authenticity of the experienced artist, moreover, she hows herself in a very personal light - sometimes delicate and up close, or completely different - as a woman - absolutely self-confident in the whole large cosmos.
The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE's delicate voice. The opener "Over the Moon" (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. "Fake a Smile" is an airy ballad, with LIV KRISTINE's voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track "Enter my Religion" is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with "All the Time in the World". Straighter and more guitar-driven is "My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition "Coming Home".
'Streets of Philadelphia' - BRUCE SPRINGSTEEN's theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. "You Take Me Higher" is extraordinarily different and more dance-oriented, with a subtle drum'n'bass overlay.
With "Trapped in Your Labyrinth" and "Fake a Smile" LIV KRISTINE spoils her listeners with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.
"Enter My Religion" convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.
Caravellus- Inter Mundos, Rockshots Records. (8/10) Rating.
CARAVELLUS brings the technical sophistication of progressive power metal while transcending the genre by writing amazing songs with masterful musicality and Brazilian cultural roots. Their arrangements and song structures are highly technical, challenging instrumental work with unbelievable melodic vocal harmonies. With elements of thundering metal, rock, jazz, classical, Brazilian folk rhythms, solos plus unstoppable guitar shredding and intense keyboards, CARAVELLUS emerges as a new bastion of Brazilian progressive metal.
CARAVELLUS was originally formed in 2002 by virtuous guitar player Glauber Oliveira as a studio project with session musicians. After the first demo recordings (2002 – 2004), the line-up was completed to include Daniel Felix on keyboards, Charles Erlan on drums, Paula Araújo on vocals, and Pedro Lee on bass guitar.
In 2007, CARAVELLUS released their debut album “LIGHTHOUSE AND SHED” via Erpland Records. After its release, the band parted ways with Pedro Lee, Charles Erlan, and Paula Araújo.
Beginning a new course with new members and new ideas, Raphael Dantas (vocals), Cleison Johann (bass), and Pedro Nunes (drums) were recruited towards the end of 2007 in December.
CARAVELLUS‘ second album “KNOWLEDGE MACHINE” was released in 2010 by French label Metalodic Records. The sophomore full-length provided CARAVELLUS with a series of tours and important concerts as a support for bands Angra and Shaman.
Fast forward to 2018, CARAVELLUS began the process of writing and producing “INTER MUNDOS”. Deepening their Brazilian roots (such as maracatu, ciranda, frevo, caboclinho, coco de roda) combined with heavy metal, progressive rock, and jazz, the band’s present lineup consisting of Glauber Oliveira (Guitar), and Daniel Felix (Keyboards), Leandro Caçoilo (Vocals), Emerson Dácio (Bass) and Rafael Ferreira (Drums) have created a conceptual, technical and dense album.
Band founder Glauber Oliveira adds:
“The new CARAVELLUS album is the result of the musical maturation and refinement of the artistic mission established by this band. Culturally… If Brazil were a river, the northeast region of Brazil would be its source of this river.”
“INTER MUNDOS” is a concept album telling a love story between characters Arteiro and Aurora. The story takes place in the northeast of Brazil, in an unnamed village… with no precise location. It’s a kind of mythical place where the plot brings up universal issues, such as class conflict, corruption, religious intolerance, life, and death. The entire plot is steeped in a metaphysical atmosphere, where reality and fantasy merge seamlessly.
The album also features guests from Angra, Shaman, Sons of Apollo, and more.
CARAVELLUS is:
Glauber Oliveira – Guitars
Leandro Caçoilo – Vocals
Daniel Felix – Keyboards
Rafael Ferreira – Drums
Emerson Dácio – Bass
Track Listing:
1 – Visagem (2:48)
2 – Knight Of The Sun (6:55)
3 – Panis Et Circenses (5:02)
4 – Triumvirate (6:02)
5 – While I’m Still Here (2:52)
6 – The Ambush (1:39)
7 – Memento Mori (7:42)
8 – Incantation (6:25)
9 – Elegia (2:29)
10 – Insurrection (8:07)
11 – Inter Mundos (6:55)
12 – Ouroboros (7:44)
13 – So Near, So Far (6:06)
14 – Vynno D’agua (2:42)
SPECIAL GUESTS:
Lead vocals on "9. Elegia" by Elba Ramalho
Keyboard solo on "8. Incantation" by Derek Sherinian (Sons of Apollo, ex-Dream Theater)
Basses on "2. Knight of The Sun" by Felipe Andreoli (Angra)
Lead guitars on "10. Insurrection" by Hugo Mariutti (Shaman)
All the drums by John Macaluso (Ark, Michael Romeo),
except on "13. So Near, So Far" and "3. Panis Et Circenses" by Rafael Ferreira
Lead vocals on "5. While I'm Still Here" by Daísa Munhoz (Soulspell, Vandroya)
Vocals on "6. The Ambush" and "7. Memento Mori" by Daniela Serafim (Invisible Control)
Rabeca on "1. Visagem", "Inter Mundos", "Vynno D'agua" by Cláudio Rabeca
Pífano on "8. Incantation", "12. Ouroboros" by Alexandre Rodrigues
CARAVELLUS brings the technical sophistication of progressive power metal while transcending the genre by writing amazing songs with masterful musicality and Brazilian cultural roots. Their arrangements and song structures are highly technical, challenging instrumental work with unbelievable melodic vocal harmonies. With elements of thundering metal, rock, jazz, classical, Brazilian folk rhythms, solos plus unstoppable guitar shredding and intense keyboards, CARAVELLUS emerges as a new bastion of Brazilian progressive metal.
CARAVELLUS was originally formed in 2002 by virtuous guitar player Glauber Oliveira as a studio project with session musicians. After the first demo recordings (2002 – 2004), the line-up was completed to include Daniel Felix on keyboards, Charles Erlan on drums, Paula Araújo on vocals, and Pedro Lee on bass guitar.
In 2007, CARAVELLUS released their debut album “LIGHTHOUSE AND SHED” via Erpland Records. After its release, the band parted ways with Pedro Lee, Charles Erlan, and Paula Araújo.
Beginning a new course with new members and new ideas, Raphael Dantas (vocals), Cleison Johann (bass), and Pedro Nunes (drums) were recruited towards the end of 2007 in December.
CARAVELLUS‘ second album “KNOWLEDGE MACHINE” was released in 2010 by French label Metalodic Records. The sophomore full-length provided CARAVELLUS with a series of tours and important concerts as a support for bands Angra and Shaman.
Fast forward to 2018, CARAVELLUS began the process of writing and producing “INTER MUNDOS”. Deepening their Brazilian roots (such as maracatu, ciranda, frevo, caboclinho, coco de roda) combined with heavy metal, progressive rock, and jazz, the band’s present lineup consisting of Glauber Oliveira (Guitar), and Daniel Felix (Keyboards), Leandro Caçoilo (Vocals), Emerson Dácio (Bass) and Rafael Ferreira (Drums) have created a conceptual, technical and dense album.
Band founder Glauber Oliveira adds:
“The new CARAVELLUS album is the result of the musical maturation and refinement of the artistic mission established by this band. Culturally… If Brazil were a river, the northeast region of Brazil would be its source of this river.”
“INTER MUNDOS” is a concept album telling a love story between characters Arteiro and Aurora. The story takes place in the northeast of Brazil, in an unnamed village… with no precise location. It’s a kind of mythical place where the plot brings up universal issues, such as class conflict, corruption, religious intolerance, life, and death. The entire plot is steeped in a metaphysical atmosphere, where reality and fantasy merge seamlessly.
The album also features guests from Angra, Shaman, Sons of Apollo, and more.
CARAVELLUS is:
Glauber Oliveira – Guitars
Leandro Caçoilo – Vocals
Daniel Felix – Keyboards
Rafael Ferreira – Drums
Emerson Dácio – Bass
Track Listing:
1 – Visagem (2:48)
2 – Knight Of The Sun (6:55)
3 – Panis Et Circenses (5:02)
4 – Triumvirate (6:02)
5 – While I’m Still Here (2:52)
6 – The Ambush (1:39)
7 – Memento Mori (7:42)
8 – Incantation (6:25)
9 – Elegia (2:29)
10 – Insurrection (8:07)
11 – Inter Mundos (6:55)
12 – Ouroboros (7:44)
13 – So Near, So Far (6:06)
14 – Vynno D’agua (2:42)
SPECIAL GUESTS:
Lead vocals on "9. Elegia" by Elba Ramalho
Keyboard solo on "8. Incantation" by Derek Sherinian (Sons of Apollo, ex-Dream Theater)
Basses on "2. Knight of The Sun" by Felipe Andreoli (Angra)
Lead guitars on "10. Insurrection" by Hugo Mariutti (Shaman)
All the drums by John Macaluso (Ark, Michael Romeo),
except on "13. So Near, So Far" and "3. Panis Et Circenses" by Rafael Ferreira
Lead vocals on "5. While I'm Still Here" by Daísa Munhoz (Soulspell, Vandroya)
Vocals on "6. The Ambush" and "7. Memento Mori" by Daniela Serafim (Invisible Control)
Rabeca on "1. Visagem", "Inter Mundos", "Vynno D'agua" by Cláudio Rabeca
Pífano on "8. Incantation", "12. Ouroboros" by Alexandre Rodrigues
SPHERIC UNIVERSE EXPERIENCE- Back Home, Uprising Records. (8/10) Rating.
Soaring riffs, stunning soli, pounding rhythms and vocals that just nails, supreme. This is the approach taken by French progressive metal stalwarts Spheric Universe Experience, as they get to their fifth studio album, titled “Back Home”. With a superb production from the talented producer Damien Rainaud, the Symphony X, Dream Theater and Queen-inspired music from the Code d’Azur quartet is a statement, carved in stone!
“Back home” does not only mean back home to Earth for the space-travellers in the story of the concept, but it also means back home for the band, as they have returned to their original roots: to compose and create true, progressive masterpieces, for every album they make. In space, no one hears you scream, but S.U.E. are definitely set to make themselves heard here on Earth with “Back Home”.
The early beginning of S.U.E. dates back to 1999, when guitarist Vince Benaim decided to create a progressive metal band. After a couple of years of composing own material, the band recorded their first official album demo in April 2003, entitled “The Burning Box”. The debut album, Mental Torments, mixed by Tommy Hansen (Jailhouse Studios, Denmark - a.o. Helloween, TNT, Pretty Maids), was released by Replica Records in Europe and Nightmare Records in the US. The band then spent 2005 writing new material plus playing various live shows, opening for acts such as Scorpions and Uli Jon Roth in France.
S.U.E. finalized recorded their second effort, “Anima”, with Charles Massabo during the summer of 2006 in Coxinhell Studio Studio and Kallaghan Studio in France, with the record being mastered at Jailhouse Studios in Denmark by Tommy Hansen. Replica Records released it again in France, but in the US and in the rest of the world the label was Sensory Records. 2007 also saw the band open the ProgPower Scandinavia festival in Copenhagen, Denmark. The response from this show was so great that the ProgPower USA festival decided to book the band for their edition, and in October 2008 the band hit the stage in Atlanta, Georgia.
With some successful gigs under their belt, including shows with UK proggers, Threshold, the band found time to write and record their third album, “Unreal”, which was released worldwide in May 2009 by Sensory Records. “Unreal” saw the band adding another notch to their already spectacular brand of technical and melodic metal, possessing a top-notch progressiveness.
In 2012 the album “The New Eve” was released, where S.U.E. altered the musical side of the band, wanting to dig deeper into a more modern sound with down-tuned guitars and a more aggressive approach to their prog-melodic style. An album that encompassed everything this style had to offer, yet at the same time, via the mix of the two, bringing a fresh new breath of originality to the genre. In 2017 the band released the live EP “Live In London 2016” via Nightmare Records, mastered by Jacob Hansen.
Having toured extensively over the last few years; from France to Denmark, from Holland to Poland and from Italy to the USA, S.U.E. has explored the boundaries of the musical life within the genre, and have now spent the last five years composing what is to be the absolute pinnacle of their career so far, namely the space-concept album “Back Home”.
Line-up:
Franck Garcia: vocals
Vince Benaim: guitar
John Drai: bass
Fred Colombo: keyboards
Romain Goulon: drums
Webshop:
https://bit.ly/sue-back
Digital:
https://orcd.co/sue-back
Web:
Official site
Facebook
Instagram
Spotify
Soaring riffs, stunning soli, pounding rhythms and vocals that just nails, supreme. This is the approach taken by French progressive metal stalwarts Spheric Universe Experience, as they get to their fifth studio album, titled “Back Home”. With a superb production from the talented producer Damien Rainaud, the Symphony X, Dream Theater and Queen-inspired music from the Code d’Azur quartet is a statement, carved in stone!
“Back home” does not only mean back home to Earth for the space-travellers in the story of the concept, but it also means back home for the band, as they have returned to their original roots: to compose and create true, progressive masterpieces, for every album they make. In space, no one hears you scream, but S.U.E. are definitely set to make themselves heard here on Earth with “Back Home”.
The early beginning of S.U.E. dates back to 1999, when guitarist Vince Benaim decided to create a progressive metal band. After a couple of years of composing own material, the band recorded their first official album demo in April 2003, entitled “The Burning Box”. The debut album, Mental Torments, mixed by Tommy Hansen (Jailhouse Studios, Denmark - a.o. Helloween, TNT, Pretty Maids), was released by Replica Records in Europe and Nightmare Records in the US. The band then spent 2005 writing new material plus playing various live shows, opening for acts such as Scorpions and Uli Jon Roth in France.
S.U.E. finalized recorded their second effort, “Anima”, with Charles Massabo during the summer of 2006 in Coxinhell Studio Studio and Kallaghan Studio in France, with the record being mastered at Jailhouse Studios in Denmark by Tommy Hansen. Replica Records released it again in France, but in the US and in the rest of the world the label was Sensory Records. 2007 also saw the band open the ProgPower Scandinavia festival in Copenhagen, Denmark. The response from this show was so great that the ProgPower USA festival decided to book the band for their edition, and in October 2008 the band hit the stage in Atlanta, Georgia.
With some successful gigs under their belt, including shows with UK proggers, Threshold, the band found time to write and record their third album, “Unreal”, which was released worldwide in May 2009 by Sensory Records. “Unreal” saw the band adding another notch to their already spectacular brand of technical and melodic metal, possessing a top-notch progressiveness.
In 2012 the album “The New Eve” was released, where S.U.E. altered the musical side of the band, wanting to dig deeper into a more modern sound with down-tuned guitars and a more aggressive approach to their prog-melodic style. An album that encompassed everything this style had to offer, yet at the same time, via the mix of the two, bringing a fresh new breath of originality to the genre. In 2017 the band released the live EP “Live In London 2016” via Nightmare Records, mastered by Jacob Hansen.
Having toured extensively over the last few years; from France to Denmark, from Holland to Poland and from Italy to the USA, S.U.E. has explored the boundaries of the musical life within the genre, and have now spent the last five years composing what is to be the absolute pinnacle of their career so far, namely the space-concept album “Back Home”.
Line-up:
Franck Garcia: vocals
Vince Benaim: guitar
John Drai: bass
Fred Colombo: keyboards
Romain Goulon: drums
Webshop:
https://bit.ly/sue-back
Digital:
https://orcd.co/sue-back
Web:
Official site
Spotify
LESSMANN/VOSS- Rock Is Our Religion, Atomic Fire Records. (6/10) Rating.
Vocalists/multi-instrumentalists Claus Lessmann and Michael Voss (ex-CASANOVA, ex-MAD MAX; producer of acts such as Michael Schenker): a combination that makes rock fans sit up immediately. Considering the two’s various collaborations - lately as members of PHANTOM V - spread over several decades, »Rock Is Our Religion« is way more than a debut. The album, which was recorded and produced by Voss at German Kidwood Studios Münstertal and Kidroom Studios Greven (only Vincent Golly’s drums were tracked by Mathi Brandstetter at Home Studios Hamburg, Germany), rather is a relevation, a bow down to genuine rock packed in 49 minutes of handmade music performed to the point. Lessmann and Voss complement each other over these 12 tracks as if they hadn’t done anything else before: from mysteriously starting opener 'Medicine Man' to lead single 'Smoke Without A Fire', the recording of 'Take My Heart And Run', circling back to one of their earlier songwriting cooperations in the '90s, and the duo’s interpretation of AMERICA’s 1975 hit song 'Sister Golden Hair' (feat. Kenny Lessmann on drums and Martin Huch on pedal steel guitar), this album impressively shows that it still doesn’t need many frills to create impactful heavy music nowadays. Amen!
Vocalists/multi-instrumentalists Claus Lessmann and Michael Voss (ex-CASANOVA, ex-MAD MAX; producer of acts such as Michael Schenker): a combination that makes rock fans sit up immediately. Considering the two’s various collaborations - lately as members of PHANTOM V - spread over several decades, »Rock Is Our Religion« is way more than a debut. The album, which was recorded and produced by Voss at German Kidwood Studios Münstertal and Kidroom Studios Greven (only Vincent Golly’s drums were tracked by Mathi Brandstetter at Home Studios Hamburg, Germany), rather is a relevation, a bow down to genuine rock packed in 49 minutes of handmade music performed to the point. Lessmann and Voss complement each other over these 12 tracks as if they hadn’t done anything else before: from mysteriously starting opener 'Medicine Man' to lead single 'Smoke Without A Fire', the recording of 'Take My Heart And Run', circling back to one of their earlier songwriting cooperations in the '90s, and the duo’s interpretation of AMERICA’s 1975 hit song 'Sister Golden Hair' (feat. Kenny Lessmann on drums and Martin Huch on pedal steel guitar), this album impressively shows that it still doesn’t need many frills to create impactful heavy music nowadays. Amen!
MIRAGE- The Sequel, From The Vaults. (9/10) Rating.
An intro and a creaking door welcome you into the MIRAGE universe. Full throttle from the off!
That’s no wonder. The Danish band's debut album “...And The Earth Shall Crumble” created quite a stir in 1985 in both the Danish and in the international metal scenes. And, to say that in a year when Accept’s “Metal Heart”, Megadeth’s “Killing Is My Business...”, Dio’s “Sacred Heart”, W.A.S.P.’s “The Last Command” and Iron Maiden’s most Faust live album “Live After Death” were released, it’s quite a bold statement.
Then again, Mirage was no ordinary band. Their melodic blend of heavy metal and hard rock turned their songs into absolute hard’n’heavy hymns, that aged really well, while “...And The Earth Shall Crumble” turned into a gem very sought-after in the following decades.
But now is 2022. After a hiatus of more than three decades, Mirage is finally back with their second album.
Wait a minute... “Second album”?
You heard it right. The record Mirage should have released some thirty-odd years ago is finally coming! Back in the late 80s the band had to quit because the English record company sent their royalties to their Danish record company, who pocketed the money and filed for bankruptcy! Despite interest from the Danish label Medley Records, the second album was never released, though all the songs were written.
So, everything on the upcoming Mirage album was written in the late eighties.
On the back of the first album (“...And The Earth Shall Crumble”, released in 85) it was written: “Watch out for the sequel”. Alright, here is the band again, back in the very recognisable Mirage style: Metal with melody and good lyrics!
“The Sequel” will be released in digital, CD and LP (black vinyl, limited to 300 units) by From the Vaults on July 15th, 2022.
Line-up:
Torben Deen - lead & backing vocals
Søren Ahm - guitars, keyboards, bass
S.A. Sørensen - drums
Stine Annesen - backing vocals
Webshop:
https://bit.ly/mir-seqLP
https://bit.ly/mir-seqCD
Web:
https://www.facebook.com/groups/35905148665/
An intro and a creaking door welcome you into the MIRAGE universe. Full throttle from the off!
That’s no wonder. The Danish band's debut album “...And The Earth Shall Crumble” created quite a stir in 1985 in both the Danish and in the international metal scenes. And, to say that in a year when Accept’s “Metal Heart”, Megadeth’s “Killing Is My Business...”, Dio’s “Sacred Heart”, W.A.S.P.’s “The Last Command” and Iron Maiden’s most Faust live album “Live After Death” were released, it’s quite a bold statement.
Then again, Mirage was no ordinary band. Their melodic blend of heavy metal and hard rock turned their songs into absolute hard’n’heavy hymns, that aged really well, while “...And The Earth Shall Crumble” turned into a gem very sought-after in the following decades.
But now is 2022. After a hiatus of more than three decades, Mirage is finally back with their second album.
Wait a minute... “Second album”?
You heard it right. The record Mirage should have released some thirty-odd years ago is finally coming! Back in the late 80s the band had to quit because the English record company sent their royalties to their Danish record company, who pocketed the money and filed for bankruptcy! Despite interest from the Danish label Medley Records, the second album was never released, though all the songs were written.
So, everything on the upcoming Mirage album was written in the late eighties.
On the back of the first album (“...And The Earth Shall Crumble”, released in 85) it was written: “Watch out for the sequel”. Alright, here is the band again, back in the very recognisable Mirage style: Metal with melody and good lyrics!
“The Sequel” will be released in digital, CD and LP (black vinyl, limited to 300 units) by From the Vaults on July 15th, 2022.
Line-up:
Torben Deen - lead & backing vocals
Søren Ahm - guitars, keyboards, bass
S.A. Sørensen - drums
Stine Annesen - backing vocals
Webshop:
https://bit.ly/mir-seqLP
https://bit.ly/mir-seqCD
Web:
https://www.facebook.com/groups/35905148665/
SINNER- Brotherhood, Atomic Fire Records. (8/10) Rating.
The heavy metal world has given birth to a fair number of legends. But none like Mat Sinner. Such conviction, life blood and self-sacrifice, such pure heavy metal spirit, and such dedication are qualities not usually found bundled within one single person.
Since 1982 he’s fronted the band named after him. In 1997, he single-handedly made power metal presentable again with PRIMAL FEAR while as musical director of the fabulously successful »Rock Meets Classic« trek, he regularly brought two different musical worlds and illustrious guests together on stage. Now he makes his triumphant return with SINNER. Three years since the release of »Santa Muerte« and an incredible 40 years after the band’s debut, »Brotherhood« is here - a massive album boasting a title that is as self-explanatory as the mission of its creator.
“This band is held together by a tight bond of friendship,” says Mat Sinner. “Without this friendship, SINNER simply would not exist.” Made up of Sinner, guitarist Tom Naumann -- who has been with SINNER for 35 years -- guitarist Alex Scholpp and, since 2018, drummer Markus Kullmann. With these gentlemen, Sinner knows he can achieve anything. And that’s what »Brotherhood«, SINNER’s 18th record, is all about. It is an album that carries the band’s close bond in its heart just as much as the brotherhood of the worldwide heavy metal family. Notes Sinner, “We belong together, and this album is meant to express that.”
Of course, one might point out that basically every SINNER album deserves to be called »Brotherhood«. But this one, Mat Sinner is sure, deserves the tag more than any other. Here is a record that documents struggles, symbolizes unity, celebrates the underdogs, and honors the metal subculture. The very DNA of SINNER, the deepest core, the innermost nucleus are brought to new bloom on »Brotherhood«. With hooks, riffs, and precise heaviness, Mat Sinner revitalizes virtues that he helped develop four decades earlier. And even though he can play this music in his sleep and there is metal for blood in his veins, the very force, immensity and razor-sharp riffs will make members of the innermost SINNER fan circle keel over.
The wild chase begins with opener 'Bulletproof,' an overture that takes as few prisoners as JUDAS PRIEST’s »Painkiller« once did. 'We Came To Rock' is a self-explanatory manifesto with skull-splitting riffing and a hefty punch, the title track already serves as one of heavy metal’s anthems of the year 2022 and 'Refuse To Surrender,' a heavy mid-tempo crusher, is like an outstretched middle finger to all the doubters who’ve already written SINNER off. The fire blazes miraculously brighter than ever. This also applies to the epic, gloom of 'The Last Generation,' a wake-up call for society.
Their goal is ever so clear: “Harder, bigger, louder,” as chief strategist Sinner puts it. “I was also going for an international sound.” That he got. And not from some producer. Instead, Mat Sinner not only wrote the album and laid the tracks for vocals and bass; alongside his comrade Naumann, he also produced the whole affair, lending »Brotherhood« a muscular and confident attitude. “For mixing and mastering, however, I went to my old buddy Jacob Hansen,” he grins. You know him from his arena-worthy work for VOLBEAT, of course.
Anyone who listens to »Brotherhood« will quickly realize one thing: SINNER probably never sounded so huge, self-confident, and hungry. Big words, we know. Of course, this is also thanks in part to the impressive guest list that the restless mastermind has gathered around this album like bards around a campfire. KAMELOT virtuoso Oliver Palotai provides the sublime orchestrations, PRIMAL FEAR buddy Ralf Scheepers is a guest singer alongside RAINBOW vocalist Ronnie Romero, Tom Englund of EVERGREY and death metal legend Dave Ingram of BENEDICTION. As with his band, the same applies when it comes to musical guests: it has to be a personal fit. “I only work with friends and longtime companions,” Sinner clarifies. For someone like him, of course, this is easy talk: if you’ve been around as long as Mat Sinner, and you’re such a damn fine guy to boot, you’ve got the talents of half the metal world on speed dial. »Brotherhood« profits from this. And bangs with timpani and trumpets right into the throne room.
The heavy metal world has given birth to a fair number of legends. But none like Mat Sinner. Such conviction, life blood and self-sacrifice, such pure heavy metal spirit, and such dedication are qualities not usually found bundled within one single person.
Since 1982 he’s fronted the band named after him. In 1997, he single-handedly made power metal presentable again with PRIMAL FEAR while as musical director of the fabulously successful »Rock Meets Classic« trek, he regularly brought two different musical worlds and illustrious guests together on stage. Now he makes his triumphant return with SINNER. Three years since the release of »Santa Muerte« and an incredible 40 years after the band’s debut, »Brotherhood« is here - a massive album boasting a title that is as self-explanatory as the mission of its creator.
“This band is held together by a tight bond of friendship,” says Mat Sinner. “Without this friendship, SINNER simply would not exist.” Made up of Sinner, guitarist Tom Naumann -- who has been with SINNER for 35 years -- guitarist Alex Scholpp and, since 2018, drummer Markus Kullmann. With these gentlemen, Sinner knows he can achieve anything. And that’s what »Brotherhood«, SINNER’s 18th record, is all about. It is an album that carries the band’s close bond in its heart just as much as the brotherhood of the worldwide heavy metal family. Notes Sinner, “We belong together, and this album is meant to express that.”
Of course, one might point out that basically every SINNER album deserves to be called »Brotherhood«. But this one, Mat Sinner is sure, deserves the tag more than any other. Here is a record that documents struggles, symbolizes unity, celebrates the underdogs, and honors the metal subculture. The very DNA of SINNER, the deepest core, the innermost nucleus are brought to new bloom on »Brotherhood«. With hooks, riffs, and precise heaviness, Mat Sinner revitalizes virtues that he helped develop four decades earlier. And even though he can play this music in his sleep and there is metal for blood in his veins, the very force, immensity and razor-sharp riffs will make members of the innermost SINNER fan circle keel over.
The wild chase begins with opener 'Bulletproof,' an overture that takes as few prisoners as JUDAS PRIEST’s »Painkiller« once did. 'We Came To Rock' is a self-explanatory manifesto with skull-splitting riffing and a hefty punch, the title track already serves as one of heavy metal’s anthems of the year 2022 and 'Refuse To Surrender,' a heavy mid-tempo crusher, is like an outstretched middle finger to all the doubters who’ve already written SINNER off. The fire blazes miraculously brighter than ever. This also applies to the epic, gloom of 'The Last Generation,' a wake-up call for society.
Their goal is ever so clear: “Harder, bigger, louder,” as chief strategist Sinner puts it. “I was also going for an international sound.” That he got. And not from some producer. Instead, Mat Sinner not only wrote the album and laid the tracks for vocals and bass; alongside his comrade Naumann, he also produced the whole affair, lending »Brotherhood« a muscular and confident attitude. “For mixing and mastering, however, I went to my old buddy Jacob Hansen,” he grins. You know him from his arena-worthy work for VOLBEAT, of course.
Anyone who listens to »Brotherhood« will quickly realize one thing: SINNER probably never sounded so huge, self-confident, and hungry. Big words, we know. Of course, this is also thanks in part to the impressive guest list that the restless mastermind has gathered around this album like bards around a campfire. KAMELOT virtuoso Oliver Palotai provides the sublime orchestrations, PRIMAL FEAR buddy Ralf Scheepers is a guest singer alongside RAINBOW vocalist Ronnie Romero, Tom Englund of EVERGREY and death metal legend Dave Ingram of BENEDICTION. As with his band, the same applies when it comes to musical guests: it has to be a personal fit. “I only work with friends and longtime companions,” Sinner clarifies. For someone like him, of course, this is easy talk: if you’ve been around as long as Mat Sinner, and you’re such a damn fine guy to boot, you’ve got the talents of half the metal world on speed dial. »Brotherhood« profits from this. And bangs with timpani and trumpets right into the throne room.
PRIMAL FEAR- (Deluxe Edition) Atomic Fire. (7/10) Rating.
The eagle has landed - and it’s made of steel! In 1997, one of the greatest metal fairytales of this country unfolded in Southern Germany. And like every good fairytale, it started with JUDAS PRIEST. Back then, former GAMMA RAY singer Ralf Scheepers was just a shout away from becoming Rob Halford’s successor in the band. He stomped a PRIEST cover band out of the ground for preparation, but had to abandon the field for Tim “Ripper” Owens in the end. Bad luck? No way. His cover band brought him in contact with Southern German metal greats Mat Sinner and Tom Naumann. They clicked instantly, not realizing what was really happening for it was fate that struck that day and laid the foundation for what would become the bulwark of German power metal for many years to come. Roll over, JUDAS PRIEST!
It’s all the more astounding given the fact that PRIMAL FEAR was supposed to be nothing more than a hobby band, pure and simple. An outlet to blow off steam, to celebrate the best music in the world, to hang out with friends and to have a few too many drinks. “It was nice to just make the music you wanted to for a change - and with the people you wanted to make it with,” says Ralf Scheepers of the band’s early days. But there was much more in the works beyond being a mere hobby: the first four songs the group composed came together so quickly, they realized they were onto something truly special. Recorded on March 22nd and 23rd, 1997 at House Of Music in Winterbach near Stuttgart, the legendary first (and only!) demo tape contains four long since iconic songs: 'Chainbreaker,' 'Nine Lives,' 'Dollars' and 'Thunderdome.'
The events in Southern Germany didn’t remain a secret for long: a Japanese label was immediately eager to sign PRIMAL FEAR. Markus Staiger, at that time still the boss of Nuclear Blast, didn’t care: he was set on winning PRIMAL FEAR for his label. Guitarist Tom Naumann is amazed by this to this very day: “At that time, nobody cared about heavy metal anymore. Everybody was into this nu-metal stuff and we were actually sure that there was no need for our music at all.” Staiger agreed to disagree. And even though we know today, of course, that he was right (as usual) and virtually single-handedly instigated the classic metal revival of the late ‘90s, it was definitely a bold move at that time.
Onwards to the day that changed German metal forever: on February 2nd, 1998, »Primal Fear« was released - the fabled debut album of a highly motivated band of veteran metal greats. The energy, the passion, the fervour, the conviction - the album remains a heavy metal manifesto to this day and is irrefutable proof of always following one’s heart. 'Chainbreaker,' 'Running In The Dust' and 'Tears Of Rage' combine the archetypal metal school of the ‘80s with a modern production force and unleashed playing grandezza. Tom Naumann’s guitar, Mat Sinner’s bass and Klaus Sperling’s massive drumming, all topped by that vocal tornado named Ralf Scheepers: PRIMAL FEAR would manage to bring good old heavy metal into the top 50 of the German album charts right off the bat. “We thought we might sell 2,000 records,” says a still incredulous Mat Sinner.
Over night, PRIMAL FEAR become the new favourite band of all those who didn’t quite understand JUDAS PRIEST after »Painkiller.« And they still are 25 years later: with their current smasher »Metal Commando« (2020), they even achieved their best ranking thus far with a glorious number 7 in the German album charts. High time to revive the mythical beginnings of this band! »Primal Fear [Deluxe Edition]« contains the trailblazing debut, supplemented by three bonus tracks: the ACCEPT cover 'Breaker' and two killer live recordings, 'Chainbreaker' and 'Running In The Dust.' There is no better way to celebrate the origin of this German heavy metal miracle!
--- --- ---
The album that contains guest appearances by Kai Hansen (guitars; HELLOWEEN, GAMMA RAY etc.) and Frank Rössler (additional keyboards) was originally recorded at House Of Music Studios, produced by founding member Mat Sinner, supported by Tom Naumann and Ralf Scheepers, and engineered by Achim Köhler. The iconic artwork was designed by Stephan Lohrmann who also cooperated with PRIMAL FEAR for their latest studio album and other parts of their back catalogue.
TRACK LISTING:
01. Primal Fear
02. Chainbreaker
03. Silver & Gold
04. Promised Land
05. Formula One
06. Dollars
07. Nine Lives
08. Tears Of Rage
09. Speedking (DEEP PURPLE Cover)
10. Battalions Of Hate
11. Running In The Dust
12. Thunderdome
Bonus Tracks
13. Breaker (ACCEPT Cover)
14. Chainbreaker (live)
15. Running In The Dust (live)
Line-up (1998):
Ralf Scheepers | vocals
Mat Sinner | bass, vocals
Tom Naumann | guitars
Klaus Sperling | drums
Guests:
Kai Hansen | guitars ('Formula One,' 'Dollars' & 'Speedking' only)
Frank Rössler | additional keyboards
www.primalfear.de
www.facebook.com/primalfearofficial | www.instagram.com/primalfearofficial
https://label.atomicfire-records.com/project/primal-fear/
Primal Fear 0:35
Chainbreaker 4:25
Silver & Gold 3:13
Promised Land 4:24
Formula One 4:57
Dollars 3:59
Nine Lives 3:08
Tears Of Rage 6:48
Speedking (DEEP PURPLE Cover) 4:01
Battalions Of Hate 3:50
Running In The Dust 4:39
Thunderdome 3:46
Breaker [ACCEPT Cover; Bonus Track] 3:31
Chainbreaker [live; Bonus Track] 4:40
Running In The Dust [live; Bonus Track] 4:03
The eagle has landed - and it’s made of steel! In 1997, one of the greatest metal fairytales of this country unfolded in Southern Germany. And like every good fairytale, it started with JUDAS PRIEST. Back then, former GAMMA RAY singer Ralf Scheepers was just a shout away from becoming Rob Halford’s successor in the band. He stomped a PRIEST cover band out of the ground for preparation, but had to abandon the field for Tim “Ripper” Owens in the end. Bad luck? No way. His cover band brought him in contact with Southern German metal greats Mat Sinner and Tom Naumann. They clicked instantly, not realizing what was really happening for it was fate that struck that day and laid the foundation for what would become the bulwark of German power metal for many years to come. Roll over, JUDAS PRIEST!
It’s all the more astounding given the fact that PRIMAL FEAR was supposed to be nothing more than a hobby band, pure and simple. An outlet to blow off steam, to celebrate the best music in the world, to hang out with friends and to have a few too many drinks. “It was nice to just make the music you wanted to for a change - and with the people you wanted to make it with,” says Ralf Scheepers of the band’s early days. But there was much more in the works beyond being a mere hobby: the first four songs the group composed came together so quickly, they realized they were onto something truly special. Recorded on March 22nd and 23rd, 1997 at House Of Music in Winterbach near Stuttgart, the legendary first (and only!) demo tape contains four long since iconic songs: 'Chainbreaker,' 'Nine Lives,' 'Dollars' and 'Thunderdome.'
The events in Southern Germany didn’t remain a secret for long: a Japanese label was immediately eager to sign PRIMAL FEAR. Markus Staiger, at that time still the boss of Nuclear Blast, didn’t care: he was set on winning PRIMAL FEAR for his label. Guitarist Tom Naumann is amazed by this to this very day: “At that time, nobody cared about heavy metal anymore. Everybody was into this nu-metal stuff and we were actually sure that there was no need for our music at all.” Staiger agreed to disagree. And even though we know today, of course, that he was right (as usual) and virtually single-handedly instigated the classic metal revival of the late ‘90s, it was definitely a bold move at that time.
Onwards to the day that changed German metal forever: on February 2nd, 1998, »Primal Fear« was released - the fabled debut album of a highly motivated band of veteran metal greats. The energy, the passion, the fervour, the conviction - the album remains a heavy metal manifesto to this day and is irrefutable proof of always following one’s heart. 'Chainbreaker,' 'Running In The Dust' and 'Tears Of Rage' combine the archetypal metal school of the ‘80s with a modern production force and unleashed playing grandezza. Tom Naumann’s guitar, Mat Sinner’s bass and Klaus Sperling’s massive drumming, all topped by that vocal tornado named Ralf Scheepers: PRIMAL FEAR would manage to bring good old heavy metal into the top 50 of the German album charts right off the bat. “We thought we might sell 2,000 records,” says a still incredulous Mat Sinner.
Over night, PRIMAL FEAR become the new favourite band of all those who didn’t quite understand JUDAS PRIEST after »Painkiller.« And they still are 25 years later: with their current smasher »Metal Commando« (2020), they even achieved their best ranking thus far with a glorious number 7 in the German album charts. High time to revive the mythical beginnings of this band! »Primal Fear [Deluxe Edition]« contains the trailblazing debut, supplemented by three bonus tracks: the ACCEPT cover 'Breaker' and two killer live recordings, 'Chainbreaker' and 'Running In The Dust.' There is no better way to celebrate the origin of this German heavy metal miracle!
--- --- ---
The album that contains guest appearances by Kai Hansen (guitars; HELLOWEEN, GAMMA RAY etc.) and Frank Rössler (additional keyboards) was originally recorded at House Of Music Studios, produced by founding member Mat Sinner, supported by Tom Naumann and Ralf Scheepers, and engineered by Achim Köhler. The iconic artwork was designed by Stephan Lohrmann who also cooperated with PRIMAL FEAR for their latest studio album and other parts of their back catalogue.
TRACK LISTING:
01. Primal Fear
02. Chainbreaker
03. Silver & Gold
04. Promised Land
05. Formula One
06. Dollars
07. Nine Lives
08. Tears Of Rage
09. Speedking (DEEP PURPLE Cover)
10. Battalions Of Hate
11. Running In The Dust
12. Thunderdome
Bonus Tracks
13. Breaker (ACCEPT Cover)
14. Chainbreaker (live)
15. Running In The Dust (live)
Line-up (1998):
Ralf Scheepers | vocals
Mat Sinner | bass, vocals
Tom Naumann | guitars
Klaus Sperling | drums
Guests:
Kai Hansen | guitars ('Formula One,' 'Dollars' & 'Speedking' only)
Frank Rössler | additional keyboards
www.primalfear.de
www.facebook.com/primalfearofficial | www.instagram.com/primalfearofficial
https://label.atomicfire-records.com/project/primal-fear/
Primal Fear 0:35
Chainbreaker 4:25
Silver & Gold 3:13
Promised Land 4:24
Formula One 4:57
Dollars 3:59
Nine Lives 3:08
Tears Of Rage 6:48
Speedking (DEEP PURPLE Cover) 4:01
Battalions Of Hate 3:50
Running In The Dust 4:39
Thunderdome 3:46
Breaker [ACCEPT Cover; Bonus Track] 3:31
Chainbreaker [live; Bonus Track] 4:40
Running In The Dust [live; Bonus Track] 4:03
BLACK EYE- Black Eye, Frontiers Music. (7/10) Rating.
The new metal project Black Eye features one of the most prominent vocalists in the genres of hard rock and heavy metal: David Readman. Readman is known for his work with Pink Cream 69 when he replaced Andi Deris who want to Helloween. But his vocal credits continue with some more well-known bands across various genres including Adagio, Voodoo Circle, Silent Force, Place Vendome, Luca Turilli's Rhapsody, and more recently Tank. He's also dropped to solo albums, the most recent being Medusa in 2021.
Now the singer returns with a new project for Frontiers Music. Black Eye features some fine European talent with Aldo Lonobile(Secret Sphere, Archon Angel, et al) on guitar (and producing), guitarist Luca Princiotta (DORO), drummer David Folchitto (Fleshgod Apocalypse, Stormlord), and bassist Andrea Arcangeli (DGM).What we find with Readman's Black Eye is a return to his metal influences, a twist between melodic heavy metal and European power metal. In this context, Readman sounds more aggressive in his vocal style, near raging, making him quite dominant in the arrangements. After this, between the rock rhythm and groove that rises, power metal speed and heaviness with blistering solos are found. More power metal tunes arrive with Break The Chains, Hurricane, When You're Gone, and Under Enemy's Fire. Alternatively, Readman and company moderate the tempo to more traditional steady heavy metal with No Turning Back and Darkest Night. Yet neither are without their faster moments: the latter song revs up for the guitar solo in the second half. The odd song in the middle (literally) of the heaviness is the power ballad Midnight Sunset where there some sweet subtlety between vocals and guitar at the midpoint. All in all, the Black Eye project reminds us of vocalist David Readman's assertive, strong, and melodic style when found in a melodic power metal context. Recommended.
The new metal project Black Eye features one of the most prominent vocalists in the genres of hard rock and heavy metal: David Readman. Readman is known for his work with Pink Cream 69 when he replaced Andi Deris who want to Helloween. But his vocal credits continue with some more well-known bands across various genres including Adagio, Voodoo Circle, Silent Force, Place Vendome, Luca Turilli's Rhapsody, and more recently Tank. He's also dropped to solo albums, the most recent being Medusa in 2021.
Now the singer returns with a new project for Frontiers Music. Black Eye features some fine European talent with Aldo Lonobile(Secret Sphere, Archon Angel, et al) on guitar (and producing), guitarist Luca Princiotta (DORO), drummer David Folchitto (Fleshgod Apocalypse, Stormlord), and bassist Andrea Arcangeli (DGM).What we find with Readman's Black Eye is a return to his metal influences, a twist between melodic heavy metal and European power metal. In this context, Readman sounds more aggressive in his vocal style, near raging, making him quite dominant in the arrangements. After this, between the rock rhythm and groove that rises, power metal speed and heaviness with blistering solos are found. More power metal tunes arrive with Break The Chains, Hurricane, When You're Gone, and Under Enemy's Fire. Alternatively, Readman and company moderate the tempo to more traditional steady heavy metal with No Turning Back and Darkest Night. Yet neither are without their faster moments: the latter song revs up for the guitar solo in the second half. The odd song in the middle (literally) of the heaviness is the power ballad Midnight Sunset where there some sweet subtlety between vocals and guitar at the midpoint. All in all, the Black Eye project reminds us of vocalist David Readman's assertive, strong, and melodic style when found in a melodic power metal context. Recommended.
EVERGREY- A Heartless Portrait (The Orphean Testament), Napalm Records. (9/10) Rating.
I have thought long and hard about how I should approach this review. I take pride in the fact that I give my reviews 100% honesty, and score albums accordingly. I would hope that everyone who reads my reviews will acknowledge this, because integrity is very important to me. Without integrity, we are nothing. Without honesty, we are nothing. And yet, my impartiality has been called into question when it comes to Evergrey. Most of it is lighthearted and tongue-in-cheek, but other readers have suggested that I am biased when it comes to my reviews for Evergrey, because I have given the band perfect 100% scores for their past few records. Well, you know what? Sod them. I rarely say things like this, but I feel that it is required on this occasion in order to get over to everyone the strength of my feeling on this matter.
Let me now explain in more measured terms why I feel so angry about these accusations. If you’ve read a number of my reviews over the past few years, you’ll know that I have had a number of personal issues that have affected me. I’m no different to many of you reading this in that respect. I stress that I am clearly not the only person to suffer personal problems, and many of you will have suffered far worse. This is not a ‘woe is me’ moment; it is merely important context.
Since I started writing music reviews over 17 years ago, I have lost my younger brother, I have had to face not having my children with me in my home 100% of the time due to a relationship break-up. I have suffered further heartbreak since, by losing my ‘forever’ person, something that has pushed me very close to the edge. But I am still here. Why? Because I have wonderful family, and I have some good friends, even if I do my best to push them away all the time. And then, there’s music. Music provides me with strength, comfort, and company when I am alone. We all have our favourite bands, and mine is Evergrey.
The Swedish band have been an integral part of my life for over two decades, providing the soundtrack to accompany many of my best and worst moments in life. I owe this band a debt bigger than they’ll ever know, because I always turn to their music when I’m at my worst and need to be reminded of the beauty in life, and when I need to be reminded of the strength of the human spirit. Many of Evergrey’s songs touch on matters so close to my heart, and they explore these subjects in a way that no other band does. The power, the melodies, the darkness, the light, the honesty; they touch me like no other band does, allowing me to tap deep into my own feelings in a truly cathartic manner.
So, naturally, when I am presented with new material by this band, I listen. I listen carefully, closely, and with an open mind and heart. Over their career, I’ve not loved everything blindly. There are songs that I like better than others, and there are albums that I like better than others. That’s to be entirely expected. The problem for me though, as a reviewer, is that Evergrey have been on one of the longest purple patches ever. Every one of their albums since the release of ‘Hymns For The Broken’ in 2014 has brought with it, in my opinion, a touch of magic. I can honestly say that there is not one single song that they have recorded since the release of that album that I have disliked. Not one. And when the subject matter has spoken so eloquently to me throughout this period, and accompanied various significant highs and lows in my life, it makes the experience all the more powerful.
And that’s why I’m angry. Because Evergrey NEVER let me down and given the enjoyment, strength and sheer joy their music provides, how could I possibly give them a score of less than 100%? It’s not because I have blinkers on, it isn’t because of a misplaced loyalty. It is because, as far as my subjective opinion is concerned, their music deserves it. Simple. Of course, you may disagree, but hey, music is subjective, and we’re all allowed to have different opinions. But don’t you dare tell me that I’m being biased, because if they were to release another ‘Monday Morning Apocalypse’ or their own equivalent of ‘St. Anger’, I’d call them out. But they haven’t, and with ‘The Heartless Portrait (The Orphean Testament)’, the thirteenth full-length album of their career, they’ve done it again and released another masterpiece.
I have thought long and hard about how I should approach this review. I take pride in the fact that I give my reviews 100% honesty, and score albums accordingly. I would hope that everyone who reads my reviews will acknowledge this, because integrity is very important to me. Without integrity, we are nothing. Without honesty, we are nothing. And yet, my impartiality has been called into question when it comes to Evergrey. Most of it is lighthearted and tongue-in-cheek, but other readers have suggested that I am biased when it comes to my reviews for Evergrey, because I have given the band perfect 100% scores for their past few records. Well, you know what? Sod them. I rarely say things like this, but I feel that it is required on this occasion in order to get over to everyone the strength of my feeling on this matter.
Let me now explain in more measured terms why I feel so angry about these accusations. If you’ve read a number of my reviews over the past few years, you’ll know that I have had a number of personal issues that have affected me. I’m no different to many of you reading this in that respect. I stress that I am clearly not the only person to suffer personal problems, and many of you will have suffered far worse. This is not a ‘woe is me’ moment; it is merely important context.
Since I started writing music reviews over 17 years ago, I have lost my younger brother, I have had to face not having my children with me in my home 100% of the time due to a relationship break-up. I have suffered further heartbreak since, by losing my ‘forever’ person, something that has pushed me very close to the edge. But I am still here. Why? Because I have wonderful family, and I have some good friends, even if I do my best to push them away all the time. And then, there’s music. Music provides me with strength, comfort, and company when I am alone. We all have our favourite bands, and mine is Evergrey.
The Swedish band have been an integral part of my life for over two decades, providing the soundtrack to accompany many of my best and worst moments in life. I owe this band a debt bigger than they’ll ever know, because I always turn to their music when I’m at my worst and need to be reminded of the beauty in life, and when I need to be reminded of the strength of the human spirit. Many of Evergrey’s songs touch on matters so close to my heart, and they explore these subjects in a way that no other band does. The power, the melodies, the darkness, the light, the honesty; they touch me like no other band does, allowing me to tap deep into my own feelings in a truly cathartic manner.
So, naturally, when I am presented with new material by this band, I listen. I listen carefully, closely, and with an open mind and heart. Over their career, I’ve not loved everything blindly. There are songs that I like better than others, and there are albums that I like better than others. That’s to be entirely expected. The problem for me though, as a reviewer, is that Evergrey have been on one of the longest purple patches ever. Every one of their albums since the release of ‘Hymns For The Broken’ in 2014 has brought with it, in my opinion, a touch of magic. I can honestly say that there is not one single song that they have recorded since the release of that album that I have disliked. Not one. And when the subject matter has spoken so eloquently to me throughout this period, and accompanied various significant highs and lows in my life, it makes the experience all the more powerful.
And that’s why I’m angry. Because Evergrey NEVER let me down and given the enjoyment, strength and sheer joy their music provides, how could I possibly give them a score of less than 100%? It’s not because I have blinkers on, it isn’t because of a misplaced loyalty. It is because, as far as my subjective opinion is concerned, their music deserves it. Simple. Of course, you may disagree, but hey, music is subjective, and we’re all allowed to have different opinions. But don’t you dare tell me that I’m being biased, because if they were to release another ‘Monday Morning Apocalypse’ or their own equivalent of ‘St. Anger’, I’d call them out. But they haven’t, and with ‘The Heartless Portrait (The Orphean Testament)’, the thirteenth full-length album of their career, they’ve done it again and released another masterpiece.
Michael Romeo – War Of The Worlds, Part 2 – Inside Out Records. (9/10) Rating.
There comes a time in every reviewer’s life when your integrity is tested. In 2018, I reviewed ‘War Of The Worlds – Part 1’, the first solo album by the Symphony X guitar maestro Michael Romeo for many years. And now, four years later, here I am presented with ‘War Of The Worlds – Part 2’, the companion album to Romeo’s last. It would be incredibly simple for me to take the vast majority of that review, cut and paste it here and claim it’s brand new and original work. That’s because to a greater or lesser extent, it’s more of the same, meaning that if you liked ‘Part 1’, you will almost certainly like ‘War Of The Worlds – Part 2’.
Based on the opening paragraph, you might be expecting a negative review of ‘Part 2’, but you’d be wrong. Very wrong. On a scale of wrongness (sic) you’d be at about eleven. That’s because this is a monster of a record, a beast that fills me with that rarest of emotions these days – joy. Here is an album filled with just about everything I like in my heavy metal, and I love listening to it. So what if it is more of the same? Who cares? ‘Part 1’ was great, so to be able to say the same about ‘Part 2’ is an unbridled delight. I mean, who buys a favourite chocolate bar, or meat pie in my case, and moans because it tastes just like the last one? That’s just silly. I’m all for progression, but when something isn’t broken, don’t try to fix it.
The biggest change this time around is in the vocal department. For ‘Part 2’, Dino Jelusick takes up the mantle, replacing Rick Castellano. He therefore joins Romeo, bassist John ‘JD’ DeServio and drummer John Macaluso, and he does a fantastic job here to put it mildly. His voice is powerful, melodious, and dramatic. There are occasions when he might even push the mighty ‘Sir’ Russell Allen such is his performance here, which fits the music perfectly.
As I mused in my review of ‘Part 1’, this record does contain echoes of Symphony X within it; some might argue that there’s more than an echo, and perhaps they’d be correct. But such a resemblance is hardly a shock when Romeo is in charge of the guitars, the keys, and the orchestrations, not to mention the bulk of the songwriting too. Rather than worry about this, just sit back, relax and let me explain why ‘War Of The Worlds, Part 2’ is so good.
I love the cinematic nature of ‘Part 2’ to begin with. The opening composition sees Romeo channelling his inner film-score composer skills to wonderful effect. This isn’t an unnecessary, throw-away intro piece, this has drama, gravitas and, with the embellishment of his guitar work alongside the orchestration, it’s a grandiose and inviting start to this record, something that’s later built upon via ‘Hunted’ and ‘Brave New World (Outro)’.
‘Divide And Conquer’ is the first ‘standard’ metal track, but there’s precious little standard about it. It thunders out of the speakers with heavy riffs and deft lead embellishments to get the blood pumping. The neo-classical style that Romeo favours is present, but it’s the enormous, anthemic chorus that is the most devastating aspect of this track. For all the clever instrumentation, of which there is much, and the further cinematic orchestration, when the voice of Jelusick soars over the melodic and immediate chorus, something in my heart awakens. The drumming is slick, the bass is commanding, and the lead solos touch warp speed at times; this is a cracking opening statement, proving that Romeo has some serious skills as a musician and as a guitarist.
There comes a time in every reviewer’s life when your integrity is tested. In 2018, I reviewed ‘War Of The Worlds – Part 1’, the first solo album by the Symphony X guitar maestro Michael Romeo for many years. And now, four years later, here I am presented with ‘War Of The Worlds – Part 2’, the companion album to Romeo’s last. It would be incredibly simple for me to take the vast majority of that review, cut and paste it here and claim it’s brand new and original work. That’s because to a greater or lesser extent, it’s more of the same, meaning that if you liked ‘Part 1’, you will almost certainly like ‘War Of The Worlds – Part 2’.
Based on the opening paragraph, you might be expecting a negative review of ‘Part 2’, but you’d be wrong. Very wrong. On a scale of wrongness (sic) you’d be at about eleven. That’s because this is a monster of a record, a beast that fills me with that rarest of emotions these days – joy. Here is an album filled with just about everything I like in my heavy metal, and I love listening to it. So what if it is more of the same? Who cares? ‘Part 1’ was great, so to be able to say the same about ‘Part 2’ is an unbridled delight. I mean, who buys a favourite chocolate bar, or meat pie in my case, and moans because it tastes just like the last one? That’s just silly. I’m all for progression, but when something isn’t broken, don’t try to fix it.
The biggest change this time around is in the vocal department. For ‘Part 2’, Dino Jelusick takes up the mantle, replacing Rick Castellano. He therefore joins Romeo, bassist John ‘JD’ DeServio and drummer John Macaluso, and he does a fantastic job here to put it mildly. His voice is powerful, melodious, and dramatic. There are occasions when he might even push the mighty ‘Sir’ Russell Allen such is his performance here, which fits the music perfectly.
As I mused in my review of ‘Part 1’, this record does contain echoes of Symphony X within it; some might argue that there’s more than an echo, and perhaps they’d be correct. But such a resemblance is hardly a shock when Romeo is in charge of the guitars, the keys, and the orchestrations, not to mention the bulk of the songwriting too. Rather than worry about this, just sit back, relax and let me explain why ‘War Of The Worlds, Part 2’ is so good.
I love the cinematic nature of ‘Part 2’ to begin with. The opening composition sees Romeo channelling his inner film-score composer skills to wonderful effect. This isn’t an unnecessary, throw-away intro piece, this has drama, gravitas and, with the embellishment of his guitar work alongside the orchestration, it’s a grandiose and inviting start to this record, something that’s later built upon via ‘Hunted’ and ‘Brave New World (Outro)’.
‘Divide And Conquer’ is the first ‘standard’ metal track, but there’s precious little standard about it. It thunders out of the speakers with heavy riffs and deft lead embellishments to get the blood pumping. The neo-classical style that Romeo favours is present, but it’s the enormous, anthemic chorus that is the most devastating aspect of this track. For all the clever instrumentation, of which there is much, and the further cinematic orchestration, when the voice of Jelusick soars over the melodic and immediate chorus, something in my heart awakens. The drumming is slick, the bass is commanding, and the lead solos touch warp speed at times; this is a cracking opening statement, proving that Romeo has some serious skills as a musician and as a guitarist.
CRAZY LIXX- Street Lethal, Frontiers Music. (9/10) Rating.
I fell in love with rock and roll when I was going through some stuff, violent bullying, at school because of my vision disability. Those who were my best friends became self aware at about age 11 and suddenly I, who had not changed a bit, was public enemy number one. I needed that positive message that wasn’t preachy and instead was a positive influence on me. I needed that rebellion to be the soundtrack of my life then just as I need it now. In that time, the early ’90s, I loved bands that were on the decline in popularity because of changes in society… Someone pulled the plug around 1993 as Crazy Lixx says in “Anthem For America.” But, those songs, the same ones I’ve listened to for 30 years, still speak to me and still are a large part of what I listen to daily. But, thanks in no small part to Sleaze Roxx, I have found new bands that have that same renegade spirit, rebellion, and that make the same melodic hard rock that sooths my soul. Without question, the band that hooked me into the Swedish movement of what some term the New Wave of Hair Metal was Crazy Lixx. Ever since the 2010 release of New Religion, I’ve been on board. And, 11 years later, the boys are back and deliver another masterpiece.Street Lethal, which resembles the logo of the classic Capcom video game Street Fighter… And by the way, why were there so many Street Fighter II versions? It got to be such a running joke that many wondered if Capcom was capable of counting to three. The series is well beyond six now so clearly they eventually did. But, I do ponder if Crazy Lixx will release multiple versions and formats of Street Lethal II: Turbo Edition, Tournament Edition, Championship Edition, and whatever else Capcom pulled out of their keysters back in those early ’90s. Anyway, back on point, Street Lethal is the 2021 release and it follows suit with what attracted me to this band in the first place — powerful lyrics, catchy guitars, and a genuine vibe. There is something very true about Crazy Lixx and it shines through on almost every record. None more than on Street Lethal.
The album opens with a very Japanese sounding kabuki music thing. It is called “Enter The Dojo.” An interesting start. Not sure I fully get it unless it plays to the Street Fighter theme? But, “Rise Above” is up next. This was the second single put out and it is a very catchy rock track. We have hit the ground running! “Anthem For America” is the perfect song. As a proud American, I must admit I was nervous when I saw this video pop up on YouTube. After all, Crazy Lixx is Swedish and I think over the past decade, hearing the rest of the world express their view on America and American politics has made me not want to hear any more opinions from nations with far more problems than ours. But, Crazy Lixx aren’t presenting a left or right view. They are accurately describing the status of the American pop culture machine, which has become a political entity.
“Somebody pulled the plug around 1993”, clearly talks about the hard nosed media push to stop the rock party by making a rock party a downer by Seattle scum suffering from manic depression. Some of us, myself included, never got over that media coup. And, as the song says, it has never been the same since. As was discussed in the comments on one of the Sleaze Roxx news posts, American pop music has become more about thought control than music. Think of hundreds of Hollywood actors at an award show congratulating themselves for a job not very well done singing along to a politically charged song about “hands up” based on a lie that has been proven to have never happened — thought control. Back on point, the song is a great anthem for America showing more American pride than msot American musicians have shown in 30 years… Maybe since 1993? Go figure.
Next up is “The Power” which has a Queen-like vibe. This inspirational anthem has a very “you can do it” vibe which seems to be the vibe of the album. Some of the lyrics are really on point. “All your life, you were told it can’t be done.” Boy, that landed. It’s a very good song with a very uplifting message. “No one remembers the one that quits the race.” Shame that is no longer true either as Simone Biles proved during the 2020 (2021) Summer Olympics. but, that’s a product of the 1993 unplugging as well — excuses for losers. “Reach Out” also got the video treatment from Frontiers. It’s a very catchy song but probably the most ’80s pop rock sounding of all the songs… That isn’t a criticism. It just is a reality. “Final Fury” is an instrumental. After the lengthy Japanese inspired intro, this instrumental sounds more Crazy Lixx-like. It feels like there could have been lyrics laid over the top or it was pieces of another song that could have been mixed to include lyrics. I don’t know. It falls a little flat after such a strong first series of fantastic tracks.
“Street Lethal” — the title track — is next. Aside from “Rise Above”, this might be the fastest tempo song on the album and really has a lot of that magic from their last effort, Forever Wild. “With the ring of the bell” kind of hits home given my ties to pro wrestling. Very cool. I would love to hear an Impact Wrestling, AEW, or WWE use a track like this as one of their pay-per-view themes. Sadly, all three have taken a turn towards garbage music. “Caught Between The Rock N’ Roll” has a “My Medicine” kind of vibe from New Religion. It’s very catchy, but maybe less of a slam dunk than some of the other tracks. “In The Middle of Nothing” is a mid-tempo rocker, probably the closest thing to a ballad. Not bad. Very catchy track. “One Fire – One Goal” might be the best written track on the album. Very ’80s rock sounding… Think Bryan Adams if he was a little more rocking. “Thief in The Night” is a solid track to end the album on. The fade at the end seems to be nearly half the song so they don’t go for much of a fast getaway here. But, it is catchy.
As a whole, the album sounds a lot like something that would fit between the New Religion and Riot Avenue albums of Crazy Lixx and less like the two most recent efforts. Their self-titled album in 2014 is my favorite of theirs but New Religion might be, without much argument, their most popular perhaps? There are a few times that the album sounds like that song in the Teen Titans Go! movie where Michael Bolton sings “Inspirational Song” as almost a parody of uplifting ’80s music. And, you know what? I’m perfectly OK with that. Of all the New Wave of Hair Metal bands, if that is even a phrase anybody but me uses, Crazy Lixx have captured the magic of the genre best. While others verge on punky roots and maybe live in that Skid Row Slave To The Grind space (said with Crashdïet in mind), it is Crazy Lixx who capture the good vibes, uplifting, yet wild and crazy feeling of the genre we all love.
The fact that a large audience that loves this kind of music is available on Sirius XM‘s Hair Nation but never will hear any of these songs on this station because it wasn’t recorded between 1981 and 1993 is absurd… I don’t view the hair metal, glam metal, sleaze rock, or whatever fancy name we come up with for it as something that was a moment in time but a type of rock and roll that can be and still is created today both by some of the veterans from the genre that either are still around or didn’t turn south on Hard Rock Avenue but also by newer bands as well. We need to encourage new music that has the fire of this genre. Or, we could lose it. This record, Street Lethal, is fantastic. I don’t know where it will rank on my personal Top 5 list as a Sleaze Roxx contributor. But, I know it will rank. And, given the crowded field this year, that is a compliment in and of itself!
I fell in love with rock and roll when I was going through some stuff, violent bullying, at school because of my vision disability. Those who were my best friends became self aware at about age 11 and suddenly I, who had not changed a bit, was public enemy number one. I needed that positive message that wasn’t preachy and instead was a positive influence on me. I needed that rebellion to be the soundtrack of my life then just as I need it now. In that time, the early ’90s, I loved bands that were on the decline in popularity because of changes in society… Someone pulled the plug around 1993 as Crazy Lixx says in “Anthem For America.” But, those songs, the same ones I’ve listened to for 30 years, still speak to me and still are a large part of what I listen to daily. But, thanks in no small part to Sleaze Roxx, I have found new bands that have that same renegade spirit, rebellion, and that make the same melodic hard rock that sooths my soul. Without question, the band that hooked me into the Swedish movement of what some term the New Wave of Hair Metal was Crazy Lixx. Ever since the 2010 release of New Religion, I’ve been on board. And, 11 years later, the boys are back and deliver another masterpiece.Street Lethal, which resembles the logo of the classic Capcom video game Street Fighter… And by the way, why were there so many Street Fighter II versions? It got to be such a running joke that many wondered if Capcom was capable of counting to three. The series is well beyond six now so clearly they eventually did. But, I do ponder if Crazy Lixx will release multiple versions and formats of Street Lethal II: Turbo Edition, Tournament Edition, Championship Edition, and whatever else Capcom pulled out of their keysters back in those early ’90s. Anyway, back on point, Street Lethal is the 2021 release and it follows suit with what attracted me to this band in the first place — powerful lyrics, catchy guitars, and a genuine vibe. There is something very true about Crazy Lixx and it shines through on almost every record. None more than on Street Lethal.
The album opens with a very Japanese sounding kabuki music thing. It is called “Enter The Dojo.” An interesting start. Not sure I fully get it unless it plays to the Street Fighter theme? But, “Rise Above” is up next. This was the second single put out and it is a very catchy rock track. We have hit the ground running! “Anthem For America” is the perfect song. As a proud American, I must admit I was nervous when I saw this video pop up on YouTube. After all, Crazy Lixx is Swedish and I think over the past decade, hearing the rest of the world express their view on America and American politics has made me not want to hear any more opinions from nations with far more problems than ours. But, Crazy Lixx aren’t presenting a left or right view. They are accurately describing the status of the American pop culture machine, which has become a political entity.
“Somebody pulled the plug around 1993”, clearly talks about the hard nosed media push to stop the rock party by making a rock party a downer by Seattle scum suffering from manic depression. Some of us, myself included, never got over that media coup. And, as the song says, it has never been the same since. As was discussed in the comments on one of the Sleaze Roxx news posts, American pop music has become more about thought control than music. Think of hundreds of Hollywood actors at an award show congratulating themselves for a job not very well done singing along to a politically charged song about “hands up” based on a lie that has been proven to have never happened — thought control. Back on point, the song is a great anthem for America showing more American pride than msot American musicians have shown in 30 years… Maybe since 1993? Go figure.
Next up is “The Power” which has a Queen-like vibe. This inspirational anthem has a very “you can do it” vibe which seems to be the vibe of the album. Some of the lyrics are really on point. “All your life, you were told it can’t be done.” Boy, that landed. It’s a very good song with a very uplifting message. “No one remembers the one that quits the race.” Shame that is no longer true either as Simone Biles proved during the 2020 (2021) Summer Olympics. but, that’s a product of the 1993 unplugging as well — excuses for losers. “Reach Out” also got the video treatment from Frontiers. It’s a very catchy song but probably the most ’80s pop rock sounding of all the songs… That isn’t a criticism. It just is a reality. “Final Fury” is an instrumental. After the lengthy Japanese inspired intro, this instrumental sounds more Crazy Lixx-like. It feels like there could have been lyrics laid over the top or it was pieces of another song that could have been mixed to include lyrics. I don’t know. It falls a little flat after such a strong first series of fantastic tracks.
“Street Lethal” — the title track — is next. Aside from “Rise Above”, this might be the fastest tempo song on the album and really has a lot of that magic from their last effort, Forever Wild. “With the ring of the bell” kind of hits home given my ties to pro wrestling. Very cool. I would love to hear an Impact Wrestling, AEW, or WWE use a track like this as one of their pay-per-view themes. Sadly, all three have taken a turn towards garbage music. “Caught Between The Rock N’ Roll” has a “My Medicine” kind of vibe from New Religion. It’s very catchy, but maybe less of a slam dunk than some of the other tracks. “In The Middle of Nothing” is a mid-tempo rocker, probably the closest thing to a ballad. Not bad. Very catchy track. “One Fire – One Goal” might be the best written track on the album. Very ’80s rock sounding… Think Bryan Adams if he was a little more rocking. “Thief in The Night” is a solid track to end the album on. The fade at the end seems to be nearly half the song so they don’t go for much of a fast getaway here. But, it is catchy.
As a whole, the album sounds a lot like something that would fit between the New Religion and Riot Avenue albums of Crazy Lixx and less like the two most recent efforts. Their self-titled album in 2014 is my favorite of theirs but New Religion might be, without much argument, their most popular perhaps? There are a few times that the album sounds like that song in the Teen Titans Go! movie where Michael Bolton sings “Inspirational Song” as almost a parody of uplifting ’80s music. And, you know what? I’m perfectly OK with that. Of all the New Wave of Hair Metal bands, if that is even a phrase anybody but me uses, Crazy Lixx have captured the magic of the genre best. While others verge on punky roots and maybe live in that Skid Row Slave To The Grind space (said with Crashdïet in mind), it is Crazy Lixx who capture the good vibes, uplifting, yet wild and crazy feeling of the genre we all love.
The fact that a large audience that loves this kind of music is available on Sirius XM‘s Hair Nation but never will hear any of these songs on this station because it wasn’t recorded between 1981 and 1993 is absurd… I don’t view the hair metal, glam metal, sleaze rock, or whatever fancy name we come up with for it as something that was a moment in time but a type of rock and roll that can be and still is created today both by some of the veterans from the genre that either are still around or didn’t turn south on Hard Rock Avenue but also by newer bands as well. We need to encourage new music that has the fire of this genre. Or, we could lose it. This record, Street Lethal, is fantastic. I don’t know where it will rank on my personal Top 5 list as a Sleaze Roxx contributor. But, I know it will rank. And, given the crowded field this year, that is a compliment in and of itself!
Whitesnake – Greatest Hits, Rhino Records. (8/10) Rating.
Back in 1994 Whitesnake released Greatest Hits, a collection that focused on their late ’80s platinum albums Slide It In, Whitesnake and Slip Of The Tongue. The compilation also went platinum. Nearly 30 years later they are issuing a new version of Greatest Hits.
Not only have the songs been remixed and remastered, there are some additions to the tracks. Derek Sherinian adds Hammond organ to several songs including “Here I Go Again.” There are new performances by guitarist Adrian Vandenberg on a couple of songs. David Coverdale also went into the vaults and unearthed performances by guitarist John Sykes, adding a solo on “Slide It In” and rhythm guitar on “Give Me All Your Love” that didn’t appear on the original recordings. There are also a few tracks not on the original version, such as 2011’s “Forevermore.” It’s an interesting way to approach a greatest hits album. The songs are very familiar to Whitesnake fans, but these versions are slightly different, making it a worthwhile acquisition even for those who own the original version of Greatest Hits.
Back in 1994 Whitesnake released Greatest Hits, a collection that focused on their late ’80s platinum albums Slide It In, Whitesnake and Slip Of The Tongue. The compilation also went platinum. Nearly 30 years later they are issuing a new version of Greatest Hits.
Not only have the songs been remixed and remastered, there are some additions to the tracks. Derek Sherinian adds Hammond organ to several songs including “Here I Go Again.” There are new performances by guitarist Adrian Vandenberg on a couple of songs. David Coverdale also went into the vaults and unearthed performances by guitarist John Sykes, adding a solo on “Slide It In” and rhythm guitar on “Give Me All Your Love” that didn’t appear on the original recordings. There are also a few tracks not on the original version, such as 2011’s “Forevermore.” It’s an interesting way to approach a greatest hits album. The songs are very familiar to Whitesnake fans, but these versions are slightly different, making it a worthwhile acquisition even for those who own the original version of Greatest Hits.
Seven Kingdoms – Zenith, Distortion Music, (8/10) Rating.
It has been five years since Seven Kingdoms‘ last album, and for the Florida power metal band’s latest effort Zenith they have downsized from a quintet to a quartet.
Their sound remains larger than ever, with soaring power metal driven by heavy guitars. Zenith is packed with catchy songs such as “A Silent Remedy” and “Chasing The Mirage.” Seven Kingdoms are able to write songs with memorable hooks and quality riffs along with solos showcasing their musicianship, all while keeping the songs near the four minute mark. The songs are taken to the next level by the vocal prowess of Sabrina Cruz, who sings with power, range and emotion. The album closes with a cover of Joan Jett’s “I Hate Myself For Loving You,” with a slightly more metal arrangement than the original. Zenith means “highest point,” and Seven Kingdoms certainly have elevated both their songwriting and musicianship on this album.
It has been five years since Seven Kingdoms‘ last album, and for the Florida power metal band’s latest effort Zenith they have downsized from a quintet to a quartet.
Their sound remains larger than ever, with soaring power metal driven by heavy guitars. Zenith is packed with catchy songs such as “A Silent Remedy” and “Chasing The Mirage.” Seven Kingdoms are able to write songs with memorable hooks and quality riffs along with solos showcasing their musicianship, all while keeping the songs near the four minute mark. The songs are taken to the next level by the vocal prowess of Sabrina Cruz, who sings with power, range and emotion. The album closes with a cover of Joan Jett’s “I Hate Myself For Loving You,” with a slightly more metal arrangement than the original. Zenith means “highest point,” and Seven Kingdoms certainly have elevated both their songwriting and musicianship on this album.
Iconic – Second Skin (Frontiers) (7/10) Rating.
Michael Sweet has collaborated with a lot of different artists over the past several years. In addition to his main band Stryper, Sweet has worked with artists such as George Lynch and Tracii Guns. Iconic brings together a group of veteran musicians including Sweet, guitarist Joel Hoekstra (Whitesnake), bassist Marco Mendoza (Thin Lizzy, Black Star Riders), drummer Tommy Aldridge (Whitesnake, Ozzy Osbourne) and vocalist Nathan James (Inglorious).
Second Skin is a hard rock album with radio-friendly choruses and potent guitar riffs. James handles most of the vocals, and has a bluesy style. Sweet plays guitar and periodically lends his smooth, tenor vocals to the proceedings on songs such as “Run (As Fast As You Can) and “Second Skin.” There’s a mix of rockers and ballads, with the album having a good ebb and flow of tempos and intensities. As you’d expect from this lineup, the musicianship is stellar, and though a couple songs are relatively generic, the majority are compelling.
Michael Sweet has collaborated with a lot of different artists over the past several years. In addition to his main band Stryper, Sweet has worked with artists such as George Lynch and Tracii Guns. Iconic brings together a group of veteran musicians including Sweet, guitarist Joel Hoekstra (Whitesnake), bassist Marco Mendoza (Thin Lizzy, Black Star Riders), drummer Tommy Aldridge (Whitesnake, Ozzy Osbourne) and vocalist Nathan James (Inglorious).
Second Skin is a hard rock album with radio-friendly choruses and potent guitar riffs. James handles most of the vocals, and has a bluesy style. Sweet plays guitar and periodically lends his smooth, tenor vocals to the proceedings on songs such as “Run (As Fast As You Can) and “Second Skin.” There’s a mix of rockers and ballads, with the album having a good ebb and flow of tempos and intensities. As you’d expect from this lineup, the musicianship is stellar, and though a couple songs are relatively generic, the majority are compelling.
CIVIL WAR- Invaders, Napalm Records, (7/10) Rating.
The Swedish power metal band Civil War have undergone some lineup changes since their last album, 2016’s The Last Full Measure. Invaders is the band’s first album with vocalist Kelly Sundown Carpenter (Adagio, ex-Beyond Twilight) and guitarist Thobbe Englund (ex-Sabaton).
Civil War has several former Sabaton members, and like that band, their lyrics focus on historical topics. This time around there are several songs about Native Americans. They also re-recorded “Custer’s Last Stand” from their debut 2012 EP. Songs like “Dead Man’s Glory” and “Invaders” are bombastic power metal with a lot of atmosphere. “Andersonville” is a change of pace, a grandiose power ballad. The new members give them a slightly different sound, but their approach is similar, and those who enjoyed Civil War’s previous releases should dig Invaders.
The Swedish power metal band Civil War have undergone some lineup changes since their last album, 2016’s The Last Full Measure. Invaders is the band’s first album with vocalist Kelly Sundown Carpenter (Adagio, ex-Beyond Twilight) and guitarist Thobbe Englund (ex-Sabaton).
Civil War has several former Sabaton members, and like that band, their lyrics focus on historical topics. This time around there are several songs about Native Americans. They also re-recorded “Custer’s Last Stand” from their debut 2012 EP. Songs like “Dead Man’s Glory” and “Invaders” are bombastic power metal with a lot of atmosphere. “Andersonville” is a change of pace, a grandiose power ballad. The new members give them a slightly different sound, but their approach is similar, and those who enjoyed Civil War’s previous releases should dig Invaders.
Seven Spires – Emerald Seas, FRONTIERS MUSIC (7/10) Rating.
Boston- based Symphonic metal band, Seven Spires, made a huge splash on the metal scene back in 2017 with their independent full length album debut titled. When I reviewed the debut for Lady Obscure, I stated:
Lead vocalist/frontwoman Adrienne Cowan. Cowan is nothing short of a revelation as a vocalist/performer. Her vocal style is a combination of former Kamelotsinger Roy Khan, Alissa White-Gluz(formerly of The Agonist/ current Arch Enemyvocalist), and the black metal influences of Shagrathof Dimmu Borgirand Nergalfrom Behemoth. Cowan’s confidence and natural charisma make her a consummate, captivating performer despite her young age. This goes for the other members of the Seven Spires. Guitarist Jack Kosto(taught by renowned Holy Hell guitarist Joe Stump as well as Nitroguitarist Michael Angelo Batio) is a masterful guitar player with an amazing tone as well as writing some of the most tasteful guitar solos with a melodic sensibility that serves the song and never overplays for the sake of shredding similar to the style of Kamelot’s Thomas Youngblood. The rhythm section of bassist Peter de Reynaand drummer Chris Dovasare the perfect compliment to each other, playing with feel, groove, precision, and technicality.
Three years later, Seven Spires released their sophomore effort, Emerald Seas on February 14, 2020, on new label Frontiers Records. The band once again collaborated with Avantasia mastermind Sascha Paeth, who mixed and mastered Emerald Seas. Cowan was also handpicked by Paeth to front his new band Masters of Ceremony and has been a touring vocalist for Avantasia for several years now. As a band, Seven Spires has performed at internationally recognized metal festivals such as Slovenia’s Metal Days, 70,000 Tons of Metal cruise, and Atlanta based ProgPower USA festival.
All of the trademarks of Seven Spires sound are evident on Emerald Seas. Combining bittersweet melodic metal anthems, apocalyptic melodic death and black metal, and Romantic era Classical poets, Spires are storytellers who draw from across the traditional spectrum of metal and beyond to weave haunting tales of demons, death, love, and the intricacies of the human condition.
Emerald Seas is a prequel which finds the main character, Solveig, who is the demon character from the first album. Emerald Seas follows Solveig’s journey as he is searching for the cure for mortality. Solveig captains a magic ship that follows the heart’s deepest desire. The level of songwriting, musicianship, and lyrical content has grown by leaps and bounds from the debut album.
The album begins with the haunting intro track Igne Defendit sets the tone with a choral vocal and Cowan’s mesmerizing high-pitched vocals reaching for the stratosphere over a bombastic orchestration and symphonic musical soundscape. This blends into the first proper track, the heavy Ghost of A Dream, a Spanish flamenco infused melodic metal song. Cowan’s charasmatic vocals blend melody and ferocious black metal stylings perfectly. Guitarist Jack Kosto shows off his considerable chops with precision and keen sense of melodic composition.
No Words Exchanged is a shorter interlude track featuring a beautiful vocal melody from Cowan whose talent truly shines throughout and shows how much her vocal ability has matured since their debut. Every Crest is a melodic metal song that harkens back to Black Halo-era Kamelot, one of Seven Spires biggest band influences. The song has a perfect blend of Cowan’s melodic range as well as the harsh blackened vocals that are interspersed perfectly throughout the song.
Unmapped Darkness is a standout track which has a beautiful melody line and a ridiculously catchy refrain that has a sweetness to Cowan’s vocals straight out of a Disney musical combined with chugging metal riffs and pounding drums and bass. Succumb continues with the full-on metal aural assault to the senses with it’s driving drum beats courtesy of Chris Dovas and the intricate bass lines of Pete de Reyna. Cowan’s soaring vocal melodies carry the listener on an epic journey while Kosto’s sweeping arpeggios and neo-classical style playing are incredibly impressive considering his young age.
The band goes full-on symphonic black metal on Drowner of Worlds. Cowan’s guttural vocals are on par with any of her contemporaries in the genre such as Alissa White Gluz, Dani Filth or Shagrath. The tones shifts once again on Silvery Moon, a folk-infused ballad with a beautiful soft vocal performed by Ms. Cowan and lush orchestration and gorgeous guitar work. The lighter side of the band continues into the next song, Bury You, with it’s introspective lyrics and Cowan’s powerful and emotive vocal delivery. The band return to the blackened death side of their musical journey on Fearless, which finds Cowan trading off melodic and guttural vocals during the chorus over the symphonic black metal cacophany. The beautifully serene brief interlude With Love From The Other Side segues into The Trouble With Eternal Life, another high energy power metal masterpiece with nods to classic Kamelot. Dovas’ double kick mastery drives the song as Cowan delivers another powerful vocal performance over sweeping orchestral arrangements and Kosto’s chugging guitar rhythms.
The album closes with the beautifully cinematic orchestrated instrumental title track, a perfect way to close this epic tale. Seven Spires proves on Emerald Seas that the sky is the limit when it comes to their creativity and vision. I look forward to the next chapter in the epic journey of this talented band.
Boston- based Symphonic metal band, Seven Spires, made a huge splash on the metal scene back in 2017 with their independent full length album debut titled. When I reviewed the debut for Lady Obscure, I stated:
Lead vocalist/frontwoman Adrienne Cowan. Cowan is nothing short of a revelation as a vocalist/performer. Her vocal style is a combination of former Kamelotsinger Roy Khan, Alissa White-Gluz(formerly of The Agonist/ current Arch Enemyvocalist), and the black metal influences of Shagrathof Dimmu Borgirand Nergalfrom Behemoth. Cowan’s confidence and natural charisma make her a consummate, captivating performer despite her young age. This goes for the other members of the Seven Spires. Guitarist Jack Kosto(taught by renowned Holy Hell guitarist Joe Stump as well as Nitroguitarist Michael Angelo Batio) is a masterful guitar player with an amazing tone as well as writing some of the most tasteful guitar solos with a melodic sensibility that serves the song and never overplays for the sake of shredding similar to the style of Kamelot’s Thomas Youngblood. The rhythm section of bassist Peter de Reynaand drummer Chris Dovasare the perfect compliment to each other, playing with feel, groove, precision, and technicality.
Three years later, Seven Spires released their sophomore effort, Emerald Seas on February 14, 2020, on new label Frontiers Records. The band once again collaborated with Avantasia mastermind Sascha Paeth, who mixed and mastered Emerald Seas. Cowan was also handpicked by Paeth to front his new band Masters of Ceremony and has been a touring vocalist for Avantasia for several years now. As a band, Seven Spires has performed at internationally recognized metal festivals such as Slovenia’s Metal Days, 70,000 Tons of Metal cruise, and Atlanta based ProgPower USA festival.
All of the trademarks of Seven Spires sound are evident on Emerald Seas. Combining bittersweet melodic metal anthems, apocalyptic melodic death and black metal, and Romantic era Classical poets, Spires are storytellers who draw from across the traditional spectrum of metal and beyond to weave haunting tales of demons, death, love, and the intricacies of the human condition.
Emerald Seas is a prequel which finds the main character, Solveig, who is the demon character from the first album. Emerald Seas follows Solveig’s journey as he is searching for the cure for mortality. Solveig captains a magic ship that follows the heart’s deepest desire. The level of songwriting, musicianship, and lyrical content has grown by leaps and bounds from the debut album.
The album begins with the haunting intro track Igne Defendit sets the tone with a choral vocal and Cowan’s mesmerizing high-pitched vocals reaching for the stratosphere over a bombastic orchestration and symphonic musical soundscape. This blends into the first proper track, the heavy Ghost of A Dream, a Spanish flamenco infused melodic metal song. Cowan’s charasmatic vocals blend melody and ferocious black metal stylings perfectly. Guitarist Jack Kosto shows off his considerable chops with precision and keen sense of melodic composition.
No Words Exchanged is a shorter interlude track featuring a beautiful vocal melody from Cowan whose talent truly shines throughout and shows how much her vocal ability has matured since their debut. Every Crest is a melodic metal song that harkens back to Black Halo-era Kamelot, one of Seven Spires biggest band influences. The song has a perfect blend of Cowan’s melodic range as well as the harsh blackened vocals that are interspersed perfectly throughout the song.
Unmapped Darkness is a standout track which has a beautiful melody line and a ridiculously catchy refrain that has a sweetness to Cowan’s vocals straight out of a Disney musical combined with chugging metal riffs and pounding drums and bass. Succumb continues with the full-on metal aural assault to the senses with it’s driving drum beats courtesy of Chris Dovas and the intricate bass lines of Pete de Reyna. Cowan’s soaring vocal melodies carry the listener on an epic journey while Kosto’s sweeping arpeggios and neo-classical style playing are incredibly impressive considering his young age.
The band goes full-on symphonic black metal on Drowner of Worlds. Cowan’s guttural vocals are on par with any of her contemporaries in the genre such as Alissa White Gluz, Dani Filth or Shagrath. The tones shifts once again on Silvery Moon, a folk-infused ballad with a beautiful soft vocal performed by Ms. Cowan and lush orchestration and gorgeous guitar work. The lighter side of the band continues into the next song, Bury You, with it’s introspective lyrics and Cowan’s powerful and emotive vocal delivery. The band return to the blackened death side of their musical journey on Fearless, which finds Cowan trading off melodic and guttural vocals during the chorus over the symphonic black metal cacophany. The beautifully serene brief interlude With Love From The Other Side segues into The Trouble With Eternal Life, another high energy power metal masterpiece with nods to classic Kamelot. Dovas’ double kick mastery drives the song as Cowan delivers another powerful vocal performance over sweeping orchestral arrangements and Kosto’s chugging guitar rhythms.
The album closes with the beautifully cinematic orchestrated instrumental title track, a perfect way to close this epic tale. Seven Spires proves on Emerald Seas that the sky is the limit when it comes to their creativity and vision. I look forward to the next chapter in the epic journey of this talented band.
Jorn Lande: Over The Horizon Radar- Frontiers Music (8/10)
Is it just me: but when did Norwegian vocalist Jorn Lande evolving into looking like a heavy metal Kenny Rogers? Must be the gray hair. All kidding aside. Jorn Lande has established himself as one of the premiere heavy rock vocalists from the European theater. Admittedly inspired by the iconic and fabulous Ronnie James Dio, Jorn has been dropping solo albums since 2000. (Those aside from his past work with Master plan and Allen/Lande, among others. Mr Lande has also dropped several cover albums: two that get the Jorn heavy rock treatment and one, Dio, a tribute to his mentor. Now, Jorn returns with his first solo album of original music since 2017's Life On Death Road. Once more, Over The Horizon Radar also a tour-de-force of Jorn's signature hybrid blend of heavy rock and metal. Which means you can expect tough riffs, epic guitar solos, booming rhythm section, and Jorn's strong, gritty, sometimes whisky-soaked vocals. Then he has the presence of mind to wrap these things up in melody and groove and hefty refrains. Essentially, Over The Horizon Radar is simply Jorn being Jorn (with the help of some talented Norwegian and intertnational musicians. Considering the songs within, as usual with most Jorn albums, I find it a mixed bag of likes. Don't get me wrong here: Jorn does not disappoint. I simply find some songs more intriguing then others. Here's some of my favorites: the more intricate One Man War, the rhythmic (and dig that groove) Black Phoenix, and the heavy steady anthemic Ode To The Black Nightshade. The bonus track, the extended re-recording of Faith Bloody Faith is pretty epic, too. Other songs, though viable in and of themselves, seemed desperately heavy or meandering such as Dead London or Believer respectively. Nevertheless, Over The Horizon Radar finds established and legendary vocalist Jorn Lande in fine form offering fans another fine album of his signature melodic heavy rock. Recommended.
Is it just me: but when did Norwegian vocalist Jorn Lande evolving into looking like a heavy metal Kenny Rogers? Must be the gray hair. All kidding aside. Jorn Lande has established himself as one of the premiere heavy rock vocalists from the European theater. Admittedly inspired by the iconic and fabulous Ronnie James Dio, Jorn has been dropping solo albums since 2000. (Those aside from his past work with Master plan and Allen/Lande, among others. Mr Lande has also dropped several cover albums: two that get the Jorn heavy rock treatment and one, Dio, a tribute to his mentor. Now, Jorn returns with his first solo album of original music since 2017's Life On Death Road. Once more, Over The Horizon Radar also a tour-de-force of Jorn's signature hybrid blend of heavy rock and metal. Which means you can expect tough riffs, epic guitar solos, booming rhythm section, and Jorn's strong, gritty, sometimes whisky-soaked vocals. Then he has the presence of mind to wrap these things up in melody and groove and hefty refrains. Essentially, Over The Horizon Radar is simply Jorn being Jorn (with the help of some talented Norwegian and intertnational musicians. Considering the songs within, as usual with most Jorn albums, I find it a mixed bag of likes. Don't get me wrong here: Jorn does not disappoint. I simply find some songs more intriguing then others. Here's some of my favorites: the more intricate One Man War, the rhythmic (and dig that groove) Black Phoenix, and the heavy steady anthemic Ode To The Black Nightshade. The bonus track, the extended re-recording of Faith Bloody Faith is pretty epic, too. Other songs, though viable in and of themselves, seemed desperately heavy or meandering such as Dead London or Believer respectively. Nevertheless, Over The Horizon Radar finds established and legendary vocalist Jorn Lande in fine form offering fans another fine album of his signature melodic heavy rock. Recommended.
STARMEN- By The Grace Of Rock N' Roll- Melodic Passion Records (10/10) Rating.
Coming to us out of Stockholm, Sweden, with their third album release in just a little over a year (the debut, “Welcome To My World”, was released February 21, 2020) is STARMEN. The debut and its follow-up, June of 2020’s “Kiss The Sky”, were both well received, critically speaking; and I am dead certain that “By The Grace Of Rock ‘N’ Roll” will be no exception. These guys play seventies and eighties style Hard Rock/Heavy Metal with a passion. The songs are well written, hook-laden and very well performed across the board.
When I was first given the assignment of writing this review, I wasn’t so certain. A look at the album art, and one would automatically assume STARMEN to be some gimmicky KISS rip-off, pandering to that audience for a quick buck. It was here that I made my mistake; and it actually worked out quite well. When I got into the music, I found an excellent set of songs.
These four gentlemen are all industry veterans, coming from a long line of past and current projects, who have a very definitive love for the Classic Rock sound. They share vocal duties, and all are equally capable behind a microphone; although Kristian Hermanson seems to be the principal “frontman” (if there is indeed a true frontman in the group). The musicianship involved is superb, filled with blazing guitar from Andreas Lindgren’s hand, and a very solid bottom end, courtesy of Marcus Sjoblom and Jonatan Samuelsson.
The title cut, “By The Grace Of Rock ‘N’ Roll”, is a great example of the four-man vocal front I was speaking of, and also solid evidence to how good the band truly is. The song itself is very crisp and melodic, and obviously inspired by some of the more radio-friendly works of KISS. The vocal is truly shared, with all four taking lines in the verses. “Kairi” follows, and is a slice of Pop Metal perfection, where “Black Thunder White Lightning” has an opening riff and some guitar fills that instantly put me in mind of the Maestro, Ritchie Blackmore.
This record is good; and try as I might to go the other direction, I absolutely loved it. Don’t let the gimmick fool you. These boys are really extraordinarily good.
TRIVIUM- "What The Dead Men Say"- (Roadrunner) 6/10 Stars
So, here’s new Trivium. Does it continue that upwards trend, or go back to sounding like shitty Trivium? Well, if you take a gander at those metal horns above here, you can probably figure that one out: somewhere in the middle. The frustrating part about What the Dead Men Say? It’s not shitty. Here’s the thing with late-period Trivium: basically, there are two sides to the band. There’s Ascendancy, and there’s The Crusade. One focuses on ripping melodic metalcore and the other reaches for the commercial radio metal stars. I prefer the former, but they know how to do the latter well. The problem comes when they try to reconcile the two. They know how to unleash sick melodic metal riffs. They know how to deliver the big sappy choruses. For whatever reason, when they try to combine the two on these songs, it brings things to a crashing halt. It works sometimes — “The Catastrophist” reminds listeners that the band can sling together a mean metalcore anthem when they try. “Amongst the Shadows and the Stones” brings the metal. That stuff works. Too many times, however, the gear-shifting distracts from the important business of rocking out. “Bleed Into Me” doesn’t so much exsanguinate as it does Five Finger Death Punch you right in the face, while “The Defiant” ruins some cool melodeath with a predictable chorus. Josh Wilbur’s production doesn’t do it any favors, either. All the instruments come through loud and clear, but they lack bite — except for the drum clicking. That shit bites like a swarm of gnats. On the bright side, Matt Heafy’s singing has gotten pretty damn good, and the band clearly knows their way around a riff. They just have trouble putting those riffs together into cohesive songs. Whether that’s a function of their metalcore roots or just complacency, I don’t know. I still treasure The Ascendancy. It just doesn’t really seem worth listening to What the Dead Men Say when you can look to the new August Burns Red for vital metalcore, any number of throwback trad bands for sweet riffs, or Nickelback for big stupid radio rock hooks.
NIGHTWISH- Human:NATURE (Nuclear Blast) 9/10 Stars
From their massive international fanbase to the flagrant extravagance of their music, everything about NIGHTWISH is righteously, riotously big. Easily one of the biggest metal bands on the planet and clearly riding a wave of creative momentum, they would have surprised everyone a lot more if they had made a new album that wasn't even more artistically aspirational and over-the-top than its predecessors. Frankly, after the widely acclaimed progressive splurge of 2015's "Endless Forms Most Beautiful", nothing short of a musical apocalypse choreographed by Walt Disney is going to fit the bill right now. Fortunately, NIGHTWISH have never been in the business of aiming low and "Human. :II: Nature." smashes its targets with ease, while somehow sounding like a brave new chapter for the band at the same time. If you want big, it's definitely here, but this is the most intimate and emotionally resonant record NIGHTWISH have ever made, too. They're a clever bunch. If you're a fan, you will already have heard the singles: the thunderous and edgy "Noise" and the twinkly eyed, folk-drenched "Harvest". Both were clear forward steps from the occasionally self-conscious opulence of previous records — NIGHTWISH sound so collectively at ease these days, that despite sounding like a vast amount of money has been spent on making this all sound overpowering and colossal, "Human. :II: Nature." is subtly rich and warm in sonic terms, too. In fact, it truly sounds like a real, red-blooded band in action. The orchestral and atmospheric embellishments that are so integral to the NIGHTWISH experience are here in abundance, of course, but it's beauty and intensity that dominate, rather than mere empty bombast. "Procession" and "Shoemaker" are both grand showcases for Floor Jansen's magnificently versatile voice, but her presence is used sparingly and with lethal efficacy. In the former, her blissfully melodic narrative is cleverly woven through an ever-changing, wildly dynamic landscape that builds into a very fine metal song, but which could have easily veered off in an entirely different direction. The latter is simply spellbinding. Meanwhile, the hook-laden "How's The Heart?" is almost obscenely memorable and sweetly touching. A sense of spontaneity, and perhaps freedom, is more apparent in Tuomas Holopainen's songwriting here than ever before. Opener "Music" is simply dazzling, a mini-symphony that gently redefines the NIGHTWISH sound across seven epic minutes; "Tribal" is four minutes of pure dark melodrama and one of the heaviest things NIGHTWISH have recorded in a long time: where the band of "Century's Child" and "Once" sounded pristine but sometimes distant, "Human. :II: Nature." is fully present and surprisingly fiery. Part one closes with "Endlessness", a gripping, prog metal epic with both Jansen and Marko Hietala in supreme vocal form and enough low-end crunch to keep most recalcitrant metalheads intrigued. As observant folk will be well aware, the second half of NIGHTWISH's ninth studio album comprises 30 minutes of instrumental, orchestral music. The band's "love letter to planet earth" is definitely not going to send every metalhead spinning in an ecstatic froth, but if you've followed the NIGHTWISH story up to this point, it's a sumptuous, poetic and deeply romantic celebration of the great outdoors, full of soaring melodies and moments of spine-tingling tranquility. The absence of the humanity that informed the album's first half is deliberate, of course: as much as NIGHTWISH are being indulgent here, this is also music that promises to soothe frayed psyches and to deliver some much-needed serenity and calm in these most troubling of times. It might even inspire a few people to become more ecologically enlightened. Either way, Finland's symphonic standard bearers have just made the most ambitious record of their career and it may well be their very best, too.
DYNAZTY- "The Dark Delight" (AFM) 8/10- Stars
When the first riff kicks in, moments into opener "Presence Of Mind", it's obvious that DYNAZTY are punching with considerably more weight behind them than most of their power metal peers. Still a fairly low-key concern at this point, the Swedes have been honing their crunchy, streamlined take on melodic metal since 2009, and this is their seventh full-length album, so you might argue that any potential breakthrough moments will have been and gone. But then you grasp the sheer quality of the songs on this thing, and suddenly DYNAZTY look a lot like genuine contenders. One key factor is the presence of vocalist Nils Molin: now better known as a member of AMARANTHE, it's his distinctive, gutsy and soulful voice that gives even the corniest of choruses a big wallop of authority. Fortunately, we are firmly at the non-corny end of the power metal spectrum here, so think THUNDERSTONE, TAD MOROSE and NOCTURNAL RITES, rather than anything more willfully overblown or fantasy based. There's a definite symphonic streak plastered across some of these songs, too; most notably the irresistibly punchy "Paradise Of The Architect" and the dark and lovelorn "Hologram". But the overall impression is of a seriously powerful and muscular heavy metal band with a very clear vision and a plentiful supply of wide-eyed, sugary choruses that might even cheer you up a bit. Guitarists Love Magnusson and Mike Lavér shine throughout, but it's during the heavier moments — the electronically augmented "From Sound To Silence"; the PANTERA-saluting "Threading The Needle"; the folk-tinged and epic "The Man And The Elements" — that the duo's shared chemistry is most apparent, not to mention their subtle blending of melodic death metal shades into an otherwise pristine spiritually-old-but-sonically-new school collage. Damn it, this is a seriously uplifting metal record. Not every trad or power metal band has the songwriting skills to conjure an album's worth of songs that each hold their own identity. Even fewer are those who can tinker with the genre's blueprint without jumping the steel shark. But "The Dark Delight" is a simply world-class piece of work from some unsung heroes of modern Scandinavian metal. Blast it while the sun shines.
FIREWIND- "Firewind" (AFM) 8/10 Stars
You won't get many surprises from a FIREWIND record. And why would you want them? Gus G has consistently demonstrated his mastery of melodic heavy metal, not to mention the art of guitar playing, and whichever of the band's multiple vocalists has been front and center, FIREWIND have been thoroughly consistent. A muscular, streamlined alternative to power metal's twinkly eyed pomp, their sound is all about the big melody, the bombastic chorus and the blazing solo. The difference between this band and the countless others that pursue a similar path, is that FIREWIND have never struggled for memorable songs. If "Firewind" is meant to be a definitive statement, as self-titled records tend to be, then it says a lot of very good things about this latest incarnation of the band, with powerhouse vocalist Herbie Langhans upfront. It's the newcomer's presence, his bluesy tone and his deliciously Dio-esque sense of melodrama, that gives the likes of woozy waltz "Longing To Know You" and the dark, propulsive "Break Away" their subtly out-of-the-box charm. Meanwhile, the rest of the band are so immaculately on the money that even the most straightforward of metal songs — the distinctly Swedish-sounding "Perfect Stranger", for instance — sounds somehow heavier and more substantial than it arguably should. Another laudable principle that FIREWIND have always upheld is that Gus G is only intermittently the star of the show here. His riffs are uniformly great, of course, and those solos will definitely blow some gravel up your back passage, but it's his service to the song that shines through most impressively. And yeah, he's always been that way and FIREWIND have long been a cut above the majority of the rest when it comes to songwriting, but "Firewind" feels particularly exuberant and vital, as if this latest personnel shuffle has finally transported the band to where they should be, both musically and in terms of an overall wildly infectious vibe. Sonically a touch warmer and grittier than 2017's "Immortals", "Firewind" feels more organic and untamed than previous records, even during the sumptuous grandeur of opener "Welcome To The Empire" and the joyous AOR stomp of "Overdrive": both gentle nods to a spirit of diversity that suit FIREWIND perfectly well, while still fitting neatly into this album's thunderous flow. Even the slightly goofy, glam-metal strut of "Space Cowboy" earns its place with a killer hook, while the closing "Kill The Pain" is a snotty, speed metal riot, with Langhans snarling like Udo in his prime. Proudly delivering the goods — very much as advertised but with the occasional, inspirational tweak — FIREWIND are back and on their best form since 2008's "The Premonition". If you like explosive heavy metal with massive tunes, you know what to do.
GREEN CARNATION- "Leaves of Yesteryear" (Season of Mist) 9/10 Stars
A whopping 14 years have passed since GREEN CARNATION's last release. A lot has changed since then, including a lengthy, six-year period during which time they were broken up following 2006's entirely acoustic affair "Acoustic Verses". They are virtually unrecognizable from their initial death metal format, having drifted through periods that touched upon styles as varied as death doom, prog doom, atmospheric goth metal and even dreary hard rock. The Norwegian act that was originally founded by Tchort — formerly of such nefarious acts as EMPEROR, BLOOD RED THRONE and CARPATHIAN FOREST — has returned and settled into a gothic prog metal format on "Leaves of Yesteryear", a solid album which is ripe with the qualities, dynamics and diversity that longtime followers would expect and crave. The opening, title track is a representative cut of the album's whole. The goth and prog doom song is brooding, gloomy and filled with melancholy as it twists and turns through heavy metal crunch, and an emotionally downtrodden melodic outpouring. Kenneth Silden's keyboard work is integral in the expansive sound, and Kjetil Nordhus's strong vocals do a remarkable job of filling the space. "Sentinels" immediately follows in the same vein but with a much darker inclination, here the spirit of Norwegian black metal shines through, albeit on a subtextual, subtle level. "Hounds" gradually builds up with soft acoustic parts prior to the onslaught of heavy metal histrionics, namely the burly riff that carries the song. This track builds upon the strong rhythm section of drummer Jonathan Perez and bassist Stein Roger Sordal. Their nimble interplay proves to be challenging and interesting throughout the album's entirety. "Hounds" is actually the only remaining original song on the album. After 14 years of waiting, fans were probably expecting more than three original tracks on a five-song release. But this is but a minor drawback on what is an incredible comeback record. Ringleader Tchort and his cohorts round the excellent release out with a re-recording and fresh take on "My Dark Reflections of Life and Death", a track that was originally recorded on their 2000 debut album "Journey to the End of the Night", in addition to a BLACK SABBATH cover. Running at almost 16 minutes, "My Dark Reflections of Life and Death" is essentially this new album's centerpiece track just as it was on the debut. In its original form, the song was steeped in the essence of the gothic doom that defined the band's early period. This time around, they've trimmed the intro, tinkered with the arrangements, and performed the song with, not surprisingly, a greater leaning toward prog. "Leaves of Yesteryear" concludes with the aforementioned SABBATH song, "Solitude" from "Master of Reality". The Norwegians play the classic song fairly closely to the original, maintaining it's tranquil energy yet almost exuding a folk music quality due to Nordhus's vocal delivery. The cover isn't essential nor exceptional, but it does provide a comforting and calm sense of closure to a remarkable comeback album. On "Leaves of Yesteryear", Tchort and company have focused on their strengths, and they seem poised to do even more great things ahead in the realm of dark prog metal.
AETHER REALM- "Redneck Viking From Hell" (Napalm) 9/10 Stars
It might be a slight exaggeration to say that AETHER REALM are attempting to be all of your favorite bands at the same time, but they're certainly demonstrating a phenomenal grasp of multiple metallic disciplines on "Redneck Vikings From Hell". Perhaps mindful that bands from the US generally don't sound like they've been brandishing swords in moonlight forests, there is plenty of straightforwardly modern and melodic metal lurking at the heart of this record. But the overall impression given is of a band that are so thrilled by metal's limitless possibilities that they feel compelled to ensure that as many different strains of it as possible dance to their tune. If you're a fan of melodic death metal, folk metal, progressive metal or old-school heaviness, the North Carolina quartet have you covered. "Redneck Vikings From Hell" is a riotous celebration of modern metal's myriad potent strains, and that's a laudable endeavor in itself. What is far more surprising is how skillfully AETHER REALM have managed to straddle all these stylistic variants while never sounding like a band in search of a coherent identity. Doubtless we all die a little when some gurning TV judge credits some howling cretin with "making the song their own," but that's exactly what AETHER REALM do here, again and again, as they peel off stirring refrain after lacerating hook, always sounding like a robust and characterful unit, but one in thrall to metal's universality, rather than merely exploiting its niche potential. Of course, if you only listen to the first few bars of the opening title track, you could be forgiven for thinking that AETHER REALM are firmly on a Scandinavian folk metal tip and that this is squarely aimed at ENSIFERUM and FINNTROLL fans. Not that the Americans sound like they're copying anyone, but it's an anthem that will resonate particularly strongly in Europe, where this kind of thing packs a considerable commercial punch, and the raucous, beer-swilling jollity of the whole thing is undeniable. Once you spot the clattering banjos and other deft nods to Americana, the fiendish nature of AETHER REALM's masterplan becomes apparent. As we rattle through a following tsunami of giant sing-alongs and moments of startlingly inventive extremity, it's obvious that AETHER REALM are smarter than the average metal band, and that maybe it is possible to be all things to all metal people. "Goodbye" is a glorious slice of grandiose, mid-paced melo-death, with shades of PARADISE LOST and SENTENCED in the riffing and brief bursts of spectral EDM lurking in the background. It is, like everything else here, obnoxiously catchy and convincing. "Lean Into the Wind" ratchets up the symphonic quotient, welding it to some blistering, state-of-the-art death metal fury, eviscerating blastbeats included. "Hunger" is another wild hybrid of melodic brutality and sparkling, symphonic touches, like OMNIUM GATHERUM on a runaway hearse-ride to hell, before the chorus kicks in and the box marked "power metal splendor" is ticked with one masterful swish of the AETHER REALM scythe. Somehow, that versatility is maintained throughout "Redneck Vikings From Hell", with a wide array of familiar tropes being polished and repurposed, all in the service of a band who seem to know exactly who they are, despite their eclectic tastes. The closing "Craft and the Creator" hammers the point home: 11 minutes of sublime progressive heaviness with several colossal melodies and dynamics to die for; it's an audacious end to an album that aims to please and leaves no stone unturned in the process. Most importantly, this is guaranteed to be one of the most straightforwardly entertaining metal albums of the year. This could – maybe should – be huge.
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