|
|
OUT NOW!!! Manic Mosh Metal #02, the printed magazine that covers the whole specrtrum of Metal and related genres in an old-school fanzine style. 28 Full colour A4 pages, printed on luxury, satin paper, and written in English.
Available at the Manic Mosh webshop for just £4.50 (UK), £7.00 (Europe), £8.00 (World) including FREE 1st class /Airmail shipping!! Order yours @ https://manicmoshmagazine.com/shop.html
Available at the Manic Mosh webshop for just £4.50 (UK), £7.00 (Europe), £8.00 (World) including FREE 1st class /Airmail shipping!! Order yours @ https://manicmoshmagazine.com/shop.html
FOR THE NEWEST REVIEWS, INTERVIEWS AND ARTICLES, CLICK METAL #11 IN THE MENU BAR ABOVE
OR CLICK THE FOLLOWING LINK: https://manicmoshmagazine.com/metal-11.html
OR CLICK THE FOLLOWING LINK: https://manicmoshmagazine.com/metal-11.html
above Model SHARUZEN, photo by Iroltha Photography
|
ALL ENTRIES IN MANIC MOSH METAL ARE NON-PAID FOR.
MANIC MOSH METAL PROMOTES AND SUPPORTS THE INDEPENDENT / UNDERGROUND METAL SCENE AND COVERS ANYTHING METAL; FROM HARDROCK AND TRADITIONAL METAL TO SPEED, THRASH, DEATH, DOOM, POWERMETAL AND ANYTHING IN BETWEEN. MANIC MOSH ALSO FEATURES ALTERNATIVE MODELS ON-LINE AND IN THE PRINTED FORMAT MAGAZINE. Anyone interested in appearing in Manic Mosh Metal can do so by submitting material to the following email address: MANICMOSH@YAHOO.COM All content in Manic Mosh Metal is written by Paul van der Burght unless stated otherwise. No content is to be lifted off this website without permission. 
|
VALENTINA ROCKETQUEEN AND TOXICV – Prime Rockin' Models from Italy
|
|
Above: Models ToxicV (left) and Valentina RocketQueen (right). Photos by La Minu / Minu In Wonderland
Here's a double shoot by photographer La Minu / Minu In Wonderland with Models VALENTINA ROCKETQUEEN and TOXICV. For More info on Valentina Rocketqueen and Toxicv, check out the following links:
VALENTINA ROCKETQUEEN - https://www.facebook.com/v.rocketqueen http://valentinarocketqueen.tumblr.com/
TOXICV - http://instagram.com/valentinatoxicv http://www.toxicv.altervista.org/ https://www.facebook.com/valentina.leonetoxicv?fref=ts
For more of the work by the ever so great photographer La Minu / Minu In Wonderland
https://www.facebook.com/MinuInWonderland?fref=ts http://minuminula89.wix.com/minuinwonderland
Additional feature on Valentina Rocketqueen in Manic Mosh #05
VALENTINA ROCKETQUEEN - https://www.facebook.com/v.rocketqueen http://valentinarocketqueen.tumblr.com/
TOXICV - http://instagram.com/valentinatoxicv http://www.toxicv.altervista.org/ https://www.facebook.com/valentina.leonetoxicv?fref=ts
For more of the work by the ever so great photographer La Minu / Minu In Wonderland
https://www.facebook.com/MinuInWonderland?fref=ts http://minuminula89.wix.com/minuinwonderland
Additional feature on Valentina Rocketqueen in Manic Mosh #05
|
|
|
HEARTS UNDER FIRE – album 2014 “Outlines”
web: https://www.facebook.com/heartsunderfire?fref=ts
Hearts Under Fire are a Surrey based commercial style Rock band that formed back in 2005. To date they have released 5 E.P's and one live E.P. and toured their asses off to make a name for themselves, featuring Mary O'Regan on bass and main vocals, Kat Upton on lead Guitar, Nicky Day on rhythm guitar and Lexi Clark on drums, all members do back up harmonies and vocals. “Outlines” is their soon to be released debut album and is filled with razor sharp riffs, killer melodies and awesome harmonies that may make you doubt that this is the band's FIRST full length album. The album kicks off with the track “Knots”, which is also the first single. This is the longest track on the album and what a way to kick things off, in the space of just 4 minutes this track manages to sum up everything that is great about this band with passionate vocals from Mary O'regan, Superb lyrics, great switching between lighter and heavier guitar moments, perfect harmonisation between all the band members, and a fantastic guitar solo at the end of the song by Kat Upton. As the album goes on you get a great mix of more Punk styled songs such as “Colours”, “The Things You Do To Keep Yourself Amused” and “This Can't Be Love”, tempered by more melody driven songs such as “Cry Baby”, which is the most Paramore sounding song on the album for me but not in a bad way, I am talking later day Paramore when they really perfected their song writing as opposed to their early days. Throughout the album the band prove themselves to be excellent song writers with incredible guitar riffs, anthemic choruses, superb lyrics and Mary O'Regan's passionate voice ringing throughout. The only mysteries left are thus: Why are this band still unsigned? And how will they better such a stellar album? Only time will answer at least one of those questions. Live these songs are going to sound huge and over time get people singing along at the top of their lungs. Be one of the first to discover this superb band if you like commercial intelligent passionate Rock music.
“Outlines” is released on 13th October and will be available from: http://heartsunderfire.bigcartel.com/
Ronnie Jenkinson
Catch my radio show, The Psychosin Project on www.totalmetalradio.com every Friday from 9pm GMT/4pm EST and every Sunday from 7pm GMT/2pm EST.
|
|
ABYSMAL DAWN – CD/LP/Digital 2014 “Obsolescence”
web: https://www.facebook.com/AbysmalDawn?ref=ts&fref=ts
https://twitter.com/abysmaldawn
http://abysmaldawn.bandcamp.com/
label: Relapse records
I damn near fell off my chair seconds after hitting the play button on this album; normally having to hear a minute or so of an intro that you get with most Heavy Metal records.... Instead; POW! Blast beaten straight to the head with a barrage of drums played at break neck speed and machine gun guitars. This is “Obsolescence” by California's Abysmal Dawn, however unlike its name. I cannot see this album becoming obsolete any time soon. Having been active since 2003 they have only been on my radar for a couple of years when I discovered their third album “Levelling The Plane Of Existence” which has been on heavy playlist rotation ever since. Abysmal Dawn definitely capture the essence of Modern Death Metal as well as its sub-genres combining savage brutality and technical skill along with catchiness and sweeping, memorable guitar solos and archaic vocals with the first single “Inanimate” representing this. “Obsolescence” will serve to be a bench mark of what modern Extreme Metal should be. Abysmal Dawn are doing two U.K dates with Death & Massacre in March 2015.
Damian Llewellyn
web: https://www.facebook.com/AbysmalDawn?ref=ts&fref=ts
https://twitter.com/abysmaldawn
http://abysmaldawn.bandcamp.com/
label: Relapse records
I damn near fell off my chair seconds after hitting the play button on this album; normally having to hear a minute or so of an intro that you get with most Heavy Metal records.... Instead; POW! Blast beaten straight to the head with a barrage of drums played at break neck speed and machine gun guitars. This is “Obsolescence” by California's Abysmal Dawn, however unlike its name. I cannot see this album becoming obsolete any time soon. Having been active since 2003 they have only been on my radar for a couple of years when I discovered their third album “Levelling The Plane Of Existence” which has been on heavy playlist rotation ever since. Abysmal Dawn definitely capture the essence of Modern Death Metal as well as its sub-genres combining savage brutality and technical skill along with catchiness and sweeping, memorable guitar solos and archaic vocals with the first single “Inanimate” representing this. “Obsolescence” will serve to be a bench mark of what modern Extreme Metal should be. Abysmal Dawn are doing two U.K dates with Death & Massacre in March 2015.
Damian Llewellyn
'Savage Gold the most anticipated Underground release of 2014'
TOMBS – CD / LP 2014 “Savage Gold”
label: Relapse records
songs: Thanatos / Portraits / Séance / Echoes / Deathripper / Edge Of Darkness / Ashes / Legacy / Severed Lives / Spiral //
Tombs from Brooklyn, New York fuse together the ferocity and speed of Black Metal with elements of Hipster friendly Post-Punk or Post-Metal as some refer to, whatever! It works. What's key here is striking a perfect balance in both, which is clearly evident on this release. The first single “Edge Of Darkness”, which sets the tone for the rest of the album, is full of atmosphere, crunching guitar riffs and sonic brilliance. However, it's not all ferociously fast; “'Echoes” starts out slowly with some clean vocals and gradually builds up tempo. Every track offers something different from the last as far as heaviness and speed go, like “Deathtripper” that has a more shoegaze vibe happening for the first four and a half minutes before you're met with a wall of heavy void thrust in your face. Recorded at Mana studios and produced by Eric Rutan of Hate Eternal and Morbid Angel fame who has also produced Cannibal Corpse and Goatwhore.
Damian Llewellyn
TOMBS – CD / LP 2014 “Savage Gold”
label: Relapse records
songs: Thanatos / Portraits / Séance / Echoes / Deathripper / Edge Of Darkness / Ashes / Legacy / Severed Lives / Spiral //
Tombs from Brooklyn, New York fuse together the ferocity and speed of Black Metal with elements of Hipster friendly Post-Punk or Post-Metal as some refer to, whatever! It works. What's key here is striking a perfect balance in both, which is clearly evident on this release. The first single “Edge Of Darkness”, which sets the tone for the rest of the album, is full of atmosphere, crunching guitar riffs and sonic brilliance. However, it's not all ferociously fast; “'Echoes” starts out slowly with some clean vocals and gradually builds up tempo. Every track offers something different from the last as far as heaviness and speed go, like “Deathtripper” that has a more shoegaze vibe happening for the first four and a half minutes before you're met with a wall of heavy void thrust in your face. Recorded at Mana studios and produced by Eric Rutan of Hate Eternal and Morbid Angel fame who has also produced Cannibal Corpse and Goatwhore.
Damian Llewellyn
NIGHT RANGER – CD 2014 “High Road”
label: Frontiers records
songs: High Road / Knock Knock Never Stop / Rollin' On / Don't Live Here Anymore / I'm Coming Home / X-Generation / Only For You Only / Hang On / St. Bartholomews / Brothers / L.A. No Name* DVD*: High Road (videoclip); Knock Knock Never Stop (videoclip); Making of the album (documentary) *only available on the deluxe edition
With 17 million records sold worldwide and album no.11 hot off the press, there is no doubt that American Rockers Night Ranger will increase that figure effortlessly with “Hight Road”. Although Night Ranger have always had a liking for a smoothed approach of the AOR genre with a lot of synths, that has now pretty much gone and made way for a Rock rooted approach that rocks from all angles! Opening tune “High Road” testifies to this, and truly lives up to its title, addressing to up-tempo Radio-Rock that makes you want to turn the volume up, put the pedal down and sing along. Things get even better with “Knock Knock Never Stop”; a catchy, toe-tapping Rocker with a sticky groove and a climaxing instrumentation towards the end. More Radio-Rock is presented on the toe-tapping “I'm Coming Home” and the driving “X-Generation”. Songwriting and atmosphere peak on the gut-wrenching ballad “Don't Live Here Anymore”, incorporating the feel of Blues that is fused with 70's Hammond organ, guitars and a touch upon The Beatles down its mid-section before its grand, guitar-laden finale. Some signature Night-Ranger balladry comes in the shape of the piano-accompanied “Only For You Only” with The Beatles thing re-surfacing. Things are slightly intensified on the 70's-meets-90's Rocker “Rollin On”; a chunky tune with talk-type vocals (in 90's fashion), pumping groove and yell along chorus. A more modest approach is displayed on the mild-format “Brothers”, whilst the heaviest moments materialize through the traditional styled HardRockers “St.Bartholomews” and “Hang On” with added guitar punch and some nice lead hooks. The Deluxe Edition of “High Road” features an instrumental “L.A. No Name”, showcasing some dazzling acoustic guitar play that flirts with Flamenco and Salsa. The “High Road” album has all the right features to make it a top-ten Radio-stomper, sporting a lot of groove, instant feelgood factor and sticky themes. This is backed with a solid musicianship, a chunky production (by the band themselves) and a surprising minimalistic use of synths to allow plenty of room for the Rock element without mellowing it down. Entertaining!
Paul van der Burght
label: Frontiers records
songs: High Road / Knock Knock Never Stop / Rollin' On / Don't Live Here Anymore / I'm Coming Home / X-Generation / Only For You Only / Hang On / St. Bartholomews / Brothers / L.A. No Name* DVD*: High Road (videoclip); Knock Knock Never Stop (videoclip); Making of the album (documentary) *only available on the deluxe edition
With 17 million records sold worldwide and album no.11 hot off the press, there is no doubt that American Rockers Night Ranger will increase that figure effortlessly with “Hight Road”. Although Night Ranger have always had a liking for a smoothed approach of the AOR genre with a lot of synths, that has now pretty much gone and made way for a Rock rooted approach that rocks from all angles! Opening tune “High Road” testifies to this, and truly lives up to its title, addressing to up-tempo Radio-Rock that makes you want to turn the volume up, put the pedal down and sing along. Things get even better with “Knock Knock Never Stop”; a catchy, toe-tapping Rocker with a sticky groove and a climaxing instrumentation towards the end. More Radio-Rock is presented on the toe-tapping “I'm Coming Home” and the driving “X-Generation”. Songwriting and atmosphere peak on the gut-wrenching ballad “Don't Live Here Anymore”, incorporating the feel of Blues that is fused with 70's Hammond organ, guitars and a touch upon The Beatles down its mid-section before its grand, guitar-laden finale. Some signature Night-Ranger balladry comes in the shape of the piano-accompanied “Only For You Only” with The Beatles thing re-surfacing. Things are slightly intensified on the 70's-meets-90's Rocker “Rollin On”; a chunky tune with talk-type vocals (in 90's fashion), pumping groove and yell along chorus. A more modest approach is displayed on the mild-format “Brothers”, whilst the heaviest moments materialize through the traditional styled HardRockers “St.Bartholomews” and “Hang On” with added guitar punch and some nice lead hooks. The Deluxe Edition of “High Road” features an instrumental “L.A. No Name”, showcasing some dazzling acoustic guitar play that flirts with Flamenco and Salsa. The “High Road” album has all the right features to make it a top-ten Radio-stomper, sporting a lot of groove, instant feelgood factor and sticky themes. This is backed with a solid musicianship, a chunky production (by the band themselves) and a surprising minimalistic use of synths to allow plenty of room for the Rock element without mellowing it down. Entertaining!
Paul van der Burght
|
|
Above left and right: Model Hexe Meatgrinder, photos by La Minu / Minu In Wonderland
HEXE MEATGRINDER – Model, Singer, Tattoo Artist & Body Piercer
web: https://www.facebook.com/pages/Hexe-Meat-Grinder/601250653316830
Italy is the home-base for the multi-talented girl that is 'Hexe Meatgrinder'; Alternative Model, Suicide Girl, Tattoo Artist, Body Piercer and (former) singer in the Death / BlackMetal spectrum. Hexe started posing just for fun, but as she felt completely relaxed in front of the camera, it furthered things to a career in Alternative modelling spanning a range of styles including Street, Alternative, Lingerie, Latex, Pin-Up, erotic and bizarre. Hexe is also active as a professional at the Turin based “Phreak Ink” studio where she enjoys doing piercings, implants and body modifications. https://www.facebook.com/phreakinktattoo
All photos by La Minu https://www.facebook.com/MinuInWonderland
web: https://www.facebook.com/pages/Hexe-Meat-Grinder/601250653316830
Italy is the home-base for the multi-talented girl that is 'Hexe Meatgrinder'; Alternative Model, Suicide Girl, Tattoo Artist, Body Piercer and (former) singer in the Death / BlackMetal spectrum. Hexe started posing just for fun, but as she felt completely relaxed in front of the camera, it furthered things to a career in Alternative modelling spanning a range of styles including Street, Alternative, Lingerie, Latex, Pin-Up, erotic and bizarre. Hexe is also active as a professional at the Turin based “Phreak Ink” studio where she enjoys doing piercings, implants and body modifications. https://www.facebook.com/phreakinktattoo
All photos by La Minu https://www.facebook.com/MinuInWonderland
|
|
|
Above left, centre and right: Model Hexe Meatgrinder, photos by La Minu / Minu In Wonderland
FM – CD 2015 “Heroes And Villains”
label: Frontiers records
songs: Digging Up The Dirt / You're The Best Thing About Me / Life Is A Highway / Fire & Rain / Incredible / Call On Me / Cold Hearted / Shape I'm In / Big Brother / Somedays I Only Want To Rock & Roll / I Want You / Walking With Angels //
web: http://www.fmofficial.com
“Heroes And Villains” is the latest offering by Iconic Brit Rockers FM, spanning over 30 years in the business and a whole catalogue of releases since their '86 “Indiscreet” album. After a decade, the band made a come-back in 2007 in the original line-up minus Chris Overland who got replaced by guitarist Jim Kirkpatrick. With the crew pretty much intact and the distinctive vocals of Steve Overland still up there, the band still sounds like they used to in the old days, delivering a brand of American style A.O.R / Mainstream Rock with all the trimmings. Songs mainly roll on catchy mid-tempo grooves with the gears slightly going up to a an up-tempo drive on the mellowed down “Life Is A Highway”, the Radio Rocker “Call On Me” and the slightly Blues-infused Highway Rocker' “Somedays I Only Want To Rock & Roll”. There's another hint of Blues surfacing on the classic HardRock – meets Melodic Rock phased “Cold Hearted” which makes one of the best picks of the album with its instant grooves, sticky chants and feel good factor. Overall, material is very easy on the ear with the pumpin' drum drives and sing along choruses as the engine of their music. Performance is tip-top with a strong sense for balance and a subtle use of synths that is mostly in the background. The clear, upper-mid range vocals of Steve Overland are a perfect match for the music and give the songs this Rockin' edge, highlighted on “Shape I'm In” and “Digging Up The Dirt”. Throughout the material, there's more than one similarity to Def Leppard, whilst songs like “You're The Best Thing About Me”, and the ballad-esque “Incredible” will make Bon Jovi spring to mind. If further comparisons may arise, then this would be Foreigner, referring to the classic, HardRockin' “Big Brother” and the mid-paced Radio Rocker “I Want You”. Throw in some additional blends of Don Henley and Thunder, and the result is a rich palette of musical colours that is “Heroes And Villains”; a fine-tuned, mature sounding Rock album with a strong entertaining value.
Paul van der Burght
label: Frontiers records
songs: Digging Up The Dirt / You're The Best Thing About Me / Life Is A Highway / Fire & Rain / Incredible / Call On Me / Cold Hearted / Shape I'm In / Big Brother / Somedays I Only Want To Rock & Roll / I Want You / Walking With Angels //
web: http://www.fmofficial.com
“Heroes And Villains” is the latest offering by Iconic Brit Rockers FM, spanning over 30 years in the business and a whole catalogue of releases since their '86 “Indiscreet” album. After a decade, the band made a come-back in 2007 in the original line-up minus Chris Overland who got replaced by guitarist Jim Kirkpatrick. With the crew pretty much intact and the distinctive vocals of Steve Overland still up there, the band still sounds like they used to in the old days, delivering a brand of American style A.O.R / Mainstream Rock with all the trimmings. Songs mainly roll on catchy mid-tempo grooves with the gears slightly going up to a an up-tempo drive on the mellowed down “Life Is A Highway”, the Radio Rocker “Call On Me” and the slightly Blues-infused Highway Rocker' “Somedays I Only Want To Rock & Roll”. There's another hint of Blues surfacing on the classic HardRock – meets Melodic Rock phased “Cold Hearted” which makes one of the best picks of the album with its instant grooves, sticky chants and feel good factor. Overall, material is very easy on the ear with the pumpin' drum drives and sing along choruses as the engine of their music. Performance is tip-top with a strong sense for balance and a subtle use of synths that is mostly in the background. The clear, upper-mid range vocals of Steve Overland are a perfect match for the music and give the songs this Rockin' edge, highlighted on “Shape I'm In” and “Digging Up The Dirt”. Throughout the material, there's more than one similarity to Def Leppard, whilst songs like “You're The Best Thing About Me”, and the ballad-esque “Incredible” will make Bon Jovi spring to mind. If further comparisons may arise, then this would be Foreigner, referring to the classic, HardRockin' “Big Brother” and the mid-paced Radio Rocker “I Want You”. Throw in some additional blends of Don Henley and Thunder, and the result is a rich palette of musical colours that is “Heroes And Villains”; a fine-tuned, mature sounding Rock album with a strong entertaining value.
Paul van der Burght
|
|
|
Above left, centre and right: Model Valentina RocketQueen. Photos by La Minu / Minu In Wonderland
VALENTINA ROCKETQUEEN – lil Rocker from Italy
web: http://valentinarocketqueen.tumblr.com/
https://www.facebook.com/valentina.rocketqueen
I am Valentina RocketQueen, I have been a Rocker since the late 80’s and I love anything that is hard and heavy. I think I have spent 95% of my life listening to music, even when I work as a model. I always ask to bring my own music on a photo set. I live in Italy but when I can, I travel around the world. I also sing in a band, we play Stoner Metal, but it’s just for fun! What I take more seriously is searching for new bands to listen to. Lately I am in love with a brand new Industrial Metal band from Australia, called Witchgrinder. I really think that for any music lovers, supporting new bands is a must. Going to gigs, buying albums and merchandise help to keep the dream alive. Long Live Rock n Roll!!
La Minu / Minu In Wonderland: http://minuminula89.wix.com/minuinwonderland https://www.facebook.com/MinuInWonderland
Miss Sorry: www.miss-sorry.com https://www.facebook.com/lovemisssorry?fref=ts
web: http://valentinarocketqueen.tumblr.com/
https://www.facebook.com/valentina.rocketqueen
I am Valentina RocketQueen, I have been a Rocker since the late 80’s and I love anything that is hard and heavy. I think I have spent 95% of my life listening to music, even when I work as a model. I always ask to bring my own music on a photo set. I live in Italy but when I can, I travel around the world. I also sing in a band, we play Stoner Metal, but it’s just for fun! What I take more seriously is searching for new bands to listen to. Lately I am in love with a brand new Industrial Metal band from Australia, called Witchgrinder. I really think that for any music lovers, supporting new bands is a must. Going to gigs, buying albums and merchandise help to keep the dream alive. Long Live Rock n Roll!!
La Minu / Minu In Wonderland: http://minuminula89.wix.com/minuinwonderland https://www.facebook.com/MinuInWonderland
Miss Sorry: www.miss-sorry.com https://www.facebook.com/lovemisssorry?fref=ts
|
|
Above left: Valentina RocketQueen photo by La Minu / Minu In Wonderland. Right: Valentina RocketQeen "Ace Of Spades" photo by Miss Sorry
HOTH – CD / digital 2014 “Oathbreaker”
label: Epicurus records
songs: The Unholy Conception / A Blighted Hope / Cryptic Nightmares / Serpentine Whispers / Acolyte Of The Tenebrous Night / Unending Power / Oblivion / Despair //
Hoth are a Seattle based 2-piece unit that initiated in 2011 and debuted in 2012 with the “Infinite Darkness” album. “Oathbreaker” is their newest offering which came out as a concept album, totalling 8 songs and some 55 minutes of running time. Hoth managed to create a sound that will appeal to a wide spectrum of listeners by merging various styles per song with additional blends to add up to its originality. In essence, this is a mix of 90's (Melodic) PowerMetal and traditional Black Metal with elements of Pirate Metal, Goth, Gregorian choirs, DeathMetal, (Death)Thrash, and the use of acoustic guitar and piano! Most tunes roll on hyper-mode double-bass drums that, hooked up with the snarling vocals during the accelerated sections secure the BlackMetal sound. The PowerMetal thing comes in the shape of melodic riffage and melodies with a matching guitar-feedback, smoothening the BlackMetal appearance. This package works remarkably well and provides some 'cheerful' moments (in the Pirate Metal vein) on tracks such as “The Unholy Conception”, “A Blighted Hope” and “Serpentine Whispers”. Over against that is a dark, Gothic-like atmosphere that peaks on “Cryctic Nightmares”, one of the more moody picks of the album. There's times the atmosphere and technicality factor give the material a completely different swing again, sparking comparisons to Iced Earth on “Acolyte Of The Tenebrous Night” and the second half of “Cryptic Nightmares”. Towards the end of the album, the musical concept takes a turn towards Thrash (“Oblivion”) and DeathThrash “(Unending Power”) with more Death-like vocals and staccato riffage. Final track, the cold and depressing “Despair” has the pace slowed down to a dragging Doom pace with faster riffage and bass-drums underneath its Gothic like DeathMetal appearance with the vocals in added 'gurgle' modus. The album sticks together very well; never overdone, never too technical and remarkably accessible for a concept-record. Hoth do not follow trends and aren't experimental for the sake of it; all falls into place and in the right proportion with an omnipresent sense for melody. One of the better picks from 2014, and a name to remember!
Paul van der Burght
Band contact:
https://www.facebook.com/hothbrutalmetal
“Oathbreaker” is available to stream and purchase in digipak CD or download format via this link:
http://hothmusic.bandcamp.com/
label: Epicurus records
songs: The Unholy Conception / A Blighted Hope / Cryptic Nightmares / Serpentine Whispers / Acolyte Of The Tenebrous Night / Unending Power / Oblivion / Despair //
Hoth are a Seattle based 2-piece unit that initiated in 2011 and debuted in 2012 with the “Infinite Darkness” album. “Oathbreaker” is their newest offering which came out as a concept album, totalling 8 songs and some 55 minutes of running time. Hoth managed to create a sound that will appeal to a wide spectrum of listeners by merging various styles per song with additional blends to add up to its originality. In essence, this is a mix of 90's (Melodic) PowerMetal and traditional Black Metal with elements of Pirate Metal, Goth, Gregorian choirs, DeathMetal, (Death)Thrash, and the use of acoustic guitar and piano! Most tunes roll on hyper-mode double-bass drums that, hooked up with the snarling vocals during the accelerated sections secure the BlackMetal sound. The PowerMetal thing comes in the shape of melodic riffage and melodies with a matching guitar-feedback, smoothening the BlackMetal appearance. This package works remarkably well and provides some 'cheerful' moments (in the Pirate Metal vein) on tracks such as “The Unholy Conception”, “A Blighted Hope” and “Serpentine Whispers”. Over against that is a dark, Gothic-like atmosphere that peaks on “Cryctic Nightmares”, one of the more moody picks of the album. There's times the atmosphere and technicality factor give the material a completely different swing again, sparking comparisons to Iced Earth on “Acolyte Of The Tenebrous Night” and the second half of “Cryptic Nightmares”. Towards the end of the album, the musical concept takes a turn towards Thrash (“Oblivion”) and DeathThrash “(Unending Power”) with more Death-like vocals and staccato riffage. Final track, the cold and depressing “Despair” has the pace slowed down to a dragging Doom pace with faster riffage and bass-drums underneath its Gothic like DeathMetal appearance with the vocals in added 'gurgle' modus. The album sticks together very well; never overdone, never too technical and remarkably accessible for a concept-record. Hoth do not follow trends and aren't experimental for the sake of it; all falls into place and in the right proportion with an omnipresent sense for melody. One of the better picks from 2014, and a name to remember!
Paul van der Burght
Band contact:
https://www.facebook.com/hothbrutalmetal
“Oathbreaker” is available to stream and purchase in digipak CD or download format via this link:
http://hothmusic.bandcamp.com/
|
|
Monster Magnet photos above left and right by Damian Llewellyn
MONSTER MAGNET @ The Electric Ballroom, Camden / London 15/02/15
live review by Damian Llewellyn
You would never have thought it was a Sunday night in Camden, based on the hordes of people spilling out on the street and outside The Electric Ballroom. There’s a real buzz about tonight’s show which seems to be sold out based on the several touts skulking around the venue.
Support act comes from Sweden’s ‘Bombus’ who were a fine band to get the crowd in the mood with their 'Heavy Duty Bomboozle Bonanza, Heavy Metal, Hard Rock' (their words).Taking the best bits out of several genres from 80’s Thrash to Stoner Rock; a very exciting live band!
Monster Magnet eventually take to the stage, backed by a psychedelic oil projector backdrop. Dave Wyndorf is greeted by an elated crowd, donning his trademark leather & handle bar tache. The set opens with “The Right Stuff”, creating a seriously thick guitar sound due to having three of the Space Lords on axe duties. Highlights for me being the traditional straight up Rock songs rather than the long winded, spaced out psychedelic mini operas, but hey, this crowd weren’t complaining with the majority singing along to every word. After over 26 years Monster Magnet still have a massive following and their latest release ‘The Last Patrol’ being dubbed their best to date. Monster Magnet finish up their European tour at the end of February and head off to Australia in April for four dates more info below.
http://www.zodiaclung.com/category/news/
https://www.facebook.com/monstermagnet
http://www.napalmrecords.com/band/?bandID=74&alphabetID=22
live review by Damian Llewellyn
You would never have thought it was a Sunday night in Camden, based on the hordes of people spilling out on the street and outside The Electric Ballroom. There’s a real buzz about tonight’s show which seems to be sold out based on the several touts skulking around the venue.
Support act comes from Sweden’s ‘Bombus’ who were a fine band to get the crowd in the mood with their 'Heavy Duty Bomboozle Bonanza, Heavy Metal, Hard Rock' (their words).Taking the best bits out of several genres from 80’s Thrash to Stoner Rock; a very exciting live band!
Monster Magnet eventually take to the stage, backed by a psychedelic oil projector backdrop. Dave Wyndorf is greeted by an elated crowd, donning his trademark leather & handle bar tache. The set opens with “The Right Stuff”, creating a seriously thick guitar sound due to having three of the Space Lords on axe duties. Highlights for me being the traditional straight up Rock songs rather than the long winded, spaced out psychedelic mini operas, but hey, this crowd weren’t complaining with the majority singing along to every word. After over 26 years Monster Magnet still have a massive following and their latest release ‘The Last Patrol’ being dubbed their best to date. Monster Magnet finish up their European tour at the end of February and head off to Australia in April for four dates more info below.
http://www.zodiaclung.com/category/news/
https://www.facebook.com/monstermagnet
http://www.napalmrecords.com/band/?bandID=74&alphabetID=22
|
|
|
Monster Magnet photos above left, centre and right by Damian Llewellyn
THE ORDER OF ISRAFEL – 2014 “Wisdom”
web: http://www.theorderofisrafel.com/
https://www.facebook.com/TheOrderOfIsrafel
label: Napalm records
songs: Wisdom / On The Black Wings, A Demon / The Noctuus / The Earth Will Deliver What Heaven Desires / The Order / Born For War / Promises Made To The Earth / The Vow / Morning Sun //
With the current resurgence of Trad Doom bands out there it's hard to filter out the ones to give a listen to. But, having been following Aussie guitarist Tom Sutton since his Church Of Misery days (them being one of the greatest live bands I have ever seen) I was eager to see what Tom's next musical venture was going to be after he done some guitar duties for Swedish rockers Horisont. This, being 'The Order Of Israfel ' with Sutton now fronting the band on vocals and guitar. They blend a diverse sound of classic 70's inspired Doom with Progressive elements in the vain of Candlemass & St Vitus while still having a distinctive sound, and each track having a life and vibe of its own. Opening track “Wisdom” comes in with an almost sweet acoustic harmonic melody, then builds into a slow groovy riff that wouldn't sound out of place on a Cathedral album. This track is Followed by “On Black Wings, A Demon” that incorporates a straight up Heavy Metal assault. Songs range from 4 minutes or so right up to 15+. Stand out tracks; “The Earth Will Deliver What Heaven Desires”, “Wisdom” and “Born For War”.
Damian Llewellyn
web: http://www.theorderofisrafel.com/
https://www.facebook.com/TheOrderOfIsrafel
label: Napalm records
songs: Wisdom / On The Black Wings, A Demon / The Noctuus / The Earth Will Deliver What Heaven Desires / The Order / Born For War / Promises Made To The Earth / The Vow / Morning Sun //
With the current resurgence of Trad Doom bands out there it's hard to filter out the ones to give a listen to. But, having been following Aussie guitarist Tom Sutton since his Church Of Misery days (them being one of the greatest live bands I have ever seen) I was eager to see what Tom's next musical venture was going to be after he done some guitar duties for Swedish rockers Horisont. This, being 'The Order Of Israfel ' with Sutton now fronting the band on vocals and guitar. They blend a diverse sound of classic 70's inspired Doom with Progressive elements in the vain of Candlemass & St Vitus while still having a distinctive sound, and each track having a life and vibe of its own. Opening track “Wisdom” comes in with an almost sweet acoustic harmonic melody, then builds into a slow groovy riff that wouldn't sound out of place on a Cathedral album. This track is Followed by “On Black Wings, A Demon” that incorporates a straight up Heavy Metal assault. Songs range from 4 minutes or so right up to 15+. Stand out tracks; “The Earth Will Deliver What Heaven Desires”, “Wisdom” and “Born For War”.
Damian Llewellyn
MIDNIGHT – 2014 “No Mercy For Mayhem”
label: Hells Headbangers records
songs: The Mercy Curse / Evil Like A Knife / Prowling Leather / No Mercy For Mayhem / The Final Rape Of Night / Degradation / Woman Of Flame / Try Suicide / Whiplash Disaster / Aggressive Crucifixion / Destroy Tsunami's Power //
Unholy And Rotten (live) / Black Rock 'n' Roll (live) / Satanic Royalty (live) / All Hail Hell (live) / Violence On Violence (live) / I Am Violator (live) / Holocaustic Deafening (live) / Endless Slut (live) / ... On The Wings Of Satan (live) //
U.S act Midnight are one of such bands that breathe 80's Underground Metal; from the way they promote themselves and the image, right onto the musical concept that catapults you straight back to early era BlackMetal before it was considered BlackMetal! Think very early Venom and Bulldozer merged with some later style PunkMetal a la Warfare with a dash of Motorhead. Their new album – which crowns a catalogue that counts numerous split releases, albums, EP's and compilation appearances – holds 2 discs including a collection of live recordings (disc 2) and a whole new set of tunes with sounding titles such as “The Mercy Curse”, “Prowling Leather” and “Whiplash Disaster”. Back in the 80's this was a fair indication of the musical style a band was into, and the same applies here.. you could pick this album up just by gauging the cover artwork and the titles and not be disappointed! “No Mercy For Mayhem” delivers right from the start phasing the likes of Motorhead and Venom down the speedy “Evil Like A Knife”, bobbing on a catchy, repeat riffed drive in a straight forward modus. The same approach is found on the equally fast “The Final Rape Of Night”, hinting at Venom's “Bursting Out”. The speed is also maintained on the intense, raw edged “Destroy Tsunami's Power” and “Try Suicide”. The groovy mid-tempo driven “Degradation” takes a turn towards the Punk thing in the refrain, as is the case on the more Hardcore Metal geared “Prowling Leather”; this one accents the grainy, unpolished sound that runs through the material, highlighted by the gruff, talk type vocals and 'plug in and play' style recording. The set slows to a grinding pace on the titletrack, and the Doomy NWOBHM groovster “Whiplash Disaster” which makes one of the top picks of the album. “No Mercy For Mayhem” is as good as it gets, capturing the sound and spirit of the heavier genres from the early – mid 80's! Great.
Paul van der Burght
label: Hells Headbangers records
songs: The Mercy Curse / Evil Like A Knife / Prowling Leather / No Mercy For Mayhem / The Final Rape Of Night / Degradation / Woman Of Flame / Try Suicide / Whiplash Disaster / Aggressive Crucifixion / Destroy Tsunami's Power //
Unholy And Rotten (live) / Black Rock 'n' Roll (live) / Satanic Royalty (live) / All Hail Hell (live) / Violence On Violence (live) / I Am Violator (live) / Holocaustic Deafening (live) / Endless Slut (live) / ... On The Wings Of Satan (live) //
U.S act Midnight are one of such bands that breathe 80's Underground Metal; from the way they promote themselves and the image, right onto the musical concept that catapults you straight back to early era BlackMetal before it was considered BlackMetal! Think very early Venom and Bulldozer merged with some later style PunkMetal a la Warfare with a dash of Motorhead. Their new album – which crowns a catalogue that counts numerous split releases, albums, EP's and compilation appearances – holds 2 discs including a collection of live recordings (disc 2) and a whole new set of tunes with sounding titles such as “The Mercy Curse”, “Prowling Leather” and “Whiplash Disaster”. Back in the 80's this was a fair indication of the musical style a band was into, and the same applies here.. you could pick this album up just by gauging the cover artwork and the titles and not be disappointed! “No Mercy For Mayhem” delivers right from the start phasing the likes of Motorhead and Venom down the speedy “Evil Like A Knife”, bobbing on a catchy, repeat riffed drive in a straight forward modus. The same approach is found on the equally fast “The Final Rape Of Night”, hinting at Venom's “Bursting Out”. The speed is also maintained on the intense, raw edged “Destroy Tsunami's Power” and “Try Suicide”. The groovy mid-tempo driven “Degradation” takes a turn towards the Punk thing in the refrain, as is the case on the more Hardcore Metal geared “Prowling Leather”; this one accents the grainy, unpolished sound that runs through the material, highlighted by the gruff, talk type vocals and 'plug in and play' style recording. The set slows to a grinding pace on the titletrack, and the Doomy NWOBHM groovster “Whiplash Disaster” which makes one of the top picks of the album. “No Mercy For Mayhem” is as good as it gets, capturing the sound and spirit of the heavier genres from the early – mid 80's! Great.
Paul van der Burght
|
|
EAR DANGER – 2014 “Warrior Soul”
web: www.eardanger.com
label: Emanes records http://www.emanesmetalrecords.com/
songs: Warrior Soul / Star Illusion / I Am Your Enemy / On The Run / Bound By The law / Spread Like Wildfire / Crusader / City On Fire / To Live Is To Fight / Raise Your Sword //
Holland based act Ear Danger used to be one of the many Metal bands mushrooming on Dutch soil back in the early / mid 80's. For some odd reason, most of these bands never got vinylized and only had one or two demos out. This also applied to Ear Danger, until the band reformed with two of its original members (Dick Vijgen – drums and Matt Verschoor – bass) and newly recruited guitarist Ivo Metz and singer / guitarist Leon Lohmann. A demo, recorded in 2007, “Shock And Awe”, paved the way for a full-length album, “Full Blast At Last” in 2011. Three years onwards, the band is at it again with another set of songs that is rooted in 80's Euro-Metal with a strong NWOBHM sidekick, pushed forward on the mid-paced “Crusader”, the up-tempo “I Am Your Enemy” and the fast, double-bass driven “Star Illusion” with hints of Nu PowerMetal through the chants and sweep picking. Those exact features come resurfacing on the semi-Headbanger “Spread Like Wildfire”, leaving the other tunes to merge with traditional Euro-Metal, bridged by the Epic, galloping Metaler “Raise Your Sword”. There's moments the material reminds of the German representation of the genre(s) with the likes of Helloween and Mania found on “Warrior Soul”, “On The Run” and “To Live Is To Fight”. There is a good, allround differentiation down the album in both tempo and appearance including mid and up-tempo Metalers, semi-Headbangers and anthem-like tunes such as “Bound By The Law”. Musical performance is clean and proportioned with matching, mid-range vocals that further compliment the melodic element that runs through the material on this entertaining 10-songer.
Paul van der Burght
TOTAL METAL RADIO
web: www.totalmetalradio.com
https://www.facebook.com/pages/Total-Metal-Radio/374343799325144?fref=ts
Total Metal Radio is a 24 / 7 on-line Radio Station 'created by lovers of Heavy Metal for lovers of Heavy Metal'. Total Metal Radio was brought into life by 'Big Pete' Malloy with the aim to 'create a family of like minded music fans, musicians and the like, banded together under the common goal of bringing you the very best of local and unsigned artists from across the globe'. Its DJ's have a long rooted history in Metal and most of them have been / are in bands themselves, so they know the scene inside and out! Total Metal Radio covers the whole spectrum of HardRock and Heavy Metal music brought to you by DJ's 'Big Pete', 'Lord Mykill', Dan 'Reaperman' Thomason, 'Dr. Evil', 'The Ogre', 'Psychosin', Sid, Pyrael a.k.a 'The Beast', 'Grrrr', 'Djjd', 'Skrinkles', 'DJ Guilty' and 'Lohr'. To submit requests, you can do so by visiting the Total Metal Radio website. For bands wanting coverage on the show, send in your promo-packs to bigpete@totalmetalradio for consideration. When sending packs in, please note to include MP3 format, a short bio & permission to have your tunes played. 'Total Metal Radio is not about the big names, but about bringing YOU the best Hard Rock and Metal you've probably never heard'!
web: www.totalmetalradio.com
https://www.facebook.com/pages/Total-Metal-Radio/374343799325144?fref=ts
Total Metal Radio is a 24 / 7 on-line Radio Station 'created by lovers of Heavy Metal for lovers of Heavy Metal'. Total Metal Radio was brought into life by 'Big Pete' Malloy with the aim to 'create a family of like minded music fans, musicians and the like, banded together under the common goal of bringing you the very best of local and unsigned artists from across the globe'. Its DJ's have a long rooted history in Metal and most of them have been / are in bands themselves, so they know the scene inside and out! Total Metal Radio covers the whole spectrum of HardRock and Heavy Metal music brought to you by DJ's 'Big Pete', 'Lord Mykill', Dan 'Reaperman' Thomason, 'Dr. Evil', 'The Ogre', 'Psychosin', Sid, Pyrael a.k.a 'The Beast', 'Grrrr', 'Djjd', 'Skrinkles', 'DJ Guilty' and 'Lohr'. To submit requests, you can do so by visiting the Total Metal Radio website. For bands wanting coverage on the show, send in your promo-packs to bigpete@totalmetalradio for consideration. When sending packs in, please note to include MP3 format, a short bio & permission to have your tunes played. 'Total Metal Radio is not about the big names, but about bringing YOU the best Hard Rock and Metal you've probably never heard'!
WITCH MOUNTAIN – 2014 “Mobile Of Angels”
label: Svart Records
songs: Psycho Animundi / Can't Settle / Your Corrupt Ways (Sour The Hymn) / Mobile Of Angels / The Shape Truth Takes / Don't Look Around (Mountain cover) //
web: https://www.facebook.com/witchmountain?fref=ts
http://witchmountain.bandcamp.com/
“Mobile Of Angels” is the newest full-lengther by Oregon based Doomsters Witch Mountain, following a whole batch of releases, including 2 EP's and 3 albums. “Mobile Of Angels” is stickered as 'their most Epic and musically challenging album to date'. Throw in some classic Stoner modes, atmospheric Hippie vocals and dragging riffage, and Witch Mountain takes you right back to 70's Doom the way it used to sound there and then. Musically, the concept has been replicated perfectly with the vocals of frontlady Uta Plotkin accenting the moods and atmospheres, delivering a mid-to-up range voice that occasionally resembles Grace Slick (Jefferson Airplane) in more than one way. Overall, Uta's voice blends the Doom element with the Hippie thing, generally sung in a talk-type manner with added harmonies and higher pitches, hinting at Danzig down the slowmotion paced “Can't Settle”. Surprisingly, it is here that the vocals also go into a one-off grunt-style, followed by some siren like modes! Another appearance of the vocals come surfacing on the dramatic ballad “The Shape Truth Takes”, tapping into a 'fragile' sounding Epic modus. Songs are slow and lengthy, clocking in at an average running time of 8+ minutes but somehow, there's enough in there to keep things interesting all the way through, right from the opening tunes of the lethargic Stoner Doomster “Psycho Animundi”, and the trippy Psychedelics of the Medieval edged titletrack onto the final notes of the grooved up HardRocker that is “Don't Look Around”; Apart from this one tune – that actually concerns a Mountain cover – there's no Hammond organ incorporated but it would somehow fit the music as a whole even knowing it works very well without... Witch Mountain truly are in top form on this album, making Hippie Doom sound as cool as it did in the 70's... right on!
Paul van der Burght
label: Svart Records
songs: Psycho Animundi / Can't Settle / Your Corrupt Ways (Sour The Hymn) / Mobile Of Angels / The Shape Truth Takes / Don't Look Around (Mountain cover) //
web: https://www.facebook.com/witchmountain?fref=ts
http://witchmountain.bandcamp.com/
“Mobile Of Angels” is the newest full-lengther by Oregon based Doomsters Witch Mountain, following a whole batch of releases, including 2 EP's and 3 albums. “Mobile Of Angels” is stickered as 'their most Epic and musically challenging album to date'. Throw in some classic Stoner modes, atmospheric Hippie vocals and dragging riffage, and Witch Mountain takes you right back to 70's Doom the way it used to sound there and then. Musically, the concept has been replicated perfectly with the vocals of frontlady Uta Plotkin accenting the moods and atmospheres, delivering a mid-to-up range voice that occasionally resembles Grace Slick (Jefferson Airplane) in more than one way. Overall, Uta's voice blends the Doom element with the Hippie thing, generally sung in a talk-type manner with added harmonies and higher pitches, hinting at Danzig down the slowmotion paced “Can't Settle”. Surprisingly, it is here that the vocals also go into a one-off grunt-style, followed by some siren like modes! Another appearance of the vocals come surfacing on the dramatic ballad “The Shape Truth Takes”, tapping into a 'fragile' sounding Epic modus. Songs are slow and lengthy, clocking in at an average running time of 8+ minutes but somehow, there's enough in there to keep things interesting all the way through, right from the opening tunes of the lethargic Stoner Doomster “Psycho Animundi”, and the trippy Psychedelics of the Medieval edged titletrack onto the final notes of the grooved up HardRocker that is “Don't Look Around”; Apart from this one tune – that actually concerns a Mountain cover – there's no Hammond organ incorporated but it would somehow fit the music as a whole even knowing it works very well without... Witch Mountain truly are in top form on this album, making Hippie Doom sound as cool as it did in the 70's... right on!
Paul van der Burght
Terry Butler and Manic Mosh editor Damian
Live-review:
Massacre @ London barfly 05/05/2014
Death Metal Royalty show 'em how it's done after several decades.
After years of line up changes and some down time Massacre come back strong, manning the helm with Rick Rozz (guitar) & Terry Butler (bass). Both Rick and Terry are original members of Metal pioneers 'Death', and it is Edd Webb that replaces Kam Lee on vocal duties for the newly reformed Death Metal titans and he does a fine job. Massacre opened the show with “Dawn Of Eternity”; the first track of their classic album 'From Beyond' and proceed to hammer the crowd with old material and new. ''The Barfly' in Camden / London may be a small venue, but it has a great sound, and drew a buzzing crowd of all ages. Massacre are currently touring Europe and will have various summer festival appearances while headlining a few of the smaller ones.
Damian Llewellyn
Massacre @ London barfly 05/05/2014
Death Metal Royalty show 'em how it's done after several decades.
After years of line up changes and some down time Massacre come back strong, manning the helm with Rick Rozz (guitar) & Terry Butler (bass). Both Rick and Terry are original members of Metal pioneers 'Death', and it is Edd Webb that replaces Kam Lee on vocal duties for the newly reformed Death Metal titans and he does a fine job. Massacre opened the show with “Dawn Of Eternity”; the first track of their classic album 'From Beyond' and proceed to hammer the crowd with old material and new. ''The Barfly' in Camden / London may be a small venue, but it has a great sound, and drew a buzzing crowd of all ages. Massacre are currently touring Europe and will have various summer festival appearances while headlining a few of the smaller ones.
Damian Llewellyn
METAL GODS – traditional Metal magazine
web: https://www.facebook.com/metalgodsmag
METAL GODS is a brand new, Full-colour printed Metal Magazine from Germany, written in English with German excerpts. Metal Gods Magazine is entirely geared towards REAL and traditional styled HardRock, Heavy Metal, Doom Metal, Epic Metal, Speed, ThrashMetal and related; NO modern Metal. New writers, distributors, mailorders, bands, labels – get in touch! All help, comments, orders, submissions are welcomed. Check out the weblink for additional info and order-information.
web: https://www.facebook.com/metalgodsmag
METAL GODS is a brand new, Full-colour printed Metal Magazine from Germany, written in English with German excerpts. Metal Gods Magazine is entirely geared towards REAL and traditional styled HardRock, Heavy Metal, Doom Metal, Epic Metal, Speed, ThrashMetal and related; NO modern Metal. New writers, distributors, mailorders, bands, labels – get in touch! All help, comments, orders, submissions are welcomed. Check out the weblink for additional info and order-information.
|
|
Above left: Sirenia Hallows photo by Erotic Ink, right: photo by Shawn
SIRENIA HALLOWS – Mystical Model from Bristol
web: https://www.facebook.com/SireniaHallowsOfficial
Sirenia Hallows is a Bristol based model that started her career in 2009. She specializes in Alternative / Latex fashions and often design all or part of the outfits she wears. Noted designers she has worked on latex pieces with are Violaceous Latex, Cathouse Clothing, and Murray and Vern. Her favourite bands include Cradle of Filth, Bloodbath, Vader, Belphegor, Dark Funeral, Emperor and Opeth.
photographers:
Erotic Ink: https://www.facebook.com/EroticInk2014
Shawn: https://www.facebook.com/pages/Shawn-Photography/168174339916750
web: https://www.facebook.com/SireniaHallowsOfficial
Sirenia Hallows is a Bristol based model that started her career in 2009. She specializes in Alternative / Latex fashions and often design all or part of the outfits she wears. Noted designers she has worked on latex pieces with are Violaceous Latex, Cathouse Clothing, and Murray and Vern. Her favourite bands include Cradle of Filth, Bloodbath, Vader, Belphegor, Dark Funeral, Emperor and Opeth.
photographers:
Erotic Ink: https://www.facebook.com/EroticInk2014
Shawn: https://www.facebook.com/pages/Shawn-Photography/168174339916750
|
|
|
Photos above and below left, centre and right: Lady Evil. All photos published with permission by Lady Evil
|
|
|
LADY EVIL – Heavy Metal record collecting the lush way!
web: https://www.facebook.com/LadyEvil6666
LADY EVIL is a female Metal fan from Brazil that expresses her love for vinyl through selfies in front of her awesome collection that holds over 7000 records!! Her taste in Metal ranges from HardRock and Metal to Thrash and beyond with NWOBHM as her favourite genre. Ever since Lady Evil entered the social media, her following rocketed and is bound to reach a massive number of fans as Lady Evil delivers a great taste in Metal music and matching outfits to go along with the records she displays!
web: https://www.facebook.com/LadyEvil6666
LADY EVIL is a female Metal fan from Brazil that expresses her love for vinyl through selfies in front of her awesome collection that holds over 7000 records!! Her taste in Metal ranges from HardRock and Metal to Thrash and beyond with NWOBHM as her favourite genre. Ever since Lady Evil entered the social media, her following rocketed and is bound to reach a massive number of fans as Lady Evil delivers a great taste in Metal music and matching outfits to go along with the records she displays!
|
|
|
Above left, centre and right: Lady Evil. All photos published with permission by Lady Evil
SKAVEN – LP 2014 “Discography”
label: Skuld releases www.skuldreleases.de
songs: Reflective Skin / Plague Wind / Abscess / Fleshy Curse / Like The Worms That Crawl the Earth / The Swarm / Severed / Flowers Of Flesh And Blood //
“Discography” is a collection of remastered releases from the long defunct California Crust act Skaven. The band's shortlived career, that ended in '97, spanned 2 years and featured an EP alongside split releases with Dystopia and Stormcrow. Since 2010, there's been talk of a reissue and things finally materialized when Skuld records snapped up the band and released “Discography” in vinyl format. Skaven go down the Crust thing in a traditional, mid-80's fashion that merges HardCore and Metal in a classic Crossover style. Material does differ in approach, from, more provocative HardCore minded tunes such as “Reflective Skin” and “Plague Wind” to more in-depth structured and atmospheric edged workouts (“Abscess”, “Flowers Of Flesh And Blood”). Skaven does not follow the standard slow-fast structure, and moves in a relatively 'slow' mid-tempo for most of the time. The vocals are Crust by all means, captured in a most provocative, and raspy shriek singing style, whilst the deep, 'muffled' crunch guitar riffage occasionally lands the music in Thrash territories. The 6+ minute “Flowers Of Flesh And Blood” is the most in-depth song of the set, sporting some Metal like riffs (a la Warfare), alongside staccato guitar hooks, slow-sludgy sectioning, upbeat modes and faster chops during the refrain. Overall, Skaven offers a more versatile interpretation of the Crust genre with fragments of old-school HardCore Metal that is likely to please Metalers into the likes of Warfare and early Onslaught.
Paul van der Burght
specs: vinyl comes with insert, booklet and 2 posters. Free digital version available via Moshpit Tragedy
label: Skuld releases www.skuldreleases.de
songs: Reflective Skin / Plague Wind / Abscess / Fleshy Curse / Like The Worms That Crawl the Earth / The Swarm / Severed / Flowers Of Flesh And Blood //
“Discography” is a collection of remastered releases from the long defunct California Crust act Skaven. The band's shortlived career, that ended in '97, spanned 2 years and featured an EP alongside split releases with Dystopia and Stormcrow. Since 2010, there's been talk of a reissue and things finally materialized when Skuld records snapped up the band and released “Discography” in vinyl format. Skaven go down the Crust thing in a traditional, mid-80's fashion that merges HardCore and Metal in a classic Crossover style. Material does differ in approach, from, more provocative HardCore minded tunes such as “Reflective Skin” and “Plague Wind” to more in-depth structured and atmospheric edged workouts (“Abscess”, “Flowers Of Flesh And Blood”). Skaven does not follow the standard slow-fast structure, and moves in a relatively 'slow' mid-tempo for most of the time. The vocals are Crust by all means, captured in a most provocative, and raspy shriek singing style, whilst the deep, 'muffled' crunch guitar riffage occasionally lands the music in Thrash territories. The 6+ minute “Flowers Of Flesh And Blood” is the most in-depth song of the set, sporting some Metal like riffs (a la Warfare), alongside staccato guitar hooks, slow-sludgy sectioning, upbeat modes and faster chops during the refrain. Overall, Skaven offers a more versatile interpretation of the Crust genre with fragments of old-school HardCore Metal that is likely to please Metalers into the likes of Warfare and early Onslaught.
Paul van der Burght
specs: vinyl comes with insert, booklet and 2 posters. Free digital version available via Moshpit Tragedy
WINGER – 2014 “Better Days Comin' “
label: Frontiers Records
songs: Midnight Driver Of A Love Machine / Queen Babylon / Rat Race / Better Days Comin' / Tin Soldier / Ever Wonder / So Long China / Storm In Me / Be Who You Are, Now / Out Of This World //
(deluxe edition features a bonus song; “Another Beautiful Day”)
After a 5 year hiatus, U.S Rockers Winger are back, and if there is such thing as karma, then the inevitable consequence of their aptly titled '09 album has taken its effect with the release of their newest work, “Better Days Comin”, as better days indeed have arrived! The launch of 2 videos, “Rat Race” and “Midnight Driver...” triggered a new interest in the band and their intensified sound that quite possibly is their biggest asset on the “Better Days Comin'” album. Best example of this is the high octane scorcher “Rat Race”; a fast-paced, riff-rooted HardRocker with a hint of classic Deep Purple (“Burn”, “Fireball”) and even The Sweet ringing in its 70's style choirs. More of this retro-Rock routine is found on the chunky “Queen Babylon” sporting hints of early Rainbow and MSG. The mid-tempo driven “Midnight Driver Of A Love Machine” harks back to the repertoire of the first Winger albums, splashed with the trademark guitar hooks of Reb Beach and a touch upon the Mainstream thing, be it in a roughed up fashion. “So Long China” is another song with Mainstream appeal with some Prog Rock thrown in during the mid-section. The Prog element also comes surfacing on the moody, all-Winger styled ballad “Storm In Me”, and goes in full on the sombre, 80's style Prog Metaler “Tin Soldier”. Balladry comes in the shape of the atmospheric laden “Ever Wonder” and the slightly, 70's Psychedelic fused “Be Who You Are, Now”. Maybe not the most obvious choice for a titletrack, but surprising and refreshing on all accounts is the easy going Radio Rocker “Better Days Comin'” with Beatles-esque features, handclap, tambourin, and almost Hippie-like chorus, adding up to the feelgood factor of the song. In all, the “Better Days Comin” album is a finely distilled work that has filtered the best of previous works and infused the residue with atmospheric moods, dosed energy and a productional punch courtesy of main man Kip Winger. A very complete and confident sounding album that is heavier, more experimental and ready to compete!
Paul van der Burght
label: Frontiers Records
songs: Midnight Driver Of A Love Machine / Queen Babylon / Rat Race / Better Days Comin' / Tin Soldier / Ever Wonder / So Long China / Storm In Me / Be Who You Are, Now / Out Of This World //
(deluxe edition features a bonus song; “Another Beautiful Day”)
After a 5 year hiatus, U.S Rockers Winger are back, and if there is such thing as karma, then the inevitable consequence of their aptly titled '09 album has taken its effect with the release of their newest work, “Better Days Comin”, as better days indeed have arrived! The launch of 2 videos, “Rat Race” and “Midnight Driver...” triggered a new interest in the band and their intensified sound that quite possibly is their biggest asset on the “Better Days Comin'” album. Best example of this is the high octane scorcher “Rat Race”; a fast-paced, riff-rooted HardRocker with a hint of classic Deep Purple (“Burn”, “Fireball”) and even The Sweet ringing in its 70's style choirs. More of this retro-Rock routine is found on the chunky “Queen Babylon” sporting hints of early Rainbow and MSG. The mid-tempo driven “Midnight Driver Of A Love Machine” harks back to the repertoire of the first Winger albums, splashed with the trademark guitar hooks of Reb Beach and a touch upon the Mainstream thing, be it in a roughed up fashion. “So Long China” is another song with Mainstream appeal with some Prog Rock thrown in during the mid-section. The Prog element also comes surfacing on the moody, all-Winger styled ballad “Storm In Me”, and goes in full on the sombre, 80's style Prog Metaler “Tin Soldier”. Balladry comes in the shape of the atmospheric laden “Ever Wonder” and the slightly, 70's Psychedelic fused “Be Who You Are, Now”. Maybe not the most obvious choice for a titletrack, but surprising and refreshing on all accounts is the easy going Radio Rocker “Better Days Comin'” with Beatles-esque features, handclap, tambourin, and almost Hippie-like chorus, adding up to the feelgood factor of the song. In all, the “Better Days Comin” album is a finely distilled work that has filtered the best of previous works and infused the residue with atmospheric moods, dosed energy and a productional punch courtesy of main man Kip Winger. A very complete and confident sounding album that is heavier, more experimental and ready to compete!
Paul van der Burght
DEATH PENALTY – 7” 2014 “Sign Of Times”
label: Rise Above records
songs: Sign Of Times / Seven Flames //
After the sad retirement of British Doom legends Cathedral, guitarist and riff master Gaz Jennings didn't really have any intention of forming another band. But, after a bit of persuasion of former band mate and Rise Above label boss Lee Dorian, they formed Death Penalty, named after the classic album by Witchfinder General, who Gaz is a massive fan of wearing their shirt on stage. As far as a vocalist was concerned the first person who came to mind was Michelle Nocon, former singer with Belgian Doomsters Serpencult, while also recruiting their drummer Fredrik Cosemans and Raf Meukens on Bass duties. Their first offering is a 7" single called “Sign Of Times”. Both tracks showcase Jennings knowledge of the riff and classic Heavy Metal song structure with a welcoming familiar Cathedral vibe coming through especially on title track “Sign Of Times” with catchy grooves and Michelle's wide vocal range. Things get even better on side B with “Seven Flames” with Nocon's vocals really charging through; less of a Doom song but more of a Classic Heavy Metal number again with the Cathedral groove present and very catchy, love this song more and more.
https://www.youtube.com/watch?v=f2p7fOnyg-M
http://www.riseaboverecords.com/artists/riseaboveartists/771-2/
Damian Llewellyn
label: Rise Above records
songs: Sign Of Times / Seven Flames //
After the sad retirement of British Doom legends Cathedral, guitarist and riff master Gaz Jennings didn't really have any intention of forming another band. But, after a bit of persuasion of former band mate and Rise Above label boss Lee Dorian, they formed Death Penalty, named after the classic album by Witchfinder General, who Gaz is a massive fan of wearing their shirt on stage. As far as a vocalist was concerned the first person who came to mind was Michelle Nocon, former singer with Belgian Doomsters Serpencult, while also recruiting their drummer Fredrik Cosemans and Raf Meukens on Bass duties. Their first offering is a 7" single called “Sign Of Times”. Both tracks showcase Jennings knowledge of the riff and classic Heavy Metal song structure with a welcoming familiar Cathedral vibe coming through especially on title track “Sign Of Times” with catchy grooves and Michelle's wide vocal range. Things get even better on side B with “Seven Flames” with Nocon's vocals really charging through; less of a Doom song but more of a Classic Heavy Metal number again with the Cathedral groove present and very catchy, love this song more and more.
https://www.youtube.com/watch?v=f2p7fOnyg-M
http://www.riseaboverecords.com/artists/riseaboveartists/771-2/
Damian Llewellyn
|
|
Above left and right: singer Shiran Avayou / SHIRAN
SHIRAN – CD EP 2014 “Warm Winter Day”
label: private
songs: Remain / Warm Winter Day / The Child / Glint Of Light / Burden's Off //
web: http://shiranproject.com/
Shiran is a female-fronted Israeli Metal project initiated in 2012 by singer Shiran Avayou and guitarist Elram Boxer (Ferium). Completed by fellow Ferium instrumentalists Shiran launched their self released debut E.P at the tail end of 2014, delivering a brand of melodic laden Metalcore with moody hooks and Gothic edged atmospheres. Riffage is quite up there intensity wise with a heavy modus towards the endings of about half the set. The crisp, mid-range vocals of Shiran bring in the balance and add up to the atmospheric element that runs through the material. With only 5 songs on offer, the band managed to slip in a good, allround differentiation, turning towards a more commerically aimed, Rock-radio style down “Warm Winter Day” (slightly hinting at Avril Lavigne concept and singing-wise), ballad-esque Metalcore (“The Child”), and Moody Metal (“Burden's Off”). Shiran packed an entertaining selection of songs that sounds well programmed and co-ordinated with the vocals topping in volume and delivery down the dramatic, slow-paced “Glint Of Light”.
Paul van der Burght
label: private
songs: Remain / Warm Winter Day / The Child / Glint Of Light / Burden's Off //
web: http://shiranproject.com/
Shiran is a female-fronted Israeli Metal project initiated in 2012 by singer Shiran Avayou and guitarist Elram Boxer (Ferium). Completed by fellow Ferium instrumentalists Shiran launched their self released debut E.P at the tail end of 2014, delivering a brand of melodic laden Metalcore with moody hooks and Gothic edged atmospheres. Riffage is quite up there intensity wise with a heavy modus towards the endings of about half the set. The crisp, mid-range vocals of Shiran bring in the balance and add up to the atmospheric element that runs through the material. With only 5 songs on offer, the band managed to slip in a good, allround differentiation, turning towards a more commerically aimed, Rock-radio style down “Warm Winter Day” (slightly hinting at Avril Lavigne concept and singing-wise), ballad-esque Metalcore (“The Child”), and Moody Metal (“Burden's Off”). Shiran packed an entertaining selection of songs that sounds well programmed and co-ordinated with the vocals topping in volume and delivery down the dramatic, slow-paced “Glint Of Light”.
Paul van der Burght
VEGA – CD 2014 “Stereo Messiah”
label: Frontiers records
songs: Stereo Messiah / All Or Nothing / Wherever We Are / Ballad Of The Broken Hearted / Gonna Need Some Love Tonight / The Fall / Neon Heart / With Both Hands / 10 X Bigger Than Love / My Anarchy / The Wild, The Weird, The Wonderful / Tears Never Dry //
“Stereo Messiah” is the third album by U.K. based 5-piece Vega who hooked up again with Frontiers records after releasing their debut, “Kiss Of Life” late 2010. Vega deliver a mix of A.O.R. and Melodic Rock that is played in a rather heavy fashion with only little room for soppy balladry and such. Songs are mostly mid-tempo driven with faster workouts in the shape of the Bon Jovi flavoured “Gonna Need Some Love Tonight” and the toe-tapping “The Wild, The Weird, The Wonderful”. Overall, material has a catchy vibe with instant access, sticky chorus lines and some nice guitar flash. The vocals of Nick Workman give the music this extra push, delivering a strong, mid-range voice with higher pitched modes, peaking on the mid-paced A.O.R. Rocker “Wherever We Are”. There's an occasional hint of Journey popping up, as evidenced on the driving Radio Rocker “All Or Nothing” (gelling with Steve Perry's “For The Love Of Strange Medicine”) and the mid-paced “With Both Hands”, with an allround flush of Neil Schon down the guitar department. This album does convince in many respects, and for a genre that can be quite mediocre, Vega managed to lift their concept with good result 9 out of 12 times. In all, a very complete and competent Rock album that is up to the mark.
Paul van der Burght
label: Frontiers records
songs: Stereo Messiah / All Or Nothing / Wherever We Are / Ballad Of The Broken Hearted / Gonna Need Some Love Tonight / The Fall / Neon Heart / With Both Hands / 10 X Bigger Than Love / My Anarchy / The Wild, The Weird, The Wonderful / Tears Never Dry //
“Stereo Messiah” is the third album by U.K. based 5-piece Vega who hooked up again with Frontiers records after releasing their debut, “Kiss Of Life” late 2010. Vega deliver a mix of A.O.R. and Melodic Rock that is played in a rather heavy fashion with only little room for soppy balladry and such. Songs are mostly mid-tempo driven with faster workouts in the shape of the Bon Jovi flavoured “Gonna Need Some Love Tonight” and the toe-tapping “The Wild, The Weird, The Wonderful”. Overall, material has a catchy vibe with instant access, sticky chorus lines and some nice guitar flash. The vocals of Nick Workman give the music this extra push, delivering a strong, mid-range voice with higher pitched modes, peaking on the mid-paced A.O.R. Rocker “Wherever We Are”. There's an occasional hint of Journey popping up, as evidenced on the driving Radio Rocker “All Or Nothing” (gelling with Steve Perry's “For The Love Of Strange Medicine”) and the mid-paced “With Both Hands”, with an allround flush of Neil Schon down the guitar department. This album does convince in many respects, and for a genre that can be quite mediocre, Vega managed to lift their concept with good result 9 out of 12 times. In all, a very complete and competent Rock album that is up to the mark.
Paul van der Burght
CLAWHAMMER PR – Music promotion and media relations
web: https://twitter.com/clawhammerpr
https://www.facebook.com/clawhammerpr?fref=ts
Clawhammer P.R. is a U.S. based music promotion and media relations company specializing in Heavy Metal and Hard Rock. Bands and Artists on the current roster include: Zero Down, Shiran, Sidious, Nervochaos, Eye Of Solitude and many others. For more info visit the web links or contact clawhammerpr@gmail.com
web: https://twitter.com/clawhammerpr
https://www.facebook.com/clawhammerpr?fref=ts
Clawhammer P.R. is a U.S. based music promotion and media relations company specializing in Heavy Metal and Hard Rock. Bands and Artists on the current roster include: Zero Down, Shiran, Sidious, Nervochaos, Eye Of Solitude and many others. For more info visit the web links or contact clawhammerpr@gmail.com
|
|
|
Above left, centre and right: Model Nancy Harry. photos by Kitty KEMS Photography
NANCY HARRY – Aspiring Tattoo Model from Wales
web: https://www.facebook.com/pages/Nancy-Harry/308116558456
Nancy Harry is an internationally published Tattoo Model from Wales that loves Punk, Ska, Country, Rob Zombie, Tattoos and Mexico! Nancy started her Modelling career in 2010 and has morphed into an established Tattoo Model with a huge following. Nancy has been a regular in publications such as 'Skinz' and 'Skindeep' with photo-features and cover-shots, and gauging the quality of this aspiring Model, there is no doubt that she will be a cover Model for many another magazine!
photos by:
Kitty KEMS Photography https://www.facebook.com/kittykemsphotography?fref=ts
Bilacous Photography https://www.facebook.com/Bilacous
web: https://www.facebook.com/pages/Nancy-Harry/308116558456
Nancy Harry is an internationally published Tattoo Model from Wales that loves Punk, Ska, Country, Rob Zombie, Tattoos and Mexico! Nancy started her Modelling career in 2010 and has morphed into an established Tattoo Model with a huge following. Nancy has been a regular in publications such as 'Skinz' and 'Skindeep' with photo-features and cover-shots, and gauging the quality of this aspiring Model, there is no doubt that she will be a cover Model for many another magazine!
photos by:
Kitty KEMS Photography https://www.facebook.com/kittykemsphotography?fref=ts
Bilacous Photography https://www.facebook.com/Bilacous
|
|
Above left: Models Nancy Harry (left) and Lusy Logan (right), photo by Bilacous Photography
Above right: Nancy Harry, photo by Kitty KEMS Photography
Above right: Nancy Harry, photo by Kitty KEMS Photography
NORSE – EP 2014 “Pest”
web: https://facebook.com/norse.official
label: private
songs: Encoded Weakness / Disarmed, Toothless, Weak / Pest / Irradiator / True Insignificance / Aimless //
“Pest” is the new release by Australian outfit Norse that previously emerged with “All Is Mist And Fog” (2012) and “Hellstorm” (2010). This new EP proves Norse to be a serious contender in the more extreme forms of Metal, boldly showing how Black Metal is done the Oz way! “Pest” sounds as merciless as its title, merging noisy Industrial elements with BlackMetal in a chaotic, yet systematic, Avant Garde-like fashion. “Pest” will take away the last spark of happiness, drenched in a sombre, icy cold atmosphere set off by the wailing, overpowered guitars that are the key element throughout the material. Norse do incorporate typical Black Metal features such as the high-low guitar hooks, double-bass drummage and slam beats but there is far more happening, as evidenced on the dark and depressing, concept-like “Irradiator”. Overall, vocals are semi gurgled / grunted and more DeathThrash like in appearance with the occasional narrative mode down the ploughing titletrack and the creepy, Industrial Doomster “Aimless”. The “Pest” EP will not go down easy, requiring a few spins to adapt to this 'intelligent noise' that sweeps the floor with Blackened Metal as we know it! This is one of the creepiest, most intense formulas in Metal music, brilliant!
Paul van der Burght
specs: available in digital format only
http://norsemetal.bandcamp.com/
web: https://facebook.com/norse.official
label: private
songs: Encoded Weakness / Disarmed, Toothless, Weak / Pest / Irradiator / True Insignificance / Aimless //
“Pest” is the new release by Australian outfit Norse that previously emerged with “All Is Mist And Fog” (2012) and “Hellstorm” (2010). This new EP proves Norse to be a serious contender in the more extreme forms of Metal, boldly showing how Black Metal is done the Oz way! “Pest” sounds as merciless as its title, merging noisy Industrial elements with BlackMetal in a chaotic, yet systematic, Avant Garde-like fashion. “Pest” will take away the last spark of happiness, drenched in a sombre, icy cold atmosphere set off by the wailing, overpowered guitars that are the key element throughout the material. Norse do incorporate typical Black Metal features such as the high-low guitar hooks, double-bass drummage and slam beats but there is far more happening, as evidenced on the dark and depressing, concept-like “Irradiator”. Overall, vocals are semi gurgled / grunted and more DeathThrash like in appearance with the occasional narrative mode down the ploughing titletrack and the creepy, Industrial Doomster “Aimless”. The “Pest” EP will not go down easy, requiring a few spins to adapt to this 'intelligent noise' that sweeps the floor with Blackened Metal as we know it! This is one of the creepiest, most intense formulas in Metal music, brilliant!
Paul van der Burght
specs: available in digital format only
http://norsemetal.bandcamp.com/
|
|
SYRON VANES – CD 2014 “Evil Redux”
web: http://www.syronvanes.com/
label: Denomination records
songs: Overture (intro) / Sacrifice / Only Hell Remains / End Of The World / Devil's Dancing / Hellion Child / Heaven And Back / King Of It All / Bringer Of Evil / God's Gift / Shadows Of A Broken Dream / Race Me To Hell / Tyrant Angel //
Syron Vanes may not be a familiar name in today's Metal scene, but fact is that this Swedish HardRock / Metal unit has been around for a long time and were a regular feature in Metal fanzines across Europe in the early 80's. The band was best known for their '83 demo tape - which was widely circulated in the tape trading scene – and their debut LP “Bringer Of Evil”. The follow-up record “Revenge” failed to continue their flush of fame, and the same pretty much applied to the 2003 “Insane” album. And then, there's “Evil Redux”, Syron Vanes' 2014 come-back album that brings the band back in full force with a traditional rooted but beefed up and modernized HardRock / Metal sound. “Evil Redux” is one mean, power-packed album that just hammers down from start to finish with tons of productional boost (courtesy of guitarist Anders Hahne), thick grooves and chunky riffs. The vocalage of singer / guitarist Rimbert Vahlstroem compliments the music in every respect, delivering an upper mid-range voice that is muscular, melodic edged and vibrato laden, moving in somewhere between Glenn Hughes (Deep Purple) and Keith Satchfield (Fist). The set on “Evil Redux” goes through various modes but is predominantly HardRock minded with a knock-out punch that equals PowerMetal as witnessed on the slow paced thumpers “Sacrifice” and “Bringer Of Evil” - a classic Syron Vanes song, with a strong Deep Purple taste and a hint of Stoner Rock / Metal. Then, there's the riff-monsters “Only Hell Remains”, “End Of The World” (with the Stoner thing re-appearing) and “King Of It All”. Some traditional HardRock finds its way on the mid-paced groovster “Devil's Dancing”, and the classic thing furthers in a heavier fashion down “Hellion Child”; a riff-based, 80's styled Headbanger” with a new twist. Most refreshing is the band's approach to A.O.R, merged with Metal in a powerhouse way down the chunky, mid-paced “Heaven And Back” that claims commercial potential without being mellow. There is a lot happening within the music, both structural and technical wise, whilst having this 'easy-access appearance', but it is full of little details such as on “Devil's Dancing” with softly mixed in semi-acoustics and all.. “Evil Redux” is a non-stop trip of HardRock / Metal perfection, coupling the old-school HardRock sound to the 90's thing and the modern (Power) Metal sound, caked with grooves, power riffs and razor sharp guitar hooks. This thing blows away most reputable acts that recently reformed with enough ammo in there to have a shot at the competition should there be any! From a band that was an Underground favourite in the 80's to what it has portrayed here is beyond recognition. Top marks!
Paul van der Burght
web: http://www.syronvanes.com/
label: Denomination records
songs: Overture (intro) / Sacrifice / Only Hell Remains / End Of The World / Devil's Dancing / Hellion Child / Heaven And Back / King Of It All / Bringer Of Evil / God's Gift / Shadows Of A Broken Dream / Race Me To Hell / Tyrant Angel //
Syron Vanes may not be a familiar name in today's Metal scene, but fact is that this Swedish HardRock / Metal unit has been around for a long time and were a regular feature in Metal fanzines across Europe in the early 80's. The band was best known for their '83 demo tape - which was widely circulated in the tape trading scene – and their debut LP “Bringer Of Evil”. The follow-up record “Revenge” failed to continue their flush of fame, and the same pretty much applied to the 2003 “Insane” album. And then, there's “Evil Redux”, Syron Vanes' 2014 come-back album that brings the band back in full force with a traditional rooted but beefed up and modernized HardRock / Metal sound. “Evil Redux” is one mean, power-packed album that just hammers down from start to finish with tons of productional boost (courtesy of guitarist Anders Hahne), thick grooves and chunky riffs. The vocalage of singer / guitarist Rimbert Vahlstroem compliments the music in every respect, delivering an upper mid-range voice that is muscular, melodic edged and vibrato laden, moving in somewhere between Glenn Hughes (Deep Purple) and Keith Satchfield (Fist). The set on “Evil Redux” goes through various modes but is predominantly HardRock minded with a knock-out punch that equals PowerMetal as witnessed on the slow paced thumpers “Sacrifice” and “Bringer Of Evil” - a classic Syron Vanes song, with a strong Deep Purple taste and a hint of Stoner Rock / Metal. Then, there's the riff-monsters “Only Hell Remains”, “End Of The World” (with the Stoner thing re-appearing) and “King Of It All”. Some traditional HardRock finds its way on the mid-paced groovster “Devil's Dancing”, and the classic thing furthers in a heavier fashion down “Hellion Child”; a riff-based, 80's styled Headbanger” with a new twist. Most refreshing is the band's approach to A.O.R, merged with Metal in a powerhouse way down the chunky, mid-paced “Heaven And Back” that claims commercial potential without being mellow. There is a lot happening within the music, both structural and technical wise, whilst having this 'easy-access appearance', but it is full of little details such as on “Devil's Dancing” with softly mixed in semi-acoustics and all.. “Evil Redux” is a non-stop trip of HardRock / Metal perfection, coupling the old-school HardRock sound to the 90's thing and the modern (Power) Metal sound, caked with grooves, power riffs and razor sharp guitar hooks. This thing blows away most reputable acts that recently reformed with enough ammo in there to have a shot at the competition should there be any! From a band that was an Underground favourite in the 80's to what it has portrayed here is beyond recognition. Top marks!
Paul van der Burght
|
|
Above left: photo by Andrea Berardi. Above right: photo by La Minu / Minu In Wonderland
Tabata Suicide – Italian Alt Model
web: https://www.facebook.com/velvetsnakemodel?fref=ts
Tabata Suicide is an Italian Alternative Model and aspiring 'Suicide Girl' that started modelling early 2014, embracing the world of photography in front of the lens. Tabata's favourite styles are Alternative, Glamour, Lingerie and Fantasy, and her portfolio includes the work of many Italian photographers including Minu In Wonderland, Luca Mion and Luca Garetto. Tattoos and piercings are Tabata's passion, her favourite bands are Metallica, Iron Maiden and Black Sabbath, and she loves travelling, books, TV series and video-games. Alongside the modelling, Tabata is active as a nurse and volunteer for projects abroad and whilst in Italy, she also works for the Jolly Roger Tattoo Studio as a promoter and spokesmodel. https://www.facebook.com/jollyrogertattoclub http://www.jollyrogertattooclub.it/ Tabata is a Model with many qualities and a most professional attitude that undoubtedly will airlift her Modelling career.
Photographers:
La Minu / Minu In Wonderland https://www.facebook.com/MinuInWonderland
Andrea Berardi https://www.facebook.com/AndreaBerardiPh
web: https://www.facebook.com/velvetsnakemodel?fref=ts
Tabata Suicide is an Italian Alternative Model and aspiring 'Suicide Girl' that started modelling early 2014, embracing the world of photography in front of the lens. Tabata's favourite styles are Alternative, Glamour, Lingerie and Fantasy, and her portfolio includes the work of many Italian photographers including Minu In Wonderland, Luca Mion and Luca Garetto. Tattoos and piercings are Tabata's passion, her favourite bands are Metallica, Iron Maiden and Black Sabbath, and she loves travelling, books, TV series and video-games. Alongside the modelling, Tabata is active as a nurse and volunteer for projects abroad and whilst in Italy, she also works for the Jolly Roger Tattoo Studio as a promoter and spokesmodel. https://www.facebook.com/jollyrogertattoclub http://www.jollyrogertattooclub.it/ Tabata is a Model with many qualities and a most professional attitude that undoubtedly will airlift her Modelling career.
Photographers:
La Minu / Minu In Wonderland https://www.facebook.com/MinuInWonderland
Andrea Berardi https://www.facebook.com/AndreaBerardiPh
HEADSTONE HORRORS – E.P 2014 “Like The Morgue”
web: https://www.facebook.com/HeadstoneHorrors
http://headstonehorrors.bigcartel.com/
label: Headcheck records http://www.headcheckrecords.co.uk
The Headstone Horrors are a U.K. Horror Punk band currently based in Nottingham. They formed in late 2012 and set about writing their Horror Punk anthems and getting out there on the gig circuit as much as they could to let the people know they were here and they were to be heard. They were picked up by Headcheck Records and released their current E.P. “Like The Morgue” back in April 2014. The band comprises of Nat on vocals, Jimi on guitar and doing backing vocals, Paul on bass and Joey on drums. The E.P. Kicks off in fine style with “The Bite”, starting with an atmospheric opening guitar which leads into the guitar playing the main riff of the song by itself before the band crashes in and the song hits high gear. The riff itself is catchy as hell and Nats' awesome vocals come in reminding me of a cross between Patricia Day of The Horrorpops and Gwen Stefani of No Doubt but with an awesome rawness to them. Near the end of the song Nat and Jimi do some superb cross vocal stuff while the bassist and drummer keep the low end incredibly tight. The second track is “Silent Moonlight” which starts with a drum roll that goes into a fast and catchy riff, with Nat alternating between her higher sung vocals and her lower, raw edge singing. This is a song purely built to get the pits moving and pogoing with awesome use of switching vocals between Nat and Jimi. The third track is the title track “Like The Morgue”; this song fades in with a single guitar note ringing out then a few chords are played with bass and drums coming in slowly adding the layers of the music, then out of nowhere they explode into a fast riff with the chorus being shouted over the top with superb use of old school A.F.I. style gang vocals. This song having another chorus that will be stuck in your head for weeks, with Nat switching between her normal singing and her raw edged vocals. Near the end of the song, Jimi takes over for a bit of lead vocal work for a nice contrast on the song. The final song is “Frankenstein' Girl”; for me this is the best song on the E.P; superbly catchy chorus and riffs. Starts in high gear with the band and vocals crashing in leading to stop start riff, Nat showing her vocal versatility to its fullest on this song with superb drum, guitar and bass work backing her. During the chorus there are long held vocal notes sung by both singers alternating, which then has a nice simple guitar solo near the end of the song which perfectly compliment it before it leads into the last chorus. Overall this is a superb E.P. that truly belies how short a time the band has been together, if you like Horror style lyrics, catchy songs, superb playing and altogether enjoy Punk check this out.
Ronnie Jenkinson
web: https://www.facebook.com/HeadstoneHorrors
http://headstonehorrors.bigcartel.com/
label: Headcheck records http://www.headcheckrecords.co.uk
The Headstone Horrors are a U.K. Horror Punk band currently based in Nottingham. They formed in late 2012 and set about writing their Horror Punk anthems and getting out there on the gig circuit as much as they could to let the people know they were here and they were to be heard. They were picked up by Headcheck Records and released their current E.P. “Like The Morgue” back in April 2014. The band comprises of Nat on vocals, Jimi on guitar and doing backing vocals, Paul on bass and Joey on drums. The E.P. Kicks off in fine style with “The Bite”, starting with an atmospheric opening guitar which leads into the guitar playing the main riff of the song by itself before the band crashes in and the song hits high gear. The riff itself is catchy as hell and Nats' awesome vocals come in reminding me of a cross between Patricia Day of The Horrorpops and Gwen Stefani of No Doubt but with an awesome rawness to them. Near the end of the song Nat and Jimi do some superb cross vocal stuff while the bassist and drummer keep the low end incredibly tight. The second track is “Silent Moonlight” which starts with a drum roll that goes into a fast and catchy riff, with Nat alternating between her higher sung vocals and her lower, raw edge singing. This is a song purely built to get the pits moving and pogoing with awesome use of switching vocals between Nat and Jimi. The third track is the title track “Like The Morgue”; this song fades in with a single guitar note ringing out then a few chords are played with bass and drums coming in slowly adding the layers of the music, then out of nowhere they explode into a fast riff with the chorus being shouted over the top with superb use of old school A.F.I. style gang vocals. This song having another chorus that will be stuck in your head for weeks, with Nat switching between her normal singing and her raw edged vocals. Near the end of the song, Jimi takes over for a bit of lead vocal work for a nice contrast on the song. The final song is “Frankenstein' Girl”; for me this is the best song on the E.P; superbly catchy chorus and riffs. Starts in high gear with the band and vocals crashing in leading to stop start riff, Nat showing her vocal versatility to its fullest on this song with superb drum, guitar and bass work backing her. During the chorus there are long held vocal notes sung by both singers alternating, which then has a nice simple guitar solo near the end of the song which perfectly compliment it before it leads into the last chorus. Overall this is a superb E.P. that truly belies how short a time the band has been together, if you like Horror style lyrics, catchy songs, superb playing and altogether enjoy Punk check this out.
Ronnie Jenkinson
|
|
SKARLETT RIOT – Female fronted Nu Rock
web: http://www.skarlettriot.co.uk/
https://www.facebook.com/skarlettriotuk?fref=ts
Skarlett Riot are a female fronted 4-piece unit from the U.K that first entered the scene with the “Villain” E.P. They followed it up in 2013 with the highly acclaimed “Tear Me Down” full-lengther that was credited with rave-reviews from the international Rock press. The band continued their flush of fame with a string of live-shows, support slots for leading Rock acts, and appearances on major Rock festivals such as 'Download' and 'Bloodstock'. Skarlett Riot has a new E.P, “We Are The Brave” scheduled for release early 2015, preceded by a single, “Rising” that will be out January 19th. The band also has an official lyric video, “House Of Cards” circulating; this is a energetic, riff-oriented Nu Rock number that is showered with gripping riffs over a toe-tapping mid-tempo drive. The crisp, upper mid-range vocals of singer / guitarist Skarlett, who sounds like a female version of Myles Kennedy, give the music a melodic swing with an emotive undertone a la Alter Bridge hooked up with the more moody riff-layers down the sub-chorus. Skarlett Riot are a strong act that already proved to have competitive potential, and their new release could take them even further up in recognition.
STONEWIRE – CD 2014 “When The Crow Flies”
label: 20:11 records
songs: Walk The Line / Favourite Bitch / Southern Honey / When The Crow Flies / Don't You / Mama They'll Never Know / One Last Time / River Blues / Vamonos / Winter's Hold / Fix You //
web: http://www.stonewire.net https://www.facebook.com/StoneWireUK
Stonewire is a new, Southern BluesRock outfit from the U.K. sporting a sound that is all American with all the trimmings. The band gets straight at it with the pumpin' grooves of “Walk The Line”; a bobbing Blues Rocker charged with HardRock riffage, gelling old Led Zep with the 90's Blues punch of Sass Jordan and Alannah Myles. Next one up, the moderately paced “Favourite Bitch” ponders on a similar groove, caked with gripping leads in the styles of Kingdom Come's “Pushing Hard”, an apparent, inspirational source that comes resurfacing on the ballad “One Last Time” (sporting a feel and drive similar to “What Love Can Do”). Although the repertoire on “As The Crow Flies” is drenched in BluesRock, the band has toyed with the HardRock thing on two more occasions; the moody, dark sphered “Winter's Hold”, and fastest tune by far, “Vamonos”; a rough-and-ready riffed up-tempo number with a toe-tapping vibe and a feel that sounds like Motorhead on a Psychobilly trip! On the other end of the spectrum are the slow burner “Don't You”, and the Southern dipped, slide-guitar based “Mama They'll Never Know”. The sound and concept on this 11-song debut harks back to the beefed up BluesRock from the early – mid 90's, crossing borders with HardRock, and packed with a power-punch production, mixed by Tony Newton (Voodoo Six). Add to this a clockwork performance, a bare bones approach and the sandpaper vocals of front-lady Sky Hunter, and the result is a solid, Whisky drenched album that Rocks, grooves and entertains from start to finish.
Paul van der Burght
label: 20:11 records
songs: Walk The Line / Favourite Bitch / Southern Honey / When The Crow Flies / Don't You / Mama They'll Never Know / One Last Time / River Blues / Vamonos / Winter's Hold / Fix You //
web: http://www.stonewire.net https://www.facebook.com/StoneWireUK
Stonewire is a new, Southern BluesRock outfit from the U.K. sporting a sound that is all American with all the trimmings. The band gets straight at it with the pumpin' grooves of “Walk The Line”; a bobbing Blues Rocker charged with HardRock riffage, gelling old Led Zep with the 90's Blues punch of Sass Jordan and Alannah Myles. Next one up, the moderately paced “Favourite Bitch” ponders on a similar groove, caked with gripping leads in the styles of Kingdom Come's “Pushing Hard”, an apparent, inspirational source that comes resurfacing on the ballad “One Last Time” (sporting a feel and drive similar to “What Love Can Do”). Although the repertoire on “As The Crow Flies” is drenched in BluesRock, the band has toyed with the HardRock thing on two more occasions; the moody, dark sphered “Winter's Hold”, and fastest tune by far, “Vamonos”; a rough-and-ready riffed up-tempo number with a toe-tapping vibe and a feel that sounds like Motorhead on a Psychobilly trip! On the other end of the spectrum are the slow burner “Don't You”, and the Southern dipped, slide-guitar based “Mama They'll Never Know”. The sound and concept on this 11-song debut harks back to the beefed up BluesRock from the early – mid 90's, crossing borders with HardRock, and packed with a power-punch production, mixed by Tony Newton (Voodoo Six). Add to this a clockwork performance, a bare bones approach and the sandpaper vocals of front-lady Sky Hunter, and the result is a solid, Whisky drenched album that Rocks, grooves and entertains from start to finish.
Paul van der Burght
CIST – Classic DeathThrash with all the trimmings!
|
|
web: https://www.facebook.com/cistband
CIST is a Russian outfit put together by Hell's Thrash Horsemen guitarist Nick Komshukov. Completing the line-up with singer Vitaly Lushchenkov, bassist Stas Salnikov and drummer Mick Shapavalov, the band launched their first demo-track “Synthetic Life” in August 2014. CIST hark back to the early 90's DeathThrash sound with all the trimmings; a fast paced drive, gruff, talk-type vocals, grinding Thrash riffs, moody guitar leads and blast beats all rolled into one. Cist properly recapture the classic (U.S) DeathThrash sound in many ways... a band to watch for. “Synthetic Life” is available for listening and download @ http://cist.bandcamp.com/ Paul van der Burght |
|
|
Above left Savage Master, below; singer Stacey Savage. Photos published with permission by Skol records
|
SAVAGE MASTER - “The Ripper In Black”
web: www.facebook.com/savagemaster666 http://savagemaster.bigcartel.com/ www.facebook.com/skolrecords SAVAGE MASTER is a true Heavy Metal band from Kentucky / U.S.A that came into existence late 2013, and already pocketed a record deal with SKOL records. The band - fronted by leather clad female shouter Stacey Savage – circulated a one-track taster, “The Ripper In Black” from their forthcoming debut album “Mask Of The Devil” which is scheduled for release Halloween, October 31, 2014 through Skol records. This song is all that classic 80's Metal stands for in its purest form! Bobbing on a slow, grinding pace and crisp, Doom-fused Metal riffage, Savage Master deliver a brand of old school Metal that collects the goods of Judas Priest, Anvil and Malibu Barbi with the ripping, over-the-top vocalage of Stacey adding this edge that just oozes Metal, Metal, and more Metal, and puts many male vocalists to shame! This is 80's Metal perfection, this is Savage Master! Paul van der Burght |
CONVICTORS – CD 2014 “Envoys Of Extinction”
label: independent / distribution by TWS Music
songs: Preparedness 101 / Epitome Of Decay / Angel Of Impurity / Let Malevolence Arise / Festering Infestation Strikes / Proclivity / Diabolical Female / Fragments //
web: http://www.convictors.de/
Convictors are a Germany based act that have been around for a long time and first entered the scene with a demo tape, “The Last Judgement” back in 1986, inspired by bands such as Possessed and Slayer. Shortly after, the band folded only to be resurrected two decades onward with another release, the 2009 “Abdication Of Humanity” E.P. In 2011 the band commenced the recordings for their first, full-length album of which the song “Epitome Of Decay” was launched as a self produced video. Over the course of the next three years, the band continued work on the album that completed in March 2014 and got released in November. The “Envoys Of Extinction” album is a mix of 90's style Scandinavian / Dutch DeathMetal with a German twist to it performance wise, reminding of bands from the Morbid Music label (Incubator, Polluted Inheritance). The running time of the album is relatively short, clocking in at just over 32 minutes, but it does add up to the impact of it all. This is a strong selection of songs that just comes thundering through your speakers, packed with maximum production boost, meaty, lowtoned riffs, slam-drives, deep gurgling grunts and plenty of double bass action. Songs stick together very well with a good lot of timing and melody changes and performance is clockwork! Some good, toe tapping Thrash modes alongside the slam-drives of the multi-tempo driven DeathMetal chunker “Proclivity”, taken a level further up down the Speed / ThrashMetal-ish DeathMetaler ”Diabolical Female”. Over against that, the multi-structured opening tune “Preparedness 101” is all retro DeathMetal, pondering on blast-beats, groovy riff hooks, hi-lo and reversed guitars and a whole lot of double bass drummage. Overall, there is a good balance between blast beats and slower sectioning, the latter which have a more Thrash-tinged feel within the all-out DeathMetal concept. In all, a great album that brings back the glorious DeathMetal sound of the 90's!
Paul van der Burght
label: independent / distribution by TWS Music
songs: Preparedness 101 / Epitome Of Decay / Angel Of Impurity / Let Malevolence Arise / Festering Infestation Strikes / Proclivity / Diabolical Female / Fragments //
web: http://www.convictors.de/
Convictors are a Germany based act that have been around for a long time and first entered the scene with a demo tape, “The Last Judgement” back in 1986, inspired by bands such as Possessed and Slayer. Shortly after, the band folded only to be resurrected two decades onward with another release, the 2009 “Abdication Of Humanity” E.P. In 2011 the band commenced the recordings for their first, full-length album of which the song “Epitome Of Decay” was launched as a self produced video. Over the course of the next three years, the band continued work on the album that completed in March 2014 and got released in November. The “Envoys Of Extinction” album is a mix of 90's style Scandinavian / Dutch DeathMetal with a German twist to it performance wise, reminding of bands from the Morbid Music label (Incubator, Polluted Inheritance). The running time of the album is relatively short, clocking in at just over 32 minutes, but it does add up to the impact of it all. This is a strong selection of songs that just comes thundering through your speakers, packed with maximum production boost, meaty, lowtoned riffs, slam-drives, deep gurgling grunts and plenty of double bass action. Songs stick together very well with a good lot of timing and melody changes and performance is clockwork! Some good, toe tapping Thrash modes alongside the slam-drives of the multi-tempo driven DeathMetal chunker “Proclivity”, taken a level further up down the Speed / ThrashMetal-ish DeathMetaler ”Diabolical Female”. Over against that, the multi-structured opening tune “Preparedness 101” is all retro DeathMetal, pondering on blast-beats, groovy riff hooks, hi-lo and reversed guitars and a whole lot of double bass drummage. Overall, there is a good balance between blast beats and slower sectioning, the latter which have a more Thrash-tinged feel within the all-out DeathMetal concept. In all, a great album that brings back the glorious DeathMetal sound of the 90's!
Paul van der Burght
|
|
GMC – On line guitar lessons and music instruction
web: http://www.guitarmasterclass.net/ https://www.facebook.com/guitarmasterclass GMC is an on-line community that is all about mastering the guitar in various styles and skill levels; 'from beginner to extremely advanced and insane'. This is one very complete site that sports tuition in a multitude of styles, from Neo-Classical and Blues to Rock and Shred, and by technique. GMC was founded in 2006 and has meanwhile morphed into an institution with a large, global following. The GMC files hold over 3000 guitar lessons and loads of videos |
alongside its website, forum, workshops and video-chats. GMC additionally features content for bass, drums, singing and piano. GMC have recently published a complete beginners Shred guitar course by instructor Ben Higgins (featured in the '30 Shredders in one solo' video) @ http://www.guitarmasterclass.net/lessonseries/Bens-Beginner-Course/ Ben gives it all away in this course and shares some tips and tricks on how he started playing the guitar and getting started with "shredding". Well worth checking out for every practicing guitarist and musician.
|
|
BY DEFINITION – 2014 “Warrior”
web: https://www.facebook.com/bydefinition
http://bydefinition.org.uk/
http://bydefinition.bandcamp.com/
“Warrior” is the upcoming single by U.K. based Southern / Stoner Metal act By Definition, taken from their debut album “The Concerns Of Mortal Man” scheduled for release early autumn. They previously released an EP “Overclocked, Under Threat", and after a 3 year hiatus since this 4-songer saw the light of day, By Definition are back in full force, having toured with big shot acts such as Black Label Society and Black Stone Cherry, and a whole new set of riveting songs to be released.
web: https://www.facebook.com/bydefinition
http://bydefinition.org.uk/
http://bydefinition.bandcamp.com/
“Warrior” is the upcoming single by U.K. based Southern / Stoner Metal act By Definition, taken from their debut album “The Concerns Of Mortal Man” scheduled for release early autumn. They previously released an EP “Overclocked, Under Threat", and after a 3 year hiatus since this 4-songer saw the light of day, By Definition are back in full force, having toured with big shot acts such as Black Label Society and Black Stone Cherry, and a whole new set of riveting songs to be released.
|
|
|
VANITY DRAWS BLOOD – London based Metalcore
web: http://www.vanitydrawsblood.co.uk/
https://www.facebook.com/VanityDrawsBlood?fref=ts
Vanity Draws Blood are a London based MetalCore / Post-HardCore act that launched in 2010, and debuted in January 2014 with a 7-song CD EP, “I Witness”, recorded and produced by Daniel Kerr (Avenue Studios). The set on this EP is played in true Metalcore tradition with added, dark-sphered vibes brought in by the synths, The band has a chunky, powergroove-laden sound that is caked with lowtoned riffage, growling lead vocals, melody vocal phrasing, guitar melodies and thundering (bass) drums. Think a get-together of Bring Me The Horizon, AFI and Fear Factory. “Fractured” is their newest single and video (filmed by Zak Pinchin); this is a slow Metalcore pounder with a dramatic undertone and a throbbing riff assault that is synchronized with the double-bassdrums. The higher toned chants bring in the melodic element and accent the atmosphere down the song alongside the synths. “Fractured” can be downloaded @: http://www.vanitydrawsblood.bandcamp.com
web: http://www.vanitydrawsblood.co.uk/
https://www.facebook.com/VanityDrawsBlood?fref=ts
Vanity Draws Blood are a London based MetalCore / Post-HardCore act that launched in 2010, and debuted in January 2014 with a 7-song CD EP, “I Witness”, recorded and produced by Daniel Kerr (Avenue Studios). The set on this EP is played in true Metalcore tradition with added, dark-sphered vibes brought in by the synths, The band has a chunky, powergroove-laden sound that is caked with lowtoned riffage, growling lead vocals, melody vocal phrasing, guitar melodies and thundering (bass) drums. Think a get-together of Bring Me The Horizon, AFI and Fear Factory. “Fractured” is their newest single and video (filmed by Zak Pinchin); this is a slow Metalcore pounder with a dramatic undertone and a throbbing riff assault that is synchronized with the double-bassdrums. The higher toned chants bring in the melodic element and accent the atmosphere down the song alongside the synths. “Fractured” can be downloaded @: http://www.vanitydrawsblood.bandcamp.com
|
|
|
Above left, centre and right: Cian Coey photos by Keith Daniel / Warpath Photography
CIAN COEY - Female singer raised on Rock!
|
|
web: https://www.facebook.com/ciancoeyfanpage?fref=ts
https://www.facebook.com/ciancoey http://www.reverbnation.com/ciancoey Cian Coey is a featured singer with legendary act Metal Loaf and a string of Rock and Metal bands including Doc's Angels, Brazen, The Hipsters and Piece Of Tomorrow. Cian started singing and acting early in her life which is all Rock rooted and paved with success both as a musician, and performer in big time theatre shows such as “We Will Rock You”. Recent credits include backing vocals on the acoustic album by Todd Kerns (bass player for Slash and The Conspirators) and lead vocals on the newly released EP with the original Las Vegas Metal band Piece Of Tomorrow (see video). More on Piece Of Tomorrow @ https://www.facebook.com/pages/Piece-of-Tomorrow/129500783793675?fref=ts |
|
|
PISS VIPER – E.P 2014 “Horned Hands And Hardened Necks”
label: Independent
songs: Piss And Venom / Tell It To The Swamp / Invoke The Black / Mule / Hatef*ck //
Web: https://www.facebook.com/pissviper?fref=ts https://pissviper.bandcamp.com/releases
Piss Viper are an U.K. based outfit that formed from the ashes of Onedice - a band that truly deserved to be bigger than they were – and this is their first E.P. Up first is the song “Piss And Venom” which starts off straight at full speed and Thrashing away like prime Slayer with singer David Malpass sounding as pissed off as ever, which then goes into a nice Pantera style riff. As the song goes on it keeps switching between a nice Pantera style power groove with a touch of Down's Southern Fried sludge Rock, Malpass superbly switching between his usual scream and low growling vocals. There is full on sludge style riffing in the middle of the song to break it up, sounding a bit like Sabbath fronted by Southern Trendkill era Phil Anselmo. This then goes back into the full on Thrashing style with a nice use of gang vocals near the end of the song to chant the chorus before it fades out on a superb Southern styled riff. Next up is “Tell It To The Swamp”; this starts with a nice sludgy riff going into a high speed Southern Rock styled riff with Malpass screaming over the top of it, which reminds me of Crowbar at their finest. Throughout, the song maintains a nice, sludgy, Southern styled groove which then morphs into a slow power groove styled mid section recalling prime Sabbath. This is a song that could well slay live, get heads banging and necks snapping. The outro goes into a call choppy sounding riff. Third song on the E.P. is called “Invoke The Black”. This one starts with a slightly Doom sounding riff, a nice sounding slow build up of an intro to this song leading into a mid tempo riff with Malpass ranting like a delusional person over the top. Southern fried riff to lead the chorus which is underpinned by a catchy as f*ck riff. There is a build up in the middle to a nice speedy section of all the band playing their hearts out and Malpass getting his anger at the world out over the top before sliding back into that awesome mid tempo groove from earlier in the song Another expertly crafted outro riff with Malpass sounding like he cant get enough rage out through the mic, awesome! Up next is a song simply called “Mule”. This one starts with a build up into a Thrashy style riff which then goes into another awesome Southern Rock riff and alternates between the Thrashy and Southern style throughout. When we reach the chorus it reveals itself as being one for crowds to scream along with Malpass. After the chorus we go back into another Thrashy riff until the middle breakdown, which then has the band kick back into mid tempo Thrashing before we reach a slightly Doom riff for the middle eight. The middle eight then leads into a build up by the drums that goes into the mid tempo to high speed Thrashing of earlier, the band then alternating between the Thrashing and Southern Rock riffs again for the outro. Lastly on the E.P. Is the longest song and probably my stand out track from it, “Hatef*ck”. This starts with a nice Southern bouncy style Metal riff, recalling Pantera in their prime, riffing wise bringing to mind 2nd album era Raging Speedhorn. Malpass' vocals are used to superb effect to emphasise the riffs with the band keeping that sludgy Southern Rock Metal vibe throughout from the beginning, then morphing into something Thrashier at the 2 minute mark to get the pits moving again. Midway through the song it's going back to the Sludge Metal vibe and then recalling Sabbath again with the breakdown and slow tempo Doom style riff and drum playing with another drum break leading back into that bouncy style Metal riff from the beginning of the song which continues until the outro sounding again like prime Sabbath fronted by a Phil Anselmo. In conclusion, a superb first effort from Malpass and Co. if you like Down, Crowbar, Malpass' previous band Onedice or Pantera, definitely check these guys out.
Ronnie Jenkinson
Catch my radio show, The Psychosin Project on www.totalmetalradio.com every Friday from 9pm GMT/4pm EST and every Sunday from 7pm GMT/2pm EST.
label: Independent
songs: Piss And Venom / Tell It To The Swamp / Invoke The Black / Mule / Hatef*ck //
Web: https://www.facebook.com/pissviper?fref=ts https://pissviper.bandcamp.com/releases
Piss Viper are an U.K. based outfit that formed from the ashes of Onedice - a band that truly deserved to be bigger than they were – and this is their first E.P. Up first is the song “Piss And Venom” which starts off straight at full speed and Thrashing away like prime Slayer with singer David Malpass sounding as pissed off as ever, which then goes into a nice Pantera style riff. As the song goes on it keeps switching between a nice Pantera style power groove with a touch of Down's Southern Fried sludge Rock, Malpass superbly switching between his usual scream and low growling vocals. There is full on sludge style riffing in the middle of the song to break it up, sounding a bit like Sabbath fronted by Southern Trendkill era Phil Anselmo. This then goes back into the full on Thrashing style with a nice use of gang vocals near the end of the song to chant the chorus before it fades out on a superb Southern styled riff. Next up is “Tell It To The Swamp”; this starts with a nice sludgy riff going into a high speed Southern Rock styled riff with Malpass screaming over the top of it, which reminds me of Crowbar at their finest. Throughout, the song maintains a nice, sludgy, Southern styled groove which then morphs into a slow power groove styled mid section recalling prime Sabbath. This is a song that could well slay live, get heads banging and necks snapping. The outro goes into a call choppy sounding riff. Third song on the E.P. is called “Invoke The Black”. This one starts with a slightly Doom sounding riff, a nice sounding slow build up of an intro to this song leading into a mid tempo riff with Malpass ranting like a delusional person over the top. Southern fried riff to lead the chorus which is underpinned by a catchy as f*ck riff. There is a build up in the middle to a nice speedy section of all the band playing their hearts out and Malpass getting his anger at the world out over the top before sliding back into that awesome mid tempo groove from earlier in the song Another expertly crafted outro riff with Malpass sounding like he cant get enough rage out through the mic, awesome! Up next is a song simply called “Mule”. This one starts with a build up into a Thrashy style riff which then goes into another awesome Southern Rock riff and alternates between the Thrashy and Southern style throughout. When we reach the chorus it reveals itself as being one for crowds to scream along with Malpass. After the chorus we go back into another Thrashy riff until the middle breakdown, which then has the band kick back into mid tempo Thrashing before we reach a slightly Doom riff for the middle eight. The middle eight then leads into a build up by the drums that goes into the mid tempo to high speed Thrashing of earlier, the band then alternating between the Thrashing and Southern Rock riffs again for the outro. Lastly on the E.P. Is the longest song and probably my stand out track from it, “Hatef*ck”. This starts with a nice Southern bouncy style Metal riff, recalling Pantera in their prime, riffing wise bringing to mind 2nd album era Raging Speedhorn. Malpass' vocals are used to superb effect to emphasise the riffs with the band keeping that sludgy Southern Rock Metal vibe throughout from the beginning, then morphing into something Thrashier at the 2 minute mark to get the pits moving again. Midway through the song it's going back to the Sludge Metal vibe and then recalling Sabbath again with the breakdown and slow tempo Doom style riff and drum playing with another drum break leading back into that bouncy style Metal riff from the beginning of the song which continues until the outro sounding again like prime Sabbath fronted by a Phil Anselmo. In conclusion, a superb first effort from Malpass and Co. if you like Down, Crowbar, Malpass' previous band Onedice or Pantera, definitely check these guys out.
Ronnie Jenkinson
Catch my radio show, The Psychosin Project on www.totalmetalradio.com every Friday from 9pm GMT/4pm EST and every Sunday from 7pm GMT/2pm EST.
MOONLAND – CD 2014 “MOONLAND”
label: Frontiers records
songs: Heaven Is To Be Close To You / Open Your Heart / Crime Of Love / Poison Angel / When Love Is Gone / Out Of Reach / Live And Let Go / Cold As Ice / Over Me / Heart Made Of Steel /Look At Us Now / Another Day In Paradise //
Moonland is a musical project centered around Estonian front-lady Lenna Kuurmaa, previously of Vanilla Ninja. Spinning this disc brings you right back to the American Billboard sound of the 80's, addressing to classic A.O.R. with a strong radio appeal. Hooked up with the deserving, higher mid-range styled vocals of Lenna this concept will bring Heart to mind on more than one occasion. Nice twist to this is the Nu / Gothic touch channeled through the atmospheric choir samples and keys, as evidenced on the driving “Look At Us Now”, and the heavier, more solid sounding “Crime Of Love”. Overall, the repertoire on this 12-songer is a display of American style A.O.R, either in full as it is, or meshed with modern Metal features and Gothic edged subtones. 'Heaviest' moments on the disc are “Heart Of Steel”; a driving upbeat number with a Symphonic edge, and the melodic laden up-tempo “Another Day In Paradise”. At the other end of the palette are the radio-ready Rockers “Poison Angel”, “Open Your Heart”, the subtle “When Love Is Gone” and the all out A.O.R. Pounder “Over Me”. Balladry comes in the shape of “Live And Let Go”, starting out in piano and vocal modus to morph into a full-size Rock Ballad towards its bombastic ending. Even though Moonland have engaged an all-out American concept with all the trimmings, the band has a strong, Scandinavian style sound to their concept, as the whole thing is played perfectly with a keen eye for detail and balance. Musicianship is of a high standard but never overdone with a lot of its creativity running underneath a rather straight forward programming. Add to this a clear and powerful production, and the result is one proper sounding album that scores high in terms of performance and interpretation. Entertaining.
Paul van der Burght
label: Frontiers records
songs: Heaven Is To Be Close To You / Open Your Heart / Crime Of Love / Poison Angel / When Love Is Gone / Out Of Reach / Live And Let Go / Cold As Ice / Over Me / Heart Made Of Steel /Look At Us Now / Another Day In Paradise //
Moonland is a musical project centered around Estonian front-lady Lenna Kuurmaa, previously of Vanilla Ninja. Spinning this disc brings you right back to the American Billboard sound of the 80's, addressing to classic A.O.R. with a strong radio appeal. Hooked up with the deserving, higher mid-range styled vocals of Lenna this concept will bring Heart to mind on more than one occasion. Nice twist to this is the Nu / Gothic touch channeled through the atmospheric choir samples and keys, as evidenced on the driving “Look At Us Now”, and the heavier, more solid sounding “Crime Of Love”. Overall, the repertoire on this 12-songer is a display of American style A.O.R, either in full as it is, or meshed with modern Metal features and Gothic edged subtones. 'Heaviest' moments on the disc are “Heart Of Steel”; a driving upbeat number with a Symphonic edge, and the melodic laden up-tempo “Another Day In Paradise”. At the other end of the palette are the radio-ready Rockers “Poison Angel”, “Open Your Heart”, the subtle “When Love Is Gone” and the all out A.O.R. Pounder “Over Me”. Balladry comes in the shape of “Live And Let Go”, starting out in piano and vocal modus to morph into a full-size Rock Ballad towards its bombastic ending. Even though Moonland have engaged an all-out American concept with all the trimmings, the band has a strong, Scandinavian style sound to their concept, as the whole thing is played perfectly with a keen eye for detail and balance. Musicianship is of a high standard but never overdone with a lot of its creativity running underneath a rather straight forward programming. Add to this a clear and powerful production, and the result is one proper sounding album that scores high in terms of performance and interpretation. Entertaining.
Paul van der Burght
AB AETERNO – Music P.R. specialising in Rock, Metal, Indie
web: http://www.abaeterno-pr.com/
https://www.facebook.com/abaeternopr?fref=ts
Ab Aeterno is a new, U.K. based Music Promotion Company that specializes in Rock, Metal and Indie. Ab Aeterno offers cost effective promotion-packages, services to record labels / artists and individual targeted campaigns across club / radio/ webzines and printed publications. Some of the bands on the current roster include: Vanity Draws Blood, Trapt, Benedict Edwards and others. For more info visit the website or contact Pete @ pete@abaeterno-pr.com
web: http://www.abaeterno-pr.com/
https://www.facebook.com/abaeternopr?fref=ts
Ab Aeterno is a new, U.K. based Music Promotion Company that specializes in Rock, Metal and Indie. Ab Aeterno offers cost effective promotion-packages, services to record labels / artists and individual targeted campaigns across club / radio/ webzines and printed publications. Some of the bands on the current roster include: Vanity Draws Blood, Trapt, Benedict Edwards and others. For more info visit the website or contact Pete @ pete@abaeterno-pr.com
BARNETT'S BRUTAL BRUNCH
Metal only on the menu of this radio-show
web: http://www.totalrock.com/
http://totalrock.com/live.m3u
Barnnett's Brutal Brunch is a weekly radio-show hosted by DJ Emma Barnett for TotalRock Radio, airing every Wednesday from 10:00 hrs AM to 12:00 hrs PM (PDT) / 18:00 hrs – 20:00 hrs (GMT), live from San Francisco, California via the TotalRock Studio in the heart of London. Knowing this girl eats, sleeps and breathes Metal, you can be assured that this Brunch will dish up the very best in Metal, Thrash, Doom and Old school stuff with extra features such as news, interviews and festival coverage to suit your very Metal needs!
Photo left: DJ Emma Barnett. photo published with permission by Emma Barnett.
Metal only on the menu of this radio-show
web: http://www.totalrock.com/
http://totalrock.com/live.m3u
Barnnett's Brutal Brunch is a weekly radio-show hosted by DJ Emma Barnett for TotalRock Radio, airing every Wednesday from 10:00 hrs AM to 12:00 hrs PM (PDT) / 18:00 hrs – 20:00 hrs (GMT), live from San Francisco, California via the TotalRock Studio in the heart of London. Knowing this girl eats, sleeps and breathes Metal, you can be assured that this Brunch will dish up the very best in Metal, Thrash, Doom and Old school stuff with extra features such as news, interviews and festival coverage to suit your very Metal needs!
Photo left: DJ Emma Barnett. photo published with permission by Emma Barnett.
|
CORPORATION - Independent Live Band Venue and Alternative Music Nightclub
address: 2 Milton St, S1 4JU - Sheffield, U.K. Corporation is an Independent Live Band Venue and Alternative Music Nightclub located in Sheffield / U.K, and hosts live music from touring bands alongside its club nights that offer a variety of Alternative and Rock Music. Check the website for additional info on their clubnights and gig listings @ www.corporation.org.uk |
|
|
|
MAXDMYZ – 2014 “The Hate Plane”
web: www.facebook.com/ maxdmyz http://maxdmyz.uk/ https://maxdmyz.bandcamp.com/
songs: Cyanide / Grieve / Hate Injustice / Nothing Ever Change / Void / AKA / All / Zog Choffin / Side With Satan / Turncoat Soul / First Coming / Hate Injustice (Thrash) / Grieve (rmx) / Grieve (radio edit) //
After a string of releases, London Metalers Maxdmyz emerge with their newest work, “Hate Plane” engaging various styles and atmospheres down a recognizable, signature sound that incorporates the Industrial thing, modern Metal (Core) and PowerMetal, caked with dark atmospheric moods. The disc opens with the intensity packed “Cyanide”; a 90's rooted, double-bass driven PowerMetaler with cool, 2 toned vocals, ripping riffage and a gloomy vibe in the styles of bands such as Mortal Reign, Kryptic Kurse and Nasty Savage. In effect, this song shows certain similarities to Judas Priest's “Pain Killer” with the meters further in the red. The classic PowerMetal sound comes surfacing once more on “AKA”; a riff-based tune that sports some muscular vocals with some high pitched modes. Material takes a completely different turn on the album's single “Grieve”, displaying a more common interpretation of genres, merging some dark-edged Industrial music with the Nu PowerMetal thing. The set catapults back to the 90's again with the clever “Nothing Ever Change”, coupling Metal and ominous PowerMetal with added blast-beats and dual vocalage, including semi-grunts and a regular voice in a style that resembles Mike Patton (Faith No More). The concept is further tuned in on the 90's sound with a different approach on the Rap Metalers “Hate Injustice" and “Turncoat Soul” with added Alternative Stoner / Doom features and a hint of Tool. Maxdmyz have laid down a sound that goes in all directions but the package works really well, fitted with a good, all round technicality, gripping themes and a singer ('Twister') that is capable to deliver and convince at any which genre or combination. Proper.
“The Hate Plane” is available to stream @ https://soundcloud.com/maxdmyz/sets/the-hate-plane/s-1TrkE
Paul van der Burght
web: www.facebook.com/ maxdmyz http://maxdmyz.uk/ https://maxdmyz.bandcamp.com/
songs: Cyanide / Grieve / Hate Injustice / Nothing Ever Change / Void / AKA / All / Zog Choffin / Side With Satan / Turncoat Soul / First Coming / Hate Injustice (Thrash) / Grieve (rmx) / Grieve (radio edit) //
After a string of releases, London Metalers Maxdmyz emerge with their newest work, “Hate Plane” engaging various styles and atmospheres down a recognizable, signature sound that incorporates the Industrial thing, modern Metal (Core) and PowerMetal, caked with dark atmospheric moods. The disc opens with the intensity packed “Cyanide”; a 90's rooted, double-bass driven PowerMetaler with cool, 2 toned vocals, ripping riffage and a gloomy vibe in the styles of bands such as Mortal Reign, Kryptic Kurse and Nasty Savage. In effect, this song shows certain similarities to Judas Priest's “Pain Killer” with the meters further in the red. The classic PowerMetal sound comes surfacing once more on “AKA”; a riff-based tune that sports some muscular vocals with some high pitched modes. Material takes a completely different turn on the album's single “Grieve”, displaying a more common interpretation of genres, merging some dark-edged Industrial music with the Nu PowerMetal thing. The set catapults back to the 90's again with the clever “Nothing Ever Change”, coupling Metal and ominous PowerMetal with added blast-beats and dual vocalage, including semi-grunts and a regular voice in a style that resembles Mike Patton (Faith No More). The concept is further tuned in on the 90's sound with a different approach on the Rap Metalers “Hate Injustice" and “Turncoat Soul” with added Alternative Stoner / Doom features and a hint of Tool. Maxdmyz have laid down a sound that goes in all directions but the package works really well, fitted with a good, all round technicality, gripping themes and a singer ('Twister') that is capable to deliver and convince at any which genre or combination. Proper.
“The Hate Plane” is available to stream @ https://soundcloud.com/maxdmyz/sets/the-hate-plane/s-1TrkE
Paul van der Burght
VINTERBRIS – 2014 “Solace”
web: https://www.facebook.com/Vinterbris
label: Nordavind records
songs: Dysphoria / Ash Alight / Fathoms / The Aurora Of Despair / Gazing At A Fallen Sky / Euphoria //
“Solace” is the third and newest release by Norwegian unit Vinterbris. There's a whole spectrum of features that separate “Solace” from the mainstream BlackMetal catalogue, such as melodic hooks, semi-acoustics, New Wave ish guitars, HardRock / Metal programming and the occasional dab of Metalcore. Main substance of the disc is Melodic BlackMetal, dressed with light Doom flavoured atmospheres on “Ash Alight” and “Gazing At A Fallen Sky”. The real difference is brought in by the New Wave styled guitars, popping up on minimal vocalized “Ash Alight” and the twofold structured “”Fathoms”, alternating snare drummed BlackMetal chops with a mix of Rock / HardRock and New Wave over a mid-tempo drive. The HardRock thing comes resurfacing through the riffage on the mid-paced, double-bass drummed “The Aurora Of Despair” that additionally incorporates a blend of Doom and Melodic PowerMetal. Another mix of genres is displayed on “Gazing At A Fallen Sky” that has HardRock sitting next to BlackMetal, Thrash and PowerMetal in the riff department. Although things tend to differentiate in the musical department, the vocals are constant in approach, delivering 'clean' DeathMetal grunts and more BlackMetal minded snarls. The deepest, most gutteral gruntage is delivered on the mid-tempo DeathMetal groovster “Euphoria”. The whole thing sticks together very well and sounds clever without being too experimental or too technical. The melodic aspect that runs through the material further accents the band's niche for modesty, balance and control which makes their music sound easy to the ear. Nice
specs: Available in digital download and CD format
http://nordavindrecords.bandcamp.com/releases
Paul van der Burght
web: https://www.facebook.com/Vinterbris
label: Nordavind records
songs: Dysphoria / Ash Alight / Fathoms / The Aurora Of Despair / Gazing At A Fallen Sky / Euphoria //
“Solace” is the third and newest release by Norwegian unit Vinterbris. There's a whole spectrum of features that separate “Solace” from the mainstream BlackMetal catalogue, such as melodic hooks, semi-acoustics, New Wave ish guitars, HardRock / Metal programming and the occasional dab of Metalcore. Main substance of the disc is Melodic BlackMetal, dressed with light Doom flavoured atmospheres on “Ash Alight” and “Gazing At A Fallen Sky”. The real difference is brought in by the New Wave styled guitars, popping up on minimal vocalized “Ash Alight” and the twofold structured “”Fathoms”, alternating snare drummed BlackMetal chops with a mix of Rock / HardRock and New Wave over a mid-tempo drive. The HardRock thing comes resurfacing through the riffage on the mid-paced, double-bass drummed “The Aurora Of Despair” that additionally incorporates a blend of Doom and Melodic PowerMetal. Another mix of genres is displayed on “Gazing At A Fallen Sky” that has HardRock sitting next to BlackMetal, Thrash and PowerMetal in the riff department. Although things tend to differentiate in the musical department, the vocals are constant in approach, delivering 'clean' DeathMetal grunts and more BlackMetal minded snarls. The deepest, most gutteral gruntage is delivered on the mid-tempo DeathMetal groovster “Euphoria”. The whole thing sticks together very well and sounds clever without being too experimental or too technical. The melodic aspect that runs through the material further accents the band's niche for modesty, balance and control which makes their music sound easy to the ear. Nice
specs: Available in digital download and CD format
http://nordavindrecords.bandcamp.com/releases
Paul van der Burght
|
|
Above left: Smoke City Revolution. Right: Hobo
SHOW REVIEW - 'Southend Hometown Bro Down' 11th October @ Chinneries, U.K.
SHOW REVIEW - 'Southend Hometown Bro Down' 11th October @ Chinneries, U.K.
Ignore the slightly silly title for this gathering of four up and coming Essex bands; this was a really rather good night at a good price showcasing some of the best that Southend has to offer. First band up while the venue was still having people coming in was Smoke City Revolution. With a very AC/DC style to the lead vocals and a nice Rock And Roll vibe to the songs they did their best through a short set, but a lot of their songs just seemed to slightly lack that killer hook or vibe to get the crowd really that interested, also there wasn't a lot of movement on stage which made their show a little dull, however definitely potential for great things with them. Second band up were Hobo. This is a band who I have to say now, really need to get their asses into the studio and record some of their music. Playing an interesting and thoroughly captivating mix of Down style riffage, topped off with slightly Layne Staley styled vocals and a superb Grunge style vibe throughout (classic 90's Grunge, not Staind or any of the new 'Grunge' bands) they stood out as one of the bands of the night for me and immediately took the attention of the audience. With Lee Martin as a superb focal point as lead singer, he was engaging and witty; definitely a band to keep your eye out for and if you can see them live near you do it! Third up were the headline act Evarane. Playing a mix of Metal and commercial styled Rock mixed with some screaming vocals and keyboards they took command of the stage in seconds. Fronted by a fantastically energetic singer in Amie Gibson, and with the band members truly showing their own personalities with a lot of energy and movement, they were a superb show to watch. Backing the show up with some pretty anthemic songs and tight musicianship and this is a band that could be going places and soon! They played like they were headlining a much bigger venue and given the right crowd, Amie could definitely turn into one of the U.K's best front-women. Sadly however, no matter how much she tried and how passionate the band were, for whatever reason the audience seemed to refuse to move much though that is not due to the band as they really put as much energy into their show as they have in their music, again one to keep an eye out for. Lastly, but definitely not least, taking the graveyard shift as it was called, were Southend's Rock And Roll sons The Last Superheroes! Fronted by lead singer and guitarist Gabriel Valentine, they piledrived their way into a storming set of riff laden tracks such as “Redline” from their superb debut album “Black 13”. Again another band that was playing as if they were headlining Wembley, despite the crowds refusal to move, they put on one hell of an energetic show with Gabriel being the main focal point but interacting with the crowd and other band members to make you feel like you were part of the band. The band were as tight as any number of veteran acts you could think of and they couldn't have played a better show if they had tried. The crowd may not have numbered much, but they played their hearts out and by the end of their set everyone in the crowd was smiling, knowing they had seen a fantastic show and making them glad to have stuck round after the official headliners. All in all, the 'Hometown Bro Down' was a success and showcased four very good Southend based bands all definitely worth keeping an eye out for if they happen to play near you soon!
Ronnie Jenkinson
Band info and contact:
Hobo: https://www.facebook.com/HOBOTUNES
Evarane: https://www.facebook.com/Evarane?fref=ts
Smoke City Revolution: https://www.facebook.com/pages/Smoke-City-Revolution/737431146336753?fref=ts
Last Superheroes: https://www.facebook.com/LastSuperheroes?fref=ts
Ronnie Jenkinson
Band info and contact:
Hobo: https://www.facebook.com/HOBOTUNES
Evarane: https://www.facebook.com/Evarane?fref=ts
Smoke City Revolution: https://www.facebook.com/pages/Smoke-City-Revolution/737431146336753?fref=ts
Last Superheroes: https://www.facebook.com/LastSuperheroes?fref=ts
SHARUZEN – Model, Tattoo Artist, Photographer, Painter, Make-Up Artist, Retoucher
web: www.iroltha.com
Profile feature on SHARUZEN in Manic Mosh #03. More on Sharuzen via the link above or @ https://www.facebook.com/SharuzenArt?fref=ts
web: www.iroltha.com
Profile feature on SHARUZEN in Manic Mosh #03. More on Sharuzen via the link above or @ https://www.facebook.com/SharuzenArt?fref=ts
|
|
|
Above left, centre and right: Model SHARUZEN. All photos by Lesthet - IROLTHA.com
|
|
|
Above left, centre and right: Model SHARUZEN. All photos by Lesthet - IROLTHA.com
OCEANS ASIDE – E.P 2014 “From Shadows To Sunrise”
web: https://www.facebook.com/oceansasideuk
Oceans Aside are a post-Hardcore / Metal band from Southend On Sea in Essex (U.K.) They formed back in March of 2012 with original vocalist Dan. Fast forward to September 2014 and there have been a few changes in the Oceans Aside camp. First of all, Dan has left the band and backing vocalist / guitarist Marc Vincent has taken over lead vocals. The band is rounded out by Mark Elliot and James Alexander Gilbey on guitars, Michael Rayner on bass and Michael Blackman on drums and backing vocals. This E.P. however was recorded with original vocalist Dan, and the band are looking to record an album next year. The E.P. starts with the song “Avarice”, which fades in with a few gentle piano chords helping to set the mood and then once we hit the minute mark, the guitars fade in and the vocals come screaming in with a vengeance. The song then evolves into a riff that has shades of Will Haven and At The Drive-In to it. During the chorus the clean vocals are perfectly complimented by the screaming vocals of the backing vocalist as the song hits its emotional peak. In the middle eight the guitarists play riffs that perfectly cross over each other without feeling out of place. All the way through the drummer and bassist keep the low end locked down to underpin the shifting melodies of the song. We then get a breakdown the build up of the riff which evolved into a heavy guitar riff while in the background the 2nd guitarist plays subtly picked guitar notes to add to the general feel of the song. We then go into track 2, “Noughts And Crosses”. This fades in until the guitars crash in with a restrained melodic riff, which then evolve into the mid tempo main chugging style of riff all while the vocalist screams his lungs out over the top. We hit the chorus and the clean vocals kick in giving the song a mid career Deftones feel to it before another breakdown that crashes back in with a few chords and enough space for the bass melody to be heard clearly in the background. Once again towards the end the guitars cross melodies to expert effect. Track 3 is called “Hear My Screams” which starts with a solitary guitar playing the main riff with no distortion effects helping to build up the atmosphere before the whole band come crashing in again reminding me again of Will Haven. We get to the chorus which is lead by a nice interesting riff melody, while the guitars and vocal lines perfectly compliment each other throughout. The low end from the drums and bass once again helping to drive the song forward until we hit the middle eight where it goes back to just the guitar and drums before the band kick back in for one final run through of the chorus in incredible fashion. Track 4 is “The Shadow”, which starts with one of those riffs that you just can't get out of your head for weeks on end. Michael's drumming here calling to mind that always on the edge of chaos drumming style of Dave Lombardo during his Slayer years. A nice driving riff pushes the chorus along with nice vocal interplay between the lead and backing vocalist alternating between the screams and clean singing. The guitarists again crossing melodies to superb effect to give this song a unique feel which then breaks down to just guitar and bass with a spoken word piece near the end of the song that kicks back into a driving riff that leads into one last run through of the chorus with the vocalist screaming his lungs out...before it fades at the end...awesome stuff! The final track on the E.P. is called “No More Apologies”. This starts with a slightly Djent styled riff which leads into a wall of sound guitar riff. As we reach the verses we find another catchy riff being played expertly by the guitarists which leads into the chorus again reminding me of the music of At The Drive In. If any song on here is going to be an anthem I think it's going to be this one. The middle of the song features a straight forward Metal-meets-Hardcore breakdown which then for the end of the song goes into a really heavy riff to get pits moving. The outro riff sounds like Meshuggah meeting SiKTh. All in all this is an expertly played, written and performed E.P. that I cannot recommend enough, and even better they are giving it away for free (check their facebook page link at top of review). No More Apologies? No need to apologise guys you did yourself proud and are definitely ones to watch!
Ronnie Jenkinson
You can catch my radio show; The Psychosin Project, on www.totalmetalradio.com on Fridays from 9 pm GMT and Sundays from 7pm GMT.
web: https://www.facebook.com/oceansasideuk
Oceans Aside are a post-Hardcore / Metal band from Southend On Sea in Essex (U.K.) They formed back in March of 2012 with original vocalist Dan. Fast forward to September 2014 and there have been a few changes in the Oceans Aside camp. First of all, Dan has left the band and backing vocalist / guitarist Marc Vincent has taken over lead vocals. The band is rounded out by Mark Elliot and James Alexander Gilbey on guitars, Michael Rayner on bass and Michael Blackman on drums and backing vocals. This E.P. however was recorded with original vocalist Dan, and the band are looking to record an album next year. The E.P. starts with the song “Avarice”, which fades in with a few gentle piano chords helping to set the mood and then once we hit the minute mark, the guitars fade in and the vocals come screaming in with a vengeance. The song then evolves into a riff that has shades of Will Haven and At The Drive-In to it. During the chorus the clean vocals are perfectly complimented by the screaming vocals of the backing vocalist as the song hits its emotional peak. In the middle eight the guitarists play riffs that perfectly cross over each other without feeling out of place. All the way through the drummer and bassist keep the low end locked down to underpin the shifting melodies of the song. We then get a breakdown the build up of the riff which evolved into a heavy guitar riff while in the background the 2nd guitarist plays subtly picked guitar notes to add to the general feel of the song. We then go into track 2, “Noughts And Crosses”. This fades in until the guitars crash in with a restrained melodic riff, which then evolve into the mid tempo main chugging style of riff all while the vocalist screams his lungs out over the top. We hit the chorus and the clean vocals kick in giving the song a mid career Deftones feel to it before another breakdown that crashes back in with a few chords and enough space for the bass melody to be heard clearly in the background. Once again towards the end the guitars cross melodies to expert effect. Track 3 is called “Hear My Screams” which starts with a solitary guitar playing the main riff with no distortion effects helping to build up the atmosphere before the whole band come crashing in again reminding me again of Will Haven. We get to the chorus which is lead by a nice interesting riff melody, while the guitars and vocal lines perfectly compliment each other throughout. The low end from the drums and bass once again helping to drive the song forward until we hit the middle eight where it goes back to just the guitar and drums before the band kick back in for one final run through of the chorus in incredible fashion. Track 4 is “The Shadow”, which starts with one of those riffs that you just can't get out of your head for weeks on end. Michael's drumming here calling to mind that always on the edge of chaos drumming style of Dave Lombardo during his Slayer years. A nice driving riff pushes the chorus along with nice vocal interplay between the lead and backing vocalist alternating between the screams and clean singing. The guitarists again crossing melodies to superb effect to give this song a unique feel which then breaks down to just guitar and bass with a spoken word piece near the end of the song that kicks back into a driving riff that leads into one last run through of the chorus with the vocalist screaming his lungs out...before it fades at the end...awesome stuff! The final track on the E.P. is called “No More Apologies”. This starts with a slightly Djent styled riff which leads into a wall of sound guitar riff. As we reach the verses we find another catchy riff being played expertly by the guitarists which leads into the chorus again reminding me of the music of At The Drive In. If any song on here is going to be an anthem I think it's going to be this one. The middle of the song features a straight forward Metal-meets-Hardcore breakdown which then for the end of the song goes into a really heavy riff to get pits moving. The outro riff sounds like Meshuggah meeting SiKTh. All in all this is an expertly played, written and performed E.P. that I cannot recommend enough, and even better they are giving it away for free (check their facebook page link at top of review). No More Apologies? No need to apologise guys you did yourself proud and are definitely ones to watch!
Ronnie Jenkinson
You can catch my radio show; The Psychosin Project, on www.totalmetalradio.com on Fridays from 9 pm GMT and Sundays from 7pm GMT.
|
|
|
HELLS THRASH HORSEMEN
web: http://hellsthrashhorsemen.bandcamp.com/
HELLS THRASH HORSEMEN is a now disbanded Thrash act from Russia that circulated the scene with a string of releases including the '“...till Violence” debut (2009), “Going Sane” (2010), a split-album with Rattle (2011) and a demo / mini CD in 2012. Although Hells Thrash Horsemen is no longer active in band format, there is a new album in the works, “Resurrected Victims” featuring vocals, guitars and bass by guitarist Nick Komshukov and drums by Gus Rios (ex-Malevolent Creation). The material of Hells Thrash Horsemen is a true gem in Thrash Metal territories worth lending your ears to if you like your Thrash the old-school way, sauced with the Bay Area Thrash sound and blends of Testament. Guitarist Nick Komshukov has also just started a new band called CIST and a first demo-track “Synthetic Life” is being recorded at present, engaging a more aggressive and speedy format Thrash / Death in the styles of Devastation (TX), Exhorder, Pestilence and Attomica.
Paul van der Burght
web: http://hellsthrashhorsemen.bandcamp.com/
HELLS THRASH HORSEMEN is a now disbanded Thrash act from Russia that circulated the scene with a string of releases including the '“...till Violence” debut (2009), “Going Sane” (2010), a split-album with Rattle (2011) and a demo / mini CD in 2012. Although Hells Thrash Horsemen is no longer active in band format, there is a new album in the works, “Resurrected Victims” featuring vocals, guitars and bass by guitarist Nick Komshukov and drums by Gus Rios (ex-Malevolent Creation). The material of Hells Thrash Horsemen is a true gem in Thrash Metal territories worth lending your ears to if you like your Thrash the old-school way, sauced with the Bay Area Thrash sound and blends of Testament. Guitarist Nick Komshukov has also just started a new band called CIST and a first demo-track “Synthetic Life” is being recorded at present, engaging a more aggressive and speedy format Thrash / Death in the styles of Devastation (TX), Exhorder, Pestilence and Attomica.
Paul van der Burght
HELL YEAH – 2014 "Blood For Blood"
label: Eleven Seven Music
With a new line-up and an omnipresent bare-knuckle aggression, HELL YEAH deliver the knock-out punch with 'Blood For Blood'; their fourth and heaviest album to date. Its title already gives it away; there's no messing about the anger and payback-time attitude that runs through most of the set, pushed forward on the album's heaviest offerings 'DMF', 'Cross To Bier' and 'Say When'; it is here that the band pulls out all the stops in terms of musical intensity and mental discomfort, channelled through its lyrical content, crunch riffage, and the over the top scream vocalage of Chad Gray. Tempo wise, the repertoire moves from moderately paced – to accommodate the emotive laden, Alternative edged (power) balladry of songs such as 'Moth', 'Hush', and 'Black December' - to mid-paced and up-tempo, delivering a lot of meaty grooves and thumping action , taken to a max on the Mosh-pit churner 'DMF'. A nice twist in concept comes in the shape of the catchy groovster that is 'Gift', clicking with Motorhead in both attitude and vocal style. The 'Blood For Blood' album may have a few swings in concept and intensity to accommodate the more spheric tracks, but overall, this is one very heavy offering that is direct, very direct!
Paul van der Burght
*interview with HELL YEAH further down this page
label: Eleven Seven Music
With a new line-up and an omnipresent bare-knuckle aggression, HELL YEAH deliver the knock-out punch with 'Blood For Blood'; their fourth and heaviest album to date. Its title already gives it away; there's no messing about the anger and payback-time attitude that runs through most of the set, pushed forward on the album's heaviest offerings 'DMF', 'Cross To Bier' and 'Say When'; it is here that the band pulls out all the stops in terms of musical intensity and mental discomfort, channelled through its lyrical content, crunch riffage, and the over the top scream vocalage of Chad Gray. Tempo wise, the repertoire moves from moderately paced – to accommodate the emotive laden, Alternative edged (power) balladry of songs such as 'Moth', 'Hush', and 'Black December' - to mid-paced and up-tempo, delivering a lot of meaty grooves and thumping action , taken to a max on the Mosh-pit churner 'DMF'. A nice twist in concept comes in the shape of the catchy groovster that is 'Gift', clicking with Motorhead in both attitude and vocal style. The 'Blood For Blood' album may have a few swings in concept and intensity to accommodate the more spheric tracks, but overall, this is one very heavy offering that is direct, very direct!
Paul van der Burght
*interview with HELL YEAH further down this page
METAL MUSIC BOOKINGS AND MANAGEMENT
web: www.metalmusicbookings.com
Metal Music Bookings And Management is a London based, internationally recognized agency that represents legendary Artists worldwide and offers a unique consultancy service in close connection with major promoters, venues and labels within the UK and far beyond. Apart from representing established bands, Metal Music Bookings And Management also offers their services to up and coming bands that need bookings and management and like to further their career. This covers just about anything promotion and publicity-wise, from advertising, booking shows and festival slots to social networking management, website development, obtaining label interest & contacts and overall nurturing, consultancy and development within a set budget and without commission. For more information, send an email to contact@metalmusicbookings.com and you could be joining their roster of acts that includes greats such as Tarja, Jake E Lee's Red Dragon Cartel, Snakecharmer, Kingdom Come, Michael Schenker and Obituary.
web: www.metalmusicbookings.com
Metal Music Bookings And Management is a London based, internationally recognized agency that represents legendary Artists worldwide and offers a unique consultancy service in close connection with major promoters, venues and labels within the UK and far beyond. Apart from representing established bands, Metal Music Bookings And Management also offers their services to up and coming bands that need bookings and management and like to further their career. This covers just about anything promotion and publicity-wise, from advertising, booking shows and festival slots to social networking management, website development, obtaining label interest & contacts and overall nurturing, consultancy and development within a set budget and without commission. For more information, send an email to contact@metalmusicbookings.com and you could be joining their roster of acts that includes greats such as Tarja, Jake E Lee's Red Dragon Cartel, Snakecharmer, Kingdom Come, Michael Schenker and Obituary.
WHISKEY HELLCHILD – 2014 “From Out Of Nowhere”
web: http://www.whiskeyhellchild.com/
label: private
songs: The Beginning Of The End / Cry For Yesterday / Black Blood Of the Earth / Bring Out Your Dead / The Reaping / Quarantine / Red Zone V / From Out Of Nowhere / Unlucky / Buried Alive / The Promise / It Happened On A Tuesday / F.T.W. / Vengeance Is Mine / Not If I Was The Last Man On Earth / The Bitter End / All That I Am / Rise Above / Epitaph //
“From Out Of Nowhere” is the fifth album by North Carolina (USA) act Whiskey Hellchild, and gauging the material on offer, this should get them the overground recognition they deserve. Crawling up from six feet under, Whiskey Hellchild deliver a most entertaining mix of zombified Metal music that collects the goods of Stoner, Doom, Metal and Southern Rock. The result is a cocktail of bobbing slowmotion tracks fuelled by lots of rhythmic groove and meaty riff hooks! Add to this a vocal style that sounds like Ozzy on 33 rpm, coupled to a fair dose of Doom and Gloom, and that is what Whiskey Hellchild are at. The repertoire on “From Out Of Nowhere”, which is a concept album, holds 19 workouts, including a good lot of intros to announce the songs that average around 5 minutes of running time. Whiskey Hellchild manage to keep your ears tuned in from start to finish and slip in a good lot of twists in the musical department, be in through the vocals or atmospheres, as the overall tempo is pretty static to accomplish the Doom-element that runs underneath. Highlighting the album are the groovy Stoner-Doomsters “Cry For Yesterday” and “From Out Of Nowhere”, the Alice In Chains alike gloom-ballads “Unlucky” and “The Promise” (with similar styled vocal choirs), and the Thrash tinged “The Bitter End”.Then there's the riff Monsters “Red Zone V” (showing certain similarities to Tool and Chevelle in places), “Buried Alive” and “Vengeance Is Mine”; the least Doomy and most Metal minded tune pondering on a faster pace. Completely different from the above and the set in general is “Rise Above”, tapping into some Southern styled Balladry with piano and melodic features. The album concludes with the double-bass drummed instrumental “Epitaph” that lands the band once more in Metal territories. “From Out Of Nowhere” is a highly entertaining slab of music that redefines Headbanging in slowmotion modus with thick, pounding grooves and sticky sludge riffage, caked with grim atmospheres from beyond. Enjoy!
Paul van der Burght
More on Whiskey Hellchild @ http://whiskeyhellchild666.bandcamp.com/
web: http://www.whiskeyhellchild.com/
label: private
songs: The Beginning Of The End / Cry For Yesterday / Black Blood Of the Earth / Bring Out Your Dead / The Reaping / Quarantine / Red Zone V / From Out Of Nowhere / Unlucky / Buried Alive / The Promise / It Happened On A Tuesday / F.T.W. / Vengeance Is Mine / Not If I Was The Last Man On Earth / The Bitter End / All That I Am / Rise Above / Epitaph //
“From Out Of Nowhere” is the fifth album by North Carolina (USA) act Whiskey Hellchild, and gauging the material on offer, this should get them the overground recognition they deserve. Crawling up from six feet under, Whiskey Hellchild deliver a most entertaining mix of zombified Metal music that collects the goods of Stoner, Doom, Metal and Southern Rock. The result is a cocktail of bobbing slowmotion tracks fuelled by lots of rhythmic groove and meaty riff hooks! Add to this a vocal style that sounds like Ozzy on 33 rpm, coupled to a fair dose of Doom and Gloom, and that is what Whiskey Hellchild are at. The repertoire on “From Out Of Nowhere”, which is a concept album, holds 19 workouts, including a good lot of intros to announce the songs that average around 5 minutes of running time. Whiskey Hellchild manage to keep your ears tuned in from start to finish and slip in a good lot of twists in the musical department, be in through the vocals or atmospheres, as the overall tempo is pretty static to accomplish the Doom-element that runs underneath. Highlighting the album are the groovy Stoner-Doomsters “Cry For Yesterday” and “From Out Of Nowhere”, the Alice In Chains alike gloom-ballads “Unlucky” and “The Promise” (with similar styled vocal choirs), and the Thrash tinged “The Bitter End”.Then there's the riff Monsters “Red Zone V” (showing certain similarities to Tool and Chevelle in places), “Buried Alive” and “Vengeance Is Mine”; the least Doomy and most Metal minded tune pondering on a faster pace. Completely different from the above and the set in general is “Rise Above”, tapping into some Southern styled Balladry with piano and melodic features. The album concludes with the double-bass drummed instrumental “Epitaph” that lands the band once more in Metal territories. “From Out Of Nowhere” is a highly entertaining slab of music that redefines Headbanging in slowmotion modus with thick, pounding grooves and sticky sludge riffage, caked with grim atmospheres from beyond. Enjoy!
Paul van der Burght
More on Whiskey Hellchild @ http://whiskeyhellchild666.bandcamp.com/
photo by Allen J. Mort
SERPENT CROWN – EP 2013 “SERPENT CROWN”
label: Horror Pain Gore Death records
web: https://www.facebook.com/SerpentCrown?fref=ts
San Francisco based Serpent Crown were formed in 2008 and gigged their way around the Bay Area and west coast of the U.S. Their current line up consists of Dara Santhai on Vocals & guitar and who also does all the band's art work, Brady Smith on Drums, and Tommy Anderson on Bass.
Serpent Crown first came to my attention back in 2010 while I was having a few (too many) beers with 'Cool Clyde' (Ex Sourvein drummer). He was sporting a Serpent Crown shirt which bore the image of a Vampire Medusa and thought, 'heck, this band has to be great'. I found their demo on- line and wasn't disappointed. Serpent Crown fuse their own form of Classic Thrash Metal with raw sludgy overtones, stomping riffage, brilliant solos and Doom heavy lyrical themes. Hey, who could ask for anything more in a Metal band? Philadelphia based label Horror Pain Gore Death has released their six track EP which was recorded at Lucky Cat Recording in San Francisco. The Digital version of the EP can also be found via their bandcamp page @ http://serpentcrown.bandcamp.com/
Damian Llewellyn
label: Horror Pain Gore Death records
web: https://www.facebook.com/SerpentCrown?fref=ts
San Francisco based Serpent Crown were formed in 2008 and gigged their way around the Bay Area and west coast of the U.S. Their current line up consists of Dara Santhai on Vocals & guitar and who also does all the band's art work, Brady Smith on Drums, and Tommy Anderson on Bass.
Serpent Crown first came to my attention back in 2010 while I was having a few (too many) beers with 'Cool Clyde' (Ex Sourvein drummer). He was sporting a Serpent Crown shirt which bore the image of a Vampire Medusa and thought, 'heck, this band has to be great'. I found their demo on- line and wasn't disappointed. Serpent Crown fuse their own form of Classic Thrash Metal with raw sludgy overtones, stomping riffage, brilliant solos and Doom heavy lyrical themes. Hey, who could ask for anything more in a Metal band? Philadelphia based label Horror Pain Gore Death has released their six track EP which was recorded at Lucky Cat Recording in San Francisco. The Digital version of the EP can also be found via their bandcamp page @ http://serpentcrown.bandcamp.com/
Damian Llewellyn
|
|
|
Above left and centre, Siren Sycho photos by Sam Daly Stones. Right: Siren Sycho photo by Siren Sycho
SIREN SYCHO – Supercharged 'Sycho' singer, Artist and Model
web: http://sirensycho.tumblr.com/ https://www.facebook.com/sirensycho666 https://www.facebook.com/DeathKoolaid
London is the home of Siren Sycho, lead vocalist for Punk / Fuzz band Death Koolaid. Siren has wowed the crowds with her performances as a frenzied singer that delivers an full-on energetic stage show with Death Koolaid. In addition, Siren has been active in the film scene for a good few years, and a selection of her work as an editor / videographer can be seen on her You Tube channels http://www.youtube.com/user/MsSophiaLA and www.youtube.com/flabproductions On the other side of the lens, Siren is also active as a Tattooed Alt Model which is another quality of this Alternative all-rounder!
web: http://sirensycho.tumblr.com/ https://www.facebook.com/sirensycho666 https://www.facebook.com/DeathKoolaid
London is the home of Siren Sycho, lead vocalist for Punk / Fuzz band Death Koolaid. Siren has wowed the crowds with her performances as a frenzied singer that delivers an full-on energetic stage show with Death Koolaid. In addition, Siren has been active in the film scene for a good few years, and a selection of her work as an editor / videographer can be seen on her You Tube channels http://www.youtube.com/user/MsSophiaLA and www.youtube.com/flabproductions On the other side of the lens, Siren is also active as a Tattooed Alt Model which is another quality of this Alternative all-rounder!
DYING VICTIMS productions
web: http://www.dying-victims.de/
Dying Victims productions is a Germany based Underground Metal label and distro into various styles down the heavier categories such as MetalPunk, SpeedMetal, Black Thrash Metal etc. Dying Victims productions 'supports groups that have the right spirit and play killer music'. The label has been around since 2009 and its releases appear on both CD format aswell as the classic vinyl and cassette format which all the proves how genuine and old-school minded this label truly is! Bands on the roster include Iron Curtain, Witching Hour, Speedbreaker, Demon Bitch, Barrow Wight, Whipstriker and many others. Distro features a webshop with CD's, vinyls, cassettes, shirts, patches, fanzines etc. Dying Victims also produce a fanzine, “Thrash Attack” circulating the scene since 2006 and with 10 issues out.
web: http://www.dying-victims.de/
Dying Victims productions is a Germany based Underground Metal label and distro into various styles down the heavier categories such as MetalPunk, SpeedMetal, Black Thrash Metal etc. Dying Victims productions 'supports groups that have the right spirit and play killer music'. The label has been around since 2009 and its releases appear on both CD format aswell as the classic vinyl and cassette format which all the proves how genuine and old-school minded this label truly is! Bands on the roster include Iron Curtain, Witching Hour, Speedbreaker, Demon Bitch, Barrow Wight, Whipstriker and many others. Distro features a webshop with CD's, vinyls, cassettes, shirts, patches, fanzines etc. Dying Victims also produce a fanzine, “Thrash Attack” circulating the scene since 2006 and with 10 issues out.
URIAH HEEP – CD 2014 “Outsider”
label: Frontiers records
songs: Speed Of Sound / One Minute / The Law / The Outsider / Rock The Foundation / Is Anybody Gonna Help Me? / Looking At You / Can't Take That Away / Jessie / Kiss The Rainbow / Say Goodbye //
The monumental Rockers that are Uriah Heep frankly do not need much of an introduction being at the forefront of HardRock and Heavy Metal music. Uriah Heep made their first vinyl appearance in 1970 with “Very 'eavy... Very 'umble” LP, and have since sold well over 30 million units from a catalogue that features 24 studio albums. “Outsider” is their newest work and finds the band harking back to the early Uriah Heep sound that is given a Radio Rock finish. All the signature elements of old are still intact; this goes from the trademark 'Hammond' organ and the all-70's vocal harmonies to the riff-based modes and prominent lead vocals. Although the current line-up of Uriah Heep only but features one original member, guitarist Mick Box, the band has managed well to replicate the traditional Heep sound with the crisp, melodic vocals of singer Bernie Shaw (1986 – present) to match. Throughout the set of “Outsider” groove is the key feature that drives most of the album, including the riff-Rocker “The Law”, the 70's-styled Headbanger “Outsider”, the sticky, Blues-edged “Rock The Foundation” and the melodic retro HardRockers “Can't Take That Away” and “Jessie”. It is also the groove that adds a significant feel good factor to the material, peaking on the upbeat Billboard Rockers “Kiss The Rainbow” and “Looking At You” with its sing-along theme and highway song vibe. The Prog thing is pretty much non existent or present only in minimal quantities through its melodic laden guitar melodies. As such, song structures are straight forward with the accent on catchiness and instant-access. Although the main chunk of the material is modest and mild-format minded, there's some heavy riffage feeding songs such as “Say Goodbye”, “The Law” and “The Outsider”. Concept-wise, the masterpiece of the album has got to be the classic Rocker “One Minute” with its vocal-and-piano-only interlude morphing into a pumping, Progressive edged Rocker with a nifty, clockwork type beat to emphasize its lyrical content. In all, a top album that captures the spirit of the old Heep stuff, grooved up with some toe-tapping 80's Radio Rock! Recommended.
Paul van der Burght
label: Frontiers records
songs: Speed Of Sound / One Minute / The Law / The Outsider / Rock The Foundation / Is Anybody Gonna Help Me? / Looking At You / Can't Take That Away / Jessie / Kiss The Rainbow / Say Goodbye //
The monumental Rockers that are Uriah Heep frankly do not need much of an introduction being at the forefront of HardRock and Heavy Metal music. Uriah Heep made their first vinyl appearance in 1970 with “Very 'eavy... Very 'umble” LP, and have since sold well over 30 million units from a catalogue that features 24 studio albums. “Outsider” is their newest work and finds the band harking back to the early Uriah Heep sound that is given a Radio Rock finish. All the signature elements of old are still intact; this goes from the trademark 'Hammond' organ and the all-70's vocal harmonies to the riff-based modes and prominent lead vocals. Although the current line-up of Uriah Heep only but features one original member, guitarist Mick Box, the band has managed well to replicate the traditional Heep sound with the crisp, melodic vocals of singer Bernie Shaw (1986 – present) to match. Throughout the set of “Outsider” groove is the key feature that drives most of the album, including the riff-Rocker “The Law”, the 70's-styled Headbanger “Outsider”, the sticky, Blues-edged “Rock The Foundation” and the melodic retro HardRockers “Can't Take That Away” and “Jessie”. It is also the groove that adds a significant feel good factor to the material, peaking on the upbeat Billboard Rockers “Kiss The Rainbow” and “Looking At You” with its sing-along theme and highway song vibe. The Prog thing is pretty much non existent or present only in minimal quantities through its melodic laden guitar melodies. As such, song structures are straight forward with the accent on catchiness and instant-access. Although the main chunk of the material is modest and mild-format minded, there's some heavy riffage feeding songs such as “Say Goodbye”, “The Law” and “The Outsider”. Concept-wise, the masterpiece of the album has got to be the classic Rocker “One Minute” with its vocal-and-piano-only interlude morphing into a pumping, Progressive edged Rocker with a nifty, clockwork type beat to emphasize its lyrical content. In all, a top album that captures the spirit of the old Heep stuff, grooved up with some toe-tapping 80's Radio Rock! Recommended.
Paul van der Burght
FANZINE ARCHIVES – Metal fanzines from the 80's and 90's
web: https://www.facebook.com/pages/Fanzine-Archives/263744647163981
Fanzine Archives is a web-page that features a section of Metal fanzines from the 80s up to the 90s, all of which come from the private collection of collector Hugo Caldeira. Here you will find some of the established zines such as Kick Ass Monthly, The New Heavy Metal Revue, and World Metal Report (USA), alongside a host of obscure publications from across the globe, including Hallucination, Bahamut, Renascimento Do Metal (Portugal), Sacrifice (Germany), Aaaarrghh!! (New Zealand), Metal K.O (Canada), Metal Nacional (Brazil) and many others. Entries are featured with a cover photo, country of origin, year of release and some additional photos of its content, totalling between 4 – 7 photos per fanzine. This is a great resource for fanzine collectors and a fun to explore page for those into obscure / Underground memorabilia of the 80's and 90's; check it out!
web: https://www.facebook.com/pages/Fanzine-Archives/263744647163981
Fanzine Archives is a web-page that features a section of Metal fanzines from the 80s up to the 90s, all of which come from the private collection of collector Hugo Caldeira. Here you will find some of the established zines such as Kick Ass Monthly, The New Heavy Metal Revue, and World Metal Report (USA), alongside a host of obscure publications from across the globe, including Hallucination, Bahamut, Renascimento Do Metal (Portugal), Sacrifice (Germany), Aaaarrghh!! (New Zealand), Metal K.O (Canada), Metal Nacional (Brazil) and many others. Entries are featured with a cover photo, country of origin, year of release and some additional photos of its content, totalling between 4 – 7 photos per fanzine. This is a great resource for fanzine collectors and a fun to explore page for those into obscure / Underground memorabilia of the 80's and 90's; check it out!
ALESSA DECAY – Model, Musician and Metalhead!
web: https://www.facebook.com/alessa.decay.3
USA based Alessa Decay is a girl drenched in Metal that enjoys reading and Mosh Pits! Alessa is a promotional Model, photographer, artist, vocalist / bassist, and member of Grindhaus Girls (https://www.facebook.com/Grindhausgirls?fref=ts) The Lead Farmer Girls Worldwide (https://www.facebook.com/pages/The-Lead-Farmer-Girls-Worldwide/124447904237134?fref=ts) and The BizR Babes (https://www.facebook.com/pages/The-BizR-Babes/139651596073189?fref=ts)
web: https://www.facebook.com/alessa.decay.3
USA based Alessa Decay is a girl drenched in Metal that enjoys reading and Mosh Pits! Alessa is a promotional Model, photographer, artist, vocalist / bassist, and member of Grindhaus Girls (https://www.facebook.com/Grindhausgirls?fref=ts) The Lead Farmer Girls Worldwide (https://www.facebook.com/pages/The-Lead-Farmer-Girls-Worldwide/124447904237134?fref=ts) and The BizR Babes (https://www.facebook.com/pages/The-BizR-Babes/139651596073189?fref=ts)
|
|
|
Above left: photo by Lance Cortis, centre: photo by Aleigha Robinson Evens, right: photo by Lance Cortis
|
|
|
Above left: photo by VampGrrl Studios, centre: photo by Lance Cortis, rIght: photo by VampGrrl Studios.
All photos published with permission by Alessa Decay
All photos published with permission by Alessa Decay
|
|
Above left and right: Crazy Town in London. Pictures by Manic Mosh
'This time around we're stopping to smell the roses, not sniff them...'
CRAZY TOWN interview with Kevin Kapler and Bret Mazur
It's been a rough ride for Crazy Town since the release of their “Dark Horse” album up until the moment original members 'Shifty' (Seth Binzer) and 'Epic' (Bret Mazur) hooked up to reform the band after a ten year hiatus. With a new album in the works, aptly titled after their first band, “The Brimstone Sluggers” and successful shows the world over, the band boldly makes a statement and lives up to it by all means... “Crazy Town is back!”...
Manic Mosh: You guys just rounded off a tour across Europe including some major festivals such as Download and Rock Am Ring; How was the overall impulse, and how did it sink in with the fans?
Bret: It was more than we could have ever expected; it kinda proved to us exactly what we were thinking which is that we are here to get awareness, let the public know that we are back, having a really good time and make some great music. It is great to be out here, on the stages of some of these festivals and draw the kind of number of people that tried to come and see us...
Kevin: And the reactions... the crowd has been raving! It's been a magical experience just for myself and honestly, the fans that have come out and showed their appreciation has literally catapulted us in a position where we feel really good about what we are doing
Manic Mosh: So how did the new songs go down, obviously “Lemonface” is the statement song and taster for things to come among other tunes...
Bret: They have been reacting as if they know the songs already, hands in the air... just total crowd participation! I don't know if that is just an Europe thing, which I know it is actually, but it is great to play in Europe. London and the UK are a harder nut to crack than the rest of Europe but still, I'd say that Europe is a very different kind of market place than America; they love music and they support bands.
Manic Mosh: There's been talk of you guys getting back to original Crazy Town sound, but gauging songs like “Lemonface” and “Come Inside”, it appears to be heavier than the material on the “Gift Of Game” album. Will you opt for a 50 / 50 balance of heavier songs and Hip Hop?
Kevin: It is definitely going to be heavy, for sure! But more so I think that the E.B.M (Electronic Body Music) aspect of things is definitely precedent and so is the Hip Hop aspect of Crazy Town. I think that once we are back in the studio, mashing all these genres together, it's going to be a great record!
Manic Mosh: With one foot in the Hip Hop thing and the other in the (Rap) Metal genre there will always be a difficulty keeping that balance don't you think?
Bret: But either is our thing... our thing is our thing and that is what we're gonna do. But there is also the fans, say when we were playing Download, a lot of them that would go see any of the heavy bands that were on there, are into Hip Hop too and may be huge Cypress Hill fans. So, that is really who we are, you know, it has always been difficult for us as Crazy Town to make a record that just easily fits within one genre....
Kevin: Personally speaking, it should go something like, Metal, Rock, Alternative, Crazy Town... that should be our own genre! We like to mix things up a bit, I think that's the greatest thing. I think it is great to be in a band that literally plays anything they feel imaginable....
Bret: At the end of the day we've always been an Alternative Hip Hop group and we always looked at ourselves like this as that we're not just a Rock band; we're not a Rock band, we're the heaviest band in HipHop!
Manic Mosh: It's been a long way coming since the “Dark Horse” album, bridging a 10 year gap or so. A lot of things happened in that time span, and at some point there was talk of new songs getting materialized through Suburban Noize in 2010.....
Bret: There was a couple of things; Suburban Noize and the Kottonmouth Kings separated, and Brad X from the Kottonmouth Kings was one of the owners of Suburban Noize. The other thing was that Seth had a really bad relapse and went into a coma and basically flatlined and died so I wasn't ready to start a band with someone who just 'died' so had to put it on hold and wait until he got two years sober
Manic Mosh: So, what happened in between times, and when did the comeback of the band come into play again?
Bret: I have been in the game; I have been writing and producing for other people and the guys in the band have been in the game doing their things as well. It was just a matter of 'Are we going to play this game together as a team called Crazy Town', and it was just the right time to do it and that was just about a year ago, so here we are.
Manic Mosh: So, with the band back in the game and success mounting at a fast rate, does it feel the same as when you had your major breakthrough with “Butterfly” and does the band feel like a strong unit in the new line-up?
Bret: It definitely feels different... we feel more grateful for the opportunity, and a little thing that Seth came up with the other day was 'This time around we're stopping to smell the roses, not sniff them'... We're in the moment more, and really excited to be out here with Ahmad, Kevin, Seth and Nick, doing this together... that is pretty cool.
Kevin: It's been awesome man... the overall vibe... in that little Sprinter Van with all nine of us; the crew, the front of house guys, the manager.... it feels like a family and I think that is really something that kinda kept everything together really well. Literally there has not been one argument!
Bret: What's been really cool too though; It's been something that we've all been able to experience together... because these guys coming to the band new, they weren't sure what to expect and we weren't sure what to expect; We know what we've done before but playing our first festival, we kept our expectations low... We all experienced coming up to a stage that technically should have a capacity of about 8000 people watching at the most, and here we are, coming out on stage together as a band and we are playing for over 40 to 50.000 people that wanted to come to watch Crazy Town.... that is amazing!
Kevin: When we played our set, they loved all the new songs just as much as the old songs and then when we played “Butterfly” - obviously that was the one people were anticipating - I think the overall reaction that we got from our true fans was that they just loved it all... they loved the idea that we're back together with full support and we're grateful, you know... I'm grateful to have met so many new friends.
Manic Mosh: How do you deal with success in general... you know, you get that flush of fame, and it continues but you also have to live up to it... Most people just see the glamorous side of it, not the backside...
Kevin: It's not as glamorous as you think, it's really not, and the reason why we are here is because we really want to. I think it's just a misconception; times have really changed, I mean, the quintessential Rock Stars are just a very few... you could put Steven Tyler (Aerosmith) up there, Gene Simmons obviously... I mean they have the possibility to live that Rock Star lifestyle but for the majority of us, it is all just taking it in stride and I think the true basis of a successful musician is being humble, absolutely one hundred percent humble. We all have lives to live, we all have families back home and we do this... We don't do this for success, we don't do this for money; we do it because we love what we do as musicians and we do it for the fans...
Bret: There's better things you could be doing to make a living than doing what we do... you have to have passion and it is a lot of hard work. But, of course we love what we do otherwise we could not be putting so many years into pursuing and perfecting our craft, but at the same time I want to start a new union; an Artist Union. I don't think any manager should be taking twenty percent of any Artist touring, I think that is ridiculous.
Kevin: It happens man, and it stops the growth of bands; especially bands like us that are trying to make a comeback and something is in our face like that... it almost made the Euro trip for us not happen; we had to make a decision what was best for us, and we all took a loss to come out here and do this. But, it was so important, and it ended up to be such an awesome experience,
Manic Mosh: So, for the loyalty of the fans alone you would do this....
Kevin: We had to, the shows were booked... I don't know how many people actually knew Crazy Town were coming, but Crazy Town were coming, and come hell or high water, we were gonna come and give our art to the fans.
Bret: We're here to let everybody know through talking to you, awareness, doing the shows that we are coming back, and tangibly we will be back in the fall, playing more shows and supporting and either at the very least another new single which is going to be sitting on our new record but you have to get out there, you have to get in front of people, you have to play your songs... We know where we are at and we don't have a huge machine behind us right now. For now, we are just in touch with the fans that are in touch with us and we are fine with that; that is why we do the mixture of these big festivals so that people who might never have heard of us or never really were fans, hopefully leave those festival shows going, 'damn, I had no idea Crazy Town brought it like that, I can't wait to get their new record'
Kevin: And the overall reaction that we're getting, even on personal social media sites is totally good feedback; we're making new fans everyday.
Bret: By the way, if you want to be our friend, hashtag #crazytownisback
Paul van der Burght / Manic Mosh Magazine
CRAZY TOWN interview with Kevin Kapler and Bret Mazur
It's been a rough ride for Crazy Town since the release of their “Dark Horse” album up until the moment original members 'Shifty' (Seth Binzer) and 'Epic' (Bret Mazur) hooked up to reform the band after a ten year hiatus. With a new album in the works, aptly titled after their first band, “The Brimstone Sluggers” and successful shows the world over, the band boldly makes a statement and lives up to it by all means... “Crazy Town is back!”...
Manic Mosh: You guys just rounded off a tour across Europe including some major festivals such as Download and Rock Am Ring; How was the overall impulse, and how did it sink in with the fans?
Bret: It was more than we could have ever expected; it kinda proved to us exactly what we were thinking which is that we are here to get awareness, let the public know that we are back, having a really good time and make some great music. It is great to be out here, on the stages of some of these festivals and draw the kind of number of people that tried to come and see us...
Kevin: And the reactions... the crowd has been raving! It's been a magical experience just for myself and honestly, the fans that have come out and showed their appreciation has literally catapulted us in a position where we feel really good about what we are doing
Manic Mosh: So how did the new songs go down, obviously “Lemonface” is the statement song and taster for things to come among other tunes...
Bret: They have been reacting as if they know the songs already, hands in the air... just total crowd participation! I don't know if that is just an Europe thing, which I know it is actually, but it is great to play in Europe. London and the UK are a harder nut to crack than the rest of Europe but still, I'd say that Europe is a very different kind of market place than America; they love music and they support bands.
Manic Mosh: There's been talk of you guys getting back to original Crazy Town sound, but gauging songs like “Lemonface” and “Come Inside”, it appears to be heavier than the material on the “Gift Of Game” album. Will you opt for a 50 / 50 balance of heavier songs and Hip Hop?
Kevin: It is definitely going to be heavy, for sure! But more so I think that the E.B.M (Electronic Body Music) aspect of things is definitely precedent and so is the Hip Hop aspect of Crazy Town. I think that once we are back in the studio, mashing all these genres together, it's going to be a great record!
Manic Mosh: With one foot in the Hip Hop thing and the other in the (Rap) Metal genre there will always be a difficulty keeping that balance don't you think?
Bret: But either is our thing... our thing is our thing and that is what we're gonna do. But there is also the fans, say when we were playing Download, a lot of them that would go see any of the heavy bands that were on there, are into Hip Hop too and may be huge Cypress Hill fans. So, that is really who we are, you know, it has always been difficult for us as Crazy Town to make a record that just easily fits within one genre....
Kevin: Personally speaking, it should go something like, Metal, Rock, Alternative, Crazy Town... that should be our own genre! We like to mix things up a bit, I think that's the greatest thing. I think it is great to be in a band that literally plays anything they feel imaginable....
Bret: At the end of the day we've always been an Alternative Hip Hop group and we always looked at ourselves like this as that we're not just a Rock band; we're not a Rock band, we're the heaviest band in HipHop!
Manic Mosh: It's been a long way coming since the “Dark Horse” album, bridging a 10 year gap or so. A lot of things happened in that time span, and at some point there was talk of new songs getting materialized through Suburban Noize in 2010.....
Bret: There was a couple of things; Suburban Noize and the Kottonmouth Kings separated, and Brad X from the Kottonmouth Kings was one of the owners of Suburban Noize. The other thing was that Seth had a really bad relapse and went into a coma and basically flatlined and died so I wasn't ready to start a band with someone who just 'died' so had to put it on hold and wait until he got two years sober
Manic Mosh: So, what happened in between times, and when did the comeback of the band come into play again?
Bret: I have been in the game; I have been writing and producing for other people and the guys in the band have been in the game doing their things as well. It was just a matter of 'Are we going to play this game together as a team called Crazy Town', and it was just the right time to do it and that was just about a year ago, so here we are.
Manic Mosh: So, with the band back in the game and success mounting at a fast rate, does it feel the same as when you had your major breakthrough with “Butterfly” and does the band feel like a strong unit in the new line-up?
Bret: It definitely feels different... we feel more grateful for the opportunity, and a little thing that Seth came up with the other day was 'This time around we're stopping to smell the roses, not sniff them'... We're in the moment more, and really excited to be out here with Ahmad, Kevin, Seth and Nick, doing this together... that is pretty cool.
Kevin: It's been awesome man... the overall vibe... in that little Sprinter Van with all nine of us; the crew, the front of house guys, the manager.... it feels like a family and I think that is really something that kinda kept everything together really well. Literally there has not been one argument!
Bret: What's been really cool too though; It's been something that we've all been able to experience together... because these guys coming to the band new, they weren't sure what to expect and we weren't sure what to expect; We know what we've done before but playing our first festival, we kept our expectations low... We all experienced coming up to a stage that technically should have a capacity of about 8000 people watching at the most, and here we are, coming out on stage together as a band and we are playing for over 40 to 50.000 people that wanted to come to watch Crazy Town.... that is amazing!
Kevin: When we played our set, they loved all the new songs just as much as the old songs and then when we played “Butterfly” - obviously that was the one people were anticipating - I think the overall reaction that we got from our true fans was that they just loved it all... they loved the idea that we're back together with full support and we're grateful, you know... I'm grateful to have met so many new friends.
Manic Mosh: How do you deal with success in general... you know, you get that flush of fame, and it continues but you also have to live up to it... Most people just see the glamorous side of it, not the backside...
Kevin: It's not as glamorous as you think, it's really not, and the reason why we are here is because we really want to. I think it's just a misconception; times have really changed, I mean, the quintessential Rock Stars are just a very few... you could put Steven Tyler (Aerosmith) up there, Gene Simmons obviously... I mean they have the possibility to live that Rock Star lifestyle but for the majority of us, it is all just taking it in stride and I think the true basis of a successful musician is being humble, absolutely one hundred percent humble. We all have lives to live, we all have families back home and we do this... We don't do this for success, we don't do this for money; we do it because we love what we do as musicians and we do it for the fans...
Bret: There's better things you could be doing to make a living than doing what we do... you have to have passion and it is a lot of hard work. But, of course we love what we do otherwise we could not be putting so many years into pursuing and perfecting our craft, but at the same time I want to start a new union; an Artist Union. I don't think any manager should be taking twenty percent of any Artist touring, I think that is ridiculous.
Kevin: It happens man, and it stops the growth of bands; especially bands like us that are trying to make a comeback and something is in our face like that... it almost made the Euro trip for us not happen; we had to make a decision what was best for us, and we all took a loss to come out here and do this. But, it was so important, and it ended up to be such an awesome experience,
Manic Mosh: So, for the loyalty of the fans alone you would do this....
Kevin: We had to, the shows were booked... I don't know how many people actually knew Crazy Town were coming, but Crazy Town were coming, and come hell or high water, we were gonna come and give our art to the fans.
Bret: We're here to let everybody know through talking to you, awareness, doing the shows that we are coming back, and tangibly we will be back in the fall, playing more shows and supporting and either at the very least another new single which is going to be sitting on our new record but you have to get out there, you have to get in front of people, you have to play your songs... We know where we are at and we don't have a huge machine behind us right now. For now, we are just in touch with the fans that are in touch with us and we are fine with that; that is why we do the mixture of these big festivals so that people who might never have heard of us or never really were fans, hopefully leave those festival shows going, 'damn, I had no idea Crazy Town brought it like that, I can't wait to get their new record'
Kevin: And the overall reaction that we're getting, even on personal social media sites is totally good feedback; we're making new fans everyday.
Bret: By the way, if you want to be our friend, hashtag #crazytownisback
Paul van der Burght / Manic Mosh Magazine
|
|
HELLCANNON – single 2014 “Lost Cause”
web: https://www.facebook.com/hellcannonmetal?fref=ts label: Vile records songs: Lost Cause // HELLCANNON is a Buffalo / USA based outfit that previously released 2 EP's, “Raiders Of The Waste” (2009) and “Soothsayer” (2013), plus a full-lengther, “Infected With Violence” in 2010. At present, HELLCANNON are in the process of finishing up their new album, “Terminal”, from which the song “Lost Cause” was released as a single (and official video) through Vile records and made available on Itunes for download. Those |
who are familiar with the band's earlier work know what to expect; ripping Thrash fuelledby a galloping, snare-drummed beat, rhythm riffed guitars and gruff, talk type vocals. “Lost Cause” brings you right back to the early Slayer sound (a la “Angel Of Death”), complete with squaling solos, hints of 90's DeathThrash and added Bay Area riff hooks. Intense as frick and miles away from current trends!
Paul van der Burght
Paul van der Burght
|
|
Above left and right: Model Federica T, photos by La Minu / Minu In Wonderland
FEDERICA T – Tantalizing beauty from Italy
web: https://www.facebook.com/pages/Federica-T/211631005703200
http://instagram.com/federicatmodel https://twitter.com/FedericaTmodel
Federica T is a Italian Model that got into modelling by chance when a photographer asked her to pose, which she promptly accepted. Since Federica took on the modelling more professionally in the past year, she has been involved in various projects and shoots. Federica recently had her first magazine appearance in 'Kustom' Magazine featuring her work with photographer Miss Sorry. Her favourite themes for shoots include portraits, Fashion, Beauty and Glamour. The music she likes best is Hardcore which has 'captured her heart'.
Photos by:
La Minu https://www.facebook.com/MinuInWonderland
Miss Sorry https://www.facebook.com/lovemisssorry?fref=ts
web: https://www.facebook.com/pages/Federica-T/211631005703200
http://instagram.com/federicatmodel https://twitter.com/FedericaTmodel
Federica T is a Italian Model that got into modelling by chance when a photographer asked her to pose, which she promptly accepted. Since Federica took on the modelling more professionally in the past year, she has been involved in various projects and shoots. Federica recently had her first magazine appearance in 'Kustom' Magazine featuring her work with photographer Miss Sorry. Her favourite themes for shoots include portraits, Fashion, Beauty and Glamour. The music she likes best is Hardcore which has 'captured her heart'.
Photos by:
La Minu https://www.facebook.com/MinuInWonderland
Miss Sorry https://www.facebook.com/lovemisssorry?fref=ts
|
|
|
Above left, centre and right: Model Fedrica T, photos by Miss Sorry
INFERI – CD 2014 “The Path Of Apotheosis”
songs: Those Who From The Heavens Came / The Promethean Kings / A Betrayal Unforetold / Wrath Of The Fallen One / The Ophidian Form / Prelude To A Perilous Fate / Destroyer / Onslaught Of The Covenant / Marching Through The Flames Of Tyranny / The Ancients Of Shattered Thrones / The Path Of Apotheosis //
label: The Artisan Era
web: https://www.facebook.com/Inferimetal
This is the third album by Tennessee outfit Inferi after a five year gap since the release of their predecessor “The End Of An Era”. With a modified line-up and further progress in the already technically dominant set, “The Path Of Apostheosis” is the band's tour-de-force, marked by an amazing, allround virtuosity and clockwork timing! The band has stickered their brand of music as 'Melodic Death Metal' but gauging the material there should also be a mention of BlackMetal and Atmospheric Metal, as both are a vast element within the concept on “The Path Of Apotheosis”. This is evidenced by the application of Dark, orchestral-like moods and occasional synths usage whilst the Black-Metal comes surfacing in the shape of hi-lo and reversed riffage, machine-gun double bass drummage and these signature snarl vocals to alternate the death grunts. Most songs clock in at just over or under 6 minutes but given the amount of timing and melody changes, mood swings and solo-sections, there's enough in each and every song to keep things interesting for the whole of their individual running time. Opening tune “Those Who From The Heavens Came” is a blueprint for things to come, moving with breakneck-speed over hyper-mode bass-drums, compensated by a multitude of (structrual) twists and turns, including some Avant-Garde hooks, tranquil passages and melodic, classical tinged guitar solos. “The Promethean Kings” and “A Betrayal Unforetold” even turn towards Thrash riffage with hints of the Bay Area thing in place, whilst the leads on “Wrath Of The Fallen One” address to the techno-Thrash thing. With 4 minutes of playing time, this is the shortest song on the album but nonetheless features all the versatility of the lengthier songs in a compressed form with added piano hooks, Friedman-ish virtuoso guitar chops and an atmosphere that breathes old horror movies! Yet again, the riffage makes the band click with other genres, down the hyper-active mobility laden “The Ancients Of Shattered Thrones” that sounds likes spinning a melodic PowerMetal record on 45 RPM, dashed with deep gruntage, rasp vocals and an abundance of guitar melodies. Throughout the album, Inferi managed to merged various styles with signature elements that give the band a sound that is recognizable, daring and unique. There is few bands that manage to cross borders with multiple genres and still have an identity that is all their own. Inferi is one of such bands, backing it up with superb musicianship and songwriting. Impressive!
Paul van der Burght
songs: Those Who From The Heavens Came / The Promethean Kings / A Betrayal Unforetold / Wrath Of The Fallen One / The Ophidian Form / Prelude To A Perilous Fate / Destroyer / Onslaught Of The Covenant / Marching Through The Flames Of Tyranny / The Ancients Of Shattered Thrones / The Path Of Apotheosis //
label: The Artisan Era
web: https://www.facebook.com/Inferimetal
This is the third album by Tennessee outfit Inferi after a five year gap since the release of their predecessor “The End Of An Era”. With a modified line-up and further progress in the already technically dominant set, “The Path Of Apostheosis” is the band's tour-de-force, marked by an amazing, allround virtuosity and clockwork timing! The band has stickered their brand of music as 'Melodic Death Metal' but gauging the material there should also be a mention of BlackMetal and Atmospheric Metal, as both are a vast element within the concept on “The Path Of Apotheosis”. This is evidenced by the application of Dark, orchestral-like moods and occasional synths usage whilst the Black-Metal comes surfacing in the shape of hi-lo and reversed riffage, machine-gun double bass drummage and these signature snarl vocals to alternate the death grunts. Most songs clock in at just over or under 6 minutes but given the amount of timing and melody changes, mood swings and solo-sections, there's enough in each and every song to keep things interesting for the whole of their individual running time. Opening tune “Those Who From The Heavens Came” is a blueprint for things to come, moving with breakneck-speed over hyper-mode bass-drums, compensated by a multitude of (structrual) twists and turns, including some Avant-Garde hooks, tranquil passages and melodic, classical tinged guitar solos. “The Promethean Kings” and “A Betrayal Unforetold” even turn towards Thrash riffage with hints of the Bay Area thing in place, whilst the leads on “Wrath Of The Fallen One” address to the techno-Thrash thing. With 4 minutes of playing time, this is the shortest song on the album but nonetheless features all the versatility of the lengthier songs in a compressed form with added piano hooks, Friedman-ish virtuoso guitar chops and an atmosphere that breathes old horror movies! Yet again, the riffage makes the band click with other genres, down the hyper-active mobility laden “The Ancients Of Shattered Thrones” that sounds likes spinning a melodic PowerMetal record on 45 RPM, dashed with deep gruntage, rasp vocals and an abundance of guitar melodies. Throughout the album, Inferi managed to merged various styles with signature elements that give the band a sound that is recognizable, daring and unique. There is few bands that manage to cross borders with multiple genres and still have an identity that is all their own. Inferi is one of such bands, backing it up with superb musicianship and songwriting. Impressive!
Paul van der Burght
LAZARUS SIN – CD 2014 “Intracranial Mass”
label: Trigger
songs: Blood For Mercy / Apothecaries' Measure / 7734 / The Son Of The Jackal / On The Shore / Author Of Sorrow / Another Day / Monument / Out Of The Box //
Originally from '88, this limited edition, private CD release by Oregon / USA Metalers Lazarus Sin has now been re-released by Trigger records, an independent label from the same home as Steel For An Age Magazine. Spinning the disc, it becomes evident why this band missed out on recognition, and got cursed by the same fate that hindered a similar, technical quality band such as Watchtower. In the 80's there was no room for Progressive (Power) Metal / Thrash as the heavier genres were taking over and pretty much dominated the scene. In its territories, “Intracranial Sin” is a worthy album with all the features that define the genre. In addition to the expert-timing and structural spaghetti, the band slips in atmospheric, almost Doom-like moods that click with Witchkiller and Candlemass on more than one occasion, peaking on the epic, 8+ minute “Author Of Sorrow”. The atmospheric thing is taken back to the 70's on the album's heaviest offering “Blood For Mercy”; a riff-based, driven PowerMetaler that carries the sombre moods of the early Judas Priest / Black Sabbath material. Digging deeper into the dark sphere is the slow, dragging “Out Of The Box” stretching well over 9 minutes. The technical element is omnipresent and finds its expression in the many timing and melody changes that run through the material and nicely balance out the moody moments. Between all this are some refreshing twists that come in the shape of an instrumental (“7734”), a Greek-inspired guitar piece (“On The Shore”), a piano-only workout (“Another Day”), 70's styled Folk balladry a la Uriah Heep (“Monument”), and seemingly Rush inspired semi-acoustics down the mid-section of “Apothecaries Measures”. The “Intracranial Mass” album is not for everyone, but makes a good listen for the more demanding Metal fan. Songs stick together very well, and all round teamwork and musicianship is of a high standard with the variable, narrative muscle vocals of frontman Joseph Tierney accenting the moods. Identical to Metal bands adopting the Doom-element into their music back in the 80's, Lazarus Sin has done so without downtuning the guitars or key, making it nicely blend in with the Progressive PowerMetal the band is at most of the time. Style wise, picture a mix of Candlemass, Hades, Savage Steel, Witchkiller and early Priest, and that is where you will find “Intracranial Mass”.
Paul van der Burght
label: Trigger
songs: Blood For Mercy / Apothecaries' Measure / 7734 / The Son Of The Jackal / On The Shore / Author Of Sorrow / Another Day / Monument / Out Of The Box //
Originally from '88, this limited edition, private CD release by Oregon / USA Metalers Lazarus Sin has now been re-released by Trigger records, an independent label from the same home as Steel For An Age Magazine. Spinning the disc, it becomes evident why this band missed out on recognition, and got cursed by the same fate that hindered a similar, technical quality band such as Watchtower. In the 80's there was no room for Progressive (Power) Metal / Thrash as the heavier genres were taking over and pretty much dominated the scene. In its territories, “Intracranial Sin” is a worthy album with all the features that define the genre. In addition to the expert-timing and structural spaghetti, the band slips in atmospheric, almost Doom-like moods that click with Witchkiller and Candlemass on more than one occasion, peaking on the epic, 8+ minute “Author Of Sorrow”. The atmospheric thing is taken back to the 70's on the album's heaviest offering “Blood For Mercy”; a riff-based, driven PowerMetaler that carries the sombre moods of the early Judas Priest / Black Sabbath material. Digging deeper into the dark sphere is the slow, dragging “Out Of The Box” stretching well over 9 minutes. The technical element is omnipresent and finds its expression in the many timing and melody changes that run through the material and nicely balance out the moody moments. Between all this are some refreshing twists that come in the shape of an instrumental (“7734”), a Greek-inspired guitar piece (“On The Shore”), a piano-only workout (“Another Day”), 70's styled Folk balladry a la Uriah Heep (“Monument”), and seemingly Rush inspired semi-acoustics down the mid-section of “Apothecaries Measures”. The “Intracranial Mass” album is not for everyone, but makes a good listen for the more demanding Metal fan. Songs stick together very well, and all round teamwork and musicianship is of a high standard with the variable, narrative muscle vocals of frontman Joseph Tierney accenting the moods. Identical to Metal bands adopting the Doom-element into their music back in the 80's, Lazarus Sin has done so without downtuning the guitars or key, making it nicely blend in with the Progressive PowerMetal the band is at most of the time. Style wise, picture a mix of Candlemass, Hades, Savage Steel, Witchkiller and early Priest, and that is where you will find “Intracranial Mass”.
Paul van der Burght
CHEVELLE – CD 2014 “La Gargola”
label: Epic records
songs: Ouija Board / An Island / Take Out The Gunman / Jawbreaker / Hunter Eats Hunter / One Ocean / Choking Game / The Damned / Under The Knife / Twinge //
With album #07 in the pocket, Chevelle are back at it in full form, cranking up the intensity levels that were dropped on the previous work(s). The band warms up with the up-tempo riffster “Ouija Board” to intensify even further with the Industrial splashed “An Island”; a chunky, melancholic Metaler with a splitting riff and pumping mid-tempo drive. Intensity is swapped for all grooves on follow-up tune, “Take Out The Gunman”; a slow pounding tune in the 90's styles with a sticky chorus and the signature Chevelle melancholy all over. This is one very strong set to open an album with, featuring the heaviest pick of the album (“An Island”) and the most prestigious, “Hang The Hangman” that is also launched as a video-release. A little less Chevelle like but also among the heaviest tracks on the disc is “Under The Knife”; the 'fastest' and most Metal geared tune, merging melancholic, almost Gothic like atmospheres with heavier, chunky modes. On the experimental side of things are the dreary, Stoner-edged Alternative Rocker “Hunter Eats Hunter” and the cold sphered, New Wave / Alternative geared “Choking Game”. More of this down the atmospheric 'mushroom trip' that is “Twinge” featuring a floating, Psychedelic-meets-New Wave like vibe with spaced out vocals and mild, non-distorted guitars. Another twist in concept comes in the shape of “One Ocean”, delivering some radio-friendly semi-balladry with a retro style New-Wave tick. The “La Gargola” album shows a more experimental side of the band whilst retaining the feel of the original Chevelle sound. This comes with the usual amount of bobbing, riff-based tunes, preferably slow to mid-paced with a melancholic, cold atmosphere and the dismal vocalage of singer / guitarist Pete Loeffler to match. A refreshing mix in all, packed with a productional punch by Joe Barresi
Paul van der Burght
label: Epic records
songs: Ouija Board / An Island / Take Out The Gunman / Jawbreaker / Hunter Eats Hunter / One Ocean / Choking Game / The Damned / Under The Knife / Twinge //
With album #07 in the pocket, Chevelle are back at it in full form, cranking up the intensity levels that were dropped on the previous work(s). The band warms up with the up-tempo riffster “Ouija Board” to intensify even further with the Industrial splashed “An Island”; a chunky, melancholic Metaler with a splitting riff and pumping mid-tempo drive. Intensity is swapped for all grooves on follow-up tune, “Take Out The Gunman”; a slow pounding tune in the 90's styles with a sticky chorus and the signature Chevelle melancholy all over. This is one very strong set to open an album with, featuring the heaviest pick of the album (“An Island”) and the most prestigious, “Hang The Hangman” that is also launched as a video-release. A little less Chevelle like but also among the heaviest tracks on the disc is “Under The Knife”; the 'fastest' and most Metal geared tune, merging melancholic, almost Gothic like atmospheres with heavier, chunky modes. On the experimental side of things are the dreary, Stoner-edged Alternative Rocker “Hunter Eats Hunter” and the cold sphered, New Wave / Alternative geared “Choking Game”. More of this down the atmospheric 'mushroom trip' that is “Twinge” featuring a floating, Psychedelic-meets-New Wave like vibe with spaced out vocals and mild, non-distorted guitars. Another twist in concept comes in the shape of “One Ocean”, delivering some radio-friendly semi-balladry with a retro style New-Wave tick. The “La Gargola” album shows a more experimental side of the band whilst retaining the feel of the original Chevelle sound. This comes with the usual amount of bobbing, riff-based tunes, preferably slow to mid-paced with a melancholic, cold atmosphere and the dismal vocalage of singer / guitarist Pete Loeffler to match. A refreshing mix in all, packed with a productional punch by Joe Barresi
Paul van der Burght
EMILY EPIDEMIC
|
|
|
Above left, centre and right: Model EMILY EPIDEMIC, Make-Up by Jovahnni Gordon. All pics by Keith Daniel / WARPATH Photography
Manic Mosh Photographer Keith Daniel capturing Model Emily Epidemic on photo, merging Metal with a blend of bad-ass reminiscent of cult movie classic 'The Switchblade Sisters'. More of Keith's work / WARPATH Photography in Manic Mosh #05 or via this link:
http://www.modelmayhem.com/warpathphotography
Manic Mosh Photographer Keith Daniel capturing Model Emily Epidemic on photo, merging Metal with a blend of bad-ass reminiscent of cult movie classic 'The Switchblade Sisters'. More of Keith's work / WARPATH Photography in Manic Mosh #05 or via this link:
http://www.modelmayhem.com/warpathphotography
HEXECUTOR – 7” EP FRA'2014 “Hangmen Of Roahzon”
label: Armee De La Mort records
songs: Hangmen Of Roazhon / Soldiers Of Darkness / Consecrated Slaughter / Napalm Assault //
web: https://www.facebook.com/Hexecutor
Hexecutor are a 4-piece from France that originated in April 2011. In 2012, the band debuted with the “First Hexecution” demo sporting 5 tracks that they stickered as “Pure Hexecuting Thrash Metal”. This demo truly lived up to its moniker referring to scorchers such as “Martyrs” and the more SpeedMetal-ish minded “Metal Witchcraft” and “Violent Destiny”ndrawing certain similarities to Razor. Their newest offering, “Hangman Of Roahzon” furthers the musical concept of the demo but has been intensified and 'Germanized' so to say as the material tends to click at large with the early Destruction material. Listening to “Hangmen Of Roahzon” is like being catapulted back to the mid-80's, pondering on energetic, fast-paced Thrash Metal with gruff, talk-type vocals, speedy rhythm riffage and snare-drummed rhythmics. All of this goodness comes together in “Consegrated Slaughter”; a high-octane Thrasher gelling the likes of Onslaught and Destruction (“Tormentor”) with added features a la PowerLord (opening lead) and Savage Grace's “Bound To Be Free” (drumming). If HEXECUTOR had released this material back in the 80's, it surely would have made them a serious contender in the Euro-Thrash Metal thing. Even in the now, “Hangmen Of Roahzon” is a brilliant release if only for its retrospective value!
spfcs: limited edition of 300 copies
Paul van der Burght
label: Armee De La Mort records
songs: Hangmen Of Roazhon / Soldiers Of Darkness / Consecrated Slaughter / Napalm Assault //
web: https://www.facebook.com/Hexecutor
Hexecutor are a 4-piece from France that originated in April 2011. In 2012, the band debuted with the “First Hexecution” demo sporting 5 tracks that they stickered as “Pure Hexecuting Thrash Metal”. This demo truly lived up to its moniker referring to scorchers such as “Martyrs” and the more SpeedMetal-ish minded “Metal Witchcraft” and “Violent Destiny”ndrawing certain similarities to Razor. Their newest offering, “Hangman Of Roahzon” furthers the musical concept of the demo but has been intensified and 'Germanized' so to say as the material tends to click at large with the early Destruction material. Listening to “Hangmen Of Roahzon” is like being catapulted back to the mid-80's, pondering on energetic, fast-paced Thrash Metal with gruff, talk-type vocals, speedy rhythm riffage and snare-drummed rhythmics. All of this goodness comes together in “Consegrated Slaughter”; a high-octane Thrasher gelling the likes of Onslaught and Destruction (“Tormentor”) with added features a la PowerLord (opening lead) and Savage Grace's “Bound To Be Free” (drumming). If HEXECUTOR had released this material back in the 80's, it surely would have made them a serious contender in the Euro-Thrash Metal thing. Even in the now, “Hangmen Of Roahzon” is a brilliant release if only for its retrospective value!
spfcs: limited edition of 300 copies
Paul van der Burght
THREE LIONS – CD 2014 “Three Lions”
label: Frontiers Records
songs: Trouble In A Red Dress / Hold Me Down / Twisted Soul / Winter Sun / Just A Man / Holy Water / Two Hearts Beat As One / Kathmandu / Made For One Another / Magdalene / Don't Let Me Fall / Hellfire Highway / Sicilian Kiss //
web: www.facebook.com/threelionsuk
Although U.K based 3-piece Three Lions is a brand new act, its members have a long running history in Rock music that dates back to renowned bands such as Dare, Ten and Asia. Three Lions is Vinny Burns (guitar, keyboards), Greg Morgan (drums) and Nigel Bailey (vocals, bass), delivering a brand of melodic AOR that is phased with American style Radio-Rock. At times, this takes a turn towards a more commercially aimed approach as witnessed on the modest, up-tempo driven “Hold Me Down”, the catchy “Magdalene” and the Poppy, all US billboard styled “Don't Let Me Fall”. On the other end of that are the more energetic offerings such as the classic AOR Rocker “Trouble In A Red Dress” (with some tasty guitar hooks and hints of early Bon Jovi) and the album's heaviest numbers “Hellfire Highway” and “Twisted Soul”, gearing up in a traditional HardRock style with a splash of Whitesnake, Rainbow and Gary Moore, the latter which re-appears on the emotive-sphered instrumental “Sicilian Kiss”. The classic HardRock sound comes around a few times down the album with a matching riffage that somewhat contrasts with the more mellow vocalage which is a nice touch and works well keeping the balance. That sense for balance is also reflected in the set as a whole with some regular balladry through “Winter Sun”, “Two Hearts Beat As One” and “Made For One Another”. Additional twists in concept is where the band engages Rock (“Just A Man”), riff-based melodic HardRock (“Holy Water”) and atmospheric edged HardRock with an Eastern touch (“Kathmandu”). Three Lions managed to slip in a good, allround catchiness on this 13-songer that features more than one approach, and comes with a mature sounding musicianship highlighted by the pitch-perfect performance of Nigel Baily, delivering a crisp, melodic-laden voice that moves in the upper regions of the mid-range with higher modes and a mixed palette of Steve Perry, David Coverdale and Joe Lynn Turner. Solid.
Paul van der Burght
label: Frontiers Records
songs: Trouble In A Red Dress / Hold Me Down / Twisted Soul / Winter Sun / Just A Man / Holy Water / Two Hearts Beat As One / Kathmandu / Made For One Another / Magdalene / Don't Let Me Fall / Hellfire Highway / Sicilian Kiss //
web: www.facebook.com/threelionsuk
Although U.K based 3-piece Three Lions is a brand new act, its members have a long running history in Rock music that dates back to renowned bands such as Dare, Ten and Asia. Three Lions is Vinny Burns (guitar, keyboards), Greg Morgan (drums) and Nigel Bailey (vocals, bass), delivering a brand of melodic AOR that is phased with American style Radio-Rock. At times, this takes a turn towards a more commercially aimed approach as witnessed on the modest, up-tempo driven “Hold Me Down”, the catchy “Magdalene” and the Poppy, all US billboard styled “Don't Let Me Fall”. On the other end of that are the more energetic offerings such as the classic AOR Rocker “Trouble In A Red Dress” (with some tasty guitar hooks and hints of early Bon Jovi) and the album's heaviest numbers “Hellfire Highway” and “Twisted Soul”, gearing up in a traditional HardRock style with a splash of Whitesnake, Rainbow and Gary Moore, the latter which re-appears on the emotive-sphered instrumental “Sicilian Kiss”. The classic HardRock sound comes around a few times down the album with a matching riffage that somewhat contrasts with the more mellow vocalage which is a nice touch and works well keeping the balance. That sense for balance is also reflected in the set as a whole with some regular balladry through “Winter Sun”, “Two Hearts Beat As One” and “Made For One Another”. Additional twists in concept is where the band engages Rock (“Just A Man”), riff-based melodic HardRock (“Holy Water”) and atmospheric edged HardRock with an Eastern touch (“Kathmandu”). Three Lions managed to slip in a good, allround catchiness on this 13-songer that features more than one approach, and comes with a mature sounding musicianship highlighted by the pitch-perfect performance of Nigel Baily, delivering a crisp, melodic-laden voice that moves in the upper regions of the mid-range with higher modes and a mixed palette of Steve Perry, David Coverdale and Joe Lynn Turner. Solid.
Paul van der Burght
VIOLENT VATICAN – CD EP 2014 “Vice City”
web: http://facebook.com/violentvatican
label: private
songs: Welcome to Vice City / Red Light / In The Hole / Brink / Rose City Relapse / City Limits //
Now here's something out of the ordinary from Ontario, Canada, tagged by the band as Progressive, Jazz Fusion, Hardcore, Experimental. Going through the material on this 13+ minute 6 songer, all of the aforementioned do apply, but roughly, this is a mix of Crust and Jazz with an occasional turn towards the Progressive thing (“Brink”) and Thrash (“In The Hole”). There's only but few vocal moments down the material, and when they do so, as on " City Limits” and “Brink”, it is in a very harsh sounding, provocative manner. Throughout the songs, the saxophone is the main instrument of choice, hooked up with the 'clean', Fusion-esque guitars to alternate the 'distorted' chops. The drummage is mobile all the way, adding up to the in-depth nature of the songs that peaks on “Rose City Relapse”. This is not for a broad audience as it is far too offbeat and hard to get into groove-wise without a steady beat or signature melody riff to go by. However, fans of the more freaky, profound Progressive thing in a more extreme format will surely appreciate this for its musical content and structure which is far from predictable and off the wall to say the least. A daring mix of genres and music. Interesting.
http://violentvaticanmusic.bandcamp.com/
Paul van der Burght
web: http://facebook.com/violentvatican
label: private
songs: Welcome to Vice City / Red Light / In The Hole / Brink / Rose City Relapse / City Limits //
Now here's something out of the ordinary from Ontario, Canada, tagged by the band as Progressive, Jazz Fusion, Hardcore, Experimental. Going through the material on this 13+ minute 6 songer, all of the aforementioned do apply, but roughly, this is a mix of Crust and Jazz with an occasional turn towards the Progressive thing (“Brink”) and Thrash (“In The Hole”). There's only but few vocal moments down the material, and when they do so, as on " City Limits” and “Brink”, it is in a very harsh sounding, provocative manner. Throughout the songs, the saxophone is the main instrument of choice, hooked up with the 'clean', Fusion-esque guitars to alternate the 'distorted' chops. The drummage is mobile all the way, adding up to the in-depth nature of the songs that peaks on “Rose City Relapse”. This is not for a broad audience as it is far too offbeat and hard to get into groove-wise without a steady beat or signature melody riff to go by. However, fans of the more freaky, profound Progressive thing in a more extreme format will surely appreciate this for its musical content and structure which is far from predictable and off the wall to say the least. A daring mix of genres and music. Interesting.
http://violentvaticanmusic.bandcamp.com/
Paul van der Burght
KITTY VON CRYPT – All original Alternative Model
web: http://kittyvoncrypt.com/
www.facebook.com/KittyVonCryptAlternativeModel
Full feature on KITTY in Manic Mosh #05.KITTY VON CRYPT photo's by PATHWAY Studios https://www.facebook.com/pathwaystudio?fref=ts
and JADED IMAGES https://www.facebook.com/JadedImagesuk
web: http://kittyvoncrypt.com/
www.facebook.com/KittyVonCryptAlternativeModel
Full feature on KITTY in Manic Mosh #05.KITTY VON CRYPT photo's by PATHWAY Studios https://www.facebook.com/pathwaystudio?fref=ts
and JADED IMAGES https://www.facebook.com/JadedImagesuk
|
|
|
Above left: Model Kitty Von Crypt, photo by Pathway Studios. Centre: Model Kitty Von Crypt, photo by Jaded Images
Above right: Model Kitty Von Crypt, photo by Pathway Studios
Above right: Model Kitty Von Crypt, photo by Pathway Studios
EAGLE THE WHITE – 2014 “Heading To Jerusalem”
web: https://www.facebook.com/EagleTheWhite
label: private
songs: Chaosmaker / El Cid / Splendor Of Kings / Heading To Jerusalem / Holy Wrath / Eagle Fly Free (Helloween cover) //
Eagle The White are a Polish 5-piece unit that keep the true Metal spirit alive, engaging a mix of 80's inspired, Melodic / Epic PowerMetal splashed with the Symphonic and Neo-Classical thing. As such, the instrumentation is backed with synthesiser to slip in those sampled, Epic style choirs and melodies to compliment the feel and atmosphere of old. “Heading To Jerusalem” is the band's debut appearance and holds 6 tracks that clearly display their inspirational sources that include bands such as Stratovarius, Kamelot and Helloween, the latter which is complimented with a cover, “Eagle Fly Free”. Completely in accordance with the genre, there's the cheerful, sing along 'comrade' Metal chants over a pace that is full speed ahead in a melodic style and with lots of double-bass drummage. Eagle The White managed well to capture the Medieval atmosphere that surrounds their material, highlighted on the synths drizzled, Neo-classical laden “Chaosmaker” and the all Epic “Splendor Of Kings”. There's a good, allround sense for structure throughout the disc, and the individual musicianship is of a very respectable level with the variable, upper mid-range vocals of frontman Filip voicing the material in a tip-top melodic PowerMetal fashion, alongside plenty of virtuoso guitar flash, sweep picking, and synthesiser solo hooks.
Paul van der Burght
specs: “Heading To Jerusalem” EP available in digital format @ http://eaglethewhite.bandcamp.com/
web: https://www.facebook.com/EagleTheWhite
label: private
songs: Chaosmaker / El Cid / Splendor Of Kings / Heading To Jerusalem / Holy Wrath / Eagle Fly Free (Helloween cover) //
Eagle The White are a Polish 5-piece unit that keep the true Metal spirit alive, engaging a mix of 80's inspired, Melodic / Epic PowerMetal splashed with the Symphonic and Neo-Classical thing. As such, the instrumentation is backed with synthesiser to slip in those sampled, Epic style choirs and melodies to compliment the feel and atmosphere of old. “Heading To Jerusalem” is the band's debut appearance and holds 6 tracks that clearly display their inspirational sources that include bands such as Stratovarius, Kamelot and Helloween, the latter which is complimented with a cover, “Eagle Fly Free”. Completely in accordance with the genre, there's the cheerful, sing along 'comrade' Metal chants over a pace that is full speed ahead in a melodic style and with lots of double-bass drummage. Eagle The White managed well to capture the Medieval atmosphere that surrounds their material, highlighted on the synths drizzled, Neo-classical laden “Chaosmaker” and the all Epic “Splendor Of Kings”. There's a good, allround sense for structure throughout the disc, and the individual musicianship is of a very respectable level with the variable, upper mid-range vocals of frontman Filip voicing the material in a tip-top melodic PowerMetal fashion, alongside plenty of virtuoso guitar flash, sweep picking, and synthesiser solo hooks.
Paul van der Burght
specs: “Heading To Jerusalem” EP available in digital format @ http://eaglethewhite.bandcamp.com/
METAL EXPOSURE
Webzine that Rocks all over the World!
web: www.metal-exposure.com
Metal Exposure is a webzine that initiated in 2007 with the aim to share Metal experiences with fans and readers. From its home-base Holland, Metal Exposure has morphed into an international Metal source with all the trimmings, and contributions from all over the world. The website covers a whole palette of different Metal genres, and content includes music reviews, interviews, specials, show-reports, festival-listings etc.
Webzine that Rocks all over the World!
web: www.metal-exposure.com
Metal Exposure is a webzine that initiated in 2007 with the aim to share Metal experiences with fans and readers. From its home-base Holland, Metal Exposure has morphed into an international Metal source with all the trimmings, and contributions from all over the world. The website covers a whole palette of different Metal genres, and content includes music reviews, interviews, specials, show-reports, festival-listings etc.
|
|
Toledo Steel photos above left and right published with permission by Toledo Steel
TOLEDO STEEL – EP 2013 “Toledo Steel”
label: private
songs: Alcatraz / Black Widow / Flames Arise //
Toledo Steel are a 5-piece Metal outfit from Southampton / U.K that came into existence in 2011 and first captured their material in 2012 by means of a 3 song demo featuring the songs “Speed Killer”, “Escape From Alcatraz” and “Fallen Empire”. The musical direction set out on this demo would be furthered on the 2013 selftitled EP, delivering a mix of old-school Euro-Metal and NWOBHM. The EP spins off with “Alcatraz”; a fast-paced, riff-based headbanger that has mid 80's Euro-Metal written all over. Think early Gravedigger (“Headbanging Man”) merged with Helloween, Judas Priest and even Savage Grace. This tune sports all the features; a signature lead riff, double-bass drums, a driving beat and all-out Metal vocals in the upper mid-range with some higher pitched yells and a melodic undertone down the German-Metal style chorus! The opening grooves of the mid-tempo Metaler “Black Widow” sound like a early Avenger throwback with identical riff-style and vocal yell a la Brian Ross. Song furthers in a 80's, German NWOBHM modus with matching vocal style, chorus and some Maiden-ish guitar hooks and feedback. The band goes full on NWOBHM with the moderately fast paced “Flames Arise”; a riff-based Metaler with a slight melodic undertone and hints of Trident (“Destiny”) and Maiden. Overall, this one fine piece of retro-Metal with a textbook performance and a good, all-round versatility in songs and structure. Entertaining
Paul van der Burght
label: private
songs: Alcatraz / Black Widow / Flames Arise //
Toledo Steel are a 5-piece Metal outfit from Southampton / U.K that came into existence in 2011 and first captured their material in 2012 by means of a 3 song demo featuring the songs “Speed Killer”, “Escape From Alcatraz” and “Fallen Empire”. The musical direction set out on this demo would be furthered on the 2013 selftitled EP, delivering a mix of old-school Euro-Metal and NWOBHM. The EP spins off with “Alcatraz”; a fast-paced, riff-based headbanger that has mid 80's Euro-Metal written all over. Think early Gravedigger (“Headbanging Man”) merged with Helloween, Judas Priest and even Savage Grace. This tune sports all the features; a signature lead riff, double-bass drums, a driving beat and all-out Metal vocals in the upper mid-range with some higher pitched yells and a melodic undertone down the German-Metal style chorus! The opening grooves of the mid-tempo Metaler “Black Widow” sound like a early Avenger throwback with identical riff-style and vocal yell a la Brian Ross. Song furthers in a 80's, German NWOBHM modus with matching vocal style, chorus and some Maiden-ish guitar hooks and feedback. The band goes full on NWOBHM with the moderately fast paced “Flames Arise”; a riff-based Metaler with a slight melodic undertone and hints of Trident (“Destiny”) and Maiden. Overall, this one fine piece of retro-Metal with a textbook performance and a good, all-round versatility in songs and structure. Entertaining
Paul van der Burght
NO REMORSE records / NO REGRETS records
web: http://www.noremorse.gr/
https://www.facebook.com/NoRemorseRecordsGreece
https://www.facebook.com/NoRegretsRecords
No Remorse records is a Independent Record Label based in Athens, Greece, specializing in reissues of classic & underground releases, unreleased albums / material as well as new productions with a focus on traditional Power, Speed and Heavy Metal. Some of the bands and artists released through No Regrets records include Omen, Medieval Steel, Axehammer, Virtue, Ereb Altor, Battleroar, Dexter Ward, Northwind, Lordian Guard, William J Tsamis, Dizziness, Bastille, Masters Of Metal, Black Soul Horde, Däng, Coroner and more. A sub-division of the label is No Regrets records featuring 'Extreme and Metal music for the restless minds'. No Remorse records also features a full on-line shop / store featuring all sorts of HardRock / Metal from Hard Rock and A.O.R to Power, Thrash and DeathMetal in all formats.
web: http://www.noremorse.gr/
https://www.facebook.com/NoRemorseRecordsGreece
https://www.facebook.com/NoRegretsRecords
No Remorse records is a Independent Record Label based in Athens, Greece, specializing in reissues of classic & underground releases, unreleased albums / material as well as new productions with a focus on traditional Power, Speed and Heavy Metal. Some of the bands and artists released through No Regrets records include Omen, Medieval Steel, Axehammer, Virtue, Ereb Altor, Battleroar, Dexter Ward, Northwind, Lordian Guard, William J Tsamis, Dizziness, Bastille, Masters Of Metal, Black Soul Horde, Däng, Coroner and more. A sub-division of the label is No Regrets records featuring 'Extreme and Metal music for the restless minds'. No Remorse records also features a full on-line shop / store featuring all sorts of HardRock / Metal from Hard Rock and A.O.R to Power, Thrash and DeathMetal in all formats.
SCARECROW X – Louder Than Loud HardCore Punk Metal from Mexico!
web: http://scarecrowx.com/
SCARECROW X is the freshly launched project of Mexico based guitarist / singer Erick Farjeat, formerly of Massacre 68, and internationally acclaimed Artist Sabrina Sabrok. Erick totals an impressive 22 years as a practising musician in the Punk scene and related, putting his feelers out in a host of other bands employing HardCore, Metal and Thrash. As such, it does not come as a surprise that his first solo workout, the 2014 “Reborn From The Ashes” is a reflection of this, phased with an inspirational source that collects bands such as The Exploited, Total Choas, Ministry, and GBH to name a few. The pre-album preview kicks off with the upbeat, native tongue “Estourio De Odio” , addressing to true 80's HardCore / Punk, caked with a plopping bass, Metal style guitar punch and extreme vocal growls. The fast-paced follow-up tune “Resistere” (again in Spanish language) is drenched in classic HardCore with a catchy drive and hints of GBH and Motorhead in place. “Rotten Mindx” further accelerates and intensifies the set, grasping at an extreme Hardcore Thrash-Metal, mid-80's style with certain similarities to early Sacrifice. The mid-paced “Was It Me” tends more towards protest-Punk in overall feel and sound, although the vocals are still in maximum overdrive here. “We Are Legend” tops the scales in intensity with a wall of buzzing crunch guitars and a style that bounces off the early 90's DeathThrash genre! The overall sound of SACRECROW X is incredibly aggressive in the vocal and guitar department whilst retaining a certain catchiness, cemented in the Punk / HardCore genre that is moreover complimented by the compact nature of the songs in general. Another new tune in the shape of “Springs Upon Dry Earth” over against that displays a completely different approach merging the Industrial thing with a lot of vocal aggression and meaty Thrash guitars, key elements of the SCARECROW X sound. With the album still in the works, SCARECROW X meanwhile operates as a full-band, getting ready to tour and play in a line-up comprised of main-man Erick Farjeat (guitar, vocals, synths), Gigi Monster (bass), Liz Disaster (guitar) and Arthur Hell (drums). SCARECROW X photo published with permission by Scarecrow X
Paul van der Burght
web: http://scarecrowx.com/
SCARECROW X is the freshly launched project of Mexico based guitarist / singer Erick Farjeat, formerly of Massacre 68, and internationally acclaimed Artist Sabrina Sabrok. Erick totals an impressive 22 years as a practising musician in the Punk scene and related, putting his feelers out in a host of other bands employing HardCore, Metal and Thrash. As such, it does not come as a surprise that his first solo workout, the 2014 “Reborn From The Ashes” is a reflection of this, phased with an inspirational source that collects bands such as The Exploited, Total Choas, Ministry, and GBH to name a few. The pre-album preview kicks off with the upbeat, native tongue “Estourio De Odio” , addressing to true 80's HardCore / Punk, caked with a plopping bass, Metal style guitar punch and extreme vocal growls. The fast-paced follow-up tune “Resistere” (again in Spanish language) is drenched in classic HardCore with a catchy drive and hints of GBH and Motorhead in place. “Rotten Mindx” further accelerates and intensifies the set, grasping at an extreme Hardcore Thrash-Metal, mid-80's style with certain similarities to early Sacrifice. The mid-paced “Was It Me” tends more towards protest-Punk in overall feel and sound, although the vocals are still in maximum overdrive here. “We Are Legend” tops the scales in intensity with a wall of buzzing crunch guitars and a style that bounces off the early 90's DeathThrash genre! The overall sound of SACRECROW X is incredibly aggressive in the vocal and guitar department whilst retaining a certain catchiness, cemented in the Punk / HardCore genre that is moreover complimented by the compact nature of the songs in general. Another new tune in the shape of “Springs Upon Dry Earth” over against that displays a completely different approach merging the Industrial thing with a lot of vocal aggression and meaty Thrash guitars, key elements of the SCARECROW X sound. With the album still in the works, SCARECROW X meanwhile operates as a full-band, getting ready to tour and play in a line-up comprised of main-man Erick Farjeat (guitar, vocals, synths), Gigi Monster (bass), Liz Disaster (guitar) and Arthur Hell (drums). SCARECROW X photo published with permission by Scarecrow X
Paul van der Burght
|
|
|
Photos above left and right by Keith Daniel / WARPATH Photography. Photos published with permission by Keith Daniel
YOUR HERO IS A VILLAIN - Melodic Metalcore from the Central Valley
web: http://yourheroisavillain.webs.com/
Your Hero is a Villain has been taking over the Metalcore scene for years in California. Starting from the bottom in Fresno County, CA in the summer of 2008, YHIAV has grown to become one of the most well known bands in the entire Central Valley. The band has shared the stage with many big names, such as Killswitch Engage, A Day To Remember and As I Lay Dying. YHIAV has struggled through many adversities; a sudden death in the band, line-up changes, and trying to evolve their music to fit the local scene. YHIAV has conquered all of these challenges and came out stronger. “No matter how many obstacles or roadblocks we came to face, our drive to hit the road and perform for people has been unstoppable,” guitarist Steffen Clark states. Some major influences of the band are Slipknot, Korn, My Chemical Romance and Of Mice & Men. After an 8 month hiatus, YHIAV is back with full force, a new line-up, and ambition to take over the world. The band plans to come out with their highly anticipated EP, “Dark Passenger,” co-written by Ryan Sitkowski of Motionless in White, in the early summer of 2014. FOR FANS OF: The Devil Wears Prada, Like Moths to Flames, and Atreyu. Check out their latest single "White Noise (Our Final Song)"
web: http://yourheroisavillain.webs.com/
Your Hero is a Villain has been taking over the Metalcore scene for years in California. Starting from the bottom in Fresno County, CA in the summer of 2008, YHIAV has grown to become one of the most well known bands in the entire Central Valley. The band has shared the stage with many big names, such as Killswitch Engage, A Day To Remember and As I Lay Dying. YHIAV has struggled through many adversities; a sudden death in the band, line-up changes, and trying to evolve their music to fit the local scene. YHIAV has conquered all of these challenges and came out stronger. “No matter how many obstacles or roadblocks we came to face, our drive to hit the road and perform for people has been unstoppable,” guitarist Steffen Clark states. Some major influences of the band are Slipknot, Korn, My Chemical Romance and Of Mice & Men. After an 8 month hiatus, YHIAV is back with full force, a new line-up, and ambition to take over the world. The band plans to come out with their highly anticipated EP, “Dark Passenger,” co-written by Ryan Sitkowski of Motionless in White, in the early summer of 2014. FOR FANS OF: The Devil Wears Prada, Like Moths to Flames, and Atreyu. Check out their latest single "White Noise (Our Final Song)"
MEDEN AGAN – CD 2014 “Lacrima Dei”
web: www.facebook.com/meden.agan.official
label: No Regrets Records www.facebook.com/NoRegretsRecords
songs: Divine Wrath / Lacrima Dei / Embrace The Sorrow / Portal Of Fear / Everlasting Pain / Web Of Shadows / Nuntii Belli / Loss / Devoid Of Sanity / Commemorate The Fallen //
“Lacrima Dei” is the third outlet by Greece based 5-piece Meden Aga, following the full-length predecesors “Illusions” (2007) and “Erevos Aenaon” (2011) that put the band on the map in its musical territories. This new album is bound to go further and beyond gauging the material and allround impact that are at a high, competitive level. The disc opens with the bombastic “Divine Wrath”, a pounding PowerMetaler of the symphonic kind with theatrical atmospheres and opera-like vocal modes by frontlady Maya. All possible features of the genre are fitted in; sweep picking and guitar flash, melodic phrashing, synthesizer melodies, double bass drummage and Gothic moods. Add to this a clockwork musicianship and a tip-top production, and you have a blueprint for the set on this 10-songer that clicks with other, female fronted top-class acts such as Nightwhish and Within Temptation. The power-levels stay up on tunes such as the galloping Goth-Meets-PowerMetaler “Nuntii Belli” and the similar driven “Devoid Of Sanity”, hinting at 80's Epic PoweMetal. The set goes more Metal geared down “Commemorate The Fallen” and titletrack “Lacrima Dei”, and even tends to fuse bits of AOR and Mainstream Rock with the Goth thing on “Web Of Shadows”, the semi-ballad “Loss”, and the piano-laden “Everlasting Pain”. In contrast with these songs are “Portal Of Fear”; a very intense and theatrical tune that makes one of the heaviest and most dramatic songs, almost like a soundtrack with over-the-top choirs and atmosphere. And then there's “Embrace The Sorrow”; a driven, up-tempo PowerMetaler with an Eastern vibe that is alternated by all-out melodic PowerMetal modes and accelerations. It is also here that the voice of Maya is peaking in pitch reaching the far upper levels in opera style! Sweep picking frenzy and lots of double bass drummed action make this song one of the top picks of the album, and again a most complete palette of anything Melodic PowerMetal related! Throughout the album, there is an incredible amount of productional boost running underneath the songs that lifts the whole thing in terms of both power and atmosphere. Meden Agan sure know how to put together a topnotch album that captures the best of Goth, Melodic, Symphonic and PowerMetal in all its glory! Quality!
Paul van der Burght
web: www.facebook.com/meden.agan.official
label: No Regrets Records www.facebook.com/NoRegretsRecords
songs: Divine Wrath / Lacrima Dei / Embrace The Sorrow / Portal Of Fear / Everlasting Pain / Web Of Shadows / Nuntii Belli / Loss / Devoid Of Sanity / Commemorate The Fallen //
“Lacrima Dei” is the third outlet by Greece based 5-piece Meden Aga, following the full-length predecesors “Illusions” (2007) and “Erevos Aenaon” (2011) that put the band on the map in its musical territories. This new album is bound to go further and beyond gauging the material and allround impact that are at a high, competitive level. The disc opens with the bombastic “Divine Wrath”, a pounding PowerMetaler of the symphonic kind with theatrical atmospheres and opera-like vocal modes by frontlady Maya. All possible features of the genre are fitted in; sweep picking and guitar flash, melodic phrashing, synthesizer melodies, double bass drummage and Gothic moods. Add to this a clockwork musicianship and a tip-top production, and you have a blueprint for the set on this 10-songer that clicks with other, female fronted top-class acts such as Nightwhish and Within Temptation. The power-levels stay up on tunes such as the galloping Goth-Meets-PowerMetaler “Nuntii Belli” and the similar driven “Devoid Of Sanity”, hinting at 80's Epic PoweMetal. The set goes more Metal geared down “Commemorate The Fallen” and titletrack “Lacrima Dei”, and even tends to fuse bits of AOR and Mainstream Rock with the Goth thing on “Web Of Shadows”, the semi-ballad “Loss”, and the piano-laden “Everlasting Pain”. In contrast with these songs are “Portal Of Fear”; a very intense and theatrical tune that makes one of the heaviest and most dramatic songs, almost like a soundtrack with over-the-top choirs and atmosphere. And then there's “Embrace The Sorrow”; a driven, up-tempo PowerMetaler with an Eastern vibe that is alternated by all-out melodic PowerMetal modes and accelerations. It is also here that the voice of Maya is peaking in pitch reaching the far upper levels in opera style! Sweep picking frenzy and lots of double bass drummed action make this song one of the top picks of the album, and again a most complete palette of anything Melodic PowerMetal related! Throughout the album, there is an incredible amount of productional boost running underneath the songs that lifts the whole thing in terms of both power and atmosphere. Meden Agan sure know how to put together a topnotch album that captures the best of Goth, Melodic, Symphonic and PowerMetal in all its glory! Quality!
Paul van der Burght
DEATH KOOLAID – EP 2014 “Vol.1”
web: https://www.facebook.com/DeathKoolaid
label: independent
songs: Rains / The Horrors / The Second Rule / Do You Know What You're Here For / I Can Smell Blood / Jack's Blindfold / P.P.K.R. //
Death Koolaid are a London based 4-piece that originated in 2013 and recently emerged with their debut EP “Vol.1”, featuring some 7 songs of old-school Punk Metal. Not the most obvious genre, as even during its 'heydays' in and around the early – mid 80's, this thing was pretty much clouded in obscurity. Then again, it may work in the advantage of Death Koolaid, sounding anything but Mainstream or trendy. This is genuine, independent style Underground music that is rough, raw and provocative with the snarling vocalage of front-lady 'Siren Sycho' in the centre of attention. Spinning this 7-songer is like being in the front-row of a sweaty, boozed-up moshpit frenzy in a dark, basement-type venue. The disc opens with “Rains”; an all 80's Punkster with blurry, overpowered guitars, crunching riffs and a whole lot of vocalistic aggression. The up-tempo “The Horrors” has bit of a classic, Dark Wave atmosphere over its Metal and Punk mixed root, repeated on the slow dragging “Do You Know What You're here For”. Things tend to get more Metal minded on the slightly Rammstein infused “The Second Rule” and the first half of “I Can Smell Blood” before it accelerates as a riff-based PunkMetaler. It all gets really nasty, filthy and intense on the fast paced “Jack's Blindfold” and the mid-paced “P.P.K.R”; a rhythmic, old-school Punkster with the talk-type vocalage of Siren right there in your face spitting anger and anarchy in the most intense form. Death Koolaid are among the heaviest, meanest, filthiest thing around in music today, sounding like 'The Plasmatics' on crack! Grab your chance to see this band in the smaller venues, as it will be a matter of time before Death Koolaid play the major festivals!
More on Death Koolaid @ https://soundcloud.com/deathkoolaid
Paul van der Burght
web: https://www.facebook.com/DeathKoolaid
label: independent
songs: Rains / The Horrors / The Second Rule / Do You Know What You're Here For / I Can Smell Blood / Jack's Blindfold / P.P.K.R. //
Death Koolaid are a London based 4-piece that originated in 2013 and recently emerged with their debut EP “Vol.1”, featuring some 7 songs of old-school Punk Metal. Not the most obvious genre, as even during its 'heydays' in and around the early – mid 80's, this thing was pretty much clouded in obscurity. Then again, it may work in the advantage of Death Koolaid, sounding anything but Mainstream or trendy. This is genuine, independent style Underground music that is rough, raw and provocative with the snarling vocalage of front-lady 'Siren Sycho' in the centre of attention. Spinning this 7-songer is like being in the front-row of a sweaty, boozed-up moshpit frenzy in a dark, basement-type venue. The disc opens with “Rains”; an all 80's Punkster with blurry, overpowered guitars, crunching riffs and a whole lot of vocalistic aggression. The up-tempo “The Horrors” has bit of a classic, Dark Wave atmosphere over its Metal and Punk mixed root, repeated on the slow dragging “Do You Know What You're here For”. Things tend to get more Metal minded on the slightly Rammstein infused “The Second Rule” and the first half of “I Can Smell Blood” before it accelerates as a riff-based PunkMetaler. It all gets really nasty, filthy and intense on the fast paced “Jack's Blindfold” and the mid-paced “P.P.K.R”; a rhythmic, old-school Punkster with the talk-type vocalage of Siren right there in your face spitting anger and anarchy in the most intense form. Death Koolaid are among the heaviest, meanest, filthiest thing around in music today, sounding like 'The Plasmatics' on crack! Grab your chance to see this band in the smaller venues, as it will be a matter of time before Death Koolaid play the major festivals!
More on Death Koolaid @ https://soundcloud.com/deathkoolaid
Paul van der Burght
|
|
Death Koolaid photos topl left, above left and centre published with permission by Death Koolaid
BARROW WIGHT – cassette / 7” EP 2014 “Power From The East”
label: Dying Victims productions / Heavy Chains records
http://www.dying-victims.de/
http://heavychainsrecords.wordpress.com/
songs: intro / Anvil Of Mordor / Warg Rider / Rock Into Mordor / Nine Horesmen //
Barrow Wight is a 3-piece act from Canada that previously popped out 2 demos, “Rock Into Mordor” (2010) and “In League With Sauron” (2012). “Power From The East”, which emerged on vinyl through Dying Victims productions, and also got co-released in cassette format through Heavy Chains records, captures 4 songs plus intro which, on average clock in just over 2 minutes with “Nine Horsemen” being the lengthier one peeking at 4+ minutes. The duration of the songs already indicates that Barrow Wight are not into the standard Metal programming or any such thing. Instead, the band opt for a sound that dates back to the early – mid 80's, merging old Black / DeathMetal with MetalPunk and HardCore. This is all evidenced on the fast paced “Warg Rider”, bobbing on a straight forward drive and some good grooves. Music wise, think a mix of Venom and Warfare with a slight dash of early Carnivore thrown in. More of this minus the Black / DeathMetal thing down closing tune “Nine Horsemen”, and opening cut “Anvil Of Mordor”, featuring the signature, 'plug in a and play' feel, growly, talk type vocals and HardCore style bar-riffage. The result is a raw, unpolished sound that reminds of Impaler (80's band), phased with some trebly sounding Celtic Frost! The odd one in here is the mid-paced “Rock Into Mordor”, if only for its different approach and concept addressing to a more moody, Dark Wave style approach with an anthemic, yell along theme to it. In all, an entertaining and unpretentious throwback to the heavier styles of the early 80's, delivered in the exactly same fashion. Barrow Wight definitely delivered the goods here...
Paul van der Burght
label: Dying Victims productions / Heavy Chains records
http://www.dying-victims.de/
http://heavychainsrecords.wordpress.com/
songs: intro / Anvil Of Mordor / Warg Rider / Rock Into Mordor / Nine Horesmen //
Barrow Wight is a 3-piece act from Canada that previously popped out 2 demos, “Rock Into Mordor” (2010) and “In League With Sauron” (2012). “Power From The East”, which emerged on vinyl through Dying Victims productions, and also got co-released in cassette format through Heavy Chains records, captures 4 songs plus intro which, on average clock in just over 2 minutes with “Nine Horsemen” being the lengthier one peeking at 4+ minutes. The duration of the songs already indicates that Barrow Wight are not into the standard Metal programming or any such thing. Instead, the band opt for a sound that dates back to the early – mid 80's, merging old Black / DeathMetal with MetalPunk and HardCore. This is all evidenced on the fast paced “Warg Rider”, bobbing on a straight forward drive and some good grooves. Music wise, think a mix of Venom and Warfare with a slight dash of early Carnivore thrown in. More of this minus the Black / DeathMetal thing down closing tune “Nine Horsemen”, and opening cut “Anvil Of Mordor”, featuring the signature, 'plug in a and play' feel, growly, talk type vocals and HardCore style bar-riffage. The result is a raw, unpolished sound that reminds of Impaler (80's band), phased with some trebly sounding Celtic Frost! The odd one in here is the mid-paced “Rock Into Mordor”, if only for its different approach and concept addressing to a more moody, Dark Wave style approach with an anthemic, yell along theme to it. In all, an entertaining and unpretentious throwback to the heavier styles of the early 80's, delivered in the exactly same fashion. Barrow Wight definitely delivered the goods here...
Paul van der Burght
THE DEDICATED ROCKER SOCIETY – on-line Rock source
web: https://www.facebook.com/DedicatedRockerSociety
The Dedicated Rocker Society is a on-line music magazine that, as its name suggests, is all about Rock related features, including music and show reviews, interviews, recommendations etc. The magazine was launched in 2012 by Tony Sison, co-founder or Dedicated Rocker Productions and contributing writer for 'All Access Magazine'. All genres of Rock music are covered and page is updated daily. Also connected to the magazine is a blogspot with similar content @ http://thededicatedrockersociety.blogspot.co.uk/
web: https://www.facebook.com/DedicatedRockerSociety
The Dedicated Rocker Society is a on-line music magazine that, as its name suggests, is all about Rock related features, including music and show reviews, interviews, recommendations etc. The magazine was launched in 2012 by Tony Sison, co-founder or Dedicated Rocker Productions and contributing writer for 'All Access Magazine'. All genres of Rock music are covered and page is updated daily. Also connected to the magazine is a blogspot with similar content @ http://thededicatedrockersociety.blogspot.co.uk/
|
|
Above left and right: Model April Maude. Photos by Keith Daniel / Warpath Photography
APRIL MAUDE – Tattooed Goodness from California
web: https://www.facebook.com/amrilmaude?fref=ts
Fresno / California is the home-base of Model, Performer and Go-Go Dancer April Maude. April is determined to set out a career as a Tattoo-Model / Artist. Art has been a major inspiration in April's life, and it is 'the fire that fuels her'.
Photos by Keith Daniel / Warpath Photography http://www.modelmayhem.com/warpathphotography
web: https://www.facebook.com/amrilmaude?fref=ts
Fresno / California is the home-base of Model, Performer and Go-Go Dancer April Maude. April is determined to set out a career as a Tattoo-Model / Artist. Art has been a major inspiration in April's life, and it is 'the fire that fuels her'.
Photos by Keith Daniel / Warpath Photography http://www.modelmayhem.com/warpathphotography
|
|
|
Above left, centre and right; Model April Maude. All Photos by Keith Daniel / Warpath Photography
|
NORDAVIND RECORDS – label and distribution
web: http://www.nordavindrecords.com Portugal based Nordavind records is a new Underground label and distribution that established in February 2014 and is geared towards BlackMetal & related (sub) genres, Doom, Avant-Garde, Shoegaze/Blackgaze, Post-Metal, Folk/Neofolk, Occult and Classic Rock. The label is now signing bands in these genres, and current acts on the Nordavind roster include BlackMetalers Beautality, Sunken and Vinterbris. (Picture left BEAUTALITY) |
TRIPTYKON - “Melena Chasmata”
label: Prowling Death Records / Century Media
web: www.triptykon.net
“Melena Chasmata” is the second offering by Swiss band Triptykon, fronted by Metal Titan Tom Gabriel Fischer. Upon listening to “Melena Chasmata”, I believe this to be some of his most profound and heart felt work to date. Tom's lyrics and vocal style makes you feel what he's truly trying to signify (or suffer). Opening track “Tree Of Suffering Souls” is surprisingly fast paced with fast, Thrash frenzied style solos. Next one up, “Boleskin House” has rolling bass-lines with dark, death-like vocals balanced out with some haunting clean female melodies. “Altar Of Deceit” is a slower, Doomy number and has a much welcome death grunt which is Tom's trademark and frankly has never been beaten. “Breathing” has a catchy, stomping groove and another Thrash style lead. “Aurea” starts out with a Post-Rock type intro and picks up pace midway with some inventive Wah Wah thrown in. “'Demon Pact” sounds almost like a sequel to Celtic Frost's “A Dying God Coming Into Human Flesh”. “'In The Sleep of Death” is an ode to writer Emily Bronte and is a death like anthem to someone who has lost a love one in the most tragic way and I absolutely love it! Not a big one for star or number rating an album that someone has put their heart and soul into but would give it top marks.
Damian Llewellyn
label: Prowling Death Records / Century Media
web: www.triptykon.net
“Melena Chasmata” is the second offering by Swiss band Triptykon, fronted by Metal Titan Tom Gabriel Fischer. Upon listening to “Melena Chasmata”, I believe this to be some of his most profound and heart felt work to date. Tom's lyrics and vocal style makes you feel what he's truly trying to signify (or suffer). Opening track “Tree Of Suffering Souls” is surprisingly fast paced with fast, Thrash frenzied style solos. Next one up, “Boleskin House” has rolling bass-lines with dark, death-like vocals balanced out with some haunting clean female melodies. “Altar Of Deceit” is a slower, Doomy number and has a much welcome death grunt which is Tom's trademark and frankly has never been beaten. “Breathing” has a catchy, stomping groove and another Thrash style lead. “Aurea” starts out with a Post-Rock type intro and picks up pace midway with some inventive Wah Wah thrown in. “'Demon Pact” sounds almost like a sequel to Celtic Frost's “A Dying God Coming Into Human Flesh”. “'In The Sleep of Death” is an ode to writer Emily Bronte and is a death like anthem to someone who has lost a love one in the most tragic way and I absolutely love it! Not a big one for star or number rating an album that someone has put their heart and soul into but would give it top marks.
Damian Llewellyn
REDD ROCKZ - Redd Hott Alternative Model
web: www.reddrockz.com
Full feature on REDD ROCKZ in Manic Mosh #02
web: www.reddrockz.com
Full feature on REDD ROCKZ in Manic Mosh #02
|
|
|
Above left, centre and right: Model REDD ROCKZ for MANIC MOSH photo-shoot. Catsuit by House Of Harlot.
Make-Up and Hair by Alice Goulding. All photos by Kasia Marszalek / Photokasia
Make-Up and Hair by Alice Goulding. All photos by Kasia Marszalek / Photokasia
ARCTURON – CD CD EP 2014 “Expect Us”
web: www.arcturon.ch
label: Supreme Chaos records http://scrmetal.de
songs: My Treasure / Expect Us / A Restless Soul / Rowan //
Swiss act Arcturon emerge for a third time in digital format since their inception in 2004 and is said to outshine all previous efforts. Stickered as 'Modern Melodic DeathMetal' the band runs through their set in a fashion that could well be labelled as intense Nu Metalcore. Opening tune “My Treasure” has the drive and atmosphere of Industrial Metal with the Metalcore thing surfacing in the refrain and grooves. The vocals are growly and semi-grunted with dreary, regular modes to comply with the Industrial atmospheres. The Industrial pounder “Expect Us” has the grooves up deep and chunky which, coupled to the key-note synths and dark phrasing clicks with Fear Factory. “A Restless Soul” shows the atmospheric side of the band and fuses Goth and Industrial in a more Mainstream appearance. Closing cut “Rowan” pretty much collects all of the earlier displayed styles in a slow, moody appearance with a lot of bottom end boost that is channeled through the riffage. Convincing.
Paul van der Burght
“Expect Us” will be released October 24 through Supreme Chaos records
web: www.arcturon.ch
label: Supreme Chaos records http://scrmetal.de
songs: My Treasure / Expect Us / A Restless Soul / Rowan //
Swiss act Arcturon emerge for a third time in digital format since their inception in 2004 and is said to outshine all previous efforts. Stickered as 'Modern Melodic DeathMetal' the band runs through their set in a fashion that could well be labelled as intense Nu Metalcore. Opening tune “My Treasure” has the drive and atmosphere of Industrial Metal with the Metalcore thing surfacing in the refrain and grooves. The vocals are growly and semi-grunted with dreary, regular modes to comply with the Industrial atmospheres. The Industrial pounder “Expect Us” has the grooves up deep and chunky which, coupled to the key-note synths and dark phrasing clicks with Fear Factory. “A Restless Soul” shows the atmospheric side of the band and fuses Goth and Industrial in a more Mainstream appearance. Closing cut “Rowan” pretty much collects all of the earlier displayed styles in a slow, moody appearance with a lot of bottom end boost that is channeled through the riffage. Convincing.
Paul van der Burght
“Expect Us” will be released October 24 through Supreme Chaos records
SEBASTIAN BACH – 2014 “Give 'Em Hell”
label: Frontiers records
songs: Hell Inside My Head / Harmony / All My Friends Are Dead / Temptation / Push Away / Dominator / Had Enough / Gun To A Knife Fight / Rock N Roll Is A Vicious Game / Taking Back Tomorrow / Disengaged / Forget You //
“Give 'Em Hell” is the fifth solo album by Rock singer Sebastian Bach. This time around, the ex-Skid Row frontman teamed up with bassist Duff McKagan (Guns 'n' Roses, Velvet Revolver), guitarist Devin Bronson (Avril Lavigne, Pink) and drummer Bobby Jarzombek (Halford, Riot); a top cast of musicians to lay the foundations for this album with complimentary guest-appearances by guitarists John 5 (Rob Zombie, Marilyn Manson) and Steve Stevens (Billy Idol). The overall sound on “Give 'Em Hell” is pretty much riff-oriented and HardRock minded with a modern (light MetalCore tinged) twist and elements of 90's Alternative (Hard)Rock and Grunge. The blend of melodic MetalCore is found on the mid-paced, old-school Punk riff splashed “Harmony”, the slower paced, AFI alike “All My Friends Are Dead”, the heavily riffed, atmospheric laden “Dominator”, and “Taking Back Tomorrow”; a moderately-paced tune with sharp, Avril Lavigne styled guitar hooks and a drive a la US Billboard Rock. There's times the Grungy, 90's feel has a Stoner edge to it, referring to the riffage of the catchy HardRock stomper “Hell Inside My Head” and “All My Friends Are Dead”. With a host of guitarists performing on this album, it is obvious they left their mark on the material; evidently so on the Avril Lavigne flavoured cruncher “Taking Back Tomorrow”, and the billboard type semi-balladry of “Had Enough”, the moody, slow-paced pounder “Temptation” with its Rob Zombie style sludge riffage, and the riffster “Gun To A Knife Fight” which is all domineered by the groove-laden guitarwork of Mr. Steve Stevens. The powerhouse vocals of Sebastian are a constant and prominent factor throughout the material and come out best on the dark, sludge-driven “Dominator”, the hard-hitting “Gun To A Knife Fight”, “Disengaged”,and the more ballad-esque “Push Away” topping its power levels with muscular screams. And yes, there's times that the vocalage brings back Skid Row but there's far too many different musicians and twists in concept (including the Southern style April Wine cover that is “Rock 'n Roll Is A Vicious Game”) to identify with the 'old' sound. Throughout the album, the intensity is delivered by the vocals and the riffage, peaking on “Disengaged” with its Thrash tinged guitar hooks. The guitars are the heaviest thing on the album, starting off most tracks in a ripping mode, but the actual songs do not always follow this up, lacking a structural impact to match the intensity set out by those riffs. The experimental side of things is minimal but present on the semi-ballad “Forget You” snatching at Beatles-like choirs in a Kings-X type interpretation. Putting it all together, this is a fine album, maybe a bit too diverse and influenced by its musicians, but with a signature voice such as that of Sebastian Bach, it has enough in there to class it as a solo-album rather than a 'project' album. Top-notch production by Bob Marlette.
Paul van der Burght
label: Frontiers records
songs: Hell Inside My Head / Harmony / All My Friends Are Dead / Temptation / Push Away / Dominator / Had Enough / Gun To A Knife Fight / Rock N Roll Is A Vicious Game / Taking Back Tomorrow / Disengaged / Forget You //
“Give 'Em Hell” is the fifth solo album by Rock singer Sebastian Bach. This time around, the ex-Skid Row frontman teamed up with bassist Duff McKagan (Guns 'n' Roses, Velvet Revolver), guitarist Devin Bronson (Avril Lavigne, Pink) and drummer Bobby Jarzombek (Halford, Riot); a top cast of musicians to lay the foundations for this album with complimentary guest-appearances by guitarists John 5 (Rob Zombie, Marilyn Manson) and Steve Stevens (Billy Idol). The overall sound on “Give 'Em Hell” is pretty much riff-oriented and HardRock minded with a modern (light MetalCore tinged) twist and elements of 90's Alternative (Hard)Rock and Grunge. The blend of melodic MetalCore is found on the mid-paced, old-school Punk riff splashed “Harmony”, the slower paced, AFI alike “All My Friends Are Dead”, the heavily riffed, atmospheric laden “Dominator”, and “Taking Back Tomorrow”; a moderately-paced tune with sharp, Avril Lavigne styled guitar hooks and a drive a la US Billboard Rock. There's times the Grungy, 90's feel has a Stoner edge to it, referring to the riffage of the catchy HardRock stomper “Hell Inside My Head” and “All My Friends Are Dead”. With a host of guitarists performing on this album, it is obvious they left their mark on the material; evidently so on the Avril Lavigne flavoured cruncher “Taking Back Tomorrow”, and the billboard type semi-balladry of “Had Enough”, the moody, slow-paced pounder “Temptation” with its Rob Zombie style sludge riffage, and the riffster “Gun To A Knife Fight” which is all domineered by the groove-laden guitarwork of Mr. Steve Stevens. The powerhouse vocals of Sebastian are a constant and prominent factor throughout the material and come out best on the dark, sludge-driven “Dominator”, the hard-hitting “Gun To A Knife Fight”, “Disengaged”,and the more ballad-esque “Push Away” topping its power levels with muscular screams. And yes, there's times that the vocalage brings back Skid Row but there's far too many different musicians and twists in concept (including the Southern style April Wine cover that is “Rock 'n Roll Is A Vicious Game”) to identify with the 'old' sound. Throughout the album, the intensity is delivered by the vocals and the riffage, peaking on “Disengaged” with its Thrash tinged guitar hooks. The guitars are the heaviest thing on the album, starting off most tracks in a ripping mode, but the actual songs do not always follow this up, lacking a structural impact to match the intensity set out by those riffs. The experimental side of things is minimal but present on the semi-ballad “Forget You” snatching at Beatles-like choirs in a Kings-X type interpretation. Putting it all together, this is a fine album, maybe a bit too diverse and influenced by its musicians, but with a signature voice such as that of Sebastian Bach, it has enough in there to class it as a solo-album rather than a 'project' album. Top-notch production by Bob Marlette.
Paul van der Burght
SUPREME CHAOS Records
web: http://scrmetal.de
Supreme Chaos records is a Germany based label featuring 'unique Metal and Rock artists only'. Some of the styles represented by the label are Death Metal, Thrash, Stoner / Doom, Progressive MetalCore, Black Metal, HardRock and Alternative Rock / Metal. Some of the bands and artists on the current roster include Mourning Rise, Necrotted, Undertow, Vyre, Agrypnie and others.
web: http://scrmetal.de
Supreme Chaos records is a Germany based label featuring 'unique Metal and Rock artists only'. Some of the styles represented by the label are Death Metal, Thrash, Stoner / Doom, Progressive MetalCore, Black Metal, HardRock and Alternative Rock / Metal. Some of the bands and artists on the current roster include Mourning Rise, Necrotted, Undertow, Vyre, Agrypnie and others.
POP EVIL – CD 2014 “Onyx”
label: Eleven Seven Music
songs: Goodbye My Friend / Deal With The Devil / Trenches / Torn To Pieces / Divide / Beautiful / Silence & Scars / Sick Sense / Fly Away / Behind Closed Doors / Welcome To Reality / Flawed / Last Man Standing / Monster You Made / Boss's Daughter //
Michigan Metalers POP EVIL are back with a brand new album, released on Eleven Seven Music who will also distribute the band's forthcoming material. The previously released single “Trenches” already was a good indication of things to come and showed the potential of the new material. This slow groovster has got all the ingredients that make it one of the top picks of the album; a sticky riff, a pumping drive, a melodic smoothness and yet enough power to start a front-row bash! Add some snappy, Rap-style vocals, yell along chorus and you have a winning combination that landed the band a #01 position on national Rock Radio. More of the same down the Radio-ready “Divide”; a Melodic laden, mild format Metalcore tune with another go at Rap-style vocals, chants, and a good allround catchiness. The melodic element is further pushed forward down opening tune “Goodbye My Friend” with Mainstream appeal in place, as is the case with the Alter Bridge styled “Beautiful”, centered around its chorus. Heavier workouts come in the shape of the slow-burner “Sick Sense”, the Metal-tinged “Last Man Standing” and the riff-Rockers “Deal With The Devil” (gelling the likes of Rob Zombie, Alice In Chains and Drowning Pool) and “Welcome To Reality”, balancing melody and intensity over a sharp riff to fuel the song. The album also has at least an equal number of ballads or semi-ballads, such as the slightly Pantera / “Cemetary Gates” flavoured “Torn To Pieces”, “Monster You Made” and the more generic “Silence & Scars”. Most surprising twist and welcome addition to the diversity of this set is the closing cut, “Boss's Daughter” featuring guest appearance by Mick Mars (Motley Crue) to spice things up with a traditional GlamRock / HardRock flair. There's quite a few musical categories “Onyx” feels comfortable with, and whether you sticker this Rock, Mainstream MetalCore, HardRock, or Metal, it simply rocks!
Paul van der Burght
label: Eleven Seven Music
songs: Goodbye My Friend / Deal With The Devil / Trenches / Torn To Pieces / Divide / Beautiful / Silence & Scars / Sick Sense / Fly Away / Behind Closed Doors / Welcome To Reality / Flawed / Last Man Standing / Monster You Made / Boss's Daughter //
Michigan Metalers POP EVIL are back with a brand new album, released on Eleven Seven Music who will also distribute the band's forthcoming material. The previously released single “Trenches” already was a good indication of things to come and showed the potential of the new material. This slow groovster has got all the ingredients that make it one of the top picks of the album; a sticky riff, a pumping drive, a melodic smoothness and yet enough power to start a front-row bash! Add some snappy, Rap-style vocals, yell along chorus and you have a winning combination that landed the band a #01 position on national Rock Radio. More of the same down the Radio-ready “Divide”; a Melodic laden, mild format Metalcore tune with another go at Rap-style vocals, chants, and a good allround catchiness. The melodic element is further pushed forward down opening tune “Goodbye My Friend” with Mainstream appeal in place, as is the case with the Alter Bridge styled “Beautiful”, centered around its chorus. Heavier workouts come in the shape of the slow-burner “Sick Sense”, the Metal-tinged “Last Man Standing” and the riff-Rockers “Deal With The Devil” (gelling the likes of Rob Zombie, Alice In Chains and Drowning Pool) and “Welcome To Reality”, balancing melody and intensity over a sharp riff to fuel the song. The album also has at least an equal number of ballads or semi-ballads, such as the slightly Pantera / “Cemetary Gates” flavoured “Torn To Pieces”, “Monster You Made” and the more generic “Silence & Scars”. Most surprising twist and welcome addition to the diversity of this set is the closing cut, “Boss's Daughter” featuring guest appearance by Mick Mars (Motley Crue) to spice things up with a traditional GlamRock / HardRock flair. There's quite a few musical categories “Onyx” feels comfortable with, and whether you sticker this Rock, Mainstream MetalCore, HardRock, or Metal, it simply rocks!
Paul van der Burght
“Don't forget about the work you did six months ago, because what you did six months ago, you are starting to see dividends now” - Leigh Kakaty / Pop Evil
INTERVIEW with LEIGH KAKATY / POP EVIL
by Paul van der Burght and Damian Llewellyn
There's many ways of looking at success; from a fan perspective, through the vision of an Artist or how the world around you sees it. To embrace success is one thing, but how to achieve it is another. Manic Mosh Magazine had a chat with singer Leigh Kakaty of Pop Evil following the release of their newest album “Onyx” and what it took to get there...
Manic Mosh: Looking back at when you first got things started with Pop Evil 2001 and bands before, could you have ever imagined where you are now, and, how did your career evolve into what it is at present...
Leigh: Someone asked me earlier if I'd ever stop thinking about the band, and I said 'Bro, I don't have time to stop thinking about it!' I hardly ever see home, maybe a month or so in the whole of the year and that is how my life has been since 2007 when we got our first deal, breaking the band in the USA and being on the road doing shows all year round. You know, when I go back home, I do not have a job, I need to play to make a living, even before 2001, but when you finally do get a chance to start a band, there's not one magic line like, 'Boom'..you are going to be famous, you are going to have number one records, you are going to Europe and tour..' I take pride in the fact that this is our first European Pop Evil thing...you need to have that pride there from the early stage, so when you ever do get bigger God willing, you understand what it took to get there.
I think the key is with whatever you want to do in life, figure out where you want to be first, that is the hardest thing. From day one we knew we wanted to be a Radio Rock band, it was very simple; we wanted to make music for other people... We didn't know how we were going to get there, it just happened that radio liked us and embraced us. But there's all kind of different ways to success but it is important once you do have that, don't put a label to it, just do your own thing and build it. I live by the philosophy, “Don't forget about the work you did six months ago, because what you did six months ago, you are starting to see dividends now”. When you do accomplish something, like the first time we sold out a show at a cover bar, when you do have those acknowledgements it is so important to reward yourself as an artist, as a band, to say; look, guys we're going out for a round of beer, or the band paying for the pizza, the band's treated for dinner tonight... you know, we all did this, and acknowledged that six months ago we were playing this bar for ten people, now we're playing the same bar and sold out, let's reward ourselves. The same when we were approaching a number one hit with “Trenches”, above bands that I idolized growing up, like Pearl Jam, and if someone would have told me that one day bands would look up to us I would have never believed it.
Manic Mosh: It all started to kick off for the band in 2009, breaking with 'War Of Angels' in 2011... Still, that is one very long and hard road... What has kept you / the band going and not packing it up after a good few years, but still having that faith to continue and pursue your dreams.
Leigh: For me, for the band, there was never a backup plan.. you know.. I got a College Degree, but no backup plan. I see lot of musicians along the way that have big jobs, like doctors, trying to give their life up and play, wanting to be where I am right now and I'd say, 'Man, you're getting over a 100 grand a year because you're a doctor'; once you have that it is really hard to go back and play for nothing... I mean, WE still pretty much play for nothing coming down to Europe... bottom line is, you have to be willing to not do it for money! But yeah, it has been a long road, and Chris our tour-manager and my best friend for years, knows that as well, living on people's couches when you come back after touring, and I remember my mum bitching at me, this was back in 2004 / 2005, she was like; “How long are you going to do this Lee”, and again, this was a very pivotal time in my career. It is then when you look at these moments that you said could have gone the other way. You know, I am a huge mama's boy, love my parents very much and I am very close to my mum, idolize my mum, she did everything for me so I could be doing what I am doing now but I remember saying to her; “Mum, what do you mean how long you are you going to do this?”, “Does this have to stop, O.K, fine, you want me to go work a job, I can do that, but still I am going to do this in the weekends, still going to be a Weekend Warrior... I am going to make records, I'm a writer, I like to write”. So, there was no question about how long I was going to do this.... “I didn't know there was a time frame on music that you love” I told her, but my mum didn't understand; you know; if you're not a musician, you don't get it. little did I know that five / six years later my dad was going to pass away you know, so she wanted to make sure that I was taken care of. So I called Chris at the time he was working Cellphones and I go, “Chris, can you get me about $500 a week, but I'm not going to work... can you just figure about how people that we know work for me and I just get the cheque”, because I was like, “All I am going to do every day is to break this f*cking band and, if that happens, I will bring you... And, without hesitations, he gave me the job. And I did sh*t, I did nothing other than working on the band and going to Dairy Queen to get him Oreo Flurries everyday paying for that vow.. but still, I was working on our video. “Somebody Like You”; took me about six to seven months from the initial concept to completion. We funded it out of our own pockets, about 50K back then, I wish we could do a video for that kind of money now...
Manic Mosh: Success comes with sacrifices, and when you get to the point that things may take a different turn, you may have one or two band members that are not going to put in the effort, actually work against you.... It is tough to then make a decision and say things like, 'you're no longer in the band...'
Leigh: It is tough, you are very right, that is very true... you lose a lot of friends, especially being a singer or frontman of a Rock band; there's jealousy, turmoil that can brew in early stages of the band and hinder the talented individuals in the band. The whole point of being in a band is to take your talents and work together with other talented band members. Sometimes, there's two or three, and now, for the first time in our career, there's finally five entities that are so talented and work as a unit, but it doesn't always happen that way.
We knew, and I lost band-members over this, a key thing was to do a proper recording; this was another important factor that really saved the band in those days. A lot of my old band-members were like, “let's record in our garage, or in your basement, we could save a lot of money that way”, and I'm like, “Bro! we fought for years to have this, I mean like, how many people have you met in your garage!“ “I never met anybody in my garage”; I knew at an early age that in order to break this band we needed other people around, powerful people that had good opinions. I knew I was going to have to write good songs to get people interested you know and that was the journey to all success but when other people stop you from getting there, that can be really depressing and you see that when you get more successful; a lot of people are afraid of success.
Manic Mosh; So where do you get your inspiration from outside the music thing, what was your trigger...
Leigh: I don't think it was the band for me, I don't think I heard Metallica and said ahh, that is going to inspire me to get famous. I think it is something you are in stealth with, it is more like, “I got something to say, I want to be heard, I want to have a positive impact on people's lives”, and I don't mean by touching everyone here and there and saying “Hi, thanks for coming to the show”. But lyrically, as a writer, and I think that starts with a passion, knowing you can write something. Maybe you are just born with that, I don't know, but I just knew that I could make a difference somehow, and I am still trying to ride that out. But, thinking you could do that and knowing you have something to say doesn't always mean that you are going to be there... I think that was my first inspiration. Also, my family inspired me; my dad was from India and my mum from Canada so when I first got to the school where I grew up in a small town, a lot of the kids, just like their parents and possibly generations before, went to that same school and here you come, and you are the oddball in, so I had to knock down those barriers. Later in life, I was a very successful athlete at high school, went to school with a full scholarship to play basketball, tore my knee up, big surgery, and realized that I had way more fun playing the guitar and writing. I didn't need that Jersey Chaser girl because I was scoring all the points. I was more into getting a reaction from friends playing my guitar. I think, talking to you now, that the inspiration was coming from Michigan, with the economy being so shitty and so many people around me not having anything to believe in. It's not like that nine to five job that you do all your life, praying you get your your retirement and go to Hawaii for two weeks... people live their lives like walking zombies, I mean, where is the excitement, what are you really living for? O.K, when you are a family man, I respect that, you have obligations, that is important. But for me, not to have any goals to achieve, that would be very frustrating, I need those goals and I need to accomplish.
Manic Mosh: I don't think there is a blueprint for success, but what would you say to bands out there that are doing the same thing you did well over 10 years ago trying to build it big
Leigh: I don't think there is one thing that I could say to guarantee that you are going to play the Wembley stadium, or be on the radio... it is harder than ever but if you are willing to, and really want it, taking no for an answer has to be part of it. When you first start out, and I heard that myself all the time, a lot of people will be like; “Good luck, you are never going to play that stadium, do you really think that you are going to play an U.S. Tour? It's not going to happen”so THAT already makes you go like, “I'm not listening to this guy”, THAT is your first step, and look at me now.... Everybody told me I was not gonna go to Europe, I wasn't going to be in a band, saying “You don't look like Rock or Glam, you don't look like Robert Plant. You don't look like the guy from Seeder, or the dude from Nickelback, or Creed”, “You are never going to be a Radio band, they are never going to play you, you're from Grand Rapids Michican”, and when I say Grand Rapids Michigan to you guys you'd probably say you heard of Detroit, but that's a different ballgame. You know, at least I would have Detroit on my side, but three hours west of Detroit here in Grand Rapids, there's never been a Rock radio band as big as we are, so you'd never had something like “I want to be like that guy because he's made it”, it was never like that for me. Just do the right thing, if you want to be a touring band, don't waste your time playing covers, or say play Blues if you want to be a Rock band. If you gotta play covers to make money, play covers, if you need an investor then get yourself an investor, buy a slot as a support act for bigger bands, figure out what they are doing and buy yourself on their tours. You know, people don't want to see a band doing one show with Pop Evil, they want to see ten shows. If you go to the right people, they are going to come to you as they want to know who these guys are that are playing ten dates with Pop Evil because they know that is not easy to do. They're going to be like “They must know somebody”, and know you've got that credibility or steps that you are making to get seen and maybe get yourself a showcase for a label or a manager, and then there's your shot... give yourself a shot working towards the right way to do that and then once you get a manager, and a record deal then we have to have another meeting because that is a completely different ballgame. Just give yourself a chance to get there and then if it doesn't work out, I can live with that, and that is what I did in the early days, I was like “You don't need ten songs, why waste your money and your time to write and produce 10 good songs” because you are not going to have the money and the time to do that when you are a local band; you're gonna bullsh*t yourself thinking you're gonna make ten good songs when there's bands of our statue and higher that have paid thousands of dollars for the right producer and the best production in the world. You might be able to get a good producer and do two or three songs and that is what we did..
Manic Mosh: True, and besides, easier to shop around as well..
Leigh: Yes, think about Eleven Seven records that we are on now, we're on our third hit single, maybe four, and that is an amazing record, but figure the first single first, supply the economics. I did economics at school and it is very simple, you do not have a demand, so you are not going to need more than one song, so you can do three great songs as good as you can, then you push your product, push your band. We had those three songs printed up, got them pressed cheap and did that 12000 times selling them out of the back of our car, took five years! So, I did three songs back in 2001, and changed the game on myself, and I said; “Look, I don't care if I'm going to lose band-members over this, but I am not going to do ten songs, I am not wasting my time. I am going to invest my time, and time is money, so if we don't have money we have time, everyone has that”, so I did it the right way, little baby steps. I didn't get worried when Universal records didn't call or radio stations didn't play my sh*t... I did it the right way, I did a three song sampler, sold 12000 of those out of our car, I had my buddy Chris who hired me, I made him quit his job, just asked him “Would you come just work for me, it will be great, none of us will get paid we'll just hang out, party with chicks, do whatever the f*ck we wanna do and just live It” and he's like, “I'm in”, and we started with nothing, built it, built our own empire, our own label without knowing anything about labels. Then we did a video for “Somebody Like You”, pushed our record, saved up and bought our own tours because money talks. If you do not have leverage which is radio play or something that brings food on the table, you are not going to sell tickets... it's all about selling tickets for the promoters and the bookies. Once you are doing all these things, and create a buzz then you also have the fans, and then it became even more fun when we started to become the big fish in the little pond selling out everywhere we played.
It is hard and even when you think about it there is never anybody you could really ask, there is no CliffsNotes for a famous band, just figure out what is best for your band. You just have to ask yourself the question whether you want to do this year after year, or just as a one-off. It has to do with appreciation for what you do. I do care, and I love to hear when people think of Pop Evil, they go like, “Hey, that's Leigh”, not just the singer of Pop Evil, I don't give a f*ck about that, that is easy... I have been doing that my whole life, but that's not me, this is me right here, talking to you as a person where I was in my life and how it happened, how it worked for us...
by Paul van der Burght and Damian Llewellyn
There's many ways of looking at success; from a fan perspective, through the vision of an Artist or how the world around you sees it. To embrace success is one thing, but how to achieve it is another. Manic Mosh Magazine had a chat with singer Leigh Kakaty of Pop Evil following the release of their newest album “Onyx” and what it took to get there...
Manic Mosh: Looking back at when you first got things started with Pop Evil 2001 and bands before, could you have ever imagined where you are now, and, how did your career evolve into what it is at present...
Leigh: Someone asked me earlier if I'd ever stop thinking about the band, and I said 'Bro, I don't have time to stop thinking about it!' I hardly ever see home, maybe a month or so in the whole of the year and that is how my life has been since 2007 when we got our first deal, breaking the band in the USA and being on the road doing shows all year round. You know, when I go back home, I do not have a job, I need to play to make a living, even before 2001, but when you finally do get a chance to start a band, there's not one magic line like, 'Boom'..you are going to be famous, you are going to have number one records, you are going to Europe and tour..' I take pride in the fact that this is our first European Pop Evil thing...you need to have that pride there from the early stage, so when you ever do get bigger God willing, you understand what it took to get there.
I think the key is with whatever you want to do in life, figure out where you want to be first, that is the hardest thing. From day one we knew we wanted to be a Radio Rock band, it was very simple; we wanted to make music for other people... We didn't know how we were going to get there, it just happened that radio liked us and embraced us. But there's all kind of different ways to success but it is important once you do have that, don't put a label to it, just do your own thing and build it. I live by the philosophy, “Don't forget about the work you did six months ago, because what you did six months ago, you are starting to see dividends now”. When you do accomplish something, like the first time we sold out a show at a cover bar, when you do have those acknowledgements it is so important to reward yourself as an artist, as a band, to say; look, guys we're going out for a round of beer, or the band paying for the pizza, the band's treated for dinner tonight... you know, we all did this, and acknowledged that six months ago we were playing this bar for ten people, now we're playing the same bar and sold out, let's reward ourselves. The same when we were approaching a number one hit with “Trenches”, above bands that I idolized growing up, like Pearl Jam, and if someone would have told me that one day bands would look up to us I would have never believed it.
Manic Mosh: It all started to kick off for the band in 2009, breaking with 'War Of Angels' in 2011... Still, that is one very long and hard road... What has kept you / the band going and not packing it up after a good few years, but still having that faith to continue and pursue your dreams.
Leigh: For me, for the band, there was never a backup plan.. you know.. I got a College Degree, but no backup plan. I see lot of musicians along the way that have big jobs, like doctors, trying to give their life up and play, wanting to be where I am right now and I'd say, 'Man, you're getting over a 100 grand a year because you're a doctor'; once you have that it is really hard to go back and play for nothing... I mean, WE still pretty much play for nothing coming down to Europe... bottom line is, you have to be willing to not do it for money! But yeah, it has been a long road, and Chris our tour-manager and my best friend for years, knows that as well, living on people's couches when you come back after touring, and I remember my mum bitching at me, this was back in 2004 / 2005, she was like; “How long are you going to do this Lee”, and again, this was a very pivotal time in my career. It is then when you look at these moments that you said could have gone the other way. You know, I am a huge mama's boy, love my parents very much and I am very close to my mum, idolize my mum, she did everything for me so I could be doing what I am doing now but I remember saying to her; “Mum, what do you mean how long you are you going to do this?”, “Does this have to stop, O.K, fine, you want me to go work a job, I can do that, but still I am going to do this in the weekends, still going to be a Weekend Warrior... I am going to make records, I'm a writer, I like to write”. So, there was no question about how long I was going to do this.... “I didn't know there was a time frame on music that you love” I told her, but my mum didn't understand; you know; if you're not a musician, you don't get it. little did I know that five / six years later my dad was going to pass away you know, so she wanted to make sure that I was taken care of. So I called Chris at the time he was working Cellphones and I go, “Chris, can you get me about $500 a week, but I'm not going to work... can you just figure about how people that we know work for me and I just get the cheque”, because I was like, “All I am going to do every day is to break this f*cking band and, if that happens, I will bring you... And, without hesitations, he gave me the job. And I did sh*t, I did nothing other than working on the band and going to Dairy Queen to get him Oreo Flurries everyday paying for that vow.. but still, I was working on our video. “Somebody Like You”; took me about six to seven months from the initial concept to completion. We funded it out of our own pockets, about 50K back then, I wish we could do a video for that kind of money now...
Manic Mosh: Success comes with sacrifices, and when you get to the point that things may take a different turn, you may have one or two band members that are not going to put in the effort, actually work against you.... It is tough to then make a decision and say things like, 'you're no longer in the band...'
Leigh: It is tough, you are very right, that is very true... you lose a lot of friends, especially being a singer or frontman of a Rock band; there's jealousy, turmoil that can brew in early stages of the band and hinder the talented individuals in the band. The whole point of being in a band is to take your talents and work together with other talented band members. Sometimes, there's two or three, and now, for the first time in our career, there's finally five entities that are so talented and work as a unit, but it doesn't always happen that way.
We knew, and I lost band-members over this, a key thing was to do a proper recording; this was another important factor that really saved the band in those days. A lot of my old band-members were like, “let's record in our garage, or in your basement, we could save a lot of money that way”, and I'm like, “Bro! we fought for years to have this, I mean like, how many people have you met in your garage!“ “I never met anybody in my garage”; I knew at an early age that in order to break this band we needed other people around, powerful people that had good opinions. I knew I was going to have to write good songs to get people interested you know and that was the journey to all success but when other people stop you from getting there, that can be really depressing and you see that when you get more successful; a lot of people are afraid of success.
Manic Mosh; So where do you get your inspiration from outside the music thing, what was your trigger...
Leigh: I don't think it was the band for me, I don't think I heard Metallica and said ahh, that is going to inspire me to get famous. I think it is something you are in stealth with, it is more like, “I got something to say, I want to be heard, I want to have a positive impact on people's lives”, and I don't mean by touching everyone here and there and saying “Hi, thanks for coming to the show”. But lyrically, as a writer, and I think that starts with a passion, knowing you can write something. Maybe you are just born with that, I don't know, but I just knew that I could make a difference somehow, and I am still trying to ride that out. But, thinking you could do that and knowing you have something to say doesn't always mean that you are going to be there... I think that was my first inspiration. Also, my family inspired me; my dad was from India and my mum from Canada so when I first got to the school where I grew up in a small town, a lot of the kids, just like their parents and possibly generations before, went to that same school and here you come, and you are the oddball in, so I had to knock down those barriers. Later in life, I was a very successful athlete at high school, went to school with a full scholarship to play basketball, tore my knee up, big surgery, and realized that I had way more fun playing the guitar and writing. I didn't need that Jersey Chaser girl because I was scoring all the points. I was more into getting a reaction from friends playing my guitar. I think, talking to you now, that the inspiration was coming from Michigan, with the economy being so shitty and so many people around me not having anything to believe in. It's not like that nine to five job that you do all your life, praying you get your your retirement and go to Hawaii for two weeks... people live their lives like walking zombies, I mean, where is the excitement, what are you really living for? O.K, when you are a family man, I respect that, you have obligations, that is important. But for me, not to have any goals to achieve, that would be very frustrating, I need those goals and I need to accomplish.
Manic Mosh: I don't think there is a blueprint for success, but what would you say to bands out there that are doing the same thing you did well over 10 years ago trying to build it big
Leigh: I don't think there is one thing that I could say to guarantee that you are going to play the Wembley stadium, or be on the radio... it is harder than ever but if you are willing to, and really want it, taking no for an answer has to be part of it. When you first start out, and I heard that myself all the time, a lot of people will be like; “Good luck, you are never going to play that stadium, do you really think that you are going to play an U.S. Tour? It's not going to happen”so THAT already makes you go like, “I'm not listening to this guy”, THAT is your first step, and look at me now.... Everybody told me I was not gonna go to Europe, I wasn't going to be in a band, saying “You don't look like Rock or Glam, you don't look like Robert Plant. You don't look like the guy from Seeder, or the dude from Nickelback, or Creed”, “You are never going to be a Radio band, they are never going to play you, you're from Grand Rapids Michican”, and when I say Grand Rapids Michigan to you guys you'd probably say you heard of Detroit, but that's a different ballgame. You know, at least I would have Detroit on my side, but three hours west of Detroit here in Grand Rapids, there's never been a Rock radio band as big as we are, so you'd never had something like “I want to be like that guy because he's made it”, it was never like that for me. Just do the right thing, if you want to be a touring band, don't waste your time playing covers, or say play Blues if you want to be a Rock band. If you gotta play covers to make money, play covers, if you need an investor then get yourself an investor, buy a slot as a support act for bigger bands, figure out what they are doing and buy yourself on their tours. You know, people don't want to see a band doing one show with Pop Evil, they want to see ten shows. If you go to the right people, they are going to come to you as they want to know who these guys are that are playing ten dates with Pop Evil because they know that is not easy to do. They're going to be like “They must know somebody”, and know you've got that credibility or steps that you are making to get seen and maybe get yourself a showcase for a label or a manager, and then there's your shot... give yourself a shot working towards the right way to do that and then once you get a manager, and a record deal then we have to have another meeting because that is a completely different ballgame. Just give yourself a chance to get there and then if it doesn't work out, I can live with that, and that is what I did in the early days, I was like “You don't need ten songs, why waste your money and your time to write and produce 10 good songs” because you are not going to have the money and the time to do that when you are a local band; you're gonna bullsh*t yourself thinking you're gonna make ten good songs when there's bands of our statue and higher that have paid thousands of dollars for the right producer and the best production in the world. You might be able to get a good producer and do two or three songs and that is what we did..
Manic Mosh: True, and besides, easier to shop around as well..
Leigh: Yes, think about Eleven Seven records that we are on now, we're on our third hit single, maybe four, and that is an amazing record, but figure the first single first, supply the economics. I did economics at school and it is very simple, you do not have a demand, so you are not going to need more than one song, so you can do three great songs as good as you can, then you push your product, push your band. We had those three songs printed up, got them pressed cheap and did that 12000 times selling them out of the back of our car, took five years! So, I did three songs back in 2001, and changed the game on myself, and I said; “Look, I don't care if I'm going to lose band-members over this, but I am not going to do ten songs, I am not wasting my time. I am going to invest my time, and time is money, so if we don't have money we have time, everyone has that”, so I did it the right way, little baby steps. I didn't get worried when Universal records didn't call or radio stations didn't play my sh*t... I did it the right way, I did a three song sampler, sold 12000 of those out of our car, I had my buddy Chris who hired me, I made him quit his job, just asked him “Would you come just work for me, it will be great, none of us will get paid we'll just hang out, party with chicks, do whatever the f*ck we wanna do and just live It” and he's like, “I'm in”, and we started with nothing, built it, built our own empire, our own label without knowing anything about labels. Then we did a video for “Somebody Like You”, pushed our record, saved up and bought our own tours because money talks. If you do not have leverage which is radio play or something that brings food on the table, you are not going to sell tickets... it's all about selling tickets for the promoters and the bookies. Once you are doing all these things, and create a buzz then you also have the fans, and then it became even more fun when we started to become the big fish in the little pond selling out everywhere we played.
It is hard and even when you think about it there is never anybody you could really ask, there is no CliffsNotes for a famous band, just figure out what is best for your band. You just have to ask yourself the question whether you want to do this year after year, or just as a one-off. It has to do with appreciation for what you do. I do care, and I love to hear when people think of Pop Evil, they go like, “Hey, that's Leigh”, not just the singer of Pop Evil, I don't give a f*ck about that, that is easy... I have been doing that my whole life, but that's not me, this is me right here, talking to you as a person where I was in my life and how it happened, how it worked for us...
|
|
|
Model Niky Hearts; Left: photo by Miss Sorry. Centre and right: photos by Lele Photography
NIKY HEARTS
web: https://www.facebook.com/pages/Niky-Hearts/235560163175882?ref=bookmarks
http://cradleofdoll.deviantart.com/
Niky Hearts is a Italian Model and creative director that started her career in 2007. Niky loves macabre, bizarre and horror atmospheres that also act as an inspiration for her photo-shoots. She is into horror movies / books, music and is obsessed by creepy dolls, clowns, threes (Tarot cards) and spooky things.
Photos by: LeLe Photography https://www.facebook.com/lelephotos
Miss Sorry: www.miss-sorry.com https://www.facebook.com/lovemisssorry?fref=ts
web: https://www.facebook.com/pages/Niky-Hearts/235560163175882?ref=bookmarks
http://cradleofdoll.deviantart.com/
Niky Hearts is a Italian Model and creative director that started her career in 2007. Niky loves macabre, bizarre and horror atmospheres that also act as an inspiration for her photo-shoots. She is into horror movies / books, music and is obsessed by creepy dolls, clowns, threes (Tarot cards) and spooky things.
Photos by: LeLe Photography https://www.facebook.com/lelephotos
Miss Sorry: www.miss-sorry.com https://www.facebook.com/lovemisssorry?fref=ts
|
|
|
|
|
A selection of releases on SKOL Records, from left to right: Satan's Host, Nitro, Crowhaven, Harlet, and the Keep It True compilation
SKOL RECORDS - “We Are The Voice Of The Cult”
web: www.skolrecords.com
Europe-based SKOL records established in 2009 by Producer, Artist-manager and Metal connoisseur Bart Gabriel. His knowledge of obscure Cult Metal makes him the perfect scout for rediscovering forgotten albums, officially re-issued through the Skol label. The current roster of releases testifies to this, including classic bands such as Satan's Host (“Metal From Hell” / “Midnight Wind”), S.A.Slayer (“Go For The Throat” / “Prepare To Die”), Crowhaven (“Emotional Adjustment”), Nitro, Dammaj, Salem's Law and many others. Skol records are also 'enthusiasts of the New Wave Of Traditional Metal', and has distribution of its catalogue across Europe, Japan, North and South America. If you are looking for obscure quality acts from long forgotten days, this is the label to stop by!
Skol records are also continuously looking for bands that play Traditional / Heavy / Doom / Classic Metal, NWOTHM, and Original Metal bands from the '80s/'90s who are willing to reissue their material
web: www.skolrecords.com
Europe-based SKOL records established in 2009 by Producer, Artist-manager and Metal connoisseur Bart Gabriel. His knowledge of obscure Cult Metal makes him the perfect scout for rediscovering forgotten albums, officially re-issued through the Skol label. The current roster of releases testifies to this, including classic bands such as Satan's Host (“Metal From Hell” / “Midnight Wind”), S.A.Slayer (“Go For The Throat” / “Prepare To Die”), Crowhaven (“Emotional Adjustment”), Nitro, Dammaj, Salem's Law and many others. Skol records are also 'enthusiasts of the New Wave Of Traditional Metal', and has distribution of its catalogue across Europe, Japan, North and South America. If you are looking for obscure quality acts from long forgotten days, this is the label to stop by!
Skol records are also continuously looking for bands that play Traditional / Heavy / Doom / Classic Metal, NWOTHM, and Original Metal bands from the '80s/'90s who are willing to reissue their material
|
|
|
Above left: Model AMY BATHORY, centre: Model KATIE VISALLI, right: Model DANIELLE PAINE. All photos by KEV COOL PHOTOGRAPHY.
Photos published with permission by Kev Cool. More on Kev Cool's work here: https://www.facebook.com/KevCoolPhotography
Feature on KEV COOL in Manic Mosh #03 and additional photos in Manic Mosh #05
Photos published with permission by Kev Cool. More on Kev Cool's work here: https://www.facebook.com/KevCoolPhotography
Feature on KEV COOL in Manic Mosh #03 and additional photos in Manic Mosh #05
|
GUERRERA – 7”EP 2013 “Guerrera Of Metal”
label: Anger Of Metal records web: https://www.facebook.com/GUERRERAOFMETAL?fref=ts GUERRERA came into existence after Argentinian singer Romi relocated and hooked up with guitarist Nick Banger, formerly of Greek Metalers Metamorfosis. With band-mates Steve Breaker (drums) and Nikkey Energetic (bass) the line-up was completed and a whole set of orginal numbers emerged. At the tail end of 2013, three of these songs were captured on vinyl and released in a limited press of 500 copies through Anger Of Metal Records. GUERRERA makes no bones about their musical direction, blatantly addressing to early / mid-80's SpeedMetal on opening tune “Guerrera Of Metal”; a fast-paced and rhythm riffed track, reminiscent of Abattoir's “Screams From The Grave” with some Living Death thrown in. “Oscuridad” shows the band at its best in both the vocal and guitar department with a more profound structure that is rooted in traditional HardRock / Metal. This comes with various vocal modes (including some high pitches), plenty of guitar fillers and some balanced, melodic laden solos over a toe-tapping mid-tempo drive. The catchy, riff-based semi-Headbanger “Hombre Crystal” goes down the Euro-Metal thing with a hint of Priest and some nice, harmonized guitarwork. GUERRERA has managed well to capture the Metal sound of the early 80's, and listening to this three tracker is almost like being there. This is textbook stuff with all the traditional trimmings! A true Metal treat! Paul van der Burght |
HEAVY METAL DEMO TAPES & RARITIES 1980 – 1990's
web: https://www.facebook.com/groups/700641233290282/
This is a webpage initiated by Metal connoisseur / collector Dave Galgano and is entirely dedicated to Heavy Metal demo tapes, rarities and memorabilia from the 80's and 90's. This is a closed group but welcomes anyone into Underground Metal and related from that era to 'build a kick ass demo tape and Heavy Metal rarities database'. Entries include lots of cool and obscure things such as flyers, posters, 'zines, demo tapes, t-shirts, stickers, ticket stubs, self-released vinyl and more. The members that are active on this page know their stuff which makes this the perfect place to discuss rarities, find out about them or post them. A most entertaining page well worth checking out!
web: https://www.facebook.com/groups/700641233290282/
This is a webpage initiated by Metal connoisseur / collector Dave Galgano and is entirely dedicated to Heavy Metal demo tapes, rarities and memorabilia from the 80's and 90's. This is a closed group but welcomes anyone into Underground Metal and related from that era to 'build a kick ass demo tape and Heavy Metal rarities database'. Entries include lots of cool and obscure things such as flyers, posters, 'zines, demo tapes, t-shirts, stickers, ticket stubs, self-released vinyl and more. The members that are active on this page know their stuff which makes this the perfect place to discuss rarities, find out about them or post them. A most entertaining page well worth checking out!
When Grindcore meets Death and Doom, it sounds a little like:
THETAN - 2014 “Laughed At By The Gods”
label: Anti Corp / Burnt Bridges records / Failed recordings
songs: Laugh Track To Your Life / Into The Briar Patch / Pride Swallowed / Displacement / A Part Of Something Much Larger Than Ourselves / The Grand Denouncement / Medicine In the Water / No Shivah / Moment Of Weakness / Serenity Now! / Collateral Damage / Penance / When In Rome – The Coldest, Darkest Place On Earth //
Thetan are a 2-piece from Nashville, Tennessee that initiated in 2011 out of the ashes of a band called Sanctions. When their then guitar player left, drummer Chad L'Pattenier and bassist / singer Dan Emery continued the band as Thetan, and since released splits with Bible Thumper (2012) and Downpour (2013) plus a debut in feb 2012, “Welcome To Whine Country”. Thetan sticker their music as 'HardCore Drum n' Bass” but frankly, there's more to it, gauging the set on their freshly released 13-songer, “The Gods Are Laughing At Us”, uniquely merging GrindCore with elements of Death and Doom-Metal! First track up, “Laugh Track To Your Life” puts the needles in the red, engaging some breakneck-speed GrindCore the traditional way. “Into The Brair Pitch” starts off in high gear, but surprisingly slows down to a fairly Doom oriented modus with DeathMetal-ish guitars! With its 10-second running time,“Pride Swallowed” says it all; blast-beat galore, repeated once more on “The Grand Denouncement” The 1+ minute “Displacement” is one of the more structural minded tracks, coupling the guitar sound and vocal attack of classic HardCore with a hint of DeathMetal; a thing that is taken further in the riff-department of follow up-track “A Part Of Something Larger”. “Moments Of Weakness” is a lowtoned GrindCore thumper, again with the DeathMetal thing resurfacing in the guitar(s). This is taken further down “Serenity Now” with its hi-lo & reversed riff hook running underneath its provocative, HardCore-drenched appearance. “When In Rome” concludes the album with some lethargic, downtoned Doom merged with all-out Grindcore vocalage, spread over 3 minutes of running time. The “Laughed At By The Gods” album sports a beefy production that lifts the material, but also steers them in a different direction other than GrindCore. To some extend, this is due to the low toned guitars and the absence of treble delivered by a lead-guitar, and this is exactly what makes Thetan sound different for the better!
“The Gods Laugh At Us” is available in vinyl format through Anti-Corp and Burnt Bridges records, and a cassette-version through Failed recordings, and soundclips of “The Gods Are Lauging At Us” can be listened here: http://thetan.bandcamp.com
Paul van der Burght
THETAN - 2014 “Laughed At By The Gods”
label: Anti Corp / Burnt Bridges records / Failed recordings
songs: Laugh Track To Your Life / Into The Briar Patch / Pride Swallowed / Displacement / A Part Of Something Much Larger Than Ourselves / The Grand Denouncement / Medicine In the Water / No Shivah / Moment Of Weakness / Serenity Now! / Collateral Damage / Penance / When In Rome – The Coldest, Darkest Place On Earth //
Thetan are a 2-piece from Nashville, Tennessee that initiated in 2011 out of the ashes of a band called Sanctions. When their then guitar player left, drummer Chad L'Pattenier and bassist / singer Dan Emery continued the band as Thetan, and since released splits with Bible Thumper (2012) and Downpour (2013) plus a debut in feb 2012, “Welcome To Whine Country”. Thetan sticker their music as 'HardCore Drum n' Bass” but frankly, there's more to it, gauging the set on their freshly released 13-songer, “The Gods Are Laughing At Us”, uniquely merging GrindCore with elements of Death and Doom-Metal! First track up, “Laugh Track To Your Life” puts the needles in the red, engaging some breakneck-speed GrindCore the traditional way. “Into The Brair Pitch” starts off in high gear, but surprisingly slows down to a fairly Doom oriented modus with DeathMetal-ish guitars! With its 10-second running time,“Pride Swallowed” says it all; blast-beat galore, repeated once more on “The Grand Denouncement” The 1+ minute “Displacement” is one of the more structural minded tracks, coupling the guitar sound and vocal attack of classic HardCore with a hint of DeathMetal; a thing that is taken further in the riff-department of follow up-track “A Part Of Something Larger”. “Moments Of Weakness” is a lowtoned GrindCore thumper, again with the DeathMetal thing resurfacing in the guitar(s). This is taken further down “Serenity Now” with its hi-lo & reversed riff hook running underneath its provocative, HardCore-drenched appearance. “When In Rome” concludes the album with some lethargic, downtoned Doom merged with all-out Grindcore vocalage, spread over 3 minutes of running time. The “Laughed At By The Gods” album sports a beefy production that lifts the material, but also steers them in a different direction other than GrindCore. To some extend, this is due to the low toned guitars and the absence of treble delivered by a lead-guitar, and this is exactly what makes Thetan sound different for the better!
“The Gods Laugh At Us” is available in vinyl format through Anti-Corp and Burnt Bridges records, and a cassette-version through Failed recordings, and soundclips of “The Gods Are Lauging At Us” can be listened here: http://thetan.bandcamp.com
Paul van der Burght
METSATOLL – 2014 “Karjajuht”
label: Spinefarm records
songs: Külmking / Lööme Mesti / See On See Maa / Must Hunt / Terasest Taotud Tee / Öö / Tôrrede Kôhtudes / Metslase Veri / Surmamüür / Mullast / Karjajuht / Talisman //
Estonian Folk Metallers Metsatoll (their name is an ancient euphemism for Wolf) are due to release their sixth full length album entitled 'Karjajuht' via Finish label Spinefarm on the 27 May 2014. Striking element is the lyrics that are sung in their native Estonian tongue (as should any good Folk music). Yet, it's not hard to pick up the vibe, throwing down some fast, fist-pumping-in-the-air-style madness. Fiddles and flutes are quite prevalent in most tracks but you know what, it would still sound great without them in my opinion.
Damian Llewellyn
label: Spinefarm records
songs: Külmking / Lööme Mesti / See On See Maa / Must Hunt / Terasest Taotud Tee / Öö / Tôrrede Kôhtudes / Metslase Veri / Surmamüür / Mullast / Karjajuht / Talisman //
Estonian Folk Metallers Metsatoll (their name is an ancient euphemism for Wolf) are due to release their sixth full length album entitled 'Karjajuht' via Finish label Spinefarm on the 27 May 2014. Striking element is the lyrics that are sung in their native Estonian tongue (as should any good Folk music). Yet, it's not hard to pick up the vibe, throwing down some fast, fist-pumping-in-the-air-style madness. Fiddles and flutes are quite prevalent in most tracks but you know what, it would still sound great without them in my opinion.
Damian Llewellyn
|
|
Photos above left and right by Keith Daniel / WARPATH Photography. Photos published with permission by Keith Daniel
CULTURES BREED – Alternative Rock from Fresno, California
web: www.facebook.com/Awesomebandaround
Fresno, California based CULTURES BREED is an Alternative Rock band with a bit of a Grunge twist, heavily influenced by Nirvana, Seether, Alice In Chains and Neil Young. The band consists of James Foster on vocals / guitar, Adam Smith on Lead Guitar, Kevin Wilson on bass, and Jerry Llamas on drums. When Cultures Breed first started out in 2011 they played at a lot of small shows and parties, then started getting invited by other bands to do some shows with them around the area and opened up for acts such as The Mentors, Green Jelly and Powerman 5000. It was then that they also did a lot of shows put on by a local radio station to get the name out. In the near future Cultures Breed plan on going into a studio to make their first album and maybe even putting together a small tour. To listen to any of the Cultures Breed material, click the link above or visit http://www.numberonemusic.com/culturesbreed/
web: www.facebook.com/Awesomebandaround
Fresno, California based CULTURES BREED is an Alternative Rock band with a bit of a Grunge twist, heavily influenced by Nirvana, Seether, Alice In Chains and Neil Young. The band consists of James Foster on vocals / guitar, Adam Smith on Lead Guitar, Kevin Wilson on bass, and Jerry Llamas on drums. When Cultures Breed first started out in 2011 they played at a lot of small shows and parties, then started getting invited by other bands to do some shows with them around the area and opened up for acts such as The Mentors, Green Jelly and Powerman 5000. It was then that they also did a lot of shows put on by a local radio station to get the name out. In the near future Cultures Breed plan on going into a studio to make their first album and maybe even putting together a small tour. To listen to any of the Cultures Breed material, click the link above or visit http://www.numberonemusic.com/culturesbreed/
ALL ABOUT THE ROCK
Metal News, Reviews and Interviews
web: http://www.allabouttherock.com/ All About The Rock is as the title suggests and more. Put together by a team of aficionados, the magazine serves up a hearthy portion of Metal music and all that is related; from Death Metal and Crossover to PunkRock, Goth and Thrash. All About The Rock appears as a webzine, as well as a FREE digital magazine with all the trimmings; concert reviews, features, news,album reviews and interviews with bands and insiders. All About The Rock also posts video-interviews and gig snaps on YouTube @ http://www.youtube.com/user/AllAboutTheRockTV Check it out!
Metal News, Reviews and Interviews
web: http://www.allabouttherock.com/ All About The Rock is as the title suggests and more. Put together by a team of aficionados, the magazine serves up a hearthy portion of Metal music and all that is related; from Death Metal and Crossover to PunkRock, Goth and Thrash. All About The Rock appears as a webzine, as well as a FREE digital magazine with all the trimmings; concert reviews, features, news,album reviews and interviews with bands and insiders. All About The Rock also posts video-interviews and gig snaps on YouTube @ http://www.youtube.com/user/AllAboutTheRockTV Check it out!
EVERY SHIRT TELLS A STORY #01 – Alan Marsh
Here's 2, all original Tees from NWOBHM cult act TRESPASS. These shirts are owned by Alan Marsh who got them back in the day. Alan's story dates back to the late 70's when he first saw Trespass performing live, then still by the name of TRACK IV. Alan has started to documented his memoires of the early Trespass days, part 1 of which you can read here;
https://www.facebook.com/permalink.php?story_fbid=416598531803245&id=416425338487231
More on TRESSPASS @ https://www.facebook.com/pages/Trespass/416425338487231
Here's 2, all original Tees from NWOBHM cult act TRESPASS. These shirts are owned by Alan Marsh who got them back in the day. Alan's story dates back to the late 70's when he first saw Trespass performing live, then still by the name of TRACK IV. Alan has started to documented his memoires of the early Trespass days, part 1 of which you can read here;
https://www.facebook.com/permalink.php?story_fbid=416598531803245&id=416425338487231
More on TRESSPASS @ https://www.facebook.com/pages/Trespass/416425338487231
|
|
|
ANTI TANK NUN – Classic inspired Metal
web: http://antitanknun.com
Anti Tank Nun is a Metal band from Poland that rose from the ashes of 'Acid Drinkers', the nation's best-selling Metal act. Initiated in 2011 as a 2-piece project, comprised of Tomasz 'Titus' Pukacki (vocals & bass) and Igor Gwadera (lead guitar), the line-up increased to a foursome with the addition of Adam Bielczuk (guitar) and Bogumil Krakowski (drums). In 2012, Anti Tank Nun debuted with a full-lengther, 'Hang 'em High', followed by the 2013 'Fire Follow Me' album. Anti Tank Nun deliver a brand of classic-inspired Metal gelling the likes of Judas Priest and Motorhead with a blend of more modern styled (Power) Metal. Thick, groovy riffs, roaring vocals and catchy themes are key throughout the work of ANTI TANK NUN that is sure to please fans of the old-school stuff!
Paul van der Burght
web: http://antitanknun.com
Anti Tank Nun is a Metal band from Poland that rose from the ashes of 'Acid Drinkers', the nation's best-selling Metal act. Initiated in 2011 as a 2-piece project, comprised of Tomasz 'Titus' Pukacki (vocals & bass) and Igor Gwadera (lead guitar), the line-up increased to a foursome with the addition of Adam Bielczuk (guitar) and Bogumil Krakowski (drums). In 2012, Anti Tank Nun debuted with a full-lengther, 'Hang 'em High', followed by the 2013 'Fire Follow Me' album. Anti Tank Nun deliver a brand of classic-inspired Metal gelling the likes of Judas Priest and Motorhead with a blend of more modern styled (Power) Metal. Thick, groovy riffs, roaring vocals and catchy themes are key throughout the work of ANTI TANK NUN that is sure to please fans of the old-school stuff!
Paul van der Burght
|
STEEL FOR AN AGE
True Metal Magazine! web: http://steelforanage.holysword.gr Out of Greece comes “Steel For An Age”; a printed Heavy Metal Magazine that also has a FB page attached to it. There's 2 issues released so far, and both of these are available in print via the website or various distributors worlwide. The digital version is available as a FREE read or download with link accessible via the website as well. This is a must for any traditional Power, Speed, Progressive Metal fan with a lot of 80's cult acts and obscure bands only known to insiders and die-hard collectors! The editors of Steel For An Age also run a distro-service and have recently also added a small, independent label to it that operates under the name of TRIGGER Records. |
|
|
NINE BLACK ALPS – LP/CD 2014 “Candy For The Clowns”
label: Hatch records
web: www.nineblackalps.com
Nine Black Alps are a Manchester based 4-piece that initiated in 2003 and established themselves as a prime Alternative act with a throbbing live agenda. After a 2-album stint with Island records, an independent release - the '2009' released 'Locked Out From The Inside' - and a follow-up disc, “Sirens” on the Brew-label, the band teamed up with Hatch records to launch their newest work “Candy For The Clowns”. Unmistakably Brit-rock branded, the set occasionally flirts with old-school Grunge and the Alternative thing, drawing certain similarities to Nirvana (“Novokaine”, “Patti”) and Oasis (“Blackout”, “Come Back Around”). The lighter formatted Rocker “Supermarket Clothes” has hit-potential written all over with its catchy up-tempo beat and sticky chorus. Second best hit-pick would be the slightly melancholic laden yet Poppy-esque, 80's Brit / Wave Rocker “Morning After”. Although not Mainstream minded but among the top tracks of the album is the fierce upbeat groovster “Something Else” delivering a cocktail of energetic 'sandpaper' vocals, heavy toned, Punk-ish guitars, and an electric vibe that sticks right from its speaker popping opening leads. The Grunge thing comes surfacing on the moderately paced “Destroy Me”, additionally flirting with some mild HardRock, as is the case on “Come Back Around”. Throughout the album, there's plenty of versatility in repertoire and structures that do have a certain 'unpolished 'plug in and play' feel as common factor though. In all, a strong effort from a band to watch for!
Paul van der Burght
label: Hatch records
web: www.nineblackalps.com
Nine Black Alps are a Manchester based 4-piece that initiated in 2003 and established themselves as a prime Alternative act with a throbbing live agenda. After a 2-album stint with Island records, an independent release - the '2009' released 'Locked Out From The Inside' - and a follow-up disc, “Sirens” on the Brew-label, the band teamed up with Hatch records to launch their newest work “Candy For The Clowns”. Unmistakably Brit-rock branded, the set occasionally flirts with old-school Grunge and the Alternative thing, drawing certain similarities to Nirvana (“Novokaine”, “Patti”) and Oasis (“Blackout”, “Come Back Around”). The lighter formatted Rocker “Supermarket Clothes” has hit-potential written all over with its catchy up-tempo beat and sticky chorus. Second best hit-pick would be the slightly melancholic laden yet Poppy-esque, 80's Brit / Wave Rocker “Morning After”. Although not Mainstream minded but among the top tracks of the album is the fierce upbeat groovster “Something Else” delivering a cocktail of energetic 'sandpaper' vocals, heavy toned, Punk-ish guitars, and an electric vibe that sticks right from its speaker popping opening leads. The Grunge thing comes surfacing on the moderately paced “Destroy Me”, additionally flirting with some mild HardRock, as is the case on “Come Back Around”. Throughout the album, there's plenty of versatility in repertoire and structures that do have a certain 'unpolished 'plug in and play' feel as common factor though. In all, a strong effort from a band to watch for!
Paul van der Burght
|
Homage to Jason McCash / Gates Of Slumber
I first met Jason McCash back in 2010 after I contacted him via social media to have a catch up at The Crobar. He and his band mates Karl and then drummer J Clyde Paradis just arrived in London to do a European support slot for Cathedral, using their time in England to also record their final and acclaimed album 'The Wretch'. Jason was a friendly gentle soul and an extremely talented musician and songwriter who also spent time in the bands 'Amongst The Swarm' and 'Burn It Down', and up until his passing had also started a new music project called 'Black Carcass'. Jason's friend and former band mate Karl Simon has stated that The Gates of Slumber will disband. Damian Llewellyn |
|
TSHIRTSLAYER - The World's largest etal T-Shirt and Battlejacket Gallery
web: http://tshirtslayer.com/
TSHIRTSLAYER is the largest Metal T-shirt and Battlejacket Gallery in the world. The TSHIRTSLAYER website features a most impressive collection of Heavy Metal T-Shirt and Battle Jacket / Kutte / Cut-Off pictures, uploaded by Heavy Metal fans worldwide. It is here that you can research or find out about (vintage) shirts, patches and where to buy them. You can browse by year – 1970 to present – or by band name, and their directory includes hundreds and hundreds of entries, from Anathema and Coroner to Vader and Warlord! Site additionally features a Heavy Metal trade / sell directory (patches, shirts, collectables etc), forum, vintage merchandise catalogue section, album covers, customised shoes and more. Show your devotion to Heavy Metal T-shirts / Battle Jackets / Metal Vests / Kuttens, join and upload your pics on TSHIRTSLAYER
web: http://tshirtslayer.com/
TSHIRTSLAYER is the largest Metal T-shirt and Battlejacket Gallery in the world. The TSHIRTSLAYER website features a most impressive collection of Heavy Metal T-Shirt and Battle Jacket / Kutte / Cut-Off pictures, uploaded by Heavy Metal fans worldwide. It is here that you can research or find out about (vintage) shirts, patches and where to buy them. You can browse by year – 1970 to present – or by band name, and their directory includes hundreds and hundreds of entries, from Anathema and Coroner to Vader and Warlord! Site additionally features a Heavy Metal trade / sell directory (patches, shirts, collectables etc), forum, vintage merchandise catalogue section, album covers, customised shoes and more. Show your devotion to Heavy Metal T-shirts / Battle Jackets / Metal Vests / Kuttens, join and upload your pics on TSHIRTSLAYER
|
|
The Oath photo's above left and right by Joe Dilworth
THE OATH – Female fronted Rock from the dark side!
web: https://www.facebook.com/THEOATHOFFICIAL
http://theoath.bandcamp.com/
http://www.riseaboverecords.com/store/the-oath/
The Oath is a Female fronted collaboration between Swedish native Linnea Olson & German Johanna Sadonis. The origin of the band dates back to 2012 when the two found each other through a mutual friend in Berlin after Linnea fled Stockholm for the lack of inspiration and found a more seedy if not smaller Metal scene in Berlin. Loaded with riffs and ideas, Linnea found the perfect kinsperson in Johanna to help unleash their class of Occult Rock, drawing influence from the likes of Sabbath and Danzig right through to The Stooges. You're unlikely to see The Oath sporting heavy drape velvet dresses like some of their Occult contemporaries; black leather all the way and a much more ballsy delivery to their music; think Heart partying with Motorhead while listening to Poison Idea. The Oath's debut album has been released through Lee Dorian's Cult Doom label 'Rise Above Records' on March 17th 2014 on CD and various limited collectable vinyls which are selling fast as with most future vintage releases from Rise Above. Interesting facts: Logo was designed by Erik Danielson from Watain, and In Solitude’s Henke Palm provided some 'improvised Voivod-style solos' on this release. This is for fans of acts such as The Devils Blood, Blood Ceremony and Purson, check it out!
Damian Llewellyn
web: https://www.facebook.com/THEOATHOFFICIAL
http://theoath.bandcamp.com/
http://www.riseaboverecords.com/store/the-oath/
The Oath is a Female fronted collaboration between Swedish native Linnea Olson & German Johanna Sadonis. The origin of the band dates back to 2012 when the two found each other through a mutual friend in Berlin after Linnea fled Stockholm for the lack of inspiration and found a more seedy if not smaller Metal scene in Berlin. Loaded with riffs and ideas, Linnea found the perfect kinsperson in Johanna to help unleash their class of Occult Rock, drawing influence from the likes of Sabbath and Danzig right through to The Stooges. You're unlikely to see The Oath sporting heavy drape velvet dresses like some of their Occult contemporaries; black leather all the way and a much more ballsy delivery to their music; think Heart partying with Motorhead while listening to Poison Idea. The Oath's debut album has been released through Lee Dorian's Cult Doom label 'Rise Above Records' on March 17th 2014 on CD and various limited collectable vinyls which are selling fast as with most future vintage releases from Rise Above. Interesting facts: Logo was designed by Erik Danielson from Watain, and In Solitude’s Henke Palm provided some 'improvised Voivod-style solos' on this release. This is for fans of acts such as The Devils Blood, Blood Ceremony and Purson, check it out!
Damian Llewellyn
|
|
|
|
Above left: cover of Kick*Ass #26, centre left: The 'Ferocious Fifty' playlist from Kick*Ass that says it all... Metallica, Slayer, Celtic Frost, Sodom, Exciter, Nasty Savage... centre right: cover of Kick*Ass #23, right: demo-section of the magazine.
KICK*ASS MAGAZINE – THE legend that is Kick*Ass continues!
web: https://www.facebook.com/pages/KICK-ASS-Magazine/1448091522070607
Kick*Ass Magazine is a page dedicated to the legendary KICK*ASS Monthly Magazine; a publication released by Bob Muldowney back in the early – mid 80's. Sadly, Bob passed away, but the legend lives on in many Metaler's hearts as Kick*Ass left a mark on the Underground Metal scene, past and present! Like no other, Bob propagated the fanzine thing, 'real Metal', and the discovery of unsigned bands, some of which were first exposed in Kick*Ass. A very distinctive writing style, strong opinions and a liking for the heavier genres were key elements, and inspired many Metalers around the world to start their own fanzine without ever topping the quality of Kick*Ass. The closest friend of Bob for 25 years, and one of the co-writers for Kick*Ass, Mike Hannon, is in the process of putting together a book, something like a 'Best Of Bob', and this page is the first step towards this; the legend lives on...!
web: https://www.facebook.com/pages/KICK-ASS-Magazine/1448091522070607
Kick*Ass Magazine is a page dedicated to the legendary KICK*ASS Monthly Magazine; a publication released by Bob Muldowney back in the early – mid 80's. Sadly, Bob passed away, but the legend lives on in many Metaler's hearts as Kick*Ass left a mark on the Underground Metal scene, past and present! Like no other, Bob propagated the fanzine thing, 'real Metal', and the discovery of unsigned bands, some of which were first exposed in Kick*Ass. A very distinctive writing style, strong opinions and a liking for the heavier genres were key elements, and inspired many Metalers around the world to start their own fanzine without ever topping the quality of Kick*Ass. The closest friend of Bob for 25 years, and one of the co-writers for Kick*Ass, Mike Hannon, is in the process of putting together a book, something like a 'Best Of Bob', and this page is the first step towards this; the legend lives on...!
BRUTIFUL METAL RADIO - “Global Metal Domination”
web: http://brutifulmetalradio.crazy4us.com/
Brutiful Metal Radio is a Metal Radio-Show 'delivering the best from the Unsigned and Signed bands. The show has been around since 2012 and has an international coverage via webstream. To tune in, visit the Brutiful FB page or website for stream links. Bands / Artists wanting to submit material can do so by sending music files to brutiful666@gmail.com for consideration. Brutiful Radio; where bands and fans meet!
web: http://brutifulmetalradio.crazy4us.com/
Brutiful Metal Radio is a Metal Radio-Show 'delivering the best from the Unsigned and Signed bands. The show has been around since 2012 and has an international coverage via webstream. To tune in, visit the Brutiful FB page or website for stream links. Bands / Artists wanting to submit material can do so by sending music files to brutiful666@gmail.com for consideration. Brutiful Radio; where bands and fans meet!
AUTOPSY – 'Tourniquets, Hacksaws And Graves'
label: Peaceville records
songs: Savagery / King Of Flesh Ripped / Tourniquets, Hacksaws And Graves / The Howling Dead / After The Cutting / Forever Hungry / Teeth Of The Shadow Horde / All Shall Bleed / Deep Crimson Dreaming / Parasitic Eye / Burial / Autopsy //
Having returned from the dead in 2009 with 2 comeback albums, California cult Deathsters Autopsy are at it again, violently re-animating the DeathMetal sound of the early 90's. Opening tune “Savagery” is all that, collecting the best of Destruction, early Slayer, Kreater and Possessed, moving in a slam-drummed pace swamped with muffled crunch guitars and raw vocal modes with various intensity levels and appearances, covering the whole spectrum from growls and gut grunts to over-the-top-screams, courtesy of drummer / singer Chris Reifert. This piece has the aggression and intensity of the first Autopsy material with additional timing and melody changes to give it a more in-depth, mature structure overall. More of the same down the album's fastest cuts “After The Cutting”, “Forever Hungry”, “Teeth Of The Shadow Horde” and “Parasitic Eye”. It is here that the band remind most of the '90 “Severed Survival” debut, whilst the lethargic mood swings and meaty Doom hooks further the concept of the 2013 “The Headless Ritual” predecessor. Throughout the album, there's also hints of BlackMetal to be found, merged with a slight Industrial tang down the multi-patterned “The Howling Dead”, digging deep into the narrative Doom thing with a 'refreshing' MF Fate / Nasty Savage style bridge and matching riffage, plus a semi-Stoner-meets-DeathDoom-Metal twist before returning to the slowmotion Doom modus. Overall, the album moves in almost equal measures of intensity DeathMetal and Doom with a few conceptual twists which makes 'Tourniquets, Hacksaws and Graves' their most complete offering, topped with the clear, yet 'massive' sounding production of Adam Munoz (Fantasy Studios).
Paul van der Burght
label: Peaceville records
songs: Savagery / King Of Flesh Ripped / Tourniquets, Hacksaws And Graves / The Howling Dead / After The Cutting / Forever Hungry / Teeth Of The Shadow Horde / All Shall Bleed / Deep Crimson Dreaming / Parasitic Eye / Burial / Autopsy //
Having returned from the dead in 2009 with 2 comeback albums, California cult Deathsters Autopsy are at it again, violently re-animating the DeathMetal sound of the early 90's. Opening tune “Savagery” is all that, collecting the best of Destruction, early Slayer, Kreater and Possessed, moving in a slam-drummed pace swamped with muffled crunch guitars and raw vocal modes with various intensity levels and appearances, covering the whole spectrum from growls and gut grunts to over-the-top-screams, courtesy of drummer / singer Chris Reifert. This piece has the aggression and intensity of the first Autopsy material with additional timing and melody changes to give it a more in-depth, mature structure overall. More of the same down the album's fastest cuts “After The Cutting”, “Forever Hungry”, “Teeth Of The Shadow Horde” and “Parasitic Eye”. It is here that the band remind most of the '90 “Severed Survival” debut, whilst the lethargic mood swings and meaty Doom hooks further the concept of the 2013 “The Headless Ritual” predecessor. Throughout the album, there's also hints of BlackMetal to be found, merged with a slight Industrial tang down the multi-patterned “The Howling Dead”, digging deep into the narrative Doom thing with a 'refreshing' MF Fate / Nasty Savage style bridge and matching riffage, plus a semi-Stoner-meets-DeathDoom-Metal twist before returning to the slowmotion Doom modus. Overall, the album moves in almost equal measures of intensity DeathMetal and Doom with a few conceptual twists which makes 'Tourniquets, Hacksaws and Graves' their most complete offering, topped with the clear, yet 'massive' sounding production of Adam Munoz (Fantasy Studios).
Paul van der Burght
NITRO – 2014 “Volatile Action”
songs: Take Me Higher / Wanted Alive / Faking It / Shark Ladyz / Tuff Life / Do It / Rule The World / Youngblood / Pretender / Boys Will Be Boys /
label: Blood And Iron records / Metal Soldier records
web: www.facebook.com/usanitro
This is the very same U.S. Nitro (from Pennsylvania) that first entered the Metal scene in '82 with their independently released “Nitro” 5-song EP on 10” vinyl! In '84, the European label Mausoleum, re-released the EP in 12” format with the addition of 2 extra tracks and a different cover stating “Nitro + II”. The band intended to release a follow-up album, “Volatile Action” shortly after but that never materialized until recently, following the resurrection of the band through a compilation, “Lethal Dose” (Skol records) and a single, “Uranium” (Hacksaw records) in 2013. The material on “Volatile Action” largely clicks with the “Lethal” repertoire, addressing to Van Halen inspired HardRock with a strong groove-factor. First song up, the upbeat-driven “Take Me Higher” testifies to this, harking back to the sound of the early Van Halen work with hints of “Atomic Punk”. Cut from the same mould are the chunky, moderately paced “Wanted Alive”, and the shuffle-esque “Youngblood”. At times, the material also takes a turn towards the Sleaze-Rock thing with a blend of The Ramones as heard on the mid-paced Rocker “Tuff Life” and the catchy, up-tempo “Do It” sporting a certain resemblance to Van Halen's “Everybody Wants Some” with some Ramones resurfacing. The Glam thing is taken a level further up down the mid-tempo Rocker “Boys Will Be Boys” whilst the more recent offering, bonus track “Uranium” shows a far different side of the band engaging a Proggy sound and atmosphere, contrasting with its rather heavy guitar feedback. The “Volatile Action” album is a throwback to the early– mid 80's U.S HardRock sound, and a worthy continuation of the “Lethal” EP / LP.
songs: Take Me Higher / Wanted Alive / Faking It / Shark Ladyz / Tuff Life / Do It / Rule The World / Youngblood / Pretender / Boys Will Be Boys /
label: Blood And Iron records / Metal Soldier records
web: www.facebook.com/usanitro
This is the very same U.S. Nitro (from Pennsylvania) that first entered the Metal scene in '82 with their independently released “Nitro” 5-song EP on 10” vinyl! In '84, the European label Mausoleum, re-released the EP in 12” format with the addition of 2 extra tracks and a different cover stating “Nitro + II”. The band intended to release a follow-up album, “Volatile Action” shortly after but that never materialized until recently, following the resurrection of the band through a compilation, “Lethal Dose” (Skol records) and a single, “Uranium” (Hacksaw records) in 2013. The material on “Volatile Action” largely clicks with the “Lethal” repertoire, addressing to Van Halen inspired HardRock with a strong groove-factor. First song up, the upbeat-driven “Take Me Higher” testifies to this, harking back to the sound of the early Van Halen work with hints of “Atomic Punk”. Cut from the same mould are the chunky, moderately paced “Wanted Alive”, and the shuffle-esque “Youngblood”. At times, the material also takes a turn towards the Sleaze-Rock thing with a blend of The Ramones as heard on the mid-paced Rocker “Tuff Life” and the catchy, up-tempo “Do It” sporting a certain resemblance to Van Halen's “Everybody Wants Some” with some Ramones resurfacing. The Glam thing is taken a level further up down the mid-tempo Rocker “Boys Will Be Boys” whilst the more recent offering, bonus track “Uranium” shows a far different side of the band engaging a Proggy sound and atmosphere, contrasting with its rather heavy guitar feedback. The “Volatile Action” album is a throwback to the early– mid 80's U.S HardRock sound, and a worthy continuation of the “Lethal” EP / LP.
|
|
|
|
from left to right: The new Rampage Radio Logo, The 80's Rampage Radio / KUSF logo, issue #13, and issue #14 of Metal Mania Magazine
METAL MANIA'S RON QUINTANA – How Underground Metal can one man be?!
web: www.kusf.org/programs/rampage-radio/
To those that were there back in the early 80's, trading tapes, buying fanzines and banging their heads to bands such as Mercyful Fate, Anvil Chorus and Exodus, the name Ron Quintana will bring back memories of the days when Metal was glorious and true, Underground and fanatic beyond extend. Ron Quintana was a role-model for what is and was Underground Metal; a man drenched in Denim, Leather and Metal and renowned for his then fanzine METAL MANIA and 'RAMPAGE' College Radio Station, sending the Metal signals through KUSF 90.3 FM in San Francisco. And yes, he could have had the name METALLICA for his fanzine....The legend lives on, 4 decades onwards as RAMPAGE and host Ron are still battering the airwaves, tune in!
BAST – 'Spectres'
label: Black Bow Records / Burning World Records
band-info and contact: www.facebook.com/bastmusic
label: www.blackbowrecords.bigcartel.com
www.burningworldrecords.com
Brand new band on a brand new label... freshly into 2014, London based three piece unit BAST have released their debut 'Spectres' on a new label by Jon Davis of CONAN, 'Black Bow Records'. The album was produced by Chris Fielding at the Skyhammer studio, and is released on vinyl in a limited press of 300 copies by 'Black Bow Records', followed by a limited run of 50 cassette-tapes. The album is also released in CD format on 'Burning World Records', and in addition, there is also an on-line download option.
It seemed fitting to have my first listen to Bast while walking to work on a freezing cold misty February morning; It is as if these Doom merchants felt my suffering somehow... Tracks like 'Outside The Circles Of Time' start off with a hypnotic melodic passage to slowly build up to a heart wrenching climax of agony and suffering. Not usually a fan of the 10 minute Doom song but each track has enough pace and atmosphere changes to stop you feeling suicidal... This album has a brilliant balance of slow crushing Doom to faster paced Blackened Metal, while still being beautifully melodic at times. I really enjoyed 'Spectres' and look forward to keeping track on these guys' much deserved success.
Damian Llewellyn
label: Black Bow Records / Burning World Records
band-info and contact: www.facebook.com/bastmusic
label: www.blackbowrecords.bigcartel.com
www.burningworldrecords.com
Brand new band on a brand new label... freshly into 2014, London based three piece unit BAST have released their debut 'Spectres' on a new label by Jon Davis of CONAN, 'Black Bow Records'. The album was produced by Chris Fielding at the Skyhammer studio, and is released on vinyl in a limited press of 300 copies by 'Black Bow Records', followed by a limited run of 50 cassette-tapes. The album is also released in CD format on 'Burning World Records', and in addition, there is also an on-line download option.
It seemed fitting to have my first listen to Bast while walking to work on a freezing cold misty February morning; It is as if these Doom merchants felt my suffering somehow... Tracks like 'Outside The Circles Of Time' start off with a hypnotic melodic passage to slowly build up to a heart wrenching climax of agony and suffering. Not usually a fan of the 10 minute Doom song but each track has enough pace and atmosphere changes to stop you feeling suicidal... This album has a brilliant balance of slow crushing Doom to faster paced Blackened Metal, while still being beautifully melodic at times. I really enjoyed 'Spectres' and look forward to keeping track on these guys' much deserved success.
Damian Llewellyn
MUNICH'S HARDEST HITS
Germany's No.1 Rock-Station on the internet!
web:www.munichshardesthits.com
info: mail@munichshardesthits.com
Postal address: Munich's Hardest Hits, Postfach 22 11 01, D-80501, Munchen, GERMANY
MUNICH'S HARDEST HITS is a web-radio-show, located in Munich, Germany, and consists of Tom, Peter and Juergen. MUNICH'S HARDEST HITS is on the net since 1999.and broadcasts in Highstream (128 Kbit/s) for DSL and Cable users, and in Lowstream (48 Kbit/s) for modem-users. MUNICH'S HARDEST HITS plays non-stop Melodic Rock / A.O.R and related 24 hrs a day with extra features on weekday evenings from 21:00 – 23:00 hrs, including the Power Hour, Classics, and rarities. Although the show mostly airs signed bands / artists, MUNICH HARDEST HITS also accepts and plays material from unknown Newcomer bands in these music styles. Bands interested in submitting material, should send a promo-pack with CD to the postal address. MUNICH'S HARDEST HITS; Germany's No.1 Rock-Station on the internet!
Germany's No.1 Rock-Station on the internet!
web:www.munichshardesthits.com
info: mail@munichshardesthits.com
Postal address: Munich's Hardest Hits, Postfach 22 11 01, D-80501, Munchen, GERMANY
MUNICH'S HARDEST HITS is a web-radio-show, located in Munich, Germany, and consists of Tom, Peter and Juergen. MUNICH'S HARDEST HITS is on the net since 1999.and broadcasts in Highstream (128 Kbit/s) for DSL and Cable users, and in Lowstream (48 Kbit/s) for modem-users. MUNICH'S HARDEST HITS plays non-stop Melodic Rock / A.O.R and related 24 hrs a day with extra features on weekday evenings from 21:00 – 23:00 hrs, including the Power Hour, Classics, and rarities. Although the show mostly airs signed bands / artists, MUNICH HARDEST HITS also accepts and plays material from unknown Newcomer bands in these music styles. Bands interested in submitting material, should send a promo-pack with CD to the postal address. MUNICH'S HARDEST HITS; Germany's No.1 Rock-Station on the internet!
AMORAL – 'Fallen Leaves And Dead Sparrows'
label: Graphite records
band contact:
https://www.facebook.com/amoralweb?fref=ts
If there is one thing that is a guarantee with Scandinavian acts, then that is tip-top musicianship and songwriting, either taken to in-depth proficiency and technicality or mashed with a serious groove element; 'Fallen Leaves And Dead Sparrows' by Finnish 5-piece Amoral does both! The album – which is their 6th one but their first on the UK label 'Graphite records' – has become a landmark release, and finds the band digging deeper into Progressive soil whilst retaining the classic Rock root that has defined their music from day one... Opening tune “On The Other Side” testifies to this, as it opens in a true Progressive manner with an instrumental interlude that smoothly morphs into a crisp and clean, melodic laden HardRocker with a lot of guitar, courtesy of Ben Varon and Masi Hukari. The first twist in concept comes straight after with “No Familiar Face”; an energetic up-tempo Metaler with a gripping riff and Alternative edged vocalage by Ari Koivunen. More musical shape-shifting and combined genres is brought about by the double bass drummed, MetalCore minded “Prolong A Stay”, the 70's styled, and Led Zep infused Rocker “Blueprints”, and the 9+ minute “If Not Here, Where”, allowing plenty of room for a whole palette of musical flavours, from Epic acoustics and Uriah Heep styled vocals to dark, melodic moods, mild MetalCore features and a considerable activity in the instrumental department. More Proggy extravaganza and technicality is on display on “The Storm Arrives”, whilst subtlety is secured with the radio-friendly balladry of “See This Through”. In all, a very complete and in-depth album, both in terms of lyrical content and songwriting. This makes “Fallen Leaves And Dead Sparrows” a treat for a wide spectrum of listeners, and fans of bands as diverse as Alter Bridge, Led Zeppelin, Uriah Heep and Dream Theater as there's bits and blends of all that in there! Strong effort...
Paul van der Burght
label: Graphite records
band contact:
https://www.facebook.com/amoralweb?fref=ts
If there is one thing that is a guarantee with Scandinavian acts, then that is tip-top musicianship and songwriting, either taken to in-depth proficiency and technicality or mashed with a serious groove element; 'Fallen Leaves And Dead Sparrows' by Finnish 5-piece Amoral does both! The album – which is their 6th one but their first on the UK label 'Graphite records' – has become a landmark release, and finds the band digging deeper into Progressive soil whilst retaining the classic Rock root that has defined their music from day one... Opening tune “On The Other Side” testifies to this, as it opens in a true Progressive manner with an instrumental interlude that smoothly morphs into a crisp and clean, melodic laden HardRocker with a lot of guitar, courtesy of Ben Varon and Masi Hukari. The first twist in concept comes straight after with “No Familiar Face”; an energetic up-tempo Metaler with a gripping riff and Alternative edged vocalage by Ari Koivunen. More musical shape-shifting and combined genres is brought about by the double bass drummed, MetalCore minded “Prolong A Stay”, the 70's styled, and Led Zep infused Rocker “Blueprints”, and the 9+ minute “If Not Here, Where”, allowing plenty of room for a whole palette of musical flavours, from Epic acoustics and Uriah Heep styled vocals to dark, melodic moods, mild MetalCore features and a considerable activity in the instrumental department. More Proggy extravaganza and technicality is on display on “The Storm Arrives”, whilst subtlety is secured with the radio-friendly balladry of “See This Through”. In all, a very complete and in-depth album, both in terms of lyrical content and songwriting. This makes “Fallen Leaves And Dead Sparrows” a treat for a wide spectrum of listeners, and fans of bands as diverse as Alter Bridge, Led Zeppelin, Uriah Heep and Dream Theater as there's bits and blends of all that in there! Strong effort...
Paul van der Burght
DEMOLITION – Encyclopaedia of 80's Metal demo-tapes
web:http:demolitionbook.blogspot.com
DemoLition is a book, currently in the works and compiled and written by Rob Plante. The DemoLition book will be a complete-as-possible Encyclopaedia of every known Heavy Metal and Hard Rock demo released in the1980's with reviews and / or detailed information. The book will be published by Bazillion Points and is tentatively scheduled for a 2014 release. It will boast an impressive estimate of around 8000 demos from 6000 bands, and Rob will probably review half of those. Rob has a blog where you can see the progress and request for demos and info. It is http://demolitionbook.blogspot.com/ Rob likes to put a call out for research materials; if you have any metal zines from the '80s and '90s, press kits, photos, whatever, please get in touch, also if you're interested in selling or donating. And if you have any of the demos listed on this blog, or if you were in one of the bands and can verify dates, song titles, locations, and personnel, please write. That includes Hard Rock, Hair Metal, Crossover, Grindcore, and any Metal-influenced Punk. This book will be as accurate and complete as possible. Contact Robert Plante at: forbiddeneyedesign@gmail.com
web:http:demolitionbook.blogspot.com
DemoLition is a book, currently in the works and compiled and written by Rob Plante. The DemoLition book will be a complete-as-possible Encyclopaedia of every known Heavy Metal and Hard Rock demo released in the1980's with reviews and / or detailed information. The book will be published by Bazillion Points and is tentatively scheduled for a 2014 release. It will boast an impressive estimate of around 8000 demos from 6000 bands, and Rob will probably review half of those. Rob has a blog where you can see the progress and request for demos and info. It is http://demolitionbook.blogspot.com/ Rob likes to put a call out for research materials; if you have any metal zines from the '80s and '90s, press kits, photos, whatever, please get in touch, also if you're interested in selling or donating. And if you have any of the demos listed on this blog, or if you were in one of the bands and can verify dates, song titles, locations, and personnel, please write. That includes Hard Rock, Hair Metal, Crossover, Grindcore, and any Metal-influenced Punk. This book will be as accurate and complete as possible. Contact Robert Plante at: forbiddeneyedesign@gmail.com
METAL WARRIORS – Metal nights in central London
web: www.meetup.com/london-metal-meetup-group
METAL WARRIORS is a Metal night in central London, spinning the best in Metal, Glam, Death, Gothic, Classic Rock, Industrial, Punk, Thrash, Hard Rock and more. METAL WARRIORS is for Metalers by Metalers, and blow the speakers once / twice a month. Shows start @ 20:00 hrs and continue up until 04:00. and entrance is free. Music is provided by DJs Wozza, Illyrius, DJ Griffin, Lucyfur, Elric and Jolly Rogers. To find out about upcoming METAL WARRIORS shows, visit the London Metal Meetup site @ web: www.meetup.com/london-metal-meetup-group
web: www.meetup.com/london-metal-meetup-group
METAL WARRIORS is a Metal night in central London, spinning the best in Metal, Glam, Death, Gothic, Classic Rock, Industrial, Punk, Thrash, Hard Rock and more. METAL WARRIORS is for Metalers by Metalers, and blow the speakers once / twice a month. Shows start @ 20:00 hrs and continue up until 04:00. and entrance is free. Music is provided by DJs Wozza, Illyrius, DJ Griffin, Lucyfur, Elric and Jolly Rogers. To find out about upcoming METAL WARRIORS shows, visit the London Metal Meetup site @ web: www.meetup.com/london-metal-meetup-group
FORGOTTEN STEEL Metal mailorder
The source of rare, obscure and all great Heavy Metal !!!
web: www.forgottensteel.de
FORGOTTEN STEEL is a 2nd hand mailorder of rare vinyls, CD's and demo-tapes, based in Germany. FORGOTTEN STEEL offers an impressive catalogue of 7” singles, LP's, CD's, demo-tapes, zines, books, videos, vintage 80's & 90's Metal shirts and more. Mostly 80's oriented, and everything from HardRock, Heavy Metal, NWOBHM, PowerMetal, SpeedMetal, Thrash, Progressive / Technical Metal to Melodic, and A.O.R. Lots of private-press releases and obscure vinyls, and some of the rarest stuff you will ever find; from Europe and the U.S.A all the way to Japan and Australia. Website also features the FORGOTTEN STEEL webzine (written in English) packed with tons of obscure Metal reviews, 80's labels-special with detailed info on their releases, catalogue numbers etc. FORGOTTEN STEEL - 'Home of rare, obscure and great Metal !!!!
The source of rare, obscure and all great Heavy Metal !!!
web: www.forgottensteel.de
FORGOTTEN STEEL is a 2nd hand mailorder of rare vinyls, CD's and demo-tapes, based in Germany. FORGOTTEN STEEL offers an impressive catalogue of 7” singles, LP's, CD's, demo-tapes, zines, books, videos, vintage 80's & 90's Metal shirts and more. Mostly 80's oriented, and everything from HardRock, Heavy Metal, NWOBHM, PowerMetal, SpeedMetal, Thrash, Progressive / Technical Metal to Melodic, and A.O.R. Lots of private-press releases and obscure vinyls, and some of the rarest stuff you will ever find; from Europe and the U.S.A all the way to Japan and Australia. Website also features the FORGOTTEN STEEL webzine (written in English) packed with tons of obscure Metal reviews, 80's labels-special with detailed info on their releases, catalogue numbers etc. FORGOTTEN STEEL - 'Home of rare, obscure and great Metal !!!!
|
|
Above left and right: Hell Yeah photos by David Jackson. Photos published with permission by I Like Press.
HELL YEAH – interview by Damian Llewellyn
'Blood For Blood' is the newest offering from HELL YEAH, and their 'statement album' according to singer Chad Gray. There's a lot of meaning behind the album's title and this is also reflected by its lyrical content and musical attitude... Manic Mosh editor Damian Llewellyn talked with Chad about the album concept and the all new HELL YEAH...
Damian: If you look at the musical concept on 'Blood For Blood'; how would you describe it?
Chad: They are all heavy! even the mid-tempo tracks are pretty deep meaning and emotionally heavy versus riff-heavy.... I love 'DMF', 'Blood For Blood', 'Demons In The Dirt', 'Cross To Bier', on the other side, I like 'Hush', 'Moth', 'Black December'; these are awesome tunes. It kinda unified all the individual members throughout.
Damian: so, basically, heavier...
Chad: I think overall it is heavier than earlier stuff, and these are strong songs. Yes, they are heavy, but at the same time, there's better song-writing. With every song we write together, every record, we have a better understanding of each other, our limits and boundaries, and a better understanding of what it is we do which is important. It is always good to challenge yourself to write, to press the boundaries out, to write better songs, to be a better band....
Damian; The more atmospheric laden tunes 'Moth' and 'Hush' are a moment of 'rest' in between all the anger that sparks from the set... What's behind these songs, 'Moth' in particular....
Chad: 'Moth' has a heavier meaning where we all relate to; a moth to a flame kind of metaphor is that we are all animals, and we all have animal instincts, and you know it's wrong, wrong, wrong, and you have an emotion, some sort of attachment, even though you know it might come back to bite you in the ass, you kind of have to live and learn, and sometimes you're drawn towards the things you know are not the right thing, so it has a deeper meaning. The heavier stuff always has an aggressive meaning behind it; anger, frustration, things like that. But, I like to explore the other side of myself, getting more into the deep metaphors of what we are as human beings....
Damian: But you still got that anger...
Chad: Oh yeah, probably more on this record, than any other Hell Yeah record. The last one was definitely aggressive and had tons of anger, trust me, but this one seems like it is more focused anger; it is uncomfortable, versus anger, like frustrations, the idea of being used, being taken for granted. That, is very frustrating, as a human being doesn't like to look back on it as 'fuck..'; which kinda goes back to the Moth too... you knew it was wrong, but you put yourself in that situation, and there's a lot of things in our lives that we don't put ourselves in that situation, and you get burned. That is pretty much the whole philosophy behind 'Blood For Blood'; it's like you know, 'You take something from me, You hurt me, You injured me, You wounded me', and then you shouldn't have to pay for that. It is not just about blood for blood, cartel, murder, stuff like that... it is, 'You take something, rob something from me emotionally, Put me in a negative position, financially' or something like that. Many levels of 'You owe me, and I want you to f*cking pay me and reimburse me with what I lost cause you not only put me in a bad position', but you f*cking jaded me, you made me done my walls up higher and I don't want to do that as a human.
Damian: Line-up wise, you are going to be touring with a new guitarist?
Chad: Kyle Sanders from Bloodsimple is on board to play bass. And we do have a guitarist in mind; a beast of a guitar-player killer, and we are all excited about it... This is going to be a real strong Hell Yeah, and we can't wait to get back over here and unleash wherever... I'm ready man, the record's been done now for a month or two, we rehearsed it, and now we just want to go on stage and blow it up!
Damian: How was the song-writing and recording as a whole looking back... Did it gel on the same page and did input flow equally from each member?
Chad: In this career, it is the same as with Mudvayne basically... It is just awesome to work with honest players, integral players . Everything that I've done, this band included, is just unspoken. The touring together, getting off the road, ready to go on the song-writing again, a little break, a few weeks or something, and back to the writing again... But yeah, everyone takes it in and we know exactly where we are going. This record really is kind of our statement piece, our stamp... We know where we are at, and who we are! it took us 3 records to get there; ABCD...gotta have an A to start, a B to figure it out, a C to make that transition, and a D to say yeah, we got it!
Damian; listening to the back catalogue, there's a party element, boozing and such alongside the anger... but the new material seems to be much darker overall...
Chad: Oh yeah, definitely; it's different in a way that it is darker, more diminished, deeper, angrier and more focused.
Damian: What's with the touring, and is Japan included?
Chad: Japan! I hope so, I love Japan, great fans... they go fully into it, but it is the same everywhere though, Metal fans are just awesome worldwide. I love it when the fans are into what we are doing... We have been fortunate to play the festivals, and it's like there's say a 100 bands over 3 days and nobody necessary bought a ticket to see Hell Yeah, they are coming to see whoever is headlining, and you just do your portion to be part of it... you cant pick people one at a time, but hopefully leave a mark on them.
Damian: Your singing voice is still as strong as it was and doesn't seem to fade; how do you do it, I mean, do you have a routine before a show?
Chad: O yeah. I do a warm up, but it's not very long.... some singers do extensive ones, like one hour or so but the one I do is about 15 minutes and it is more together now than the ones I used to do in the past. I listen to vocal coach Melissa Cross, 'The Zen Of Screaming', and I got my warm-up from Joanathan Davis from Korn which is a good friend of mine, however his one is a lot more extensive though. But now I have the perfect warm-up.. and after I sing three Hell Yeah songs, start with a warm one, then a heavier one and so, when I walk on stage, I am ready to be there for Hell Yeah, not the lalala sh*t!
Damian: Where do you see yourself further down this year?
Chad: Touring! I love touring... I hate being home; just sitting there spilling your wills.. You go home for a month, and I guess that's all right because people wait all year to go on holiday or something, but I am the most undisciplined person when I am home since I do not have any regiment, no plans and that is the worst thing for a personality like me... I enjoy being on the road, I like to play, I love my job!
Above left: HELL YEAH singer Chad Gray with
Manic Mosh editor Damian Llewellyn
Manic Mosh editor Damian Llewellyn
|
|
KINGDOMZX – Rock, Metal, Models and more!
Web: www.kingdomzx.com
KINGDOMZX.COM is an entertainment social network with all that is Heavy Metal or related. Kingdomz X was initiated in 2011 with the aim to create a platform where bands and fans could interact. The primary site however, was built not only to serve as a social network but also as a place where bands can learn how to market their music and merchandise on the internet, increase their search engine optimization (SEO), and have access to the best internet syndication tools available to them. In addition to the main Kingdomz X site, there's spin-offs including Kingdomz X Rock & Metal Entertainment (www.kingdomzx.net) featuring selected blogs, and Kingdomz X Extreme Arts & Entertainment (www.kingdomzx.org) that mainly hosts extreme forms of Metal (Death Metal, Black Metal, GrindCore etc.) plus models, free downloads, magazines, film, events and more. And then, there is also the digital newspaper Kingdomz X Rock & Metal News (www.kingdomzx.info) There is a lot to choose from here and with a radio-station in the works Kingdomz X will cater for all your Heavy Metal needs, news and more, check it out!
Web: www.kingdomzx.com
KINGDOMZX.COM is an entertainment social network with all that is Heavy Metal or related. Kingdomz X was initiated in 2011 with the aim to create a platform where bands and fans could interact. The primary site however, was built not only to serve as a social network but also as a place where bands can learn how to market their music and merchandise on the internet, increase their search engine optimization (SEO), and have access to the best internet syndication tools available to them. In addition to the main Kingdomz X site, there's spin-offs including Kingdomz X Rock & Metal Entertainment (www.kingdomzx.net) featuring selected blogs, and Kingdomz X Extreme Arts & Entertainment (www.kingdomzx.org) that mainly hosts extreme forms of Metal (Death Metal, Black Metal, GrindCore etc.) plus models, free downloads, magazines, film, events and more. And then, there is also the digital newspaper Kingdomz X Rock & Metal News (www.kingdomzx.info) There is a lot to choose from here and with a radio-station in the works Kingdomz X will cater for all your Heavy Metal needs, news and more, check it out!
MALCOLMICA METALLUM – The iconic Rock reporter that is Malcom Dome
Malcolm Dome is an iconic Rock reporter that was at the helm of the Metal genre in the early 80's, as it mushroomed globally and developed several sub-genres. Before it even got that far, Malcolm and co-writer Brian Harrigan put together a publication that documented the genre and its bands; the so called 'Bible of Heavy Metal'; “Encyclopaedia Metallica”. And there you have it; the source that Metallica would lift their name from, after Lars Ulrich saw it on a list of potential names for the fanzine that Lars' friend Ron Quintana planned to publish. Metallica snapped up the name and Ron went for the name Metal Mania. In the years that followed, Malcolm was active as a journalist for magazines such as Kerrang, Metal Hammer and Classic Rock, and continued documenting band histories, Artist biographies and such in book-format, and would also make screen-appearances in Metal-related documentaries such as “Dude, Where's My Music”, “Metal; A Headbanger's Journey”, “Anvil; The Story Of Anvil” and others. Malcolm is still active as a journalist / writer and co-runs / hosts the 'Total Rock' radio-station if he is not busy talking Metal and sipping vodka-orange in his 'second home', the “Crobar” / London.
Malcolm Dome is an iconic Rock reporter that was at the helm of the Metal genre in the early 80's, as it mushroomed globally and developed several sub-genres. Before it even got that far, Malcolm and co-writer Brian Harrigan put together a publication that documented the genre and its bands; the so called 'Bible of Heavy Metal'; “Encyclopaedia Metallica”. And there you have it; the source that Metallica would lift their name from, after Lars Ulrich saw it on a list of potential names for the fanzine that Lars' friend Ron Quintana planned to publish. Metallica snapped up the name and Ron went for the name Metal Mania. In the years that followed, Malcolm was active as a journalist for magazines such as Kerrang, Metal Hammer and Classic Rock, and continued documenting band histories, Artist biographies and such in book-format, and would also make screen-appearances in Metal-related documentaries such as “Dude, Where's My Music”, “Metal; A Headbanger's Journey”, “Anvil; The Story Of Anvil” and others. Malcolm is still active as a journalist / writer and co-runs / hosts the 'Total Rock' radio-station if he is not busy talking Metal and sipping vodka-orange in his 'second home', the “Crobar” / London.
RARITIES, 80'S METAL AND HARD FACTS all reviews and information by Paul van der Burght
|
|
DEATHSLAYER – CASSETTE EP US’84 “CRY OF THE SWORDS”
Songs: Strange Illusions / Cry Of The Swords / Night Of The Burning Witch / Journey For Light / Deathslayer / Raven’s Nest //
There’s been a great deal of misconceptions about this particular release, often assumed to be a scarce, highly collectible piece of vinyl. Well, it IS NOT! There was plans to release this tape on vinyl and the band even got close to land a deal with Iron Works to tape this 6-songer on vinyl somewhere in the mid 80’s, but this never happened. The fact that is was circulated as a cassette-EP doesn’t exactly straighten up things here either! The “Cry Of The Swords” demo is the one and only release produced by this Brooklyn based outfit that initiated in march ’83 and was comprised of Johnny Hearts (guitar), Susanne Hearts (vocals), John Forte (bass) and Steve Alliano (drums). Other than it’s moniker may suggest, Deathslayer adopted some European mould Metal, on the verge of PowerMetal with technical, Progressive like twists and melodic bits (vocally). The demo – which actually is a selection from a 30 track repertoire!! - starts with “Strange Illusions”; a Progressive styled, minor scale guitar intro/instrumental. Next up is “Cry Of The Swords”; a true European geared, mid-paced Metal number that halfway develops into a moderately fast-paced, all-guitar oriented affair. “Night Of The Burning Witch” is entirely patterned upon a mobility lead guitar that goes in full with twin-modes during the extended solo. “Journey For Light” was also being featured on the “New York Metal’84” compilation (Rock City ’84) and is the most straight forward type number on the cassette. This catchy, riff-based upbeat number has a sticky nature and features a more convincing vocal performance of Susanne, delivering some double sung/dubbed, melodic lead lines, other than the regular, rather level-voice approach on the rest of the set. The mid-paced “Deathslayer” is a Progressive edged Metaler with bits of balladry before it furthers as a moderately fast instrumental. “Raven’s Nest” is another compilation track, appearing on the “Iron Tyrants vol.I” LP (World Metal ’84). This is the demo’s heaviest outlet; solid, straight forward and close to SpeedMetal, with double bass-drummage and the best , overall vocal-performance, covering a variety in pitch. Trademark of the band, however, is the guitar-style of Johnny Hearts; mobility-type, dominant, and technical in terms of structure and riffage. It is particularly this technicality and mobility in the guitar department that makes comparisons to both Siren and Brocas Helm arise, though the band says to be influenced by acts/artists such as Queensryche (slightly evident on “Deathslayer”), Iron Maiden and Rhandy Roads. Deathslayer definitely had class, just too bad, they never got to vinylize this set. Shortly after, the band continued as HELICON, replaced bass player John Forte by newcomer Hugh Essay, and planned to release a 7-song LP by that name, featuring 4 modified demo songs and three new tunes; “Take The Chance”, “Time Flight” and “Wild Spirit”. Again, this never happened!
Songs: Strange Illusions / Cry Of The Swords / Night Of The Burning Witch / Journey For Light / Deathslayer / Raven’s Nest //
There’s been a great deal of misconceptions about this particular release, often assumed to be a scarce, highly collectible piece of vinyl. Well, it IS NOT! There was plans to release this tape on vinyl and the band even got close to land a deal with Iron Works to tape this 6-songer on vinyl somewhere in the mid 80’s, but this never happened. The fact that is was circulated as a cassette-EP doesn’t exactly straighten up things here either! The “Cry Of The Swords” demo is the one and only release produced by this Brooklyn based outfit that initiated in march ’83 and was comprised of Johnny Hearts (guitar), Susanne Hearts (vocals), John Forte (bass) and Steve Alliano (drums). Other than it’s moniker may suggest, Deathslayer adopted some European mould Metal, on the verge of PowerMetal with technical, Progressive like twists and melodic bits (vocally). The demo – which actually is a selection from a 30 track repertoire!! - starts with “Strange Illusions”; a Progressive styled, minor scale guitar intro/instrumental. Next up is “Cry Of The Swords”; a true European geared, mid-paced Metal number that halfway develops into a moderately fast-paced, all-guitar oriented affair. “Night Of The Burning Witch” is entirely patterned upon a mobility lead guitar that goes in full with twin-modes during the extended solo. “Journey For Light” was also being featured on the “New York Metal’84” compilation (Rock City ’84) and is the most straight forward type number on the cassette. This catchy, riff-based upbeat number has a sticky nature and features a more convincing vocal performance of Susanne, delivering some double sung/dubbed, melodic lead lines, other than the regular, rather level-voice approach on the rest of the set. The mid-paced “Deathslayer” is a Progressive edged Metaler with bits of balladry before it furthers as a moderately fast instrumental. “Raven’s Nest” is another compilation track, appearing on the “Iron Tyrants vol.I” LP (World Metal ’84). This is the demo’s heaviest outlet; solid, straight forward and close to SpeedMetal, with double bass-drummage and the best , overall vocal-performance, covering a variety in pitch. Trademark of the band, however, is the guitar-style of Johnny Hearts; mobility-type, dominant, and technical in terms of structure and riffage. It is particularly this technicality and mobility in the guitar department that makes comparisons to both Siren and Brocas Helm arise, though the band says to be influenced by acts/artists such as Queensryche (slightly evident on “Deathslayer”), Iron Maiden and Rhandy Roads. Deathslayer definitely had class, just too bad, they never got to vinylize this set. Shortly after, the band continued as HELICON, replaced bass player John Forte by newcomer Hugh Essay, and planned to release a 7-song LP by that name, featuring 4 modified demo songs and three new tunes; “Take The Chance”, “Time Flight” and “Wild Spirit”. Again, this never happened!
|
PROWLER – 7” US’86 “I LOVE IT”
label: Scumdog records (private) songs: I Love It / Temporary Insanity // When it comes to the name Prowler, there’s been quite a few going by that name back in the 80’s. The Prowler on display here is from the U.S, not to be mistaken for the more commonly known New York outfit that produced vinyls the very same year this obscure and highly priced 7-incher was circulated. Gauging the all-Metal logo / cover image, and backprint - depicting this San Diego 5-piece in traditional denim / leather outfits, complete with beercans and sunshades pose – there should be no guessing about the musical status. Then again, it is half as Metal as it could be, and anything but what one’d expect to come from an US.Metal act down the mid-80’s. This single might just aswell have been a product, released in the very early 80’s, as their sound is heavily rooted in the European HardRock thing. This comes with a slight touch upon NWOBHM referring to the riffage of its opening tune; the 5.18 Minute “I Love It”. Quite a stretch of time, particularly in view of the fact that Prowler aren’t much of a structural – conscience act, drifting on linear, no-risk programming, minus the rather well considered bridge / transition to follow after its guitarsolo. The similar styled “Temporary Insanity”, is just a fraction slower than its titletrack, driven by a mod / mid-paced beat with rather chunky riff-layers over it. Again, the package runs in a repetitive gear with the HardRock thing further pushed forward. Throughout the whole ordeal, the main draw are the muscular, hoarse style vocals of Rob Palmer, and that is also the one element that generates most of the ‘power’. Other than that, this 2-songer is rather flat, too measured down, which could well have been way different, and heavier to say the least, in view of the fact that Prowler had 2 guitarists going. Still, an okay item, but nothing out of the ordinary. |
BLACKWATER – 7” SWI’81 “KNOCK DOWN”
label: SMS
songs: Knock Down / Power Light’s //
The BLACKWATER single ranks among the more pricy 7-inchers to emerge from central Europe. BLACKWATER, comprised of the Binder brothers and two additional band-members didn’t exactly dress for the occasion, having their pics taken for the backprint of this 2-songer. The cover-image is more like it (depicting gothic lettering over a skull / castle print), and the music further testifies how looks can deceive. The mod / mid paced “Knock Down” classifies as conventional rooted, European HardRock with bits of early SCORPIONS (chords) pieced together with particles of the NWOBHM thing. It is there that the band also draws a certain comparison to WEAPON’s “It’s A Mad, Mad World”. Flipside tune; the slow-paced, AC / DC vibed HardRocker “Power Light’s” (as it is spelled), has more of a 70’s feel to it, but has the same, basic-style programming. In all, a reasonable single, but nothing that will shake things up, as it is just that ordinary.
label: SMS
songs: Knock Down / Power Light’s //
The BLACKWATER single ranks among the more pricy 7-inchers to emerge from central Europe. BLACKWATER, comprised of the Binder brothers and two additional band-members didn’t exactly dress for the occasion, having their pics taken for the backprint of this 2-songer. The cover-image is more like it (depicting gothic lettering over a skull / castle print), and the music further testifies how looks can deceive. The mod / mid paced “Knock Down” classifies as conventional rooted, European HardRock with bits of early SCORPIONS (chords) pieced together with particles of the NWOBHM thing. It is there that the band also draws a certain comparison to WEAPON’s “It’s A Mad, Mad World”. Flipside tune; the slow-paced, AC / DC vibed HardRocker “Power Light’s” (as it is spelled), has more of a 70’s feel to it, but has the same, basic-style programming. In all, a reasonable single, but nothing that will shake things up, as it is just that ordinary.
DEACON – DEMO US’85 “DEATH TO POSERS”
Songs: Death To Posers / Evermore / Praying And Hoping / Sins Will Burn / High Noon / I’ll Be Damned //
The title of the demo from this Brandon / Florida-based act basically says it all; this is not for posers and ‘false Metalers’ alike, moreover complimented by the lyrical contents of the anthematic Metaler “Death To Posers”, including ‘all-Metal’ phrasing such as; “We Reign In Millions, To Stand And Fight” or “We’ve Got The Glory, With Studs And Steel”, “Die False Metalers, We’re Out To Kill”……This is one of those ‘fist in the air & shout along’ workouts that truly captures the spirit of mid 80’s Metal. Too bad, the band doesn’t continue the demo in a similar fashion, as follow-up tune “Evermore” shows a completely different approach, tapping into U.S. HardCore TrashMetal mid 80’s style. “Praying And Hoping” is, despite its slow-pace, a most intense commodity; mostly on account of the incredibly harsh, over-the-top scream-style vocalage by singer ‘The Deacon’; not the most obvious song-structure and approach…The band slips into high gear with “Sins Will Burn”; a driven, Thrash / SpeedMetaler with a gripping beat. “High Noon” is pretty much cut from the same mould, patterned upon a fast, straight-forward drive. “I’ll Be Damned”, is a regular, riff-based Metal number, and actually quite mediocre, running down the standard programming. Deacon are not much of a technical outfit in terms of musicianship and structure, but do have an edge, if only for its winning title-track.
Songs: Death To Posers / Evermore / Praying And Hoping / Sins Will Burn / High Noon / I’ll Be Damned //
The title of the demo from this Brandon / Florida-based act basically says it all; this is not for posers and ‘false Metalers’ alike, moreover complimented by the lyrical contents of the anthematic Metaler “Death To Posers”, including ‘all-Metal’ phrasing such as; “We Reign In Millions, To Stand And Fight” or “We’ve Got The Glory, With Studs And Steel”, “Die False Metalers, We’re Out To Kill”……This is one of those ‘fist in the air & shout along’ workouts that truly captures the spirit of mid 80’s Metal. Too bad, the band doesn’t continue the demo in a similar fashion, as follow-up tune “Evermore” shows a completely different approach, tapping into U.S. HardCore TrashMetal mid 80’s style. “Praying And Hoping” is, despite its slow-pace, a most intense commodity; mostly on account of the incredibly harsh, over-the-top scream-style vocalage by singer ‘The Deacon’; not the most obvious song-structure and approach…The band slips into high gear with “Sins Will Burn”; a driven, Thrash / SpeedMetaler with a gripping beat. “High Noon” is pretty much cut from the same mould, patterned upon a fast, straight-forward drive. “I’ll Be Damned”, is a regular, riff-based Metal number, and actually quite mediocre, running down the standard programming. Deacon are not much of a technical outfit in terms of musicianship and structure, but do have an edge, if only for its winning title-track.
DEFENDER – DEMO HOL ’84 “TALES OF THE UNEXPECTED”
songs: Defender / The Redeemer / Shooting The Rapids / Passing By //
Prior to the “City Ad Mortis” MLP (CBS ’87), This Holland based 5-piece – not to mistaken for the German outfit that released the private press ’89 MLP “A Symbol Of Devotion” - recorded a demo, which is particularly interesting in view of the fact that none of its tunes appeared on the disc. This demo never really got international media response, and about the same applies to the MLP, even considering that it was released on a major record-label. This, however, all adds up to the collector’s value of both items, the more so as the musical quality and potential is high up in European Metal / SpeedMetal territories. The A-side opens in full-speed fashion with “Defender”; a catchy, instant-access Metal number with Maiden-inspired guitar harmonies and 2 solo-sections. “The Redeemer” is a double-bass drummed semi-Banger with a faster drive running underneath its mid-tempo gear. The instrumental “Shooting The Rapids” on the B-side, sports a similar drive with complementary timings (onto SpeedMetal) and lots of harmonized phrasing that draw largely on the styles of Iron Maiden. “Passing By”, a Heavy Ballad, alternates semi-acoustic picking layers with heavier sections, touching lightly on Bitches Sin’s “Ice Angels”. This is one very complete and pro-done demo; from the packaging and crystal clear production to the musical side of things. It’s got all the trimmings, both concept and performance wise, including fast tunes, chunky Metal, semi-balladry, plus, matching, rough-edged vocals, harmonized leads, solos and double-bass drummage. Allround quality that was overlooked at a large scale….
songs: Defender / The Redeemer / Shooting The Rapids / Passing By //
Prior to the “City Ad Mortis” MLP (CBS ’87), This Holland based 5-piece – not to mistaken for the German outfit that released the private press ’89 MLP “A Symbol Of Devotion” - recorded a demo, which is particularly interesting in view of the fact that none of its tunes appeared on the disc. This demo never really got international media response, and about the same applies to the MLP, even considering that it was released on a major record-label. This, however, all adds up to the collector’s value of both items, the more so as the musical quality and potential is high up in European Metal / SpeedMetal territories. The A-side opens in full-speed fashion with “Defender”; a catchy, instant-access Metal number with Maiden-inspired guitar harmonies and 2 solo-sections. “The Redeemer” is a double-bass drummed semi-Banger with a faster drive running underneath its mid-tempo gear. The instrumental “Shooting The Rapids” on the B-side, sports a similar drive with complementary timings (onto SpeedMetal) and lots of harmonized phrasing that draw largely on the styles of Iron Maiden. “Passing By”, a Heavy Ballad, alternates semi-acoustic picking layers with heavier sections, touching lightly on Bitches Sin’s “Ice Angels”. This is one very complete and pro-done demo; from the packaging and crystal clear production to the musical side of things. It’s got all the trimmings, both concept and performance wise, including fast tunes, chunky Metal, semi-balladry, plus, matching, rough-edged vocals, harmonized leads, solos and double-bass drummage. Allround quality that was overlooked at a large scale….
BURN – 7” SWI ’82 “GET OUT OF MY WAY”
label: Kobold
songs: Get Out Of My Way / Dead City Warriors //
This Swiss outfit - not to mistaken for their Sweden and UK based namesakes - came into existence as early as ’77, but it wasn’t until the early 80’s that they first exposed their material. This, in the shape of a 7” single, coupling “Get Out Of My Way” and “Dead City Warriors”. Titletrack concerns a rough and uncompromising up-tempo HardRock number, European style with bit of a BikerRock type feel / attitude. This song seems to be patterned pretty much upon the Blues thing, beefed up to a HardRock standard which is quite heavy in overall approach, and, in certain areas shows similarities to Motorhead, Fugitive’s “Need My Freedom” and Prowler’s “Get Back To You”. The (semi) Headbanger “Dead City Warriors” has the Motorhead thing re-surfacing, and again, has this relentless, down to the bone approach and appearance. In all, an entertaining affair, that could easily have competed with their NWOBHM counterparts. The year after, Burn popped out a 3-song demo featuring “Hell Revisited”, “Blood” and “Last Night”, to be followed by a full-length release that was scheduled somewhere late ’84 but never got realized.
label: Kobold
songs: Get Out Of My Way / Dead City Warriors //
This Swiss outfit - not to mistaken for their Sweden and UK based namesakes - came into existence as early as ’77, but it wasn’t until the early 80’s that they first exposed their material. This, in the shape of a 7” single, coupling “Get Out Of My Way” and “Dead City Warriors”. Titletrack concerns a rough and uncompromising up-tempo HardRock number, European style with bit of a BikerRock type feel / attitude. This song seems to be patterned pretty much upon the Blues thing, beefed up to a HardRock standard which is quite heavy in overall approach, and, in certain areas shows similarities to Motorhead, Fugitive’s “Need My Freedom” and Prowler’s “Get Back To You”. The (semi) Headbanger “Dead City Warriors” has the Motorhead thing re-surfacing, and again, has this relentless, down to the bone approach and appearance. In all, an entertaining affair, that could easily have competed with their NWOBHM counterparts. The year after, Burn popped out a 3-song demo featuring “Hell Revisited”, “Blood” and “Last Night”, to be followed by a full-length release that was scheduled somewhere late ’84 but never got realized.
DEATHWISH – DEMO HOL II ’82 “FULL SPEED AT HIGH LEVEL”
Songs: Quasimodo Zacharias / Motorcycling Killers / Her Song / Sinner / Prisoner / Tyrants Are Coming / Look Out For The Killer Queen / Mystic Demons / Gangland //
This Holland based unit never got to vinylize any of their material, but if they did, it surely would have ranked next to domestic acts such as Allied Forces, (early) Highway Chile and Dark Wizard. Deathwish initiated in ’80 by the Krancher brothers, and back then comprised of Vincent Krancher – guitar / vocals, Bert Dijkema – bass, Cliff Krancher – drums. Additionally, their manager Jelle Wiersma, took over the vocal duties and completed the line-up early ’82. One recorded two demos, first of which was the “Seven Days In Hell” demo, featuring the songs “DeathWish Rock”, “Snowman”, “Rock ‘n’ Roll Chile”, “Goodlookin’ Woman”, “Strangers In The Dark” and “Certain Death”. The sound of Deathwish is genuine, early 80’s HardRock / Metal European style, and typically Dutch, clearly evidenced on “Sinner”; an upbeat HardRock / Metal number that further accelerates in its mid-section. Deathwish are a pretty much, straight-forward type band that are not much into technicality, and not all-Metal but more like an accelerated HardRock unit. Throughout the music, the band has this Bluesy feel running underneath, further accented by the muscular vocalage of their singer plus the Bluesy Rock ballads “Her Song” & “Gangland”, aswell as the conventional, chord-riffed HardRocker “Prisoner”. Still, Deathwish has this unspoken, relentless, rough and ready appearance that somehow makes them outdo the average (Blues injected) NWOBHM act. This is best captured on the demo’s heaviest moments, which are the mirror-like semi-Headbangers “Look Out For The Killer Queen” (with heavy style rhythm riffage) and “Mystic Demons”, plus the more groove-laden, semi- Headbangers, “Motorcycling Killers” and “Tyrants Are Coming”. Now, this may not sound much like a medal winning affair, but it simply marks the numerous quality acts that could have earned a certain degree of recognition if only they’d have had the proper promotional tools or a record deal to get the word out.
Songs: Quasimodo Zacharias / Motorcycling Killers / Her Song / Sinner / Prisoner / Tyrants Are Coming / Look Out For The Killer Queen / Mystic Demons / Gangland //
This Holland based unit never got to vinylize any of their material, but if they did, it surely would have ranked next to domestic acts such as Allied Forces, (early) Highway Chile and Dark Wizard. Deathwish initiated in ’80 by the Krancher brothers, and back then comprised of Vincent Krancher – guitar / vocals, Bert Dijkema – bass, Cliff Krancher – drums. Additionally, their manager Jelle Wiersma, took over the vocal duties and completed the line-up early ’82. One recorded two demos, first of which was the “Seven Days In Hell” demo, featuring the songs “DeathWish Rock”, “Snowman”, “Rock ‘n’ Roll Chile”, “Goodlookin’ Woman”, “Strangers In The Dark” and “Certain Death”. The sound of Deathwish is genuine, early 80’s HardRock / Metal European style, and typically Dutch, clearly evidenced on “Sinner”; an upbeat HardRock / Metal number that further accelerates in its mid-section. Deathwish are a pretty much, straight-forward type band that are not much into technicality, and not all-Metal but more like an accelerated HardRock unit. Throughout the music, the band has this Bluesy feel running underneath, further accented by the muscular vocalage of their singer plus the Bluesy Rock ballads “Her Song” & “Gangland”, aswell as the conventional, chord-riffed HardRocker “Prisoner”. Still, Deathwish has this unspoken, relentless, rough and ready appearance that somehow makes them outdo the average (Blues injected) NWOBHM act. This is best captured on the demo’s heaviest moments, which are the mirror-like semi-Headbangers “Look Out For The Killer Queen” (with heavy style rhythm riffage) and “Mystic Demons”, plus the more groove-laden, semi- Headbangers, “Motorcycling Killers” and “Tyrants Are Coming”. Now, this may not sound much like a medal winning affair, but it simply marks the numerous quality acts that could have earned a certain degree of recognition if only they’d have had the proper promotional tools or a record deal to get the word out.
ROUGH JUSTICE – 7”EP UK’.. “MILLION TO ONE”
label: Rough Justice Records
songs: Million To One / Wandering Heartache / Broken Dreams //
The seriously rare “Million Too One” 7-incher by U.K. outfit Rough Justice, is one of such obscure items that is seriously priced as well Whether this is worth the investment is open to question, the more so as Rough Justice (other than its moniker and logo may suggest) are anything but NWOBHM type. The E.P. (that remarkably plays at 33+ speed) opens with the mid-paced “Million To One”; a mellowed-down ‘Heavy Rock’ / PopRock number that is all curved around commercial Radio Rock in a typical, mid-80’s American setting. The melodic up-tempo Rocker “Wandering Heartache” comes along pretty well in its mid-section, cranking up the guitars and volume to HardRock minus the melodic thing; sounds much as a Guitar-Rock act gone ‘heavy’. What might have been a saving grace here, but is not, is the pedestrian vocalage of female singer Biz Meir (running parallels to Crystal Pride’s Suzanne Christensen), dissolving somewhere in the bodyless music. The emotive balladry of the overly stretched, 6+ minute “Broken Dreams” is layered with semi-acoustics, and spans well over 2 minutes of nice, subtle solo hooks, over against some poorly timed-drummage. It is the commercial approach of its titletrack that comes out best here; follow-up tune “Wandering Heartache” and b-side “Broken Dreams” just do not cut it.
label: Rough Justice Records
songs: Million To One / Wandering Heartache / Broken Dreams //
The seriously rare “Million Too One” 7-incher by U.K. outfit Rough Justice, is one of such obscure items that is seriously priced as well Whether this is worth the investment is open to question, the more so as Rough Justice (other than its moniker and logo may suggest) are anything but NWOBHM type. The E.P. (that remarkably plays at 33+ speed) opens with the mid-paced “Million To One”; a mellowed-down ‘Heavy Rock’ / PopRock number that is all curved around commercial Radio Rock in a typical, mid-80’s American setting. The melodic up-tempo Rocker “Wandering Heartache” comes along pretty well in its mid-section, cranking up the guitars and volume to HardRock minus the melodic thing; sounds much as a Guitar-Rock act gone ‘heavy’. What might have been a saving grace here, but is not, is the pedestrian vocalage of female singer Biz Meir (running parallels to Crystal Pride’s Suzanne Christensen), dissolving somewhere in the bodyless music. The emotive balladry of the overly stretched, 6+ minute “Broken Dreams” is layered with semi-acoustics, and spans well over 2 minutes of nice, subtle solo hooks, over against some poorly timed-drummage. It is the commercial approach of its titletrack that comes out best here; follow-up tune “Wandering Heartache” and b-side “Broken Dreams” just do not cut it.
REX VECTOR – 7” US’85 “BREATHE FIRE”
label: Metal Rock records
songs: Breathe Fire / Sit Tight //
There’s not that many bands where the drummer also is the singer…When it comes to that, the ones that may spring to mind would possibly be Zoetrope and Exciter… Although far off the radars of recognition, another one of such acts would be 3-piece unit REX VECTOR, with a guy named Randall Longton as the main man. Although most info on the labels and the backprint of this 2-songer indicate N.Y. as the home-base of this outfit, it comes as a surprise to find that the bass-tracks were recorded down North Carolina. More obvious is the band’s musical direction that has Van Halen written all over, and goes into full, copy-cat Lee-Roth vocal modes (including identical vocal fillers) down the plain, mod-paced Mainstream-Rocker “Sit Tight”, and the same pretty much goes for the guitar, however half the capacity of its original source. Cut from the same mould but times better is the energetic, guitar-showered “Breathe Fire”, seemingly inspired by Van Halen’s “Atomic Punk” and “Loss of Control”, in both speed, power, and feel. Fans of Van Halen-inspired acts such as Mysstress and Americade will go wild over this one. Cool single but fairly impossible to find. Comes in a thin, all-Metal looking b/w sleeve, depicting a chainsaw-equipped, masked individual holding a smashed guitar….
label: Metal Rock records
songs: Breathe Fire / Sit Tight //
There’s not that many bands where the drummer also is the singer…When it comes to that, the ones that may spring to mind would possibly be Zoetrope and Exciter… Although far off the radars of recognition, another one of such acts would be 3-piece unit REX VECTOR, with a guy named Randall Longton as the main man. Although most info on the labels and the backprint of this 2-songer indicate N.Y. as the home-base of this outfit, it comes as a surprise to find that the bass-tracks were recorded down North Carolina. More obvious is the band’s musical direction that has Van Halen written all over, and goes into full, copy-cat Lee-Roth vocal modes (including identical vocal fillers) down the plain, mod-paced Mainstream-Rocker “Sit Tight”, and the same pretty much goes for the guitar, however half the capacity of its original source. Cut from the same mould but times better is the energetic, guitar-showered “Breathe Fire”, seemingly inspired by Van Halen’s “Atomic Punk” and “Loss of Control”, in both speed, power, and feel. Fans of Van Halen-inspired acts such as Mysstress and Americade will go wild over this one. Cool single but fairly impossible to find. Comes in a thin, all-Metal looking b/w sleeve, depicting a chainsaw-equipped, masked individual holding a smashed guitar….
METAL IN ROCKS compilation NL’88
label: Berdu records (private)
songs: 12x * bands: 6x
GARLAND – “Burning The Bridges”
MESSINA – “Deathrow”
GILGAMESJ – “Into The Fire”
PANDEMONIUM – “Pandemonium”
GERMANE – “Back To The Future”
ARMAGEDDON – “Black Cymbals”
GERMANE – “She Tells Me Stories”
GILGAMESJ – “This World”
MESSINA – “Murder In The 1st Degree”
ARMAGEDDON – “Curse Of The Pharaoh”
GARLAND – “Caught In The Act”
PANDEMONIUM – “Alone”
The concept of this compilation LP is rather uncanny, as its main focus is the light-format HardRock thing down 4 of the 6 bands on offer. This makes the contributions of the heavier, Thrash oriented acts ARMAGEDDON and MESSINA fall out of place. This would not have been the case if the selection was a mixed-bag of styles, or one, dedicated to a specific genre. The bands featured on this 1st installment (which is the one pressed on vinyl, as volume II appeared on CD), all come from HOLLAND, and are all 5-piece units, minus PANDEMONIUM which counts 6. First off are GARLAND with the semi-driven “Burning The Bridges”; a mid-paced number that has a clear Journey flavour to it, particularly in the synths department. Their brand of American-style A.O.R. is performed by the book and, even so comes out pretty mediocre and standard-type. Their “Caught In The Act” from the B-side shows a different approach, going down a gripping, melodic HardRocker in a traditional speed-mode (Purple, Rainbow), mellowed down by the synths, and its smooth mid-section (Journey). Nicely played and composed though. Next up are MESSINA, delivering 2 WestCoast inspired Thrashers with buzz-saw guitars, staccato riffage, and snappy vocals; not the most impressive offerings performance or concept-wise. Levels up in play and programming are GILGAMESJ; this comes first in the shape of “Into The Fire”; a melodic HardRock number with some nice guitarwork, that furthers down its cool, rhythmic make-over halfway down, sporting a significant Maiden element there, whilst the overall approach also ‘clicks’ with Dutch HardRockers Helloise. Flipside tune “This World” concerns a melodic, European style HardRock number with a Progressive sidekick, and traces of A.O.R. (synths). Some nice guitarwork throughout this atmospheric laden workout. PANDEMONIUM also make up for one of the better picks from the bunch, as it applies to both the Progressive edged Euro HardRocker “Pandemonium”, and the similar styled “Alone” that operates in a traditional fashion (Rainbow) with some cool, high pitched vocalage. GERMANE’s “Back To The Future” is a mild-format Rock number, commercially aimed and Americanized with a strong radio-Rock feel and appearance... curved around standard, 80’s programming and concept; chewed out. Their second offering, “She Tells Me Stories” bends towards melodic-edged HardRock, European style; nice but brought down by its basic, no-risk theme. ARMAGEDDON link up with MESSINA for the heaviest outlets; their “Black Cymbals” rolls on heavy style Speed / ThrashMetal, American style with a significant ANTHRAX flavour running underneath. This is further evidenced on “Curse Of The Pharaoh”; a fast, snare drum driven Thrasher, something like a less-convincing, 2nd rate version of “Panic”. Fair. GILGAMESJ make up for the best act on the disc, as well as they score best on being the most creative and convincing contributors to this, otherwise standard collection of songs. GARLAND has a basic start on the A-side, but truly do convince with flipside tune “Caught In The Act”, and the same pretty much applies to PANDEMONIUM. Outside Holland (where the LP fetches some serious prices), the “Metal In Rocks” sampler has not been ‘discovered’ yet by collectors and mailorders, as it is fairly unknown and assumingly pressed in minimal quantities. With a little research, this LP can still be found for very reasonable prices which is fair enough for a reasonable release.
spfcs: Comes with inlay, featuring band photos & line-ups.
label: Berdu records (private)
songs: 12x * bands: 6x
GARLAND – “Burning The Bridges”
MESSINA – “Deathrow”
GILGAMESJ – “Into The Fire”
PANDEMONIUM – “Pandemonium”
GERMANE – “Back To The Future”
ARMAGEDDON – “Black Cymbals”
GERMANE – “She Tells Me Stories”
GILGAMESJ – “This World”
MESSINA – “Murder In The 1st Degree”
ARMAGEDDON – “Curse Of The Pharaoh”
GARLAND – “Caught In The Act”
PANDEMONIUM – “Alone”
The concept of this compilation LP is rather uncanny, as its main focus is the light-format HardRock thing down 4 of the 6 bands on offer. This makes the contributions of the heavier, Thrash oriented acts ARMAGEDDON and MESSINA fall out of place. This would not have been the case if the selection was a mixed-bag of styles, or one, dedicated to a specific genre. The bands featured on this 1st installment (which is the one pressed on vinyl, as volume II appeared on CD), all come from HOLLAND, and are all 5-piece units, minus PANDEMONIUM which counts 6. First off are GARLAND with the semi-driven “Burning The Bridges”; a mid-paced number that has a clear Journey flavour to it, particularly in the synths department. Their brand of American-style A.O.R. is performed by the book and, even so comes out pretty mediocre and standard-type. Their “Caught In The Act” from the B-side shows a different approach, going down a gripping, melodic HardRocker in a traditional speed-mode (Purple, Rainbow), mellowed down by the synths, and its smooth mid-section (Journey). Nicely played and composed though. Next up are MESSINA, delivering 2 WestCoast inspired Thrashers with buzz-saw guitars, staccato riffage, and snappy vocals; not the most impressive offerings performance or concept-wise. Levels up in play and programming are GILGAMESJ; this comes first in the shape of “Into The Fire”; a melodic HardRock number with some nice guitarwork, that furthers down its cool, rhythmic make-over halfway down, sporting a significant Maiden element there, whilst the overall approach also ‘clicks’ with Dutch HardRockers Helloise. Flipside tune “This World” concerns a melodic, European style HardRock number with a Progressive sidekick, and traces of A.O.R. (synths). Some nice guitarwork throughout this atmospheric laden workout. PANDEMONIUM also make up for one of the better picks from the bunch, as it applies to both the Progressive edged Euro HardRocker “Pandemonium”, and the similar styled “Alone” that operates in a traditional fashion (Rainbow) with some cool, high pitched vocalage. GERMANE’s “Back To The Future” is a mild-format Rock number, commercially aimed and Americanized with a strong radio-Rock feel and appearance... curved around standard, 80’s programming and concept; chewed out. Their second offering, “She Tells Me Stories” bends towards melodic-edged HardRock, European style; nice but brought down by its basic, no-risk theme. ARMAGEDDON link up with MESSINA for the heaviest outlets; their “Black Cymbals” rolls on heavy style Speed / ThrashMetal, American style with a significant ANTHRAX flavour running underneath. This is further evidenced on “Curse Of The Pharaoh”; a fast, snare drum driven Thrasher, something like a less-convincing, 2nd rate version of “Panic”. Fair. GILGAMESJ make up for the best act on the disc, as well as they score best on being the most creative and convincing contributors to this, otherwise standard collection of songs. GARLAND has a basic start on the A-side, but truly do convince with flipside tune “Caught In The Act”, and the same pretty much applies to PANDEMONIUM. Outside Holland (where the LP fetches some serious prices), the “Metal In Rocks” sampler has not been ‘discovered’ yet by collectors and mailorders, as it is fairly unknown and assumingly pressed in minimal quantities. With a little research, this LP can still be found for very reasonable prices which is fair enough for a reasonable release.
spfcs: Comes with inlay, featuring band photos & line-ups.
CAMARGUE – 7” UK’83 “HOWL OF THE PACK”
label: Clubland records
songs: Howl Of The Pack / Someone Just Like You //
When it comes to the upper levels of NWOBHM collectibles, there’s quite a few items that are commonly regarded as such; SPEED, URCHIN, SATAN, and HOLLOW GROUND to name just a few. Known by only a handful of die-hard collectors, and deep down the list of NWOBHM obscurities are CAMARGUE, towering high above most in value. Then again, this one is not much of a NWOBHM thing, and to be quite honest, there is ABSOLUTELY nothing in there that clicks with the genre which makes it questionable how this single ever came to be considered a top-rank NWOBHM rarity, other than its micro-press. This goes to show running down the two tracks on offer, the first one being “Howl Of The Pack”; a 70’s rooted, up / mid-tempo HardRock number with Hammond organ over standard-type, straight forward programming, coupling Biker-ish grooves a la STEPPENWOLF to the ROLLING STONES’ “Let’s Spend the Night Together”! Flipside tune “Someone Just Like You” is another, 70’s mould offering, sounding much like a PAUL MCCARTNEY – ELTON JOHN cocktail, engaging plenty of piano in Rock-balladry fashion with no guitars to be heard until the solo sets in…. This could have been the type of thing, produced by any US Mainstream outfit going for the radio-friendly option, which probably was the set-up here anyways…
spfcs: issued with and without pic-sleeve, the first one being the serious wallet-emptier…
label: Clubland records
songs: Howl Of The Pack / Someone Just Like You //
When it comes to the upper levels of NWOBHM collectibles, there’s quite a few items that are commonly regarded as such; SPEED, URCHIN, SATAN, and HOLLOW GROUND to name just a few. Known by only a handful of die-hard collectors, and deep down the list of NWOBHM obscurities are CAMARGUE, towering high above most in value. Then again, this one is not much of a NWOBHM thing, and to be quite honest, there is ABSOLUTELY nothing in there that clicks with the genre which makes it questionable how this single ever came to be considered a top-rank NWOBHM rarity, other than its micro-press. This goes to show running down the two tracks on offer, the first one being “Howl Of The Pack”; a 70’s rooted, up / mid-tempo HardRock number with Hammond organ over standard-type, straight forward programming, coupling Biker-ish grooves a la STEPPENWOLF to the ROLLING STONES’ “Let’s Spend the Night Together”! Flipside tune “Someone Just Like You” is another, 70’s mould offering, sounding much like a PAUL MCCARTNEY – ELTON JOHN cocktail, engaging plenty of piano in Rock-balladry fashion with no guitars to be heard until the solo sets in…. This could have been the type of thing, produced by any US Mainstream outfit going for the radio-friendly option, which probably was the set-up here anyways…
spfcs: issued with and without pic-sleeve, the first one being the serious wallet-emptier…
THE NORTHWEST CONNECTION – SPLIT 7” US’86
label: Sanaty records
songs: KIL D’KOR – “Chained Angel” * MAX PLANCK – “F*cked Up”
Now, this truly is one obscure single, and not only for the fact that it hardly ever shows up on specialist-lists, but the more so as it concerns a split-release, supposedly as a taster for a forthcoming compilation to be called “Start To Stardom” whose actual release however, remains questionable…. Both Kil D’Kor and Max Planck are no stranger to the compilation thing, as both showed up on the Metal Meltdown I sampler, with an additional Kil D’Kor track (“Babylon”) to appear on the second Metal Meltdown installment. Kil D’Kor’s “Chained Angel” (taken from their first demo which additionally featured “Rocks” and “Too Late”) concerns a typical, mid-80’s US Power/SpeedMetaler, somewhere in between Savage Grace (“The Dominatress”) and Hallow’s Eve, and comes with rhythm riffed guitars, a moderately-fast drive and snappy, rough-edged vocals with a hint of Paul Baloff (Exodus). A decent but rather average mark offering, regarding the fact that the band had far better workouts …. Max Planck delivers a pounding up-tempo Metaler with heavy weight vocals that makes the whole package sound like a beefed up Twisted Sister; pretty loud, noisy and remarkable altogether. Single comes in a red, lightweight, xeroxed sleeve, and black and red label stickers.
label: Sanaty records
songs: KIL D’KOR – “Chained Angel” * MAX PLANCK – “F*cked Up”
Now, this truly is one obscure single, and not only for the fact that it hardly ever shows up on specialist-lists, but the more so as it concerns a split-release, supposedly as a taster for a forthcoming compilation to be called “Start To Stardom” whose actual release however, remains questionable…. Both Kil D’Kor and Max Planck are no stranger to the compilation thing, as both showed up on the Metal Meltdown I sampler, with an additional Kil D’Kor track (“Babylon”) to appear on the second Metal Meltdown installment. Kil D’Kor’s “Chained Angel” (taken from their first demo which additionally featured “Rocks” and “Too Late”) concerns a typical, mid-80’s US Power/SpeedMetaler, somewhere in between Savage Grace (“The Dominatress”) and Hallow’s Eve, and comes with rhythm riffed guitars, a moderately-fast drive and snappy, rough-edged vocals with a hint of Paul Baloff (Exodus). A decent but rather average mark offering, regarding the fact that the band had far better workouts …. Max Planck delivers a pounding up-tempo Metaler with heavy weight vocals that makes the whole package sound like a beefed up Twisted Sister; pretty loud, noisy and remarkable altogether. Single comes in a red, lightweight, xeroxed sleeve, and black and red label stickers.
ANTHRACITE – LP FRA’87 “PLUS PRECIEUX QUE L’OR”
label : private
songs : Pretresse / Veine d’Acier / Dieu De La Guerre / A Un Cri / Fureur / Tueur / Plus Precieux Que l’Or / Ailleurs / Tu Pars //
Basically, it is all in the title of this one, meaning as much as ‘more precious than gold’…Figure it out; with a price tag that climbs towards the $ 1000 range, “Plus Precieux Que L’Or” ranks as one of the most expensive European HardRock / Metal vinyls around, and possibly classifies as one of the rarest, as rumor has it no more than 25 copies exist! The moniker, band-logo (in the Metallica styles!) and cover image breathe Metal, but in reality ANTHRACITE are more HardRock minded than they are Metal; all European mould with a melodic sense and the lead-guitar(s) as the prime mover. The whole deal comes in a trademark, French fashion that, as a standard features (not entirely convincing / steady) native tongue vocals, an all round melodic sense and plenty of fretboard-frenzy, courtesy of lead guitarist Jean Marc Brondello. The inspirational sources of the aforementioned are lampooning down the rhythm-riffed drives of “Dieu De La Guerre” and “Fureur” (Vivian Campbell), the semi-acoustics of “A Un Cri” (a la MALMSTEEN’s “Dreaming”), and most evidently the interlude to “Dieu De La Guerre”, sporting an organ-simulated ‘volume knob’ technique that sounds much like a carbon copy of VAN HALEN’s “Cathedral”. Overall, music sticks together pretty well with a handful of up-tempo accelerations (as the solo sets in) and some three themes captured in one, in the shape of “Fureur”, yet the package does not come off in terms of impact. This might be due to the fact that there’s way too many acoustic balladry, and, most importantly; this combination of basic and measured programming, with a few, commercially aimed mismatches. Another contrasting outlet comes with the live simulated “Tu Pars” addressing to bare-bones traditional HardRock in the styles of OCEAN and WARNING. ANTHRACITE nicely blends in with the standard French outfit, mid-80’s era, but do not stand out, other than the guitarwork, which there is plenty of throughout the disc. Nice but basic, and that’s something to carefully consider regarding its exorbitant price-tag! At some point, ANTHRACITE bassist Herve Rossi (brother of ANTHRACITE drummer Pascal) also had a stint with the German STEELER, however all that was limited to a photo-shoot for the ’86 “Strike Back” LP…
spfcs: assumed micro-press of < 25 copies.
label : private
songs : Pretresse / Veine d’Acier / Dieu De La Guerre / A Un Cri / Fureur / Tueur / Plus Precieux Que l’Or / Ailleurs / Tu Pars //
Basically, it is all in the title of this one, meaning as much as ‘more precious than gold’…Figure it out; with a price tag that climbs towards the $ 1000 range, “Plus Precieux Que L’Or” ranks as one of the most expensive European HardRock / Metal vinyls around, and possibly classifies as one of the rarest, as rumor has it no more than 25 copies exist! The moniker, band-logo (in the Metallica styles!) and cover image breathe Metal, but in reality ANTHRACITE are more HardRock minded than they are Metal; all European mould with a melodic sense and the lead-guitar(s) as the prime mover. The whole deal comes in a trademark, French fashion that, as a standard features (not entirely convincing / steady) native tongue vocals, an all round melodic sense and plenty of fretboard-frenzy, courtesy of lead guitarist Jean Marc Brondello. The inspirational sources of the aforementioned are lampooning down the rhythm-riffed drives of “Dieu De La Guerre” and “Fureur” (Vivian Campbell), the semi-acoustics of “A Un Cri” (a la MALMSTEEN’s “Dreaming”), and most evidently the interlude to “Dieu De La Guerre”, sporting an organ-simulated ‘volume knob’ technique that sounds much like a carbon copy of VAN HALEN’s “Cathedral”. Overall, music sticks together pretty well with a handful of up-tempo accelerations (as the solo sets in) and some three themes captured in one, in the shape of “Fureur”, yet the package does not come off in terms of impact. This might be due to the fact that there’s way too many acoustic balladry, and, most importantly; this combination of basic and measured programming, with a few, commercially aimed mismatches. Another contrasting outlet comes with the live simulated “Tu Pars” addressing to bare-bones traditional HardRock in the styles of OCEAN and WARNING. ANTHRACITE nicely blends in with the standard French outfit, mid-80’s era, but do not stand out, other than the guitarwork, which there is plenty of throughout the disc. Nice but basic, and that’s something to carefully consider regarding its exorbitant price-tag! At some point, ANTHRACITE bassist Herve Rossi (brother of ANTHRACITE drummer Pascal) also had a stint with the German STEELER, however all that was limited to a photo-shoot for the ’86 “Strike Back” LP…
spfcs: assumed micro-press of < 25 copies.
LORI WILDE – DEMO CND ‘89
songs: Dancing In My Dreams / On The Rebound / Metal Screams / Warlord’s Wrath / Born To Rock //
No too many may know of this solo-project by singer Lori Wilde, formerly of Canadian cult-act BLACK KNIGHT. Gauging the nature of this product, there is no question about the commercial aim, and it even says so, as the set is split in 2 categories, one of which is stickered as ‘Commercial Rock’ (a-side) whereas the other is labeled as ‘Heavy Metal’ (b-side). This tag, needs a little clarification however, as it only but applies to this one song, “Warlord’s Wrath”, lifted from the original BLACK KNIGHT repertoire. This one concerns a driven up-tempo Metaler with a slight, melodic edge that, on the whole sounds like the Canadian BREAKER - meets – QUEENSRYCHE’s “Nightrider”. The chord-riffed, old-school rooted “Born To Rock” borrows at a large scale from RAINBOW’s “Lady Starstruck” and “Long Live Rock And Roll”. More towards the Mainstream side of things is the moderately paced HardRocker “Metal Screams” (previously appearing on the BLACK KNIGHT MLP as well); pretty basic in all but seriously entertaining with its ‘fist in the air & shout along theme’, and the vocals of Lori most convincingly operating in the rough, muscular mode. The commercial attempt comes in the shape of 2 workouts that are all that… First there’s “Dancing In My Dreams”; a signature, mid-80’s Mainstream Pop Rocker, coupling the likes of BERLIN (“Like Flames”) to HEART, and “DAVID LEE ROTH (“Living In Paradise”) in a catchy, mid-paced setting with a melodic, ‘mellowed up’ feel and neat, up-range vocals. “On The Rebound” is all-out US Radio-Rock, dusted with 80’s Mainstream Rock features, including synths usage, double sung / dubbed lead vocals, and a sticky theme. On the whole, this set of 2 comes out as the superior offering as they are right on it, sporting all the right moves with a strong niche for composure and detail, and with a broad production to match. Chances are, if this thing had been circulated just a few years earlier, it might have gone places… By ’89, the big-hair thing (as depicted on the front-print) and the Pop oriented Rock sound had already faded big time, and so did Lori’s career…
songs: Dancing In My Dreams / On The Rebound / Metal Screams / Warlord’s Wrath / Born To Rock //
No too many may know of this solo-project by singer Lori Wilde, formerly of Canadian cult-act BLACK KNIGHT. Gauging the nature of this product, there is no question about the commercial aim, and it even says so, as the set is split in 2 categories, one of which is stickered as ‘Commercial Rock’ (a-side) whereas the other is labeled as ‘Heavy Metal’ (b-side). This tag, needs a little clarification however, as it only but applies to this one song, “Warlord’s Wrath”, lifted from the original BLACK KNIGHT repertoire. This one concerns a driven up-tempo Metaler with a slight, melodic edge that, on the whole sounds like the Canadian BREAKER - meets – QUEENSRYCHE’s “Nightrider”. The chord-riffed, old-school rooted “Born To Rock” borrows at a large scale from RAINBOW’s “Lady Starstruck” and “Long Live Rock And Roll”. More towards the Mainstream side of things is the moderately paced HardRocker “Metal Screams” (previously appearing on the BLACK KNIGHT MLP as well); pretty basic in all but seriously entertaining with its ‘fist in the air & shout along theme’, and the vocals of Lori most convincingly operating in the rough, muscular mode. The commercial attempt comes in the shape of 2 workouts that are all that… First there’s “Dancing In My Dreams”; a signature, mid-80’s Mainstream Pop Rocker, coupling the likes of BERLIN (“Like Flames”) to HEART, and “DAVID LEE ROTH (“Living In Paradise”) in a catchy, mid-paced setting with a melodic, ‘mellowed up’ feel and neat, up-range vocals. “On The Rebound” is all-out US Radio-Rock, dusted with 80’s Mainstream Rock features, including synths usage, double sung / dubbed lead vocals, and a sticky theme. On the whole, this set of 2 comes out as the superior offering as they are right on it, sporting all the right moves with a strong niche for composure and detail, and with a broad production to match. Chances are, if this thing had been circulated just a few years earlier, it might have gone places… By ’89, the big-hair thing (as depicted on the front-print) and the Pop oriented Rock sound had already faded big time, and so did Lori’s career…
RECON – LP US’90 “BEHIND ENEMY LINES”
label: Intense
songs: In The Beginning / Lost Soldier / Ancient Of Days / Choose This Day / Dreams / Take Us Away / Holy Is The Lord / Alive / Eternal Destiny / Behind Enemy Lines //
Los Angeles based five-piece unit RECON (some of which members would later join forces in a band called DELIVERANCE), made their first appearance on the California Metal II” compilation , featuring “Light The Fire” and “Dreams” - followed by the “Behind Enemy Lines” LP that also appeared on CD and in cassette-format. On offer is some Progressive edged US (Power)Metal that largely levels with QUEENSRYCHE and CRIMSON GLORY. In the center of attention are the superb, multi-range vocals of Vett Roberts that sound much like a carbon copy of Geoff Tate. Overall, songs are either moderately or mid-paced, with a strong, emotive atmosphere and lots of boost and productional punch. For the greater part, this is channeled through the bassdrum usage, and, in particular, this wall of thick, double riffed rhythm leads. Quite remarkable is the fact that the concept generates this Progressive sound whilst its key elements throughout actually are feel and atmosphere, rather than technique. Creative steam in the instrumental department mainly comes off the mobility / rhythmic drummage, and when it comes to the guitars; that’s all pretty balanced in structure, as is the music as a whole. Heaviest offerings come in the shape of the pounding, mid-paced PowerMetaler “Dreams”, to be taken a few levels up on the propelling, up-tempo driven “Eternal Destiny” and “Behind Enemy Lines” that has US Power / Speed written all over, and comes complete with staccato riffage, backing shouts and double bass drummage. In all, a product well taken care of, and with a great potential lurking underneath. This one doesn’t come cheap and doesn’t show up that often either but is definitely worth the search and investment. Recommended!
spfcs: lyrics
label: Intense
songs: In The Beginning / Lost Soldier / Ancient Of Days / Choose This Day / Dreams / Take Us Away / Holy Is The Lord / Alive / Eternal Destiny / Behind Enemy Lines //
Los Angeles based five-piece unit RECON (some of which members would later join forces in a band called DELIVERANCE), made their first appearance on the California Metal II” compilation , featuring “Light The Fire” and “Dreams” - followed by the “Behind Enemy Lines” LP that also appeared on CD and in cassette-format. On offer is some Progressive edged US (Power)Metal that largely levels with QUEENSRYCHE and CRIMSON GLORY. In the center of attention are the superb, multi-range vocals of Vett Roberts that sound much like a carbon copy of Geoff Tate. Overall, songs are either moderately or mid-paced, with a strong, emotive atmosphere and lots of boost and productional punch. For the greater part, this is channeled through the bassdrum usage, and, in particular, this wall of thick, double riffed rhythm leads. Quite remarkable is the fact that the concept generates this Progressive sound whilst its key elements throughout actually are feel and atmosphere, rather than technique. Creative steam in the instrumental department mainly comes off the mobility / rhythmic drummage, and when it comes to the guitars; that’s all pretty balanced in structure, as is the music as a whole. Heaviest offerings come in the shape of the pounding, mid-paced PowerMetaler “Dreams”, to be taken a few levels up on the propelling, up-tempo driven “Eternal Destiny” and “Behind Enemy Lines” that has US Power / Speed written all over, and comes complete with staccato riffage, backing shouts and double bass drummage. In all, a product well taken care of, and with a great potential lurking underneath. This one doesn’t come cheap and doesn’t show up that often either but is definitely worth the search and investment. Recommended!
spfcs: lyrics
RAT ATTACK – CASS. LP US’83 “RAT ATTACK I”
songs: Fast Getaway / Stranded All Alone / Holocaust / Reaper’s Prey / You’re An Imposter / Rat Attack / Man On The Moon / Cold Dungeons //
With minimal fanzine footage, back in the days, only few know about this Kailua, Hawaii based 4-piece unit RAT ATTACK that entered the scene with a one-off release in the shape of an 8-song cassette-LP. The music on display can be gauged as genuine Heavy Metal with a turn towards PowerMetal. In many respects, this cassette-LP sticks together pretty well; structures are well-considered, and come with tailormade, rough-edged vocals, and some deserving guitarwork, both of which are delivered by Tom Azevedo (who would later move on to HAWAII – ‘85 “Natives Are Restless” LP, and LIQUID MIRROR – ’86 “Kicked Out Of Fantasy” LP). Furthermore, there’s a good, all round differentiation construction-wise, including a matching set of tempo changes. Things, however, tend to be stretched a bit, referring to the 1st half of “You’re An Imposter”, and the slow-burner “Man On The Moon”. The apparent HAWAII influence is limited to the guitar-department, not full-on, but in fits and starts down the solo-actions, feedback and twin-phrasing, the latter which is scattered all over the music. Actually, RAT ATTACK are more into the ‘balanced’ solo-thing and harmonized melodies, rather than flashy monster chops which only come surfacing on the driven, moderately-fast paced “Reaper’s Prey”; THE heaviest number down this repertoire, along with “Fast Getaway”; another Powermetal esque workout with heavy crunch riffage. A nice product in all, and absolutely vinyl competent. The RATT ATTACK album originally was cassette-format only, and the vinyl versions that are circulating concern bootleg versions.
(interview with RAT ATTACK further down this page)
songs: Fast Getaway / Stranded All Alone / Holocaust / Reaper’s Prey / You’re An Imposter / Rat Attack / Man On The Moon / Cold Dungeons //
With minimal fanzine footage, back in the days, only few know about this Kailua, Hawaii based 4-piece unit RAT ATTACK that entered the scene with a one-off release in the shape of an 8-song cassette-LP. The music on display can be gauged as genuine Heavy Metal with a turn towards PowerMetal. In many respects, this cassette-LP sticks together pretty well; structures are well-considered, and come with tailormade, rough-edged vocals, and some deserving guitarwork, both of which are delivered by Tom Azevedo (who would later move on to HAWAII – ‘85 “Natives Are Restless” LP, and LIQUID MIRROR – ’86 “Kicked Out Of Fantasy” LP). Furthermore, there’s a good, all round differentiation construction-wise, including a matching set of tempo changes. Things, however, tend to be stretched a bit, referring to the 1st half of “You’re An Imposter”, and the slow-burner “Man On The Moon”. The apparent HAWAII influence is limited to the guitar-department, not full-on, but in fits and starts down the solo-actions, feedback and twin-phrasing, the latter which is scattered all over the music. Actually, RAT ATTACK are more into the ‘balanced’ solo-thing and harmonized melodies, rather than flashy monster chops which only come surfacing on the driven, moderately-fast paced “Reaper’s Prey”; THE heaviest number down this repertoire, along with “Fast Getaway”; another Powermetal esque workout with heavy crunch riffage. A nice product in all, and absolutely vinyl competent. The RATT ATTACK album originally was cassette-format only, and the vinyl versions that are circulating concern bootleg versions.
(interview with RAT ATTACK further down this page)
DEATH’S ANGELS – 7” FRA’85 “CHANGE MY LIFE”
label: private
songs: Change My Life / My Star //
Obscure 2-songer from this French outfit that also released a 6 track demo tape the same year, and contributed to the local “Top Ardennes” compilation LP in '87. “Change My Life” is a true Metal delight; this European mould, instant-access Headbanger sounds much like an Overdrive – Brainfever get together with the scales tipping over to the Scandinavian thing in terms of vocalage and guitar usage, including an extended, classical edged guitar solo, followed by twin phrasing and mobility bass-lines in the styles of Iron Maiden. This is one tip-top Metal number and a must for any serious guitar fan / Euro – Metal enthusiast. “My Star” seems to be largely inspired by the old-style Scorpions balladry, with an intro that is much in the styles of “Always Somewhere” / “Lady Starlight”, sporting an identical approach, guitar-sound, picking layers and emotional value. This, all with the understanding that it has the regular HardRock / Metal modes incorporated, so, generally, this is a twofold, semi-ballad esque tune with heavier moments. Resuming, the “Change My Life” single is a largely guitar-oriented affair, pretty much linear type but with lotsa fillers and musical mobility underneath to compensate. Recommended.
label: private
songs: Change My Life / My Star //
Obscure 2-songer from this French outfit that also released a 6 track demo tape the same year, and contributed to the local “Top Ardennes” compilation LP in '87. “Change My Life” is a true Metal delight; this European mould, instant-access Headbanger sounds much like an Overdrive – Brainfever get together with the scales tipping over to the Scandinavian thing in terms of vocalage and guitar usage, including an extended, classical edged guitar solo, followed by twin phrasing and mobility bass-lines in the styles of Iron Maiden. This is one tip-top Metal number and a must for any serious guitar fan / Euro – Metal enthusiast. “My Star” seems to be largely inspired by the old-style Scorpions balladry, with an intro that is much in the styles of “Always Somewhere” / “Lady Starlight”, sporting an identical approach, guitar-sound, picking layers and emotional value. This, all with the understanding that it has the regular HardRock / Metal modes incorporated, so, generally, this is a twofold, semi-ballad esque tune with heavier moments. Resuming, the “Change My Life” single is a largely guitar-oriented affair, pretty much linear type but with lotsa fillers and musical mobility underneath to compensate. Recommended.
SLAYER - MLP US'82 "DANGEROUS APPETITE"
label: private (BMI / Ogawa Music)
songs: Fighting Fire / Blonde In Red / Candy Cane / Dreamer Blue / Loyalty / Slight Delight //
Assumingly, most insiders and die-hard 80’s collectors will be familiar with this San Antonio – California SLAYER thing, as of who got to go by that name, and as of that, the San Antonio namesakes adopting the S.A. abbreviation to the name, so as to avoid any mix ups. Although clouded in obscurity, there was a third party to go by that name, and also from the U.S.A. popping out a MLP the year before the “Show No Mercy” LP got circulated! As far as the name goes, it doesn’t exactly ‘click’ with the musical content, but then again, this band is pretty good what they are at. The disc spins off overly convincing with “Fighting Fire”; a largely guitar-oriented Metal track, centered around a mobility, synchronized guitar / bass lead a la HOLLOW GROUND. Some good vocals, courtesy of singer Dave Roberts down this one too; a little above the mid-range with high pitched modes. Follow-up tune “Blonde In Red” has the NWOBHM thing partnering with American Rock features. Material weakens a bit with “Candy Cane”; an American style Rock song with a blend of Boogie running underneath, and the groove-laden up tempo Rocker “Dreamer Blue”. The band takes a different turn with “Loyalty”; an offbeat ballad with bits of 70’s Psychedelics. The band gets back into gear with the catchy up-tempo HardRocker “Slight Delight”, sporting some mobility riff-schemes. In all, a product rather well taken care of, but hampered by a micro-press circulation and the wrong sort of name (concept and recognition-wise).
label: private (BMI / Ogawa Music)
songs: Fighting Fire / Blonde In Red / Candy Cane / Dreamer Blue / Loyalty / Slight Delight //
Assumingly, most insiders and die-hard 80’s collectors will be familiar with this San Antonio – California SLAYER thing, as of who got to go by that name, and as of that, the San Antonio namesakes adopting the S.A. abbreviation to the name, so as to avoid any mix ups. Although clouded in obscurity, there was a third party to go by that name, and also from the U.S.A. popping out a MLP the year before the “Show No Mercy” LP got circulated! As far as the name goes, it doesn’t exactly ‘click’ with the musical content, but then again, this band is pretty good what they are at. The disc spins off overly convincing with “Fighting Fire”; a largely guitar-oriented Metal track, centered around a mobility, synchronized guitar / bass lead a la HOLLOW GROUND. Some good vocals, courtesy of singer Dave Roberts down this one too; a little above the mid-range with high pitched modes. Follow-up tune “Blonde In Red” has the NWOBHM thing partnering with American Rock features. Material weakens a bit with “Candy Cane”; an American style Rock song with a blend of Boogie running underneath, and the groove-laden up tempo Rocker “Dreamer Blue”. The band takes a different turn with “Loyalty”; an offbeat ballad with bits of 70’s Psychedelics. The band gets back into gear with the catchy up-tempo HardRocker “Slight Delight”, sporting some mobility riff-schemes. In all, a product rather well taken care of, but hampered by a micro-press circulation and the wrong sort of name (concept and recognition-wise).
KIM SIXX – 7” DK ’85 “WARRIOR”
label: private (Genlyd records)
songs: Warrior / Bang Your Head //
This Danish outfit, named after their singer (Kim Lone Jensen), could easily have competed with others in the (Power) Metal field, the more so as the genre was snowballing on a global scale in the mid-80’s. For some reason, however, Kim Sixx, got overlooked despite the fact that they belted out 2 deserving demo-tapes and a 2-song 7-incher. The single spins off with “Warrior”; an upbeat PowerMetaler with an intensified, NWOBHM style riff that, in a way, compares to the leadguitar fueling Riot’s “Road Racing”. This energetic tune has Metal written all over and largely connects with the sound produced by the heavier, 2nd generation NWOBHM bands. “Bang Your Head” is all its title suggests; this high octane Headbanger flirts with the US PowerMetal thing whilst its shout-along refrain brings in this German Metal feel. Accordingly, it’s got all the trimmings, including rhythm riffage, double bass drums, and flashy guitarwork. As for Kim’s vocals, these are pretty much down the mid-range, regular toned and linear in pitch or mode but reasonably functional. In all, a strong single that will make a welcome addition to any true Metal collection.
label: private (Genlyd records)
songs: Warrior / Bang Your Head //
This Danish outfit, named after their singer (Kim Lone Jensen), could easily have competed with others in the (Power) Metal field, the more so as the genre was snowballing on a global scale in the mid-80’s. For some reason, however, Kim Sixx, got overlooked despite the fact that they belted out 2 deserving demo-tapes and a 2-song 7-incher. The single spins off with “Warrior”; an upbeat PowerMetaler with an intensified, NWOBHM style riff that, in a way, compares to the leadguitar fueling Riot’s “Road Racing”. This energetic tune has Metal written all over and largely connects with the sound produced by the heavier, 2nd generation NWOBHM bands. “Bang Your Head” is all its title suggests; this high octane Headbanger flirts with the US PowerMetal thing whilst its shout-along refrain brings in this German Metal feel. Accordingly, it’s got all the trimmings, including rhythm riffage, double bass drums, and flashy guitarwork. As for Kim’s vocals, these are pretty much down the mid-range, regular toned and linear in pitch or mode but reasonably functional. In all, a strong single that will make a welcome addition to any true Metal collection.
|
RENEGADE - 7"EP SWE'82 "ROCK 'TIL YOU DIE"
label: Excalibur records (private) songs: Beautiful People / Killer In The Sky / Leviticus / Rock 'Til You Die // Swedish 5-piece, not to be confused with the UK Renegade, the German Renegade and probably a dozen more with the very same name. There's only little known about this band, even though they produced one of the better items to emerge from Scandinavia in the very early 80's! Not knowing better, one’d hold this band for an NWOBHM act, as their sound is all that, entirely played in the tradition of the genre with a melodic sidekick and showers of Def Leppard. There’s times, the music sounds like a carbon copy of the aforementioned, as witnessed on “Beautiful People”; a moderately paced HardRock number with a Def Leppard – meets – Kiss’ “Ladies Room” style riff; quite a standard type commodity with some nice guitar actions by both guitarists though. The upbeat Metaler “Killer In The Sky” has bit of a Scandinavian feel with the Leppard thing running underneath alright. Next up is “Leviticus”; an acoustic workout with classical guitar that serves as an interlude to “Rock ‘til You Die”; THE true highlight of the EP. This moderately fast, early NWOBHM style semi-banger sports a gripping riff-theme and is plastered with flashy guitar chops. After the release of the EP, guitarist Michael Sward was replaced by Per Skeller and with that also came a change of style with newly added synths. Great, ultra-rare item. |
TAILGUNNER – LP US’83 “TAILGUNNER”
label: Rapid (private)
songs: Reach’in Out / H-Man / Why / Spice Is Nice / Rocket Roll / Sorrow / So Long ~~~ / Show Me //
If it wasn’t for the dates on this album, claiming it was recorded ‘live’ in the studio in ’83, one’d surely hold this thing for something that emerged circa ’75 as it genuinely sounds as such. This, by addressing to traditional, U.S. HardRock (‘n’Roll) that flirts with Boogie (“H-Man”), Blues (“Why”) and touches of the Psychedelic thing (“Reach’in Out”). Complimentary to the ‘live’ sound is this raw-edged, bare-bones appearance with matching (though not overly convincing) vocals and plenty of smoking guitar-action by lead-guitarist Russ Swain. Remarkably, about half of the songs has some moody balladry incorporated, or in full-form as is the case on “Why” and “Sorrow”. The TAILGUNNER album is often being advertised as a guitar-oriented HardRock affair (which it truly is), but beware that the guitar-flash is typical 70’s style (with plenty of wah-wah effect), as are the ‘riffs’ (bar-chords) and therefore does not feature monster chops or sizzling leads, as featured on guitar-showered outlets from the same year produced by U.S. HardRock acts such as STEELER, LE MANS or ALCATRAZZ. Fair.
label: Rapid (private)
songs: Reach’in Out / H-Man / Why / Spice Is Nice / Rocket Roll / Sorrow / So Long ~~~ / Show Me //
If it wasn’t for the dates on this album, claiming it was recorded ‘live’ in the studio in ’83, one’d surely hold this thing for something that emerged circa ’75 as it genuinely sounds as such. This, by addressing to traditional, U.S. HardRock (‘n’Roll) that flirts with Boogie (“H-Man”), Blues (“Why”) and touches of the Psychedelic thing (“Reach’in Out”). Complimentary to the ‘live’ sound is this raw-edged, bare-bones appearance with matching (though not overly convincing) vocals and plenty of smoking guitar-action by lead-guitarist Russ Swain. Remarkably, about half of the songs has some moody balladry incorporated, or in full-form as is the case on “Why” and “Sorrow”. The TAILGUNNER album is often being advertised as a guitar-oriented HardRock affair (which it truly is), but beware that the guitar-flash is typical 70’s style (with plenty of wah-wah effect), as are the ‘riffs’ (bar-chords) and therefore does not feature monster chops or sizzling leads, as featured on guitar-showered outlets from the same year produced by U.S. HardRock acts such as STEELER, LE MANS or ALCATRAZZ. Fair.
LADY – 12”EP HOL’81 “THE LADYKILLER EP”
label: LRL (private)
songs: Lost Child / Stevie / Angels Of Beware //
Only a handful of copies of this one-off vinyl affair, by Holland-based outfit Lady (which actually concerns an all-male act), circulated the scene in the early days, and most likely, most of these were distributed in Holland only, as it simply never shows up on mailorder-lists. The E.P. spins off with “Lost Child”, an up-tempo number that has the melodic NWOBHM thing crossing borders with conventional, 70’s HardRock / Progressive HardRock. The latter is mainly brought in by the – rather disturbingly toned – synths, whilst the open-chord guitars bring up the classic sound in a Rainbow / Deep Purple type fashion. This overrules the Progressive thing on follow-up tune “Stevie”; an unpolished, could-well-be-basement-recorded version of any early Deep Purple speedster with a Progressive toned synthesizer to replace the Hammond organ. The guitar solo is clearly inspired by Ritchie Blackmore (as is the harmonized instrumentation) but does not really convince, second time in a row. The best offering comes in the shape of “Angels Of Beware”; this one starts off with some Epic balladry, before it develops into a classic rooted up-tempo Metal scorcher with the vocals now switching from a level-mid range to the upper regions which – in combination with the synths / guitar usage - give the song this allround, Virgin Steele type finish with the Rainbow / Purple thing impregnated at large. This comes complete with a whole lot of guitar and synthesizer alternating solos. Halfway tHHalfway the song, the band gets back into the ‘basement-rehearsal’ type modes, as if this was a creative, taped-in-one-go recording. Not the most obvious workout but truly entertaining in the structural department. It’s just that the whole deal on offer on this 3-tracker suffers big-time from the thin, low-budget production, and, in less a manner, the musical performance. Minus the synthesizer, and with improved guitar solos, and musical growth there might have been something in there, as evidenced by killer-cut “Angels Of Beware”. Drummer Frank Woodhouse would later emerge with a solo DLP, “Something In The Air” (’83), furthering the concept on display of the Lady EP which does not come much as a surprise regarding the fact that the entire Lady line up was called in, with additional performances by Herbie Vanderloo (guitar / vocals) and Arjan Michels (bass) from Wells Fargo (= pre Attila).
label: LRL (private)
songs: Lost Child / Stevie / Angels Of Beware //
Only a handful of copies of this one-off vinyl affair, by Holland-based outfit Lady (which actually concerns an all-male act), circulated the scene in the early days, and most likely, most of these were distributed in Holland only, as it simply never shows up on mailorder-lists. The E.P. spins off with “Lost Child”, an up-tempo number that has the melodic NWOBHM thing crossing borders with conventional, 70’s HardRock / Progressive HardRock. The latter is mainly brought in by the – rather disturbingly toned – synths, whilst the open-chord guitars bring up the classic sound in a Rainbow / Deep Purple type fashion. This overrules the Progressive thing on follow-up tune “Stevie”; an unpolished, could-well-be-basement-recorded version of any early Deep Purple speedster with a Progressive toned synthesizer to replace the Hammond organ. The guitar solo is clearly inspired by Ritchie Blackmore (as is the harmonized instrumentation) but does not really convince, second time in a row. The best offering comes in the shape of “Angels Of Beware”; this one starts off with some Epic balladry, before it develops into a classic rooted up-tempo Metal scorcher with the vocals now switching from a level-mid range to the upper regions which – in combination with the synths / guitar usage - give the song this allround, Virgin Steele type finish with the Rainbow / Purple thing impregnated at large. This comes complete with a whole lot of guitar and synthesizer alternating solos. Halfway tHHalfway the song, the band gets back into the ‘basement-rehearsal’ type modes, as if this was a creative, taped-in-one-go recording. Not the most obvious workout but truly entertaining in the structural department. It’s just that the whole deal on offer on this 3-tracker suffers big-time from the thin, low-budget production, and, in less a manner, the musical performance. Minus the synthesizer, and with improved guitar solos, and musical growth there might have been something in there, as evidenced by killer-cut “Angels Of Beware”. Drummer Frank Woodhouse would later emerge with a solo DLP, “Something In The Air” (’83), furthering the concept on display of the Lady EP which does not come much as a surprise regarding the fact that the entire Lady line up was called in, with additional performances by Herbie Vanderloo (guitar / vocals) and Arjan Michels (bass) from Wells Fargo (= pre Attila).
LOOSELY TIGHT – LP US’81 “FIGHTIN’ SOCIETY”
label: Star Struck records
songs: Fightin’ Society / Loud ‘n Restless / Renegade / Off In The Distance / From Another Place / Bad Bizzness / The Walls Between //
Over the years, this top-of-the-line rarity and one-off vinyl affair by Arizona based 4-piece LOOSELY TIGHT (featuring pre-ICON drummer Pat Dixon) has been praised to the clouds by insiders and mailorders. All makes sense, as “Fightin’ Society” is one of such albums that scores straight A’s on all levels. Prime mover is this bare-bones approach of the genre, engaging some chunky, grooved-up HardRock with a clear 70’s influence, somewhere in between the early WHITESNAKE / Y&T repertoire, rolling on gripping riffs (courtesy of J.R. Lomeli), sticky themes and the distinctive, tailormade vocals of Dino Livingston, delivering plenty of roughened up vocal-muscle (plus additional rhythm, lead and acoustic guitar throughout). Style-wise, Dino occasionally blends in with David Coverdale, best monitored down the mid-up tempo groovster “Renegade”. Both “Fighting Society” and “Loud ‘n Restless” are cut from the same mould, with quite a few twists running underneath its seemingly straight-forward nature. “Off In The Distance” is a pounding slow-burner, and the pace is up to a mid-tempo again down the catchy “From Another Place”; an over-the-top groovster with this ‘live-vibe’ and mild staccato-drive. The moderately paced “Bad Bizzness” is dead-on 70’s HardRock, and the one moment that does not level with the quality and impact of all the aforementioned. The LP takes a different turn concept-wise down its last two cuts. First there’s “The Walls Between”; a melodic / A.O.R. type HardRock number, and the one tune sporting subtle keys plus a more smoothened vocal style. The other is concluding tune (“Let Me Go”) Crazy; a significantly drum-driven number that would make a great crow-teaser live, gelling 70’s Rock with AC / DC style grooves. A great album all the way, but one that doesn’t come cheap.
spfcs: lyrics
label: Star Struck records
songs: Fightin’ Society / Loud ‘n Restless / Renegade / Off In The Distance / From Another Place / Bad Bizzness / The Walls Between //
Over the years, this top-of-the-line rarity and one-off vinyl affair by Arizona based 4-piece LOOSELY TIGHT (featuring pre-ICON drummer Pat Dixon) has been praised to the clouds by insiders and mailorders. All makes sense, as “Fightin’ Society” is one of such albums that scores straight A’s on all levels. Prime mover is this bare-bones approach of the genre, engaging some chunky, grooved-up HardRock with a clear 70’s influence, somewhere in between the early WHITESNAKE / Y&T repertoire, rolling on gripping riffs (courtesy of J.R. Lomeli), sticky themes and the distinctive, tailormade vocals of Dino Livingston, delivering plenty of roughened up vocal-muscle (plus additional rhythm, lead and acoustic guitar throughout). Style-wise, Dino occasionally blends in with David Coverdale, best monitored down the mid-up tempo groovster “Renegade”. Both “Fighting Society” and “Loud ‘n Restless” are cut from the same mould, with quite a few twists running underneath its seemingly straight-forward nature. “Off In The Distance” is a pounding slow-burner, and the pace is up to a mid-tempo again down the catchy “From Another Place”; an over-the-top groovster with this ‘live-vibe’ and mild staccato-drive. The moderately paced “Bad Bizzness” is dead-on 70’s HardRock, and the one moment that does not level with the quality and impact of all the aforementioned. The LP takes a different turn concept-wise down its last two cuts. First there’s “The Walls Between”; a melodic / A.O.R. type HardRock number, and the one tune sporting subtle keys plus a more smoothened vocal style. The other is concluding tune (“Let Me Go”) Crazy; a significantly drum-driven number that would make a great crow-teaser live, gelling 70’s Rock with AC / DC style grooves. A great album all the way, but one that doesn’t come cheap.
spfcs: lyrics
KILL VAN KULL – 12”EP US’87 “EYE OF THE STORM”
label: Kullco (private)
songs: Burn It Up / Yesterday’s Love / Eye Of The Storm / A Piece Of Love //
Not knowing the year of release, one would surely gauge KILL VAN KULL something to emerge from the early, pre-PowerMetal generation U.S.Metal acts, ‘82/’83. The upbeat “Burn It Up” is all that, from the musical content to its feel and appearance, as if this one has been shelved for some 5 years! With added boost and crunch on the guitars, “Burn It Up” would have made a killer-PowerMetal track in the Myth / Assassin styles. “Yesterday’s Love” goes even further back in time, engaging 70’s Rock balladry with prominent, Epic-meets-Prog type synths. Oddly, the titletrack concerns an instrumental workout with Maiden-ish rhythmics, and harmonized lead-bass guitars throughout; doesn’t really shake up things here, missing out on a gripping (main) theme or solo-actions. “A Piece Of Love” is another instrumental-geared affair, with just over 1 minute of (rough edged) vocals delivered by Rick Cabrera, down its 4 something minutes of running time. This one collects a whole series of styles and sources, incorporating Maiden-esque rhythmics and guitar-bass synchronization, (70’s) Progressive HardRock and PowerMetal. Again, this would have been a top-of-the-line PowerMetaler with added productional punch and over-the-top guitars. KILL VAN KULL are a good band, and they do have the ideas but piecing it all together is where things fail to come off full-circle, mainly due to the allround mobility of its individual structures, and the absence of ‘set’ themes and or riff-layers. This however, will not be an obstacle for the more Progressive minded listeners. The “Eye Of The Storm” EP will make a welcome addition to any early 80’s U.S.Metal collection but doesn’t come cheap with a price tag in the three-figure territories and still climbing…
spfcs: lyrics on backprint
label: Kullco (private)
songs: Burn It Up / Yesterday’s Love / Eye Of The Storm / A Piece Of Love //
Not knowing the year of release, one would surely gauge KILL VAN KULL something to emerge from the early, pre-PowerMetal generation U.S.Metal acts, ‘82/’83. The upbeat “Burn It Up” is all that, from the musical content to its feel and appearance, as if this one has been shelved for some 5 years! With added boost and crunch on the guitars, “Burn It Up” would have made a killer-PowerMetal track in the Myth / Assassin styles. “Yesterday’s Love” goes even further back in time, engaging 70’s Rock balladry with prominent, Epic-meets-Prog type synths. Oddly, the titletrack concerns an instrumental workout with Maiden-ish rhythmics, and harmonized lead-bass guitars throughout; doesn’t really shake up things here, missing out on a gripping (main) theme or solo-actions. “A Piece Of Love” is another instrumental-geared affair, with just over 1 minute of (rough edged) vocals delivered by Rick Cabrera, down its 4 something minutes of running time. This one collects a whole series of styles and sources, incorporating Maiden-esque rhythmics and guitar-bass synchronization, (70’s) Progressive HardRock and PowerMetal. Again, this would have been a top-of-the-line PowerMetaler with added productional punch and over-the-top guitars. KILL VAN KULL are a good band, and they do have the ideas but piecing it all together is where things fail to come off full-circle, mainly due to the allround mobility of its individual structures, and the absence of ‘set’ themes and or riff-layers. This however, will not be an obstacle for the more Progressive minded listeners. The “Eye Of The Storm” EP will make a welcome addition to any early 80’s U.S.Metal collection but doesn’t come cheap with a price tag in the three-figure territories and still climbing…
spfcs: lyrics on backprint
CASSLE – 12” TEST PRESS US’83 “MIDNIGHT FANTASY”
label: Azra
songs: Midnight Fantasy
Before one is about to fork out a large sum of money to own a copy of this top-rank rarity, it is best advised to cross-reference the item on sale, as there is quite a few versions of this one in circulation, the prime mover being the original / test press. Then, there is the ’97 re-issue of this one-sided EP (which however, is also well up in the three-figure range), and the similar titled single version (which also happens to be a one-sided affair with just this one song), the latter which has a different print, depicting a ‘cobweb with spider’ image in a square-shaped picture-disc format. But then again, that is where it all ends catalogue-wise, as the band (that originally were called REVENGE) never produced anything outside the 4 vinylized offerings. The 7+ minute “Midnight Fantasy” concerns a gloomy, mystical sphered semi-ballad, gelling 70’s ProgRock features with light-format Doom (as guitars are mildly distorted and not down-tuned). As a matter of fact; most of the Doomy bits come off through the piano-usage and the narrative vocalage of Brett Hollomon. This sure is one original commodity that will require a few spins to get accustomed to, as this is not a ‘real’ song but a collection of themes and moods….. The EP version additionally features “Revenge”; a heavily 70’s inspired piano-vocal only workout! that picks up some Doomy riffs halfway down. “Power Driver” (which actually is supposed to be titled “Power Drive”, and originally was called “Revenge”!) is a more commonly styled, conventional Rocker (with piano); rather basic in all… Finally, there’s “My New Flame”; a multi-structured ProgRocker from the old school – meets U.K. style Wave – meets HardRock…. Overall, the band is not entirely on top of it performance-wise, but one sure has to grant them for their musical genius, both structural and concept-wise. Material is played pretty much in a Rock style fashion…Just image what one could have delivered with thick guitar layers and downtoned modes, particularly on an in-depth song, such as the 4-part !! “The Ringmaster” that never got recorded though…. (* interview further down this page )
spfcs:
* 12” 4-song test press has no picture sleeve but a black, octagon shaped jacket, plays on one-side, white labels on record, 100 copies.
* ’97 bootleg re-issue comes in duotone Castle cover & logo, limited issue of 100 numbered copies. (logo & image not original).
* ’83 one-song, square shape picture disc with cobweb / spider image, plays on one side only, 500 copies
* ’93 CD bootleg recording of EP with 2 other acts
* 2011 official CD release "Cassle" on Shadow Kingdom Records
label: Azra
songs: Midnight Fantasy
Before one is about to fork out a large sum of money to own a copy of this top-rank rarity, it is best advised to cross-reference the item on sale, as there is quite a few versions of this one in circulation, the prime mover being the original / test press. Then, there is the ’97 re-issue of this one-sided EP (which however, is also well up in the three-figure range), and the similar titled single version (which also happens to be a one-sided affair with just this one song), the latter which has a different print, depicting a ‘cobweb with spider’ image in a square-shaped picture-disc format. But then again, that is where it all ends catalogue-wise, as the band (that originally were called REVENGE) never produced anything outside the 4 vinylized offerings. The 7+ minute “Midnight Fantasy” concerns a gloomy, mystical sphered semi-ballad, gelling 70’s ProgRock features with light-format Doom (as guitars are mildly distorted and not down-tuned). As a matter of fact; most of the Doomy bits come off through the piano-usage and the narrative vocalage of Brett Hollomon. This sure is one original commodity that will require a few spins to get accustomed to, as this is not a ‘real’ song but a collection of themes and moods….. The EP version additionally features “Revenge”; a heavily 70’s inspired piano-vocal only workout! that picks up some Doomy riffs halfway down. “Power Driver” (which actually is supposed to be titled “Power Drive”, and originally was called “Revenge”!) is a more commonly styled, conventional Rocker (with piano); rather basic in all… Finally, there’s “My New Flame”; a multi-structured ProgRocker from the old school – meets U.K. style Wave – meets HardRock…. Overall, the band is not entirely on top of it performance-wise, but one sure has to grant them for their musical genius, both structural and concept-wise. Material is played pretty much in a Rock style fashion…Just image what one could have delivered with thick guitar layers and downtoned modes, particularly on an in-depth song, such as the 4-part !! “The Ringmaster” that never got recorded though…. (* interview further down this page )
spfcs:
* 12” 4-song test press has no picture sleeve but a black, octagon shaped jacket, plays on one-side, white labels on record, 100 copies.
* ’97 bootleg re-issue comes in duotone Castle cover & logo, limited issue of 100 numbered copies. (logo & image not original).
* ’83 one-song, square shape picture disc with cobweb / spider image, plays on one side only, 500 copies
* ’93 CD bootleg recording of EP with 2 other acts
* 2011 official CD release "Cassle" on Shadow Kingdom Records
WHEN THE HAMMER COMES DOWN - COMPILATION CASSETTE HOLL’83 / CD ‘06
songs: 8x * bands: 8x
Martyr – “Snow & Fire”
Dark Wizard – “Poisoned Whiskey”
Burning Ambition – “Back Where We Belong”
Ear Danger – “Beelzebub’s Friend”
Atomic Rock – “Standing On The Edge Of Light”
Hammer – “Death Of Ila Totho”
Future Tense – “Go To Hell”
Together – “Burn In Hell”
Throughout the 80’s, there’s been quite a few compilations covering the up-and-coming acts from the Dutch Metal scene; the first of which came in the shape of the “Metal Clogs” LP, to be followed by others such as the “Holland Heavy Metal” samplers, “Dutch Steel”, “The Heavy Touch”, “Metal In Rocks” and the obscure “Metal Power” compilation series on 7” format. This originally cassette-only compilation - that is now transferred onto digital format by its initiator - holds quite a heavy selection of songs; on average, the heaviest or fastest tunes from the band’s demos. Early, all-out Euro-SpeedMetal is delivered by FUTURE TENSE with the catchy, rhythm riffed “Go To Hell”. Next in line are TOGETHER with the NWOBHM / Priest styled Headbanger “Burn In Hell”; one of the band’s heaviest ever, along with the similar styled “Ready To Die” that appeared on the “Dutch Steel” compilation. Another speedster comes in the shape of “Beelzebub’s Friend” by EAR DANGER, also with the NWOBHM thing in there alright. “Poisoned Whiskey” by DARK WIZARD concerns another accelerated offering, and actually is a no-holds-barred, all-out Euro-Headbanger with a double-bass drummed drive and a strong taste of Motorhead in the instrumental department. Other participants are on a different page, concept-wise; The conventional HardRock styled “Standing On The Edge Of Light” by ATOMIC ROCK for instance, sounds much like a collage of Rainbow, AIIZ and White Spirit. BURNING AMBITION slips into NWOBHM styled Metal with the mid-paced “Back Where We Belong”, showing certain similarities to Turbo’s “Running”, the more so as this cutting edge is pretty much identical; song however, is quite transparent / linear. HAMMER are also on the conventional side of things, be it on a different level, concept-wise, engaging some mildly Doom-flavoured HardRock/Metal with a good lot of guitar going down the second half of “Death Of Ila Totho” as it intensifies and shifts into upbeat gear. This could have been a pounding PowerMetal number, if only the production would have provided some thrust and bottom end boost. Most intelligent songwriting comes in the shape of the non-LP cut “Snow And Fire” (which also showed up on the “Dutch Steel” sampler) by MARTYR. This is the best song by far, adopting largely NWOBHM flavoured PowerMetal with a lot of guitar and vocals in the styles of Savage Grace’s “Scepters Of Deceit”. Four of the bands on display here furthered their career with vinyls out, respectively MARTYR, TOGETHER, FUTURE TENSE and DARK WIZARD, whilst EAR DANGER would once more appear on vinyl through the “Metal Power vol.II” compilation EP. In all, quite a nice set of tunes with a considerable NWOBHM flavour throughout. “When The Hammer Comes Down”, definitively captures the spirit of Dutch Underground Metal produced in the early – mid 80’s. Maybe not the best of singers on display here, but a good lot of relentless power and speed to compensate somehow. The CD version of this compilation has been circulated in minimal quantities (25 numbered copies) and therefor is equally rare as its cassette version. One of the most if not THE most obscure 80's Metal release to emerge from Holland.
songs: 8x * bands: 8x
Martyr – “Snow & Fire”
Dark Wizard – “Poisoned Whiskey”
Burning Ambition – “Back Where We Belong”
Ear Danger – “Beelzebub’s Friend”
Atomic Rock – “Standing On The Edge Of Light”
Hammer – “Death Of Ila Totho”
Future Tense – “Go To Hell”
Together – “Burn In Hell”
Throughout the 80’s, there’s been quite a few compilations covering the up-and-coming acts from the Dutch Metal scene; the first of which came in the shape of the “Metal Clogs” LP, to be followed by others such as the “Holland Heavy Metal” samplers, “Dutch Steel”, “The Heavy Touch”, “Metal In Rocks” and the obscure “Metal Power” compilation series on 7” format. This originally cassette-only compilation - that is now transferred onto digital format by its initiator - holds quite a heavy selection of songs; on average, the heaviest or fastest tunes from the band’s demos. Early, all-out Euro-SpeedMetal is delivered by FUTURE TENSE with the catchy, rhythm riffed “Go To Hell”. Next in line are TOGETHER with the NWOBHM / Priest styled Headbanger “Burn In Hell”; one of the band’s heaviest ever, along with the similar styled “Ready To Die” that appeared on the “Dutch Steel” compilation. Another speedster comes in the shape of “Beelzebub’s Friend” by EAR DANGER, also with the NWOBHM thing in there alright. “Poisoned Whiskey” by DARK WIZARD concerns another accelerated offering, and actually is a no-holds-barred, all-out Euro-Headbanger with a double-bass drummed drive and a strong taste of Motorhead in the instrumental department. Other participants are on a different page, concept-wise; The conventional HardRock styled “Standing On The Edge Of Light” by ATOMIC ROCK for instance, sounds much like a collage of Rainbow, AIIZ and White Spirit. BURNING AMBITION slips into NWOBHM styled Metal with the mid-paced “Back Where We Belong”, showing certain similarities to Turbo’s “Running”, the more so as this cutting edge is pretty much identical; song however, is quite transparent / linear. HAMMER are also on the conventional side of things, be it on a different level, concept-wise, engaging some mildly Doom-flavoured HardRock/Metal with a good lot of guitar going down the second half of “Death Of Ila Totho” as it intensifies and shifts into upbeat gear. This could have been a pounding PowerMetal number, if only the production would have provided some thrust and bottom end boost. Most intelligent songwriting comes in the shape of the non-LP cut “Snow And Fire” (which also showed up on the “Dutch Steel” sampler) by MARTYR. This is the best song by far, adopting largely NWOBHM flavoured PowerMetal with a lot of guitar and vocals in the styles of Savage Grace’s “Scepters Of Deceit”. Four of the bands on display here furthered their career with vinyls out, respectively MARTYR, TOGETHER, FUTURE TENSE and DARK WIZARD, whilst EAR DANGER would once more appear on vinyl through the “Metal Power vol.II” compilation EP. In all, quite a nice set of tunes with a considerable NWOBHM flavour throughout. “When The Hammer Comes Down”, definitively captures the spirit of Dutch Underground Metal produced in the early – mid 80’s. Maybe not the best of singers on display here, but a good lot of relentless power and speed to compensate somehow. The CD version of this compilation has been circulated in minimal quantities (25 numbered copies) and therefor is equally rare as its cassette version. One of the most if not THE most obscure 80's Metal release to emerge from Holland.
CHALLENGER – 7” UK’81 “SO SURE OF YOURSELF”
label: CMC
songs: So Sure Of Yourself / Out To Kill //
The utterly obscure CHALLENGER single is one of such items that only a handful of collectors know of, but not knowing is not like missing out if one considered this one to be NWOBHM type…. It all becomes too evident, spinning “So Sure Of Yourself” which is not the most obvious combination, coupling Progressive Rock to Rock Opera features with a dash of 70’s GlamRock (a la THE SWEET) thrown in its chorus. The surprise is complete with a DEEP PURPLE / BOSTON copy-cat synths / Hammond solo. Other than its inspirational palette, this is one rather generic offering structural wise, drifting on a static, mid-tempo drive with a rather annoying use of the synths, but then again, CHALLENGER is pretty much rooted in the 70’s thing, if not all…The slightly atmospheric laden flipside tune “Out To Kill” rolls on a mid / up-tempo drive, but is rather Rock than HardRock with a semi New Wave touch to it, to some degree due to the vocalage of Norman Lee Ward, and melancholic sidekick (synths) The instrumentation creeps on the Progressive side of things, but moves in New Wave & Rock territories just the same. Performance-wise, this outlet is beginners-level with no specific highlights, and this pretty much applies to the concept as a whole, which is anything but NWOBHM related, although its cover image (depicting a hooded individual and lightning) may suggest otherwise. This single hardly ever shows up on specialist mailorder lists, and if it does, be aware that it comes with a serious, three-figure price-tag. Don’t get tricked by the fact that it is ranked a top NWOBHM rarity if you collect for the sake of musical content over scarcity of objects.
label: CMC
songs: So Sure Of Yourself / Out To Kill //
The utterly obscure CHALLENGER single is one of such items that only a handful of collectors know of, but not knowing is not like missing out if one considered this one to be NWOBHM type…. It all becomes too evident, spinning “So Sure Of Yourself” which is not the most obvious combination, coupling Progressive Rock to Rock Opera features with a dash of 70’s GlamRock (a la THE SWEET) thrown in its chorus. The surprise is complete with a DEEP PURPLE / BOSTON copy-cat synths / Hammond solo. Other than its inspirational palette, this is one rather generic offering structural wise, drifting on a static, mid-tempo drive with a rather annoying use of the synths, but then again, CHALLENGER is pretty much rooted in the 70’s thing, if not all…The slightly atmospheric laden flipside tune “Out To Kill” rolls on a mid / up-tempo drive, but is rather Rock than HardRock with a semi New Wave touch to it, to some degree due to the vocalage of Norman Lee Ward, and melancholic sidekick (synths) The instrumentation creeps on the Progressive side of things, but moves in New Wave & Rock territories just the same. Performance-wise, this outlet is beginners-level with no specific highlights, and this pretty much applies to the concept as a whole, which is anything but NWOBHM related, although its cover image (depicting a hooded individual and lightning) may suggest otherwise. This single hardly ever shows up on specialist mailorder lists, and if it does, be aware that it comes with a serious, three-figure price-tag. Don’t get tricked by the fact that it is ranked a top NWOBHM rarity if you collect for the sake of musical content over scarcity of objects.
BARBARIAN - 7”EP BEL’84 “DEMON”
label: Gamm
songs: Demon / Rue Barbare / Victime //
Now, this band sure sports all the right trimmings when it comes to concept, packaging, moniker and logo that assume having to deal with a right-on Barbaric / True-Metal outfit. Guess again, as BARBARIAN are miles away from the portrayed image. As a matter of fact; the whole affair sounds much as if it emerged from a New Wave / Punk-outfit-gone-Metal, evidenced on the dark sphered “Rue Barbare”, and the similar fashioned “Victime”. The accelerated “Demon” takes a turn towards Metal / Speed, in a MOTORHEAD – meets – HardCore / Punk approach, much in the styles of DRUID and KRATOS, however, levels down in performance. Frankly, this product doesn’t go anywhere, as musicianship and songwriting are of the worst sort, and largely off-key in both the vocal and guitar-department. The obscurity element of this one-off release, pressed in equally limited numbers as the rare (and equally lame) BACCHUS 7" from the very same record-label may have you hunting down this item, question is if it is worth the effort and the dough..
label: Gamm
songs: Demon / Rue Barbare / Victime //
Now, this band sure sports all the right trimmings when it comes to concept, packaging, moniker and logo that assume having to deal with a right-on Barbaric / True-Metal outfit. Guess again, as BARBARIAN are miles away from the portrayed image. As a matter of fact; the whole affair sounds much as if it emerged from a New Wave / Punk-outfit-gone-Metal, evidenced on the dark sphered “Rue Barbare”, and the similar fashioned “Victime”. The accelerated “Demon” takes a turn towards Metal / Speed, in a MOTORHEAD – meets – HardCore / Punk approach, much in the styles of DRUID and KRATOS, however, levels down in performance. Frankly, this product doesn’t go anywhere, as musicianship and songwriting are of the worst sort, and largely off-key in both the vocal and guitar-department. The obscurity element of this one-off release, pressed in equally limited numbers as the rare (and equally lame) BACCHUS 7" from the very same record-label may have you hunting down this item, question is if it is worth the effort and the dough..
FACTS AND FIGURES
* APOCALYPSE – 7” UK’82 “STORMCHILD”
circulation of 1000 copies
* BLACK DEATH – LP US’.. “BLACK DEATH”
circulation of 1000 copies
* CRYING STEEL – MLP IT’.. “CRYING STEEL”
circulation of 1500 copies
* CRYING STEEL – LP IT’.. “ON THE PROWL”
circulation of 4000 copies
* ELIXIR – 7” UK’85 “TREACHERY”
circulation of 1000 copies
* JJ’S POWERHOUSE – 7” UK’ 83 “RUNNING FOR THE LINE”
circulation of 1000 copies
* PANIK ATTACK – 12” EP UK’90 “PANIK ATTACK”
circulation of 1000 copies
* SWEET SAVAGE – 7” UK’81 “TAKE NO PRISONERS”
circulation of 5000 copies
* SWEET SAVAGE – 7” UK’83 “STRAIGHT THROUGH THE HEART”
circulation of 1000 copies
circulation of 1000 copies
* BLACK DEATH – LP US’.. “BLACK DEATH”
circulation of 1000 copies
* CRYING STEEL – MLP IT’.. “CRYING STEEL”
circulation of 1500 copies
* CRYING STEEL – LP IT’.. “ON THE PROWL”
circulation of 4000 copies
* ELIXIR – 7” UK’85 “TREACHERY”
circulation of 1000 copies
* JJ’S POWERHOUSE – 7” UK’ 83 “RUNNING FOR THE LINE”
circulation of 1000 copies
* PANIK ATTACK – 12” EP UK’90 “PANIK ATTACK”
circulation of 1000 copies
* SWEET SAVAGE – 7” UK’81 “TAKE NO PRISONERS”
circulation of 5000 copies
* SWEET SAVAGE – 7” UK’83 “STRAIGHT THROUGH THE HEART”
circulation of 1000 copies
FACTS AND MISCONCEPTIONS
* ABATTOIR : California based Abattoir initially planned to release a
6-track mini-LP/EP somewhere in ‘84; this became a full-lengther by the
title of “Vicious Attack” (’85). The mini-LP/EP would also have featured
the song “Hammer Of The Gods”, not to appear on vinyl until the release
of the 2nd LP, the ’86 “The Only Safe Place”.* BASHFUL ALLEY : 7” UK’82 “Running Blind” / “My, My, My”. two different pressings; the commonly known, yellow sleeve, 2nd press on the Graffiti label plus the more valuable Ellie Jay press that comes in a white sleeve
* DEATHSLAYER : 6 track cassette EP US’84 “Cry Of The Swords”. This item is more than often assumed to be a vinyl-piece; fact is that is has been released as a cassette EP ONLY, not on vinyl! (for further details see Loud and Legendary #01)
* DESTROYER : Next to the ’81 released 7-incher by UK-based outfit Destroyer (“Evil Place”/”Stand And Deliver”) there’s also a 7” circulated by another band that goes by the same name; this concerns the US Destroyer that released the obscure, ’85 “Black Angels”/”The Grave” single (private press) The Destroyer (US) that released the ’88 “Optimum D.S.I.” 6 track mini-LP (Screamin’ Mimi records). Additionally, there’s also a Polish Destroyer in the late 80’s that was being featured on the cassette-compilations “Polish Heavy Metal ’87, and “Metal Invasion (’87).
* HM HEROES vol.I compilation LP (Heavy Metal records ’81); 1st press with red/black cover in segments, no image. 2nd press with full colour artwork cover.
* LIAISON : This UK outfit’s 1st outlet; the ’82 “Play It With Passion” 2-songer comes in three versions, all on the Catweazle records label though. Some came without a picture-sleeve. Then, there’s copies with a grey picture sleeve, and the most valuable, yellow-picture sleeve with the same cover image however.
* MERCYFUL FATE : 1st outlet; the selftitled “Mercyful Fate” MLP, also known as the “Nuns Have No Fun” EP (Rave-On records ’82); 1st, most valuable press with the white frame around the cover image. 2nd press with black border, also on Rave-On.
*PRETTY MAIDS : The first piece of vinyl from these Danish HardRockers; the selftitled “Pretty Maids” EP comes in two versions. 1st press on Bullet records in ’83 in a tricolor red/black/white cover with model/guitar image. 2nd press on CBS in ’84 with a different, full colour s.f./fantasy cover image and different logo.
* SODOM : At the very same year German BlackMetalers Sodom initiated (’82), another band by the same name, and also from Germany incepted. This 4-piece Metal unit earlier exposed their material (3 song demo in ’83) but never vinylized any. The other Sodom did, debuting with the “In The Sign Of Evil” mini-LP in ’85.
* WOLF: Back in the 80’s, there’s been a few bands by the name of Wolf. Most commonly known WOLF are the UK based act, previously known as BLACK AXE with a single, “Head Contact” in ’82 and a full-lengther, “Edge Of The World” out in ’84 (Mausoleum). Another UK-based WOLF concerns the one with only but one single out; the ’81 “Creatures Of The Night” 2-songer (Gremlin records). Furthermore, there’s been a Japanese WOLF that released a selftitled LP in ’87 (Victor records).
* DEATHSLAYER : 6 track cassette EP US’84 “Cry Of The Swords”. This item is more than often assumed to be a vinyl-piece; fact is that is has been released as a cassette EP ONLY, not on vinyl! (for further details see Loud and Legendary #01)
* DESTROYER : Next to the ’81 released 7-incher by UK-based outfit Destroyer (“Evil Place”/”Stand And Deliver”) there’s also a 7” circulated by another band that goes by the same name; this concerns the US Destroyer that released the obscure, ’85 “Black Angels”/”The Grave” single (private press) The Destroyer (US) that released the ’88 “Optimum D.S.I.” 6 track mini-LP (Screamin’ Mimi records). Additionally, there’s also a Polish Destroyer in the late 80’s that was being featured on the cassette-compilations “Polish Heavy Metal ’87, and “Metal Invasion (’87).
* HM HEROES vol.I compilation LP (Heavy Metal records ’81); 1st press with red/black cover in segments, no image. 2nd press with full colour artwork cover.
* LIAISON : This UK outfit’s 1st outlet; the ’82 “Play It With Passion” 2-songer comes in three versions, all on the Catweazle records label though. Some came without a picture-sleeve. Then, there’s copies with a grey picture sleeve, and the most valuable, yellow-picture sleeve with the same cover image however.
* MERCYFUL FATE : 1st outlet; the selftitled “Mercyful Fate” MLP, also known as the “Nuns Have No Fun” EP (Rave-On records ’82); 1st, most valuable press with the white frame around the cover image. 2nd press with black border, also on Rave-On.
*PRETTY MAIDS : The first piece of vinyl from these Danish HardRockers; the selftitled “Pretty Maids” EP comes in two versions. 1st press on Bullet records in ’83 in a tricolor red/black/white cover with model/guitar image. 2nd press on CBS in ’84 with a different, full colour s.f./fantasy cover image and different logo.
* SODOM : At the very same year German BlackMetalers Sodom initiated (’82), another band by the same name, and also from Germany incepted. This 4-piece Metal unit earlier exposed their material (3 song demo in ’83) but never vinylized any. The other Sodom did, debuting with the “In The Sign Of Evil” mini-LP in ’85.
* WOLF: Back in the 80’s, there’s been a few bands by the name of Wolf. Most commonly known WOLF are the UK based act, previously known as BLACK AXE with a single, “Head Contact” in ’82 and a full-lengther, “Edge Of The World” out in ’84 (Mausoleum). Another UK-based WOLF concerns the one with only but one single out; the ’81 “Creatures Of The Night” 2-songer (Gremlin records). Furthermore, there’s been a Japanese WOLF that released a selftitled LP in ’87 (Victor records).
ALL OF THE INTERVIEWS BELOW HAVE BEEN CONDUCTED MANY YEARS AGO THROUGH MY THEN FANZINE 'LOUD AND LEGENDARY'. STILL, THERE IS A WEALTH OF INFORMATION IN THESE INTERVIEWS WITH EXCLUSIVE INFORMATION AND FACTS, jUST TOO GOOD TO LET GO! Stay tuned for many more interviews that have been shelved for years, including chats with EMMY STRUT, BITCHES SIN, MARZ, GOLDSMITH, VIOLATION, CHUMBY, WITCHSLAYER, WITCHKILLER, EFG BAND and others! 80's Metal is alive!!
RAT ATTACK interview by Paul van der Burght
Hawaii-based RAT ATTACK are one of such bands that never got to officially vinylize any material whilst having the potential to do so. As a result, the band forked out a demo with an album’s length of material as a cassette-LP. This cassette became an item that rapidly got picked up by the tape-traders, and became a ‘regular’ down collector’s lists. Down the 90’s, this cassette got pressed on vinyl as a bootleg, which sparked another generation of fans. Still, RAT ATTACK remains an insider’s classic, so it’s about time to expose this band big time… Guitarist Tom Azevedo takes us there….
MANIC MOSH: exactly when did things take shape as RAT ATTACK, and were you in any other bands prior to this? And, was the very early formation the line-up as it was down the cassette LP?
Tom: RAT ATTACK took shape in 1983. The same line up as the cassette-LP. I’ve only played in a couple of bands before RAT ATTACK. One was called CRIPPLER and the other was called X MISTRESS. We mainly played HardRock covers at backyard parties, pizza parlors, local nightclubs and the military circuit.
MANIC MOSH: Knowing the Hawaii Metal scene, as small as it was; it produced a whole sting of acts such as HAWAII / VIXEN / ALOHA, AARONSROD, SACRED RITE, LIQUID MIRROR, and… RAT ATTACK! Was there any other bands you know of, but never got to vinylize their materials, as was the case with you guys…
Tom: In the early 80’s Heavy Metal in Hawaii was extremely obscure and Underground. It was hard to make a living playing original music in the clubs and almost impossible to receive airplay on local radio-stations. Even promoters made it as hard as possible for us to get any recognition. It was really the Underground fanzines and college radio that put Hawaii’s Metal scene on the map. VIXEN, ALOHA, and HAWAII were all products of Marty Friedman. RAT ATTACK and LIQUID MIRROR were both my bands; AARON’S ROD was Angelo and SACRED RITE was Mark, Jimmy and Peter. We all grew up together in Hawaii and tried to create a Metal scene of our own. And we did just that!!! There were other bands that struggled to surface, but with band like ours they couldn’t survive.
MANIC MOSH: So, what’s been the reason you never got picked up by a label, whilst those other acts did…
Tom: RAT ATTACK was really my first attempt to break the ice in Hawaii. RAT ATTACK did actually sign a record deal with “In Rock” Records and released the song “Holocaust” on a compilation album. Soon after, Marty Friedman heard RAT ATTACK and asked me to join his band. HAWAII was already signed and had management, as well as being the heaviest band on the island. I couldn’t resist. So I joined HAWAII, first as their lead singer and then as their 2nd guitarist.
MANIC MOSH: Was this absence of label interest also the reason you released your material as a cassette-album, or did you record an album’s length of material as a ready-to-record blueprint to make it easier for interested parties?
Tom: When I first recorded the RAT ATTACK cassette, it was intended as a demo to get label interest, not as an actual release. I pressed only 500 copies at first and sent them to a select few fanzines and college radio.
MANIC MOSH: As far as fanzine footage concerns, I only know of this one feedback given by this local-based fanzine METAL CHAOS. Over in Europe the band got picked up by collectors at a large scale, but this was not equaled in a similar measure by the fanzines, assuming you guys never really did focus on the promotional side of things, at least not in the direction of Europe or the fanzine thing in general?
Tom: I wish we had the resources at that time to have taken RAT ATTACK a lot further. It was hard coming from such a small island in the middle of the Pacific, and Europe seemed like a million miles away. We were very young and naïve. We did however receive coverage in ‘Kerrang’ and ‘Enfer’ Magazine.
MANIC MOSH: Getting back to the cassette-LP; was this the first set of the band, or did you already have a considerable repertoire, a selection of which made it onto the cassette…?
Tom: RAT ATTACK has even better material that had never been recorded or released. I had written over 20 songs for the band. The cassette only featured the first 8 songs. Other song titles include: “Ride The Sphinx”, “Knight Gallery”, “Masters Of Reflection”, “Tough As Nails”, “As The World Burns”, “Human Zoo”, “Diamond Danger”, “Hail Hail”, just to name a few.
MANIC MOSH: Has the band ever taped any demos, before and / or after the cassette LP?
Tom: Yes, in 1982 before we recorded the RAT ATTACK cassette at ‘Rendezvous Recording’, Leslie Ripp and I recorded 2 songs at ‘WitchHazel Studio’. Les played drums on the songs and I played bass. The songs were instrumentals of “Ride The Sphinx” and “Hail Hail” which were never released.
MANIC MOSH: stickered as genuine Heavy Metal with an occasional turn towards PowerMetal, as evidenced on “Reaper’s Prey” and “Fast Getaway”; the heaviest and fastest outlets on the cassette. Were there any other songs in this style?
Tom: Yes, the song is called “Curiosity Killed The Cat” which is even Heavier!!! RAT ATTACK drummer, Paul Schofield used to say that playing this song was like running a marathon!!!
MANIC MOSH: Did you ever consider belting out any of the material in the shape of a private-press single or EP?
Tom: I’ve entertained that thought off and on over the years.
MANIC MOSH: Getting back to the Hawaii scene; was there any venues that booked Metal bands, and was there a live-scene, or ‘scene’ anyways?
Tom: By 1984, there was a cool Metal scene going on in Hawaii. We would play clubs like, ‘The Jazz Cellar’, ‘Waikiki Junction’, ‘Bully Hayes’, ‘Gussie La Mours’, ‘The 23rd Step’, ‘The Rock & Roll Clinic’, ‘Queen Theatre’ etc.
MANIC MOSH: With a considerable amount of bands operating at such a limited space, there must have been some inter-action at some point, at least for you, as you would later join HAWAII, and after that LIQUID MIRROR?
Tom: To tell you the truth, everybody knew everybody. Marty and I would borrow Marshalls from our guitar students so we could play with full stacks and be louder than everyone else!!!
MANIC MOSH: Since you were part of HAWAII at the time they recorded the ’85 “Natives Are Restless” LP, things must have ended for RAT ATTACK somewhere in between ’84 and ’85… What exactly made the band call it quits?
Tom: We never really called it quits. We all played in various projects aside from RAT ATTACK and remain friends till this day. In 1984 I first joined HAWAII as their lead singer. I was rehearsing with the band to begin vocals on the “Loud, Wild And Heavy” album, only to get kicked out of the band during a falling out with their manager Norman Dale.
MANIC MOSH: So, how did that stint with HAWAII come about, were you asked to join the band or did you have to audition?
Tom: I auditioned at first when they were looking for a lead singer. But after they fired their asshole manager, they called me in to play guitar.
MANIC MOSH:Then we find the original sound, to be replaced for a more Mainstream Rock approach with a seemingly, commercial aim, gauging the set on the “Natives Are Restless” LP. Was this up your alley concept-wise, or did you join the band when they were still at their Metal roots?
Tom: I originally joined HAWAII when they were at their Heaviest stage. We’d play “One Nation Underground” or “The Pit & The Pendulum” and just go insane!!! Even though “Natives Are Restless” was commercially acceptable, we still played the heavy shit live!!! I loved everything we did.
MANIC MOSH: Then, HAWAII also called it a day, the “Natives Are Restless” being their latest document… It was then that LIQUID MIRROR showed up. Was this band already existent, or did it take shape as you entered?
Tom: Well, after we opened up for DEEP PURPLE during their ‘Perfect Strangers’-tour, we went on a tour of our own. We started in Los Angeles and worked our way to Oakland. HAWAII’s last show was at ‘Ruthie’s Inn’ in 1985. The band sounded absolutely incredible, but after the show our drummer mysteriously disappeared with the band fund. Marty stayed in the Bay Area, while Joe Galisa and I returned to Los Angeles waiting for a phone call to resume the tour. After a month of waiting, we both decided to return to Honolulu.
MANIC MOSH: The ’86 “Kicked Out Of Fantasy” LP by LIQUID MIRROR pretty much went down the same thing as the “Natives Are Restless” LP (particularly its titletrack that connects at a large scale with HAWAII’s “Bad Boys Of Metal”) but also has moments it dates back to the RAT ATTACK material, basically the heavier workouts, such as “Lose Control”…
So, Apparently, with LIQUID MIRROR there’s also been an attempt to go ‘overground’ referring to the commercially aimed, Sleaze Rock rooted “Baby That’s Crude” and the moody, atmospheric laden Rocker “On The Run”…. Not to mention the outfits as depicted down the LIQUID MIRROR album.
Tom: LIQUID MIRROR was a definite attempt to surface into the Mainstream. After shoveling shit for so long, we really wanted to be a part of the L.A. Hard Rock scene and adapt that kind of image.
MANIC MOSH: From the RAT ATTACK material onto the LIQUID MIRROR set, the guitar work occasionally shows similarities to that of Marty Friedman…. Is there a connection, say, teacher – student wise, or did this come from having exchanged ideas and techniques, or has Marty just been an inspirational source… At times, even the guitar sound and feedback is pretty much up the same alley…
Tom: Marty and I go way back. We were both guitar teachers at a shop called ‘Hot Lick’s Guitars’ in Waikiki. After work, Marty and I would jam for hours at his apartment. Sometimes we’d play like 10 hours straight and then go to rehearsal with HAWAII. We practiced every single day like clockwork. We both wanted to be the best players we could be. He would show me wild arpeggios and I would show him my exotic scales and pull off tricks. Our influences were very close. We both loved KISS and Frank Marino & Mahogany Rush It’s hard not to sound similar when you spent as much time playing together. We just traded licks. I respect Marty as a great guitarist and a great friend.
MANIC MOSH: You have been a guitar-teacher yourself… was this on a pro-basis, and have any students of you applied their techniques in band format, one band I know of is RARE BREED…. Do you know of others?
Tom: Some of my students have changed bands so often that it’s hard to keep track of who they’re playing with. In Hawaii, I used to teach 20-30 students a week. I’d give semi-professional lessons and basically teach a student whatever the hell they wanted to play whether they could comprehend it or not.
MANIC MOSH: Throughout the documented releases, you laid down some deserving guitar work, including a southern European, Flamenco-inspired workout, “Princess Night”… Have you ever considered releasing a full-instrumental (as Marty did) and have you ever acted as a session / guest guitarist on other musician’s releases for instance?
Tom: I have definitely considered doing an all-instrumental album for some time now. I’m working on it as we speak. Kind of a Metal fusion style. I want to call it “Tropical Spaceman”. I have been a guest guitarist on numerous projects. Too many to mention.
MANIC MOSH: Getting Back to RAT ATTACK… down the nineties the band had its second flush of Underground fame through a bootleg LP that was circulated…. Since there still is a strong interest in the band, have you ever given it a thought to release the RAT ATTACK cassette as a CD with some additional material for instance?
Tom: That’s a cool idea!!! The production quality on the cassette is so raw that it might be better to just re-record the whole thing over and add 6 more songs.
MANIC MOSH: So, what happened after LIQUID MIRROR, and what are your current activities, if there is any, music related…
Tom: LIQUID MIRROR ended in 1990. I then formed VERTIGO CHILDREN, which became one of L.A.’s hottest bands of the 90’s. We released the “Angels & Aliens” CD in 1998 which we recorded at the world famous ‘Record Plant’ in Hollywood. Currently I am jamming with Christian Werr who has played drums with OZZY and BLACK LABEL SOCIETY.
MANIC MOSH: Judging all three outlets you were involved in; RAT ATTACK, HAWAII – “Natives…” era, and LIQUID MIRROR, RAT ATTACK makes up for the most deserving, most convincing, what do you reckon?
Tom: RAT ATTACK is where it all started. I’m stoked that fans still like it 25 years later!!!!
Hawaii-based RAT ATTACK are one of such bands that never got to officially vinylize any material whilst having the potential to do so. As a result, the band forked out a demo with an album’s length of material as a cassette-LP. This cassette became an item that rapidly got picked up by the tape-traders, and became a ‘regular’ down collector’s lists. Down the 90’s, this cassette got pressed on vinyl as a bootleg, which sparked another generation of fans. Still, RAT ATTACK remains an insider’s classic, so it’s about time to expose this band big time… Guitarist Tom Azevedo takes us there….
MANIC MOSH: exactly when did things take shape as RAT ATTACK, and were you in any other bands prior to this? And, was the very early formation the line-up as it was down the cassette LP?
Tom: RAT ATTACK took shape in 1983. The same line up as the cassette-LP. I’ve only played in a couple of bands before RAT ATTACK. One was called CRIPPLER and the other was called X MISTRESS. We mainly played HardRock covers at backyard parties, pizza parlors, local nightclubs and the military circuit.
MANIC MOSH: Knowing the Hawaii Metal scene, as small as it was; it produced a whole sting of acts such as HAWAII / VIXEN / ALOHA, AARONSROD, SACRED RITE, LIQUID MIRROR, and… RAT ATTACK! Was there any other bands you know of, but never got to vinylize their materials, as was the case with you guys…
Tom: In the early 80’s Heavy Metal in Hawaii was extremely obscure and Underground. It was hard to make a living playing original music in the clubs and almost impossible to receive airplay on local radio-stations. Even promoters made it as hard as possible for us to get any recognition. It was really the Underground fanzines and college radio that put Hawaii’s Metal scene on the map. VIXEN, ALOHA, and HAWAII were all products of Marty Friedman. RAT ATTACK and LIQUID MIRROR were both my bands; AARON’S ROD was Angelo and SACRED RITE was Mark, Jimmy and Peter. We all grew up together in Hawaii and tried to create a Metal scene of our own. And we did just that!!! There were other bands that struggled to surface, but with band like ours they couldn’t survive.
MANIC MOSH: So, what’s been the reason you never got picked up by a label, whilst those other acts did…
Tom: RAT ATTACK was really my first attempt to break the ice in Hawaii. RAT ATTACK did actually sign a record deal with “In Rock” Records and released the song “Holocaust” on a compilation album. Soon after, Marty Friedman heard RAT ATTACK and asked me to join his band. HAWAII was already signed and had management, as well as being the heaviest band on the island. I couldn’t resist. So I joined HAWAII, first as their lead singer and then as their 2nd guitarist.
MANIC MOSH: Was this absence of label interest also the reason you released your material as a cassette-album, or did you record an album’s length of material as a ready-to-record blueprint to make it easier for interested parties?
Tom: When I first recorded the RAT ATTACK cassette, it was intended as a demo to get label interest, not as an actual release. I pressed only 500 copies at first and sent them to a select few fanzines and college radio.
MANIC MOSH: As far as fanzine footage concerns, I only know of this one feedback given by this local-based fanzine METAL CHAOS. Over in Europe the band got picked up by collectors at a large scale, but this was not equaled in a similar measure by the fanzines, assuming you guys never really did focus on the promotional side of things, at least not in the direction of Europe or the fanzine thing in general?
Tom: I wish we had the resources at that time to have taken RAT ATTACK a lot further. It was hard coming from such a small island in the middle of the Pacific, and Europe seemed like a million miles away. We were very young and naïve. We did however receive coverage in ‘Kerrang’ and ‘Enfer’ Magazine.
MANIC MOSH: Getting back to the cassette-LP; was this the first set of the band, or did you already have a considerable repertoire, a selection of which made it onto the cassette…?
Tom: RAT ATTACK has even better material that had never been recorded or released. I had written over 20 songs for the band. The cassette only featured the first 8 songs. Other song titles include: “Ride The Sphinx”, “Knight Gallery”, “Masters Of Reflection”, “Tough As Nails”, “As The World Burns”, “Human Zoo”, “Diamond Danger”, “Hail Hail”, just to name a few.
MANIC MOSH: Has the band ever taped any demos, before and / or after the cassette LP?
Tom: Yes, in 1982 before we recorded the RAT ATTACK cassette at ‘Rendezvous Recording’, Leslie Ripp and I recorded 2 songs at ‘WitchHazel Studio’. Les played drums on the songs and I played bass. The songs were instrumentals of “Ride The Sphinx” and “Hail Hail” which were never released.
MANIC MOSH: stickered as genuine Heavy Metal with an occasional turn towards PowerMetal, as evidenced on “Reaper’s Prey” and “Fast Getaway”; the heaviest and fastest outlets on the cassette. Were there any other songs in this style?
Tom: Yes, the song is called “Curiosity Killed The Cat” which is even Heavier!!! RAT ATTACK drummer, Paul Schofield used to say that playing this song was like running a marathon!!!
MANIC MOSH: Did you ever consider belting out any of the material in the shape of a private-press single or EP?
Tom: I’ve entertained that thought off and on over the years.
MANIC MOSH: Getting back to the Hawaii scene; was there any venues that booked Metal bands, and was there a live-scene, or ‘scene’ anyways?
Tom: By 1984, there was a cool Metal scene going on in Hawaii. We would play clubs like, ‘The Jazz Cellar’, ‘Waikiki Junction’, ‘Bully Hayes’, ‘Gussie La Mours’, ‘The 23rd Step’, ‘The Rock & Roll Clinic’, ‘Queen Theatre’ etc.
MANIC MOSH: With a considerable amount of bands operating at such a limited space, there must have been some inter-action at some point, at least for you, as you would later join HAWAII, and after that LIQUID MIRROR?
Tom: To tell you the truth, everybody knew everybody. Marty and I would borrow Marshalls from our guitar students so we could play with full stacks and be louder than everyone else!!!
MANIC MOSH: Since you were part of HAWAII at the time they recorded the ’85 “Natives Are Restless” LP, things must have ended for RAT ATTACK somewhere in between ’84 and ’85… What exactly made the band call it quits?
Tom: We never really called it quits. We all played in various projects aside from RAT ATTACK and remain friends till this day. In 1984 I first joined HAWAII as their lead singer. I was rehearsing with the band to begin vocals on the “Loud, Wild And Heavy” album, only to get kicked out of the band during a falling out with their manager Norman Dale.
MANIC MOSH: So, how did that stint with HAWAII come about, were you asked to join the band or did you have to audition?
Tom: I auditioned at first when they were looking for a lead singer. But after they fired their asshole manager, they called me in to play guitar.
MANIC MOSH:Then we find the original sound, to be replaced for a more Mainstream Rock approach with a seemingly, commercial aim, gauging the set on the “Natives Are Restless” LP. Was this up your alley concept-wise, or did you join the band when they were still at their Metal roots?
Tom: I originally joined HAWAII when they were at their Heaviest stage. We’d play “One Nation Underground” or “The Pit & The Pendulum” and just go insane!!! Even though “Natives Are Restless” was commercially acceptable, we still played the heavy shit live!!! I loved everything we did.
MANIC MOSH: Then, HAWAII also called it a day, the “Natives Are Restless” being their latest document… It was then that LIQUID MIRROR showed up. Was this band already existent, or did it take shape as you entered?
Tom: Well, after we opened up for DEEP PURPLE during their ‘Perfect Strangers’-tour, we went on a tour of our own. We started in Los Angeles and worked our way to Oakland. HAWAII’s last show was at ‘Ruthie’s Inn’ in 1985. The band sounded absolutely incredible, but after the show our drummer mysteriously disappeared with the band fund. Marty stayed in the Bay Area, while Joe Galisa and I returned to Los Angeles waiting for a phone call to resume the tour. After a month of waiting, we both decided to return to Honolulu.
MANIC MOSH: The ’86 “Kicked Out Of Fantasy” LP by LIQUID MIRROR pretty much went down the same thing as the “Natives Are Restless” LP (particularly its titletrack that connects at a large scale with HAWAII’s “Bad Boys Of Metal”) but also has moments it dates back to the RAT ATTACK material, basically the heavier workouts, such as “Lose Control”…
So, Apparently, with LIQUID MIRROR there’s also been an attempt to go ‘overground’ referring to the commercially aimed, Sleaze Rock rooted “Baby That’s Crude” and the moody, atmospheric laden Rocker “On The Run”…. Not to mention the outfits as depicted down the LIQUID MIRROR album.
Tom: LIQUID MIRROR was a definite attempt to surface into the Mainstream. After shoveling shit for so long, we really wanted to be a part of the L.A. Hard Rock scene and adapt that kind of image.
MANIC MOSH: From the RAT ATTACK material onto the LIQUID MIRROR set, the guitar work occasionally shows similarities to that of Marty Friedman…. Is there a connection, say, teacher – student wise, or did this come from having exchanged ideas and techniques, or has Marty just been an inspirational source… At times, even the guitar sound and feedback is pretty much up the same alley…
Tom: Marty and I go way back. We were both guitar teachers at a shop called ‘Hot Lick’s Guitars’ in Waikiki. After work, Marty and I would jam for hours at his apartment. Sometimes we’d play like 10 hours straight and then go to rehearsal with HAWAII. We practiced every single day like clockwork. We both wanted to be the best players we could be. He would show me wild arpeggios and I would show him my exotic scales and pull off tricks. Our influences were very close. We both loved KISS and Frank Marino & Mahogany Rush It’s hard not to sound similar when you spent as much time playing together. We just traded licks. I respect Marty as a great guitarist and a great friend.
MANIC MOSH: You have been a guitar-teacher yourself… was this on a pro-basis, and have any students of you applied their techniques in band format, one band I know of is RARE BREED…. Do you know of others?
Tom: Some of my students have changed bands so often that it’s hard to keep track of who they’re playing with. In Hawaii, I used to teach 20-30 students a week. I’d give semi-professional lessons and basically teach a student whatever the hell they wanted to play whether they could comprehend it or not.
MANIC MOSH: Throughout the documented releases, you laid down some deserving guitar work, including a southern European, Flamenco-inspired workout, “Princess Night”… Have you ever considered releasing a full-instrumental (as Marty did) and have you ever acted as a session / guest guitarist on other musician’s releases for instance?
Tom: I have definitely considered doing an all-instrumental album for some time now. I’m working on it as we speak. Kind of a Metal fusion style. I want to call it “Tropical Spaceman”. I have been a guest guitarist on numerous projects. Too many to mention.
MANIC MOSH: Getting Back to RAT ATTACK… down the nineties the band had its second flush of Underground fame through a bootleg LP that was circulated…. Since there still is a strong interest in the band, have you ever given it a thought to release the RAT ATTACK cassette as a CD with some additional material for instance?
Tom: That’s a cool idea!!! The production quality on the cassette is so raw that it might be better to just re-record the whole thing over and add 6 more songs.
MANIC MOSH: So, what happened after LIQUID MIRROR, and what are your current activities, if there is any, music related…
Tom: LIQUID MIRROR ended in 1990. I then formed VERTIGO CHILDREN, which became one of L.A.’s hottest bands of the 90’s. We released the “Angels & Aliens” CD in 1998 which we recorded at the world famous ‘Record Plant’ in Hollywood. Currently I am jamming with Christian Werr who has played drums with OZZY and BLACK LABEL SOCIETY.
MANIC MOSH: Judging all three outlets you were involved in; RAT ATTACK, HAWAII – “Natives…” era, and LIQUID MIRROR, RAT ATTACK makes up for the most deserving, most convincing, what do you reckon?
Tom: RAT ATTACK is where it all started. I’m stoked that fans still like it 25 years later!!!!
INTERVIEW with CASSLE by Paul van der Burght
The “Midnight Fantasy” EP by U.S. outfit CASSLE is one of such top-rank rarities that comes with a certain “cult-status” just for what it is. Where many others would go through the whole demo routine to the point where things finally got materialized on vinyl - if ever that happened anyways - these guys got vinylized at a very early stage down their career. Concept-wise however, CASSLE were already levels up in creativity and in-depth songwriting, which, coupled to the charm of the “beginners-band-charm” and the “magic” of the Azra label made this EP a classic on collector’s want-lists. The following interview with guitarist Scott Parker brings us right down to where it all began…
Scott: As a treat to all you readers and fans of the genre, I have included comments from Mike Terry, the keyboardist / bassist that I did all the collaboration with. I felt it was necessary to include him.
MANIC MOSH: Since the “Midnight Fantasy” EP was recorded when you guys were youngsters, one may assume that CASSLE was the first band for most, if not all of you? So, exactly when did things come into form, and was this something that started out as / or emerged from a High School band?
Mike: Scott and I played with several people and a few different bands back then. We always gravitated back to each other because there was a chemistry between the two of us that was missing from any other project we set off on. We essentially found each others "Soul Mate", musically speaking.
Scott: Mike nailed it truly, but the band did form through various classmates / musicians that eventually directed us to play together. We were writing and rehearsing in my parents’ garage after school.
MANIC MOSH: Was this then the line-up as it was on the EP, featuring Brett Hollomon (vocals), Ed Roberts (drums), and you guys?
Scott: I’m not sure where the wires got crossed, but I have noticed that the release of the EP credits Mike with playing the bass. He did, but it was only out of necessity to get the recording done and inspired by none other than Geddy Lee of RUSH who started playing the keyboards after being an accomplished bassist. In this case, of course, it was the other way around because Mike was truly the keyboardist.
Mike: I was actually keyboards in the line-up. If my memory serves correctly, just before we entered the studio our bassist found God and was convinced we were the Anti-Christ. - No joke, this actually happened. I think we had already paid for the studio time or something, so I went out and bought a Rickenbacher 2001, and learned the songs in a weekend (sort of). I remember my fingers bleeding in the studio after I laid down the original tracks. Consider it my “Goth” phase.
MANIC MOSH: What was the 1st ever recorded material, and has any of this been documented as a demo or was this just rehearsal-type tapes?
Mike: The first professionally recorded track was “Midnight Fantasy,” not the version that ended up on the EP. The singer was this blonde guy that the girls really dug by the name of Rob Bolt. He was horrible, but sang the hell out of that song. We always had tape players running during rehearsal and writing sessions.
Scott: We actually went in and recorded “Midnight Fantasy” when Mike and I were 17 and juniors or seniors in high school. Besides Mike and I, the original recording was a completely different set of guys. And, yeah, Rob Bolt did that song some great justice! Nobody sang it like him, but he couldn’t handle any of the new material we were writing so we had to part ways. We ended up recording new tracks for each new member we brought into the band, never re-recording our own just to save money (which was hard to come by at that age) and for the purpose of having a demo to get some gigs easier with a quality recording. Nobody our age had studio experience except us. It was a pretty big deal at the time.
MANIC MOSH: How many originals did the CASSLE set hold over the years?
Mike: God. The official set was about 1 1/2 hours end to end. Maybe 16 or 17? The thing is Scott and I were always writing. We had about another 10 that were in various stages of completion when the band split. Seriously, we had / have enough material in the can to last a musical career. We were working on an incredible piece, our "Bohemian Rhapsody" so to speak, called "The Ringmaster," about a two bit circus with a has-been, broken shell of a man, the Ringmaster, trying to regain the fame of his glory days while everything around him was falling apart and catching fire. It was a 4 part song that really challenged us musically and took us to a different place. It was the first of our "maturing" talents, and was almost ready to be recorded when the band split up. Sigh.
Scott: Yeah, there was quite a bit of material. Most of the songs were 5-10 minutes long and the last one I recall being very serious about was a tune called “Mate,” which was really talking about war in terms of the board game chess. It was almost a METALLICA style song way before METALLICA was even heard of. We even had another band pound on our rehearsal door between breaks to ask if we were going on tour because of how polished we sounded. It was quite a compliment.
And, Mike, you might be happy to know that I just found a great sounding audio cassette of “The Ringmaster.”
Mike: “Mate”… I’d forgotten all about that one. That was a brilliant concept song. We ought to finish that someday…
Scott: It was 99% done. The other 1% was studio-necessary. I loved playing that song.
MANIC MOSH: Has CASSLE ever performed live and / or opened as a support act for any known / major act?
Mike: We toured with MAYNARD CHUTNEY AND THE VANDALS for awhile. They were the biggest. I think Steve Seiberlich played bass. (Inside joke, sorry.)
Scott: Unfortunately we never did. We usually headlined our own shows and performed at the same clubs of the time that held MOTLEY CRUE, GREAT WHITE, RATT, ARMORED SAINT and many others. Although we had an offer on the table to go to Japan, it ultimately never materialized. We did play with the drummer from ALDO NOVA for a short time that got Geffen Records interested if we changed singers, which we did by changing out the singer that is on the EP. By the time we got ourselves well-rehearsed with the new singer, that person no longer worked at Geffen. We really, as a group, had some bad timing issues in regards to personnel. We lost years just by auditioning drummers. You audition for three or four months, rehearse the set for another three to four months, do a few shows and would the drummer quit because we weren’t making money like the cover bands… which was never our intent! It was all about keeping our day jobs to keep the all-original songs intact for a career as a touring Rock band.
MANIC MOSH: Assumingly, it did not take long before the AZRA label jumped in. Was it the label that discovered you guys, or did you submit any materials to the aforementioned?
Mike: If I remember correctly, he had a gun to our head the entire time. No wait. Now I remember. Scott initially had the contact with him. I don't remember how it happened.
Scott: Very funny, Mike. Humor aside, I was working in the record business to get closer to the industry as a whole. It was at a record importer / small label distributor called Greenworld Distribution. (Greenworld used to own the first MOTLEY CRUE record and sold it to Elektra. They also worked with GREAT WHITE, RATT and BERLIN and spun off a very successful record label called Enigma.) Azra was such a small label that the owner would drop off his own records for us to distribute. I brought up the conversation with him because he mentioned he wanted to get into more Mainstream music as opposed to the unusual music that accompanied his quirky-shaped discs. Since we had recorded “Midnight Fantasy” in the studio recently, we went to my car and played the tape. He was really impressed and wanted to sign us immediately. At the time, we were getting three more songs ready for the studio, so that’s why there was a single of “Midnight Fantasy” released right away and then the EP was for after the new tracks were mixed down. I’ll get into the EP a little bit later in this interview.
MANIC MOSH: Remarkably, the name CASSLE is now more widespread down the scene than it was back in the days, ranking high up down collectors-lists and specialist mail order catalogues. Assumingly, Europe was not targeted as a promotional ground, and how was that nation-wise?
Scott: I think we were way too young to even think target. We just thought that as a touring rock group the world was our playground and that would all take care of itself.
Mike: All I can say is we are an acquired taste....LOL. Seriously, we emerged on the music scene at a time when everything we knew as music was changing. And it has never been the same since. We originated as an "Album Rock" band. The industry, (in my opinion) shortly thereafter geared itself towards Formula music. The corporate machines that invest in artists became more interested in an immediate return on their investment, as opposed to a long term investment in an artistic catalog. Bands that use the standard format proven formula songs started to get funding and airplay. PINK FLOYD, RUSH, YES....I don’t feel they couldn't make it as a start up band these days. It's a different business. That said, we were set to fail just as we emerged. The band was just building momentum when it died. We never had the opportunity to explore Europe.
MANIC MOSH: As for the CASSLE single and EP; that is another story by itself, and quite a complex one as well, as there is talk of several versions. The ones I know of are;
* the 1983, 1-song, one sided, square shaped 7” picture disc (cobweb image), featuring “Midnight Fantasy”
* the 1983, 4-song, one-sided test pressing, on black vinyl with white labels and a black octagon shaped sleeve (presumed to be a limited press of 100 copies only)
* the 1997 4-song bootleg on black vinyl with a picture sleeve depicting a castle. Limited press of 100 hand numbered copies.
Scott: Here is where I’ll get into the details of the EP. Every so often I check eBay to see if our “Midnight Fantasy” single would appear. About two months ago is the first time I saw it. It was quite a shocker to see it listed at $90 US! But the write-up mentioned that “Midnight Fantasy” was the song you needed to hear from the highly sought after EP. Well… I was thinking to myself… what EP?
Here’s how it happened. We signed a 6-month contract with Azra Records. The contract was for the single and the EP which was supposed to be released within that 6-month time frame. The single was released pretty early on with just 500 copies, the band bought 100 of them if I recall correctly. Then when we got out of the studio with the three additional tracks, we made a test pressing of the EP. I’m pretty sure that there were only 10 pressed. One for each of the band members and a few extra just because they were pressing them. It wasn’t a big deal and they were in a paper white sleeve, no jacket at all. The octagon-shaped jacket I have since seen listed on eBay and the additional copies reported to be one of a hundred are a complete mystery to me.
Anyways, six months go by and we have completely changed the face of our band in high hopes of jumping over to Geffen Records at the conclusion of our mini-contract with Azra. We then get a phone call from Azra asking to sign an extension of the contract so that the EP could be legally released. Obviously we were no longer interested in releasing music that no longer represented us with a completely different singer! We got the offer to go back into the studio and change out the vocal tracks, but what we really needed to do was re-record everything because we were getting more polished by the week as we got familiar with the newly written material. Not to mention changing out the drummer and actually finding a bassist. We were a completely different band for the better in six months! The EP became a worthless representation of the band. And now look at what it’s worth!
So as you can see, the EP was illegally released. And the version you see with the black and white castle on the cover was probably a legal step-around. We had a brilliant painting made that was full color with the drawbridge from a castle opened up to the base of the cover to put you in a position that made you feel as though you were standing and ready to walk up and into a castle. There was a big, mysterious glow at the other end of the drawbridge where the entrance into the castle was. We also had a custom-designed logo that was not used. I was really hoping that at least if our EP was illegally released that it would have been our vision, not a legally stepped-around version.
Getting back to what is available, I have also found a CD pressed in Germany called “Forgotten Metal: Volume 9” that has the EP on it with the black and white castle art. When you pull the CD out of the outer sleeve, CASSLE is right there on the front by itself! There were two other bands on the same CD that kind of reminded me of QUEENSRYCHE. They were much more polished than our stuff. Hell, we recorded that stuff when we were kids and would have loved another shot at it to record a full album. I really have no idea how Germany got the EP, we never saw a dime for it!
MANIC MOSH: Referring to the octagon-shaped sleeve to the EP and the fact that its test-press of 100 copies was mailed out for promotional purposes (by the Azra label), this seemed to be a pre-press for a octagon-shaped picture disc that never got to be materialized. So what happened there?
Scott: Answered above.
MANIC MOSH: Did Azra distribute all of those copies or did you have to circulate any of these yourselves as well?
Scott: We did some minor distribution of the single to our local record stores. That was it. Azra was responsible for the remaining 400 copies that the band did not purchase.
MANIC MOSH: The concept on display on the EP seems to be largely inspired by dark poems and tales; did any written source generate an influence in the musical / lyrical content?
Mike: I come from a very dark place. Always have. Scott comes from a world of fantasy. The two of us would get together and blend these two elements, and the result is sort of a ‘Lord Of The Rings’ does ‘The Exorcist’. It was an interesting combination. - Then again, every once in awhile we'd get really drunk and write a happy song.
Scott: Mike’s major influence was BLACK SABBATH, while mine was RUSH so it is no coincidence that dark and fantasy were our working elements. Both of us wrote all the material through the years with the only difference being who wrote the lyrics to inspire the song out of the snake basket. Things changed drastically once we really got to writing because the first few songs that included “Power Drive” and “My New Flame” were inspired by none other than just being teenagers. We broke out of that mold in a hurry and never again had lyrics that did not tell a story that the music wrote the soundtrack to.
MANIC MOSH: Musical-wise, the package has a strong 70s feel to it, with the progressive element high up. Any prime sources here? Referring to all that, the opening modus of “My New Flame” could well have been a thing derived from BOSTON’s “More Than A Feeling” or is that purely coincidental?
Mike: When describing our music to people I always said it sounded like someone took BOSTON, BLACK SABBATH and RUSH and threw it in a pot and stirred. The 70’s comparison is there. Too many fringe influences to mention - the main ones would have been RUSH and BLACK SABBATH.
Scott: I think that is a coincidence but I can recall that after every show we did, the people we spoke with had a different favorite song and a different group to compare us with. We were quite versatile and that is what exposed our later material to the progressiveness that nobody ever heard because it did not make it to the recording studio.
MANIC MOSH: With added crunch on the guitar as on “Revenge” for instance, the whole deal could well have been a Doom style. Don’t you think your chances would have been far better having set foot on a heavier interpretation of the genre?
Scott: We took a lot of pride in being unpredictable. We used to go in and out of various timings. It kept audiences and listeners from falling into that toe-tapping trance. We weren’t trying to copy anybody, but as with anybody we had our influences. We were just trying to truly be an ‘all original’ band to our heart’s content.
Mike: No. That was a ‘been there, done that’ genre. We wanted to keep people on their toes. Just when someone settled into the groove we'd toss in a fingernails-on-a-chalkboard transition to another melody and vibe.
MANIC MOSH: The song “Revenge” also reveals some apparent SABBATH-esque modes; has this been inspired from the aforementioned in some sort of way?
Mike: Guilty. The strange thing about that song is I was the SABBATH nut, and Scott wrote more of the major riffs for that song. Maybe I rubbed off on him. All I did was work the transitions and tie a bunch of smaller songs together into a bigger one.
Scott: To collaborate together you have to be pretty open to styles of music and, therefore, be sort of a chameleon if you will. So if I did indeed write a lot of the major riffs, as Mike remembers I did, it’s really about creating something that makes sense for the body of the piece, not just to create something that I like. It’s creating something that the song needs.
MANIC MOSH: Contrasting with the more gloomy outlets on the EP is this one song, “Power Driver”, rolling on conventional Hard Rock. Did the CASSLE set hold more songs of this liking?
Mike: Scott and I were sitting in front off my parent’s house and wrote that song in about 30 seconds. It went nowhere for us until Ed Roberts smacked that awesome swinging beat into it. It was one of those chemistry things that just all worked together. No; to answer the question. We tried very hard NOT to write songs like that.
Scott: Like Mike said and as I stated earlier, our writing style veered far away from this style of music. But I do remember us sitting on a wall contemplating life when we realized we didn’t have any contemporary songs in the stew and Mike railed off some words he had in his head. I added a few more and by morning Mike had the music that got the chorus under way. Amazing what a few beers and a relaxed mind might do.
A few side notes to that song are that the EP has called it “Power Driver” when the actual title was “Power Drive” without the additional “r.” And to show our dedication to music and the challenges that should keep us interested in performing a song over a career (if that happens) is that this song was soooooo easy for me to play that I used a guitar pick that was larger than my hand to play the entire song on stage. It was the only way to make that song challenging and the audiences were overly receptive to the visual! In my mind, “My New Flame” would have been the only other song close to it in our repertoire.
MANIC MOSH: The EP is not the most proficient outlet in terms of musicianship, yet it did sport some in-depth songwriting and a high originality factor. It definitely had some magic in there all right, don’t you think?
Scott: Well, I would like to hope the listener thought so. It would be naïve to think we didn’t believe that. Even just for you to ask the question and mention it means a successful approach to me. Magic is a great term because Mike and I always discussed the magic in the music hall concept since our first writings together. I just wish we were here discussing our 23rd album instead of our 23 years away from the original concept of being here discussing this now.
Mike: Musically, we were kids. We were young. We were broke. What you heard on the tracks was basically first takes and bad mixing. Live we were very good. The magic was between Scott and I. There was a certain marriage that we could never really put our fingers on - When we sat and played, all heads turned. When we wrote, all heads turned. I've never been able to duplicate either the sound or the feeling with any other musician.
MANIC MOSH: Whatever happened after the release of the EP, and what caused the band to split, and what year are we talking here?
Scott: We split up with what was supposed to be a temporary break, because of needing to reset our focus and contract the artists we ‘needed’ to succeed. Mike and I had written all the material and created all of the connections in which to strategically stock the band with musicians of our choice instead of losing a few more years to auditions and rehearsals. That way we could be ready for all the opportunities that we may have had and missed out on before. Our music was not the easiest to learn and you could not get tight without a lot of time in the rehearsal hall. That, ultimately, led to our demise… over-worked and under-stocked. All we did was take a necessary break that proved untimely.
Mike: To expand on Scott’s comment, Scott and I spent about seven years writing, rehearsing, playing and going through an endless supply of local musicians that would hop on-board, play for a few weeks-months-years, then move on, either because their priorities changed, or they wanted to get a quick set together and play the party circuit. We had reached a writer’s block and decided to take a few weeks to “regroup” and get our head’s together. The longer we were apart the harder it became to put it all back together again. Come to think of it, we never officially broke it off… “Scott, are you ready to get back to work?”
Scott: Let’s rock! Believe it or not, I still have ALL of the same gear even though it’s not necessary any more! Let’s let the fans decide…
MANIC MOSH: Has any of the CASSLE material been transported to later bands and has there been any involvement in any other band by its members?
Scott: Everybody we played with knew that we had written and produced all of the material so I highly doubt that the music progressed into the hands of others. As a matter of fact, the singer on the ‘highly sought after EP’ decided to get out of music entirely and become a welder while the drummer became a local police officer. We were just a little ahead of most kids our age in knowing that we were career-minded musicians and they were still trying to discover themselves. That certainly didn’t help anything,
Mike: As far as I know it died with us.
MANIC MOSH: Remarkably, it is in the now that any CASSLE release is in demand and praised by many a collector that rank the band high up in their registers. A thing that triggered the interest in the band some 20+ years ago is unfortunate as it is a bootleg version of the EP, the 1997 re-issue. Were you aware of that, and what do you think of the band now getting a piece of the recognition it missed out on back in the days?
Mike: I have tears in my eyes when I see what is happening. We knew back then what we had, and knew it would just take awhile for the rest of the world to catch on. Twenty-three years, however, was not what I had in mind.
Scott: I had no idea what was going on. All I knew was that I would check eBay every year or so just to see if the “Midnight Fantasy’ single ever made it there, knowing that at some point it had possibly already been there because of the rarity of it. What shocked me was the ‘highly sought after EP’ that made me search out the various search engines on the Internet to find out what I was missing. Ultimately, it led me to Loud and Legendary! And I thank you for the opportunity for us to express ourselves years after we thought we were done! Your readers might let us know otherwise and we’ll go from there.
MANIC MOSH: Have you ever considered forking out a re-release of some sort, as even the most obscure stuff is now being re-discovered and released by either the bands or dedicated labels?
Mike: I have tried over the years to put CASSLE as far behind me as I could. I (and Scott) sacrificed a lot for that band....College, Career, etc…
Scott: Like I just stated, if the readers have the interest, than so do I. We have the recordings of the “best” singer “Midnight Fantasy” ever had as well as the EP singer and even the tracks with the singer we hoped to get signed with on Geffen. And deep in the archives we have a terrific ballad that Mike wrote with the EP singer Brett and a few other various rehearsal tapes that might be of interest. I would also love to present our artwork and official logo that the world has yet to see. At least that way there might be a sense of closure for the venture that ruled our lives for many years!
Check on www.CassleMusic.com for the selftitled comeback CD released in 2011 on Shadow KIngdom Records
MANIC MOSH: Is there any way readers and / or fans can get in touch or should check you guys out?
Mike: I can be reached by e-mail at: cassle.mike@yahoo.com
Scott: I can be reached by e-mail at: cassle.scott@yahoo.com
MANIC MOSH: Anything you'd like to add?
CASSLE factoid #1: If the listeners of “Midnight Fantasy” have ever been to Disneyland in Anaheim, California they might just notice that the lyrics completely describe the experience of ‘The Haunted Mansion’ from start to finish! Nobody ever knew that except for the band members and only Mike and I knew why it was called “Midnight Fantasy.” After being inspired by writing lyrics in the blackness of the ride, there was a custom-painted van parked right next to me when I left the theme park that night. Really cool artwork with the name… you guessed it, “Midnight Fantasy.”
CASSLE factoid #2: The song called “Revenge” was to be our signature song because the band was originally called REVENGE. It turned out that there was some other band out of Philadelphia with the same name that had just released a record which gave them the US rights. Being that we were a bit medieval in our approach and the castle artwork was already in progress for the EP, we called ourselves CASSLE (just to be a bit unpredictable with the synonymous meaning of a real castle and letting us have our own approach to what it might really come to mean). So we ultimately renamed our signature song “Revenge (Cassle Walls).” Listen to the lyrics and you will find the words!
The “Midnight Fantasy” EP by U.S. outfit CASSLE is one of such top-rank rarities that comes with a certain “cult-status” just for what it is. Where many others would go through the whole demo routine to the point where things finally got materialized on vinyl - if ever that happened anyways - these guys got vinylized at a very early stage down their career. Concept-wise however, CASSLE were already levels up in creativity and in-depth songwriting, which, coupled to the charm of the “beginners-band-charm” and the “magic” of the Azra label made this EP a classic on collector’s want-lists. The following interview with guitarist Scott Parker brings us right down to where it all began…
Scott: As a treat to all you readers and fans of the genre, I have included comments from Mike Terry, the keyboardist / bassist that I did all the collaboration with. I felt it was necessary to include him.
MANIC MOSH: Since the “Midnight Fantasy” EP was recorded when you guys were youngsters, one may assume that CASSLE was the first band for most, if not all of you? So, exactly when did things come into form, and was this something that started out as / or emerged from a High School band?
Mike: Scott and I played with several people and a few different bands back then. We always gravitated back to each other because there was a chemistry between the two of us that was missing from any other project we set off on. We essentially found each others "Soul Mate", musically speaking.
Scott: Mike nailed it truly, but the band did form through various classmates / musicians that eventually directed us to play together. We were writing and rehearsing in my parents’ garage after school.
MANIC MOSH: Was this then the line-up as it was on the EP, featuring Brett Hollomon (vocals), Ed Roberts (drums), and you guys?
Scott: I’m not sure where the wires got crossed, but I have noticed that the release of the EP credits Mike with playing the bass. He did, but it was only out of necessity to get the recording done and inspired by none other than Geddy Lee of RUSH who started playing the keyboards after being an accomplished bassist. In this case, of course, it was the other way around because Mike was truly the keyboardist.
Mike: I was actually keyboards in the line-up. If my memory serves correctly, just before we entered the studio our bassist found God and was convinced we were the Anti-Christ. - No joke, this actually happened. I think we had already paid for the studio time or something, so I went out and bought a Rickenbacher 2001, and learned the songs in a weekend (sort of). I remember my fingers bleeding in the studio after I laid down the original tracks. Consider it my “Goth” phase.
MANIC MOSH: What was the 1st ever recorded material, and has any of this been documented as a demo or was this just rehearsal-type tapes?
Mike: The first professionally recorded track was “Midnight Fantasy,” not the version that ended up on the EP. The singer was this blonde guy that the girls really dug by the name of Rob Bolt. He was horrible, but sang the hell out of that song. We always had tape players running during rehearsal and writing sessions.
Scott: We actually went in and recorded “Midnight Fantasy” when Mike and I were 17 and juniors or seniors in high school. Besides Mike and I, the original recording was a completely different set of guys. And, yeah, Rob Bolt did that song some great justice! Nobody sang it like him, but he couldn’t handle any of the new material we were writing so we had to part ways. We ended up recording new tracks for each new member we brought into the band, never re-recording our own just to save money (which was hard to come by at that age) and for the purpose of having a demo to get some gigs easier with a quality recording. Nobody our age had studio experience except us. It was a pretty big deal at the time.
MANIC MOSH: How many originals did the CASSLE set hold over the years?
Mike: God. The official set was about 1 1/2 hours end to end. Maybe 16 or 17? The thing is Scott and I were always writing. We had about another 10 that were in various stages of completion when the band split. Seriously, we had / have enough material in the can to last a musical career. We were working on an incredible piece, our "Bohemian Rhapsody" so to speak, called "The Ringmaster," about a two bit circus with a has-been, broken shell of a man, the Ringmaster, trying to regain the fame of his glory days while everything around him was falling apart and catching fire. It was a 4 part song that really challenged us musically and took us to a different place. It was the first of our "maturing" talents, and was almost ready to be recorded when the band split up. Sigh.
Scott: Yeah, there was quite a bit of material. Most of the songs were 5-10 minutes long and the last one I recall being very serious about was a tune called “Mate,” which was really talking about war in terms of the board game chess. It was almost a METALLICA style song way before METALLICA was even heard of. We even had another band pound on our rehearsal door between breaks to ask if we were going on tour because of how polished we sounded. It was quite a compliment.
And, Mike, you might be happy to know that I just found a great sounding audio cassette of “The Ringmaster.”
Mike: “Mate”… I’d forgotten all about that one. That was a brilliant concept song. We ought to finish that someday…
Scott: It was 99% done. The other 1% was studio-necessary. I loved playing that song.
MANIC MOSH: Has CASSLE ever performed live and / or opened as a support act for any known / major act?
Mike: We toured with MAYNARD CHUTNEY AND THE VANDALS for awhile. They were the biggest. I think Steve Seiberlich played bass. (Inside joke, sorry.)
Scott: Unfortunately we never did. We usually headlined our own shows and performed at the same clubs of the time that held MOTLEY CRUE, GREAT WHITE, RATT, ARMORED SAINT and many others. Although we had an offer on the table to go to Japan, it ultimately never materialized. We did play with the drummer from ALDO NOVA for a short time that got Geffen Records interested if we changed singers, which we did by changing out the singer that is on the EP. By the time we got ourselves well-rehearsed with the new singer, that person no longer worked at Geffen. We really, as a group, had some bad timing issues in regards to personnel. We lost years just by auditioning drummers. You audition for three or four months, rehearse the set for another three to four months, do a few shows and would the drummer quit because we weren’t making money like the cover bands… which was never our intent! It was all about keeping our day jobs to keep the all-original songs intact for a career as a touring Rock band.
MANIC MOSH: Assumingly, it did not take long before the AZRA label jumped in. Was it the label that discovered you guys, or did you submit any materials to the aforementioned?
Mike: If I remember correctly, he had a gun to our head the entire time. No wait. Now I remember. Scott initially had the contact with him. I don't remember how it happened.
Scott: Very funny, Mike. Humor aside, I was working in the record business to get closer to the industry as a whole. It was at a record importer / small label distributor called Greenworld Distribution. (Greenworld used to own the first MOTLEY CRUE record and sold it to Elektra. They also worked with GREAT WHITE, RATT and BERLIN and spun off a very successful record label called Enigma.) Azra was such a small label that the owner would drop off his own records for us to distribute. I brought up the conversation with him because he mentioned he wanted to get into more Mainstream music as opposed to the unusual music that accompanied his quirky-shaped discs. Since we had recorded “Midnight Fantasy” in the studio recently, we went to my car and played the tape. He was really impressed and wanted to sign us immediately. At the time, we were getting three more songs ready for the studio, so that’s why there was a single of “Midnight Fantasy” released right away and then the EP was for after the new tracks were mixed down. I’ll get into the EP a little bit later in this interview.
MANIC MOSH: Remarkably, the name CASSLE is now more widespread down the scene than it was back in the days, ranking high up down collectors-lists and specialist mail order catalogues. Assumingly, Europe was not targeted as a promotional ground, and how was that nation-wise?
Scott: I think we were way too young to even think target. We just thought that as a touring rock group the world was our playground and that would all take care of itself.
Mike: All I can say is we are an acquired taste....LOL. Seriously, we emerged on the music scene at a time when everything we knew as music was changing. And it has never been the same since. We originated as an "Album Rock" band. The industry, (in my opinion) shortly thereafter geared itself towards Formula music. The corporate machines that invest in artists became more interested in an immediate return on their investment, as opposed to a long term investment in an artistic catalog. Bands that use the standard format proven formula songs started to get funding and airplay. PINK FLOYD, RUSH, YES....I don’t feel they couldn't make it as a start up band these days. It's a different business. That said, we were set to fail just as we emerged. The band was just building momentum when it died. We never had the opportunity to explore Europe.
MANIC MOSH: As for the CASSLE single and EP; that is another story by itself, and quite a complex one as well, as there is talk of several versions. The ones I know of are;
* the 1983, 1-song, one sided, square shaped 7” picture disc (cobweb image), featuring “Midnight Fantasy”
* the 1983, 4-song, one-sided test pressing, on black vinyl with white labels and a black octagon shaped sleeve (presumed to be a limited press of 100 copies only)
* the 1997 4-song bootleg on black vinyl with a picture sleeve depicting a castle. Limited press of 100 hand numbered copies.
Scott: Here is where I’ll get into the details of the EP. Every so often I check eBay to see if our “Midnight Fantasy” single would appear. About two months ago is the first time I saw it. It was quite a shocker to see it listed at $90 US! But the write-up mentioned that “Midnight Fantasy” was the song you needed to hear from the highly sought after EP. Well… I was thinking to myself… what EP?
Here’s how it happened. We signed a 6-month contract with Azra Records. The contract was for the single and the EP which was supposed to be released within that 6-month time frame. The single was released pretty early on with just 500 copies, the band bought 100 of them if I recall correctly. Then when we got out of the studio with the three additional tracks, we made a test pressing of the EP. I’m pretty sure that there were only 10 pressed. One for each of the band members and a few extra just because they were pressing them. It wasn’t a big deal and they were in a paper white sleeve, no jacket at all. The octagon-shaped jacket I have since seen listed on eBay and the additional copies reported to be one of a hundred are a complete mystery to me.
Anyways, six months go by and we have completely changed the face of our band in high hopes of jumping over to Geffen Records at the conclusion of our mini-contract with Azra. We then get a phone call from Azra asking to sign an extension of the contract so that the EP could be legally released. Obviously we were no longer interested in releasing music that no longer represented us with a completely different singer! We got the offer to go back into the studio and change out the vocal tracks, but what we really needed to do was re-record everything because we were getting more polished by the week as we got familiar with the newly written material. Not to mention changing out the drummer and actually finding a bassist. We were a completely different band for the better in six months! The EP became a worthless representation of the band. And now look at what it’s worth!
So as you can see, the EP was illegally released. And the version you see with the black and white castle on the cover was probably a legal step-around. We had a brilliant painting made that was full color with the drawbridge from a castle opened up to the base of the cover to put you in a position that made you feel as though you were standing and ready to walk up and into a castle. There was a big, mysterious glow at the other end of the drawbridge where the entrance into the castle was. We also had a custom-designed logo that was not used. I was really hoping that at least if our EP was illegally released that it would have been our vision, not a legally stepped-around version.
Getting back to what is available, I have also found a CD pressed in Germany called “Forgotten Metal: Volume 9” that has the EP on it with the black and white castle art. When you pull the CD out of the outer sleeve, CASSLE is right there on the front by itself! There were two other bands on the same CD that kind of reminded me of QUEENSRYCHE. They were much more polished than our stuff. Hell, we recorded that stuff when we were kids and would have loved another shot at it to record a full album. I really have no idea how Germany got the EP, we never saw a dime for it!
MANIC MOSH: Referring to the octagon-shaped sleeve to the EP and the fact that its test-press of 100 copies was mailed out for promotional purposes (by the Azra label), this seemed to be a pre-press for a octagon-shaped picture disc that never got to be materialized. So what happened there?
Scott: Answered above.
MANIC MOSH: Did Azra distribute all of those copies or did you have to circulate any of these yourselves as well?
Scott: We did some minor distribution of the single to our local record stores. That was it. Azra was responsible for the remaining 400 copies that the band did not purchase.
MANIC MOSH: The concept on display on the EP seems to be largely inspired by dark poems and tales; did any written source generate an influence in the musical / lyrical content?
Mike: I come from a very dark place. Always have. Scott comes from a world of fantasy. The two of us would get together and blend these two elements, and the result is sort of a ‘Lord Of The Rings’ does ‘The Exorcist’. It was an interesting combination. - Then again, every once in awhile we'd get really drunk and write a happy song.
Scott: Mike’s major influence was BLACK SABBATH, while mine was RUSH so it is no coincidence that dark and fantasy were our working elements. Both of us wrote all the material through the years with the only difference being who wrote the lyrics to inspire the song out of the snake basket. Things changed drastically once we really got to writing because the first few songs that included “Power Drive” and “My New Flame” were inspired by none other than just being teenagers. We broke out of that mold in a hurry and never again had lyrics that did not tell a story that the music wrote the soundtrack to.
MANIC MOSH: Musical-wise, the package has a strong 70s feel to it, with the progressive element high up. Any prime sources here? Referring to all that, the opening modus of “My New Flame” could well have been a thing derived from BOSTON’s “More Than A Feeling” or is that purely coincidental?
Mike: When describing our music to people I always said it sounded like someone took BOSTON, BLACK SABBATH and RUSH and threw it in a pot and stirred. The 70’s comparison is there. Too many fringe influences to mention - the main ones would have been RUSH and BLACK SABBATH.
Scott: I think that is a coincidence but I can recall that after every show we did, the people we spoke with had a different favorite song and a different group to compare us with. We were quite versatile and that is what exposed our later material to the progressiveness that nobody ever heard because it did not make it to the recording studio.
MANIC MOSH: With added crunch on the guitar as on “Revenge” for instance, the whole deal could well have been a Doom style. Don’t you think your chances would have been far better having set foot on a heavier interpretation of the genre?
Scott: We took a lot of pride in being unpredictable. We used to go in and out of various timings. It kept audiences and listeners from falling into that toe-tapping trance. We weren’t trying to copy anybody, but as with anybody we had our influences. We were just trying to truly be an ‘all original’ band to our heart’s content.
Mike: No. That was a ‘been there, done that’ genre. We wanted to keep people on their toes. Just when someone settled into the groove we'd toss in a fingernails-on-a-chalkboard transition to another melody and vibe.
MANIC MOSH: The song “Revenge” also reveals some apparent SABBATH-esque modes; has this been inspired from the aforementioned in some sort of way?
Mike: Guilty. The strange thing about that song is I was the SABBATH nut, and Scott wrote more of the major riffs for that song. Maybe I rubbed off on him. All I did was work the transitions and tie a bunch of smaller songs together into a bigger one.
Scott: To collaborate together you have to be pretty open to styles of music and, therefore, be sort of a chameleon if you will. So if I did indeed write a lot of the major riffs, as Mike remembers I did, it’s really about creating something that makes sense for the body of the piece, not just to create something that I like. It’s creating something that the song needs.
MANIC MOSH: Contrasting with the more gloomy outlets on the EP is this one song, “Power Driver”, rolling on conventional Hard Rock. Did the CASSLE set hold more songs of this liking?
Mike: Scott and I were sitting in front off my parent’s house and wrote that song in about 30 seconds. It went nowhere for us until Ed Roberts smacked that awesome swinging beat into it. It was one of those chemistry things that just all worked together. No; to answer the question. We tried very hard NOT to write songs like that.
Scott: Like Mike said and as I stated earlier, our writing style veered far away from this style of music. But I do remember us sitting on a wall contemplating life when we realized we didn’t have any contemporary songs in the stew and Mike railed off some words he had in his head. I added a few more and by morning Mike had the music that got the chorus under way. Amazing what a few beers and a relaxed mind might do.
A few side notes to that song are that the EP has called it “Power Driver” when the actual title was “Power Drive” without the additional “r.” And to show our dedication to music and the challenges that should keep us interested in performing a song over a career (if that happens) is that this song was soooooo easy for me to play that I used a guitar pick that was larger than my hand to play the entire song on stage. It was the only way to make that song challenging and the audiences were overly receptive to the visual! In my mind, “My New Flame” would have been the only other song close to it in our repertoire.
MANIC MOSH: The EP is not the most proficient outlet in terms of musicianship, yet it did sport some in-depth songwriting and a high originality factor. It definitely had some magic in there all right, don’t you think?
Scott: Well, I would like to hope the listener thought so. It would be naïve to think we didn’t believe that. Even just for you to ask the question and mention it means a successful approach to me. Magic is a great term because Mike and I always discussed the magic in the music hall concept since our first writings together. I just wish we were here discussing our 23rd album instead of our 23 years away from the original concept of being here discussing this now.
Mike: Musically, we were kids. We were young. We were broke. What you heard on the tracks was basically first takes and bad mixing. Live we were very good. The magic was between Scott and I. There was a certain marriage that we could never really put our fingers on - When we sat and played, all heads turned. When we wrote, all heads turned. I've never been able to duplicate either the sound or the feeling with any other musician.
MANIC MOSH: Whatever happened after the release of the EP, and what caused the band to split, and what year are we talking here?
Scott: We split up with what was supposed to be a temporary break, because of needing to reset our focus and contract the artists we ‘needed’ to succeed. Mike and I had written all the material and created all of the connections in which to strategically stock the band with musicians of our choice instead of losing a few more years to auditions and rehearsals. That way we could be ready for all the opportunities that we may have had and missed out on before. Our music was not the easiest to learn and you could not get tight without a lot of time in the rehearsal hall. That, ultimately, led to our demise… over-worked and under-stocked. All we did was take a necessary break that proved untimely.
Mike: To expand on Scott’s comment, Scott and I spent about seven years writing, rehearsing, playing and going through an endless supply of local musicians that would hop on-board, play for a few weeks-months-years, then move on, either because their priorities changed, or they wanted to get a quick set together and play the party circuit. We had reached a writer’s block and decided to take a few weeks to “regroup” and get our head’s together. The longer we were apart the harder it became to put it all back together again. Come to think of it, we never officially broke it off… “Scott, are you ready to get back to work?”
Scott: Let’s rock! Believe it or not, I still have ALL of the same gear even though it’s not necessary any more! Let’s let the fans decide…
MANIC MOSH: Has any of the CASSLE material been transported to later bands and has there been any involvement in any other band by its members?
Scott: Everybody we played with knew that we had written and produced all of the material so I highly doubt that the music progressed into the hands of others. As a matter of fact, the singer on the ‘highly sought after EP’ decided to get out of music entirely and become a welder while the drummer became a local police officer. We were just a little ahead of most kids our age in knowing that we were career-minded musicians and they were still trying to discover themselves. That certainly didn’t help anything,
Mike: As far as I know it died with us.
MANIC MOSH: Remarkably, it is in the now that any CASSLE release is in demand and praised by many a collector that rank the band high up in their registers. A thing that triggered the interest in the band some 20+ years ago is unfortunate as it is a bootleg version of the EP, the 1997 re-issue. Were you aware of that, and what do you think of the band now getting a piece of the recognition it missed out on back in the days?
Mike: I have tears in my eyes when I see what is happening. We knew back then what we had, and knew it would just take awhile for the rest of the world to catch on. Twenty-three years, however, was not what I had in mind.
Scott: I had no idea what was going on. All I knew was that I would check eBay every year or so just to see if the “Midnight Fantasy’ single ever made it there, knowing that at some point it had possibly already been there because of the rarity of it. What shocked me was the ‘highly sought after EP’ that made me search out the various search engines on the Internet to find out what I was missing. Ultimately, it led me to Loud and Legendary! And I thank you for the opportunity for us to express ourselves years after we thought we were done! Your readers might let us know otherwise and we’ll go from there.
MANIC MOSH: Have you ever considered forking out a re-release of some sort, as even the most obscure stuff is now being re-discovered and released by either the bands or dedicated labels?
Mike: I have tried over the years to put CASSLE as far behind me as I could. I (and Scott) sacrificed a lot for that band....College, Career, etc…
Scott: Like I just stated, if the readers have the interest, than so do I. We have the recordings of the “best” singer “Midnight Fantasy” ever had as well as the EP singer and even the tracks with the singer we hoped to get signed with on Geffen. And deep in the archives we have a terrific ballad that Mike wrote with the EP singer Brett and a few other various rehearsal tapes that might be of interest. I would also love to present our artwork and official logo that the world has yet to see. At least that way there might be a sense of closure for the venture that ruled our lives for many years!
Check on www.CassleMusic.com for the selftitled comeback CD released in 2011 on Shadow KIngdom Records
MANIC MOSH: Is there any way readers and / or fans can get in touch or should check you guys out?
Mike: I can be reached by e-mail at: cassle.mike@yahoo.com
Scott: I can be reached by e-mail at: cassle.scott@yahoo.com
MANIC MOSH: Anything you'd like to add?
CASSLE factoid #1: If the listeners of “Midnight Fantasy” have ever been to Disneyland in Anaheim, California they might just notice that the lyrics completely describe the experience of ‘The Haunted Mansion’ from start to finish! Nobody ever knew that except for the band members and only Mike and I knew why it was called “Midnight Fantasy.” After being inspired by writing lyrics in the blackness of the ride, there was a custom-painted van parked right next to me when I left the theme park that night. Really cool artwork with the name… you guessed it, “Midnight Fantasy.”
CASSLE factoid #2: The song called “Revenge” was to be our signature song because the band was originally called REVENGE. It turned out that there was some other band out of Philadelphia with the same name that had just released a record which gave them the US rights. Being that we were a bit medieval in our approach and the castle artwork was already in progress for the EP, we called ourselves CASSLE (just to be a bit unpredictable with the synonymous meaning of a real castle and letting us have our own approach to what it might really come to mean). So we ultimately renamed our signature song “Revenge (Cassle Walls).” Listen to the lyrics and you will find the words!
ST.MICHAEL / SURGICAL STEEL / MESSIAH'S REIGN
interview by Paul van der Burght
Back in the 80’s, some quality bands just never got to the vinyl-stage whilst having a huge following, favorable press feedback and the right ‘gear’ to compete with signed-acts in the upper regions of the HardRock / Metal territories. One of the ‘stars of the show’ down the METAL MASSACRE VOL. II compilation was Arizona based act SURGICAL STEEL with the riveting “Rivet Head”. Another display of musical competence came in the shape of “The Beauty, The Power”, down the U.S. METAL IV compilation, delivered by this act called ST.MICHAEL. What connects both of these bands is lead singer Harley Van Kirk, in later years active with a band called MESSIAH’S REIGN. Let’s get back to where it all began for this helluva singer, also known as the ‘IRON NECK’! Read on…!
MANIC MOSH: Harley, you are a natural that was gifted with this ‘powerhouse’ voice; so exactly when did you put it into effect as a singer in a band, and what was your first performance ever….. and, what followed up until the point that SURGICAL STEEL got together…
Harley: My first performance was @ a house party in Phoenix... The bands name was US.... UNISPHERE hehe. Rob & Danny Poole guitars, Ron Click bass, and they went through drummers like mad! But that was my debut and it started with that night in Phoenix Arizona. After playing and winning a battle of the bands, St.MICHAEL, Greg Chaisson, asked me if I would like to join the band... of course I took the spot and we started playing everywhere we could. It was a really nice thing for me to perform with such talented players and it rubbed off on me because I really started to refine my sound and character to form what has become my sound now.
MANIC MOSH: After the split of ST.MICHAEL, as early as ’80, you got things rollin’ with SURGICAL STEEL, along with guitarist Jim Keeler, co-founder of the band, and bass-guitarist Greg Chaisson. The band came full circle, enrolling drummer Jeff Martin and 2nd lead guitarist Paul Kosanovich… Was this through ads in (music) papers, auditions or did you guys know each other through the band-thing…
Harley: I had my tonsils removed and ST.MICHAEL broke up. After a period of time I received a call from an old friend I knew in school named Jim Keeler. Jim said he had an idea to put something together with a band called KNIGHT WING that needed a guitarist and singer... Well, Jim and I joined the band and we became SURGICAL STEEL! And the onslaught STARTED! We were fronting everything from KROKUS to URIAH HEEP, MADAM X (Sebastian Bach's first band) the B-52's and it just escalated from there... But I was getting a little restless with the compositional aspects and started loosing my drive. I wanted a more diverse song-writing team because we were just starting to be a PRIEST emulation and I really wasn't up to that.
MANIC MOSH: Tapping into the (Scottsdale) Arizona – which is a pretty remote area – did this have any effect on the band / musician thing or scene in general, if there was any, or was it just the other way around... as it brought forth quite a few renowned HardRock / Metal acts…
Harley:Hey, Phoenix was really like LA @ that time and the competition was really fierce. There were so many awesome talents flying around that yes it was a dog eat dog atmosphere and a lot of cut throats! But all in all we really knew who was what if you know what I mean. There was bands like LOOSELY TIGHT, and THE SCHOOLBOYS (who later became ICON) and Jason Newstead (METALLICA) was like a little brother to me… I would always have Jasons band "THE DOGS" (that later became FlOTSAM & JETSAM) front us because I really liked what they had to offer as musicians and friends! YES, LOT'S OF TALENT CAME OUT OF PHOENIX!
MANIC MOSH: It seemed much as if the lot of you aimed high with SURGICAL STEEL, trying to get the word big time and by all means necessary….
Harley: Well... you only have one real good crack @ it so TEAR IT UP hehe!
MANIC MOSH: So, what was the first set of SURGICAL STEEL originals, and was this in the styles of the PRIEST-sound as it materialized on the demo years after?
Harley: I was the lyrics writer of the band. The guy's would come up with a riff and I would just feel it out! I wrote "Dismissive Conquerors", "RIVIT HEAD" and "Warlords Horde" and a few others. Most of the better stuff was done in the earlier conceptualization of the band because we were so HUNGRY to make it!
MANIC MOSH: Came to a point that you left the band which marked a remarkable switch as the vocal duties were handed over to the then drummer Jeff Martin; a most deserving singer as well….. In earlier stages one surely must have been aware of Jeff’s abilities as a singer which were pretty much up the same alley inspirational-wise (Rob Halford – JUDAS PRIEST)….
Harley: Jeff was always an inspiration to me when we played together in ST.MICHAEL... We traded of the vocal chores and utilized our strengths. We had some of the most wicked harmonies you could think of because we were both calling dogs @ that time hehe. But yes, Jeff was the best person for the job since I was starting to really develop "MY" style and not so much just get locked in to a Halford clone thing. Hey, I respect Rob too much to just fill the world with yet another ROB HALFORD hehe... How many are there now hehe?
MANIC MOSH: Exactly why did you part ways with SURGICAL STEEL, at a stage where things seemed to be picking up for the band….
Harley: The truth! MIS-MANAGEMENT! I was just fed up with the thieves and there were tons of them around then (promoters) and the band took my efforts for granted too many times and I was tired of the JUDAS PRIEST programming etc... I was getting burned out on the HALFORD style because there was no haunting nuance in him that other techniques exhibited and were more refined. Man, when I heard QUEENSRYCHE’S debut I looked at Jim and said "now that's where we should be".... They had the range of talent PRIEST had but did it their own way and that's what I was trying to do with SURGICAL STEEL but Rob hanging out with the group had too much influence so I hope you can see what happened... Look where it got them all in the end...
MANIC MOSH: Confusing to say the least is the fact that ST.MICHAEL appeared on the “US.METAL VOL.IV” compilation LP, whilst, in fact, ST. MICHAEL was pre-SURGICAL STEEL, and by that time, you had already left the band…
Harley: ST.MICHAEL was before SURGICAL STEEL... SURGICAL STEEL was NEVER ST.MICHAEL; As was the addition of Jeff on voice (he took my place when I didn't want to be a HALFORD clone anymore) and Greg Chaisson, who replaced the bassist of SURGICAL STEEL (whose name was Steve Hooper). ST.MICHAEL gave the song to Mike Varney (it was already recorded) in ‘84 but I sang for ST. MICHAEL with Jeff Martin on drums, Greg Chaisson on bass, Henry Erman on rhythm guitar, Jim McMellen on lead-guitar. The band was named after, who else but MICHAEL SCHENKER! But again… this band was BEFORE SURGICAL STEEL… we did tons of clubs and huge desert parties with LOOSELY TIGHT etc..... Jeff sounds like Rob... I used to sound like Rob but grew out of it and found out I had five or six actual voices. I did the PRIEST that Jeff couldn't do but I also did the SCORPIONS and the MICHAEL SCHENKER GROUP, UFO etc... I was the words and vocal author of “RIVIT HEAD”, and many other songs when I was with SURGICAL STEELS but we never recorded any of them (we were too busy playing out!). Hey, when I sang for SURGICAL STEEL, we played in front of most the class-A Metal acts that toured through Phoenix @ that time...Danny Zelisco was our promoter...
MANIC MOSH: Were any of the ST.MICHAEL originals transported to the SURGICAL STEEL set, and has any ST. MICHAEL material ever been recorded and released as a demo? Speaking of which, how many ST.MICHAEL has there been altogether?
Harley: When Jeff took my place as singer for SURGICAL STEEL, he brought his compositions over to SURGICAL STEEL and so did Greg.
MANIC MOSH: How did ST.MICHAEL come under the attention of Mike Varney from SHRAPNEL RECORDS, as the band appeared on the “U.S. METAL IV” compilation with the top track “The Beauty, The Power….”
Harley: Unfortunately that album I wasn't on, but Mike heard of us at the time I sang for them and as soon as he had the power to promote them he did... I was out with my surgery @ the time and we got together again and then we just called it quits.
MANIC MOSH: Has a recording deal ever been considered by the aforementioned, as the sound blended right in with the musical concept of SHRAPNEL, the more so as ST. MICHAEL then had an amazing guitar-virtuoso on board; Jim Mc Mellen, playing much in the styles of Marty Friedman (HAWAII / VIXEN)
Harley: Again, I was with SURGICAL STEEL when they did this.
MANIC MOSH: Have you ever played live with ST. MICHAEL, and / or opened as a support act for any big names? And what about any ‘desert-gigs’ around the Phoenix area…. Local HardRockers LOOSELY TIGHT used to do those as well…
Harley: I sang for ST. MICHAEL all the songs Jeff couldn't sing @ the time I was with them... I would just go up and sing some LOVDRIVE then they would do the bar gig tunes then I would get up and do some PRIEST. I pretty much did all the Metal vocals for the band since Metal was rising and they needed a singer to do the stuff so they called on me to do it! You know how Joe Lynn Turner is on so many songs out there... well, I was just like that... If a band really wanted to draw they did the Metal, and well, you know where the ol' Iron Neck was hehe...
MANIC MOSH: How long did the ST. MICHAEL venture last, and how / why did the band eventually go up in smoke, as most definitely, there was a lot of potential on display….
Harley: I don't really know why... I knew their frustrations of course, and I think that there was some resentment internally.
MANIC MOSH: Nonetheless, ST.MICHAEL, as was SURGICAL STEEL seemed to focus on the American ‘market’ over others, as both the aforementioned didn’t do much in terms of fanzine / media feedback over here in Europe - outside the reviews & related to the compilation cuts -
Harley: Hey, thank GOD I didn't have to get blown off the stage by Leif Garrett hehe... They did do a movie called "Thunder Alley" and that was a great thing for exposure but I don't know why they just didn't go with it!
MANIC MOSH: So, what followed after ST.MICHAEL and SURGICAL STEEL, and where did its members – basically both guitarists, Jim Mc Mellen and Henry Erman – drift off to? As for you, it seemed much like you stepped out of the music bizz for a while, as it wasn’t until 2004 that you came forward with your own, MESSIAH’S REIGN – project as it materialized on CD format…
Harley: I was doing things but the music industry is so complex... It's really hard to get a bunch of brains thinking the same way and I feel that's what really happens to so many bands then, and today.
MANIC MOSH: Why is it that you chose to do MESSIAH’S REIGN all by yourself, or has there been any interference with other (studio / session) musicians at one point? Who laid down the guitar parts for instance…. All others can be digitally reproduced but the guitar thing is a different ball game…
Harley: No.. I did it with a plug-in called "SLAYER 2" hehe... Man, computer technologies are scary, but the human element HAS to be there. For some compositions, synthetic textures are fine but for others it's organic all the way... It really depends on what you are trying to achieve. I got better with my programming so there follows a refinement of that I feel... I'm just trying to say that TIME has it's it rewards...
MANIC MOSH: MESSIAH’S REIGN also set course for a whole new musical direction, departing the JUDAS PRIEST influence that hallmarked both SURGICAL STEEL and ST. MICHAEL both concept and vocal-wise, to opt for a sound that incorporates more mystical balladry, atmospheres and programming in the styles of QUEENSRYCHE with a matching vocal style…
Harley: I'm trying to go more marketable with my compositional skills and vocally I can go anywhere but it's really nice to know that the metal communities are supportive on my directions to be diverse and to me I can hit a lot more bases @ the same time.
MANIC MOSH: With a voice that pretty much equals Halford (JUDAS PRIEST) and Geoff Tate (QUEENSRYCHE), there must have been plenty of offers from bands over the years, not to mention studio / session – work…
Harley: Yes, all the time... but I want to explore more of what I can do on my own because I've tried the collaborative route and it's usually me that gets burned in the long run. I just love MUSIC and most of the people that have something going are in it for the $$$... I support the METAL community, not the cash registers...
MANIC MOSH: With the old-school Hard-Rock / Metal thing in full swing at present, and a lot of old material being shelved… have you ever considered putting any to digital format?
Harley: Let me know what the people around you would like me to cover and I would joyfully do it!
To date, the 2003 “The New Messiah” full-lengther by Harley Van Kirk's MESSIAH'S REIGN is the only release but is still available through selected mailorders. http://www.cdbaby.com/cd/messiahsreign
interview by Paul van der Burght
Back in the 80’s, some quality bands just never got to the vinyl-stage whilst having a huge following, favorable press feedback and the right ‘gear’ to compete with signed-acts in the upper regions of the HardRock / Metal territories. One of the ‘stars of the show’ down the METAL MASSACRE VOL. II compilation was Arizona based act SURGICAL STEEL with the riveting “Rivet Head”. Another display of musical competence came in the shape of “The Beauty, The Power”, down the U.S. METAL IV compilation, delivered by this act called ST.MICHAEL. What connects both of these bands is lead singer Harley Van Kirk, in later years active with a band called MESSIAH’S REIGN. Let’s get back to where it all began for this helluva singer, also known as the ‘IRON NECK’! Read on…!
MANIC MOSH: Harley, you are a natural that was gifted with this ‘powerhouse’ voice; so exactly when did you put it into effect as a singer in a band, and what was your first performance ever….. and, what followed up until the point that SURGICAL STEEL got together…
Harley: My first performance was @ a house party in Phoenix... The bands name was US.... UNISPHERE hehe. Rob & Danny Poole guitars, Ron Click bass, and they went through drummers like mad! But that was my debut and it started with that night in Phoenix Arizona. After playing and winning a battle of the bands, St.MICHAEL, Greg Chaisson, asked me if I would like to join the band... of course I took the spot and we started playing everywhere we could. It was a really nice thing for me to perform with such talented players and it rubbed off on me because I really started to refine my sound and character to form what has become my sound now.
MANIC MOSH: After the split of ST.MICHAEL, as early as ’80, you got things rollin’ with SURGICAL STEEL, along with guitarist Jim Keeler, co-founder of the band, and bass-guitarist Greg Chaisson. The band came full circle, enrolling drummer Jeff Martin and 2nd lead guitarist Paul Kosanovich… Was this through ads in (music) papers, auditions or did you guys know each other through the band-thing…
Harley: I had my tonsils removed and ST.MICHAEL broke up. After a period of time I received a call from an old friend I knew in school named Jim Keeler. Jim said he had an idea to put something together with a band called KNIGHT WING that needed a guitarist and singer... Well, Jim and I joined the band and we became SURGICAL STEEL! And the onslaught STARTED! We were fronting everything from KROKUS to URIAH HEEP, MADAM X (Sebastian Bach's first band) the B-52's and it just escalated from there... But I was getting a little restless with the compositional aspects and started loosing my drive. I wanted a more diverse song-writing team because we were just starting to be a PRIEST emulation and I really wasn't up to that.
MANIC MOSH: Tapping into the (Scottsdale) Arizona – which is a pretty remote area – did this have any effect on the band / musician thing or scene in general, if there was any, or was it just the other way around... as it brought forth quite a few renowned HardRock / Metal acts…
Harley:Hey, Phoenix was really like LA @ that time and the competition was really fierce. There were so many awesome talents flying around that yes it was a dog eat dog atmosphere and a lot of cut throats! But all in all we really knew who was what if you know what I mean. There was bands like LOOSELY TIGHT, and THE SCHOOLBOYS (who later became ICON) and Jason Newstead (METALLICA) was like a little brother to me… I would always have Jasons band "THE DOGS" (that later became FlOTSAM & JETSAM) front us because I really liked what they had to offer as musicians and friends! YES, LOT'S OF TALENT CAME OUT OF PHOENIX!
MANIC MOSH: It seemed much as if the lot of you aimed high with SURGICAL STEEL, trying to get the word big time and by all means necessary….
Harley: Well... you only have one real good crack @ it so TEAR IT UP hehe!
MANIC MOSH: So, what was the first set of SURGICAL STEEL originals, and was this in the styles of the PRIEST-sound as it materialized on the demo years after?
Harley: I was the lyrics writer of the band. The guy's would come up with a riff and I would just feel it out! I wrote "Dismissive Conquerors", "RIVIT HEAD" and "Warlords Horde" and a few others. Most of the better stuff was done in the earlier conceptualization of the band because we were so HUNGRY to make it!
MANIC MOSH: Came to a point that you left the band which marked a remarkable switch as the vocal duties were handed over to the then drummer Jeff Martin; a most deserving singer as well….. In earlier stages one surely must have been aware of Jeff’s abilities as a singer which were pretty much up the same alley inspirational-wise (Rob Halford – JUDAS PRIEST)….
Harley: Jeff was always an inspiration to me when we played together in ST.MICHAEL... We traded of the vocal chores and utilized our strengths. We had some of the most wicked harmonies you could think of because we were both calling dogs @ that time hehe. But yes, Jeff was the best person for the job since I was starting to really develop "MY" style and not so much just get locked in to a Halford clone thing. Hey, I respect Rob too much to just fill the world with yet another ROB HALFORD hehe... How many are there now hehe?
MANIC MOSH: Exactly why did you part ways with SURGICAL STEEL, at a stage where things seemed to be picking up for the band….
Harley: The truth! MIS-MANAGEMENT! I was just fed up with the thieves and there were tons of them around then (promoters) and the band took my efforts for granted too many times and I was tired of the JUDAS PRIEST programming etc... I was getting burned out on the HALFORD style because there was no haunting nuance in him that other techniques exhibited and were more refined. Man, when I heard QUEENSRYCHE’S debut I looked at Jim and said "now that's where we should be".... They had the range of talent PRIEST had but did it their own way and that's what I was trying to do with SURGICAL STEEL but Rob hanging out with the group had too much influence so I hope you can see what happened... Look where it got them all in the end...
MANIC MOSH: Confusing to say the least is the fact that ST.MICHAEL appeared on the “US.METAL VOL.IV” compilation LP, whilst, in fact, ST. MICHAEL was pre-SURGICAL STEEL, and by that time, you had already left the band…
Harley: ST.MICHAEL was before SURGICAL STEEL... SURGICAL STEEL was NEVER ST.MICHAEL; As was the addition of Jeff on voice (he took my place when I didn't want to be a HALFORD clone anymore) and Greg Chaisson, who replaced the bassist of SURGICAL STEEL (whose name was Steve Hooper). ST.MICHAEL gave the song to Mike Varney (it was already recorded) in ‘84 but I sang for ST. MICHAEL with Jeff Martin on drums, Greg Chaisson on bass, Henry Erman on rhythm guitar, Jim McMellen on lead-guitar. The band was named after, who else but MICHAEL SCHENKER! But again… this band was BEFORE SURGICAL STEEL… we did tons of clubs and huge desert parties with LOOSELY TIGHT etc..... Jeff sounds like Rob... I used to sound like Rob but grew out of it and found out I had five or six actual voices. I did the PRIEST that Jeff couldn't do but I also did the SCORPIONS and the MICHAEL SCHENKER GROUP, UFO etc... I was the words and vocal author of “RIVIT HEAD”, and many other songs when I was with SURGICAL STEELS but we never recorded any of them (we were too busy playing out!). Hey, when I sang for SURGICAL STEEL, we played in front of most the class-A Metal acts that toured through Phoenix @ that time...Danny Zelisco was our promoter...
MANIC MOSH: Were any of the ST.MICHAEL originals transported to the SURGICAL STEEL set, and has any ST. MICHAEL material ever been recorded and released as a demo? Speaking of which, how many ST.MICHAEL has there been altogether?
Harley: When Jeff took my place as singer for SURGICAL STEEL, he brought his compositions over to SURGICAL STEEL and so did Greg.
MANIC MOSH: How did ST.MICHAEL come under the attention of Mike Varney from SHRAPNEL RECORDS, as the band appeared on the “U.S. METAL IV” compilation with the top track “The Beauty, The Power….”
Harley: Unfortunately that album I wasn't on, but Mike heard of us at the time I sang for them and as soon as he had the power to promote them he did... I was out with my surgery @ the time and we got together again and then we just called it quits.
MANIC MOSH: Has a recording deal ever been considered by the aforementioned, as the sound blended right in with the musical concept of SHRAPNEL, the more so as ST. MICHAEL then had an amazing guitar-virtuoso on board; Jim Mc Mellen, playing much in the styles of Marty Friedman (HAWAII / VIXEN)
Harley: Again, I was with SURGICAL STEEL when they did this.
MANIC MOSH: Have you ever played live with ST. MICHAEL, and / or opened as a support act for any big names? And what about any ‘desert-gigs’ around the Phoenix area…. Local HardRockers LOOSELY TIGHT used to do those as well…
Harley: I sang for ST. MICHAEL all the songs Jeff couldn't sing @ the time I was with them... I would just go up and sing some LOVDRIVE then they would do the bar gig tunes then I would get up and do some PRIEST. I pretty much did all the Metal vocals for the band since Metal was rising and they needed a singer to do the stuff so they called on me to do it! You know how Joe Lynn Turner is on so many songs out there... well, I was just like that... If a band really wanted to draw they did the Metal, and well, you know where the ol' Iron Neck was hehe...
MANIC MOSH: How long did the ST. MICHAEL venture last, and how / why did the band eventually go up in smoke, as most definitely, there was a lot of potential on display….
Harley: I don't really know why... I knew their frustrations of course, and I think that there was some resentment internally.
MANIC MOSH: Nonetheless, ST.MICHAEL, as was SURGICAL STEEL seemed to focus on the American ‘market’ over others, as both the aforementioned didn’t do much in terms of fanzine / media feedback over here in Europe - outside the reviews & related to the compilation cuts -
Harley: Hey, thank GOD I didn't have to get blown off the stage by Leif Garrett hehe... They did do a movie called "Thunder Alley" and that was a great thing for exposure but I don't know why they just didn't go with it!
MANIC MOSH: So, what followed after ST.MICHAEL and SURGICAL STEEL, and where did its members – basically both guitarists, Jim Mc Mellen and Henry Erman – drift off to? As for you, it seemed much like you stepped out of the music bizz for a while, as it wasn’t until 2004 that you came forward with your own, MESSIAH’S REIGN – project as it materialized on CD format…
Harley: I was doing things but the music industry is so complex... It's really hard to get a bunch of brains thinking the same way and I feel that's what really happens to so many bands then, and today.
MANIC MOSH: Why is it that you chose to do MESSIAH’S REIGN all by yourself, or has there been any interference with other (studio / session) musicians at one point? Who laid down the guitar parts for instance…. All others can be digitally reproduced but the guitar thing is a different ball game…
Harley: No.. I did it with a plug-in called "SLAYER 2" hehe... Man, computer technologies are scary, but the human element HAS to be there. For some compositions, synthetic textures are fine but for others it's organic all the way... It really depends on what you are trying to achieve. I got better with my programming so there follows a refinement of that I feel... I'm just trying to say that TIME has it's it rewards...
MANIC MOSH: MESSIAH’S REIGN also set course for a whole new musical direction, departing the JUDAS PRIEST influence that hallmarked both SURGICAL STEEL and ST. MICHAEL both concept and vocal-wise, to opt for a sound that incorporates more mystical balladry, atmospheres and programming in the styles of QUEENSRYCHE with a matching vocal style…
Harley: I'm trying to go more marketable with my compositional skills and vocally I can go anywhere but it's really nice to know that the metal communities are supportive on my directions to be diverse and to me I can hit a lot more bases @ the same time.
MANIC MOSH: With a voice that pretty much equals Halford (JUDAS PRIEST) and Geoff Tate (QUEENSRYCHE), there must have been plenty of offers from bands over the years, not to mention studio / session – work…
Harley: Yes, all the time... but I want to explore more of what I can do on my own because I've tried the collaborative route and it's usually me that gets burned in the long run. I just love MUSIC and most of the people that have something going are in it for the $$$... I support the METAL community, not the cash registers...
MANIC MOSH: With the old-school Hard-Rock / Metal thing in full swing at present, and a lot of old material being shelved… have you ever considered putting any to digital format?
Harley: Let me know what the people around you would like me to cover and I would joyfully do it!
To date, the 2003 “The New Messiah” full-lengther by Harley Van Kirk's MESSIAH'S REIGN is the only release but is still available through selected mailorders. http://www.cdbaby.com/cd/messiahsreign
STRYCHNINE interview by Paul van der Burght
This Washington based outfit may be known by a selected group of insiders through their contribution to the compilation LP “Metal Meltdown vol.I” in’85. Prior to this, one circulated a 7-inch single “No Escape” that is considered a top gem in US Metal territories. Strychnine were close with locals Metal Church and their then singer Mark Baker even took off for a stint with the aforementioned. Strychnine continued to record and release material, their finest being the more Thrash geared “Pull The Plug” demo, but unfortunately never made it to the vinyl stage again. Bass-guitarist Paul Lamberty takes us back to where it all started… and continued…
MANIC MOSH: Seems the band incepted as early as '80, but is wasn't until '85 that you first exposed any material either through demo or vinyl… What took the band so long or has there been low-profile demo outlets before things got vinylized?
Tapping into that, there seemed to be a cassette circulating with both single tracks, "No Escape", "Live Or Die", "Run For Your Life" (that showed up on the Metal Meltdown compilation LP) and “Psychopath”; were these recorded in one session, and first released as a demo or promotional cassette?
Paul: Well when we first started out we were doing largely cover songs and kind of cutting our teeth as a band playing tons of Black Sabbath, Judas Priest, U.F.O., Ozzy etc. with a few early originals. Playing keg parties and backyards and stuff. Anywhere we could get a gig for some pay or beer. We didn't really start writing material seriously and playing exclusively our own stuff until probably '82 - '83 when Mark Baker joined the band. Dan and Mark were largely the creative force when Strychnine started getting serious about writing and playing our own stuff exclusively. Once that happened and we had a collection of pretty good stuff we went to a little studio, with the financial help of Mark's parents and the guidance of Craig Wells of Metal Church and put four songs on tape; "No Escape", "Run For Your Life", "Psychopath" and "Live or Die." All these were done at Woodmont Studios in our home town of Kent, Washington.
MANIC MOSH: So, what's been the amount of tapes released, or songs taped as a demo / or promotional tool?
Paul : I believe we put about a thousand of the two song demos out on vinyl and shopped those around quite a bit. We had some interest from a few labels but honestly; the guy that was the most interested in us wanted to change us too much and we didn't like the direction he was trying to lead us.
MANIC MOSH: How many originals did the Strychine set count at that stage, and, which were those?
Paul : How many songs did we have at that time? Wow, there were quite a few; “Lord Executioner”, “Hell on Wheels”, “Wings of Glory”, “Time Waits For No One”, “Rise From The Grave”, “Cold Day In Hell” ..... I can't remember them all.
MANIC MOSH: Then, there was the single, which obviously was a private press, released through J & P records; assumingly this stands for your brother Pete Lamberty and Jack Coy, the drummer, as they produced the songs...?
Paul : Actually, the single came from that first studio session. J&P stands for our other brothers Joe and Pete Lamberty. Joe is also a musician who was living in the bay area at the time and not really into metal like us, but a great guitar player in his own right. They produced the vinyl for us and came up with the cash to get that started.
MANIC MOSH: The line up then included you, and your brother Dan, why wasn't your other brother, Pete, in? Eventually, this would happen years on in this band FOUNTAINHEAD, right…?
Paul : Yeah; Pete is an amazingly talented keyboard player and composer. He was going to college in Portland at the time and honestly, we weren't a keyboard kind of band. Fountain Head was a much different type of band. Very Cure influenced but with some edgier guitars. Kind of a cross of Cure and Faith No More, I think.
MANIC MOSH: How many copies of the single were pressed; most likely only a few hundred..? and, has the Ever Rat label been involved in somehow in the release of this single?
Paul : I think we pressed roughly a thousand of those, and the Ever Rat label was basically my brothers Joe and Pete's project.
MANIC MOSH: So, how did the single do, and was this a mere local affair, or has it also been mailed out overseas? The band did get some fanzine coverage over there alright...
Paul : Oh yeah, we mailed it mostly to labels everywhere. That was really the purpose of that single. Get it out to as many people that mattered as we could. Our manager would send them to anyone that was interested. If we sold a few here and there that was cool too, but it wasn't really supposed to be a money making thing as much as a promotional tool. We got lots of good press and a lot of interest from that project. It gave us the attention we were looking for.
MANIC MOSH: Then, there was the contribution of the song "Run For Your Life" to the local "Metal Meltdown" vol.I compilation… how did that come about, and did that trigger anything response-wise?
Paul : “Metal Meltdown” was also something our manager set up for us. There was this kid that ran a Fanzine in Seattle, I can't remember his name but the Fanzine was called "Subway". He and some other guys put the “Metal Meltdown” thing together and we contributed "Run For Your Life" which was also from the same studio session. It did pretty well locally and I believe it did okay overseas as well. About that time we really started getting noticed. Quite a few indie labels started corresponding with us by then.
MANIC MOSH: At the time, the Washington area seemed pretty vivid in the Metal field, with lots of bands emerging; of course there's Metal Church, Queensryche and Heir Apparent as the most familiar names, but also Kil D' Kor, Overlord and Mace; all quality bands and all pretty much delivering a heavy style.. quite remarkable... So, how was the scene back in the days, and, was there any inter-action between bands and have you gigged with any of the bands I've just mentioned?
Paul : Yeah, Seattle was a hell of a place at the time. That was pretty much all what led up to the Seattle scene totally blowing up and producing the Grunge thing. We gigged with Kil D' Kor a few times; bands like Husker Du and Sato were also playing a lot. We played a place called ‘The Gorilla Gardens’ frequently, and that's where most of these shows took place. We played one weekend with a band called Malfunkshun. The lead singer was Andy Wood, who later started Mother Love Bone. He died of a heroin overdose a few years later and Mother Love Bone picked up Eddie Vedder and became Pearl Jam.
MANIC MOSH: There seemed to be a connection with Metal Church, not only as guitarist Mark Baker later drifted off to Metal Church, but also musical wise, gauging the song "No Escape" that, in a way, shows certain similarities to Metal Church's "Battalions"...
Paul : We were pretty close with the guys in Metal Church. I used to party with ‘the reverend’ once in a while and we would all go to the same parties and stuff. Craig Wells lived really close to Mark’s house where we would practice. Mark was a big fan of Metal Church and I'm sure they influenced some of his writing.
MANIC MOSH: Then again, down this particular song, there's also blends of Maiden (aswell as on "Live Or Die", and most evidently "Run For Your Life", that is seemingly influenced by Maiden's "Aces High") and Metallica, particularly guitar-wise. Assumingly, there's one or two inspirational sources here...
Paul : Yeah, definitely. We were huge Maiden fans, and they definitely influenced the direction of Strychnine, but once Metallica hit we were just blown away. Holy Shit were they amazing in the early days. We all went to the ‘Ride The Lightning’ show and walked out of there just blown away. When Metal Church opened up for Metallica on the ‘Master Of Puppets’ - tour we were hanging out backstage drinking their beer and eating their food. Great times.
MANIC MOSH: Overall, the sound on the single sounds much like the 1st generation US Metal / Speedmetal bands which was already in full swing halfway the 80's. Do you reckon the band would have benefited if only these tunes would have been exposed say, 2 or 3 years earlier?
Paul : Not necessarily. We had a lot of offers from smaller labels, but were reluctant to sign with any of them. Being young we really wanted to hold out for something bigger. We were writing like crazy. We had a falling out with Mark and he went on to join Metal Church for a little while. We replaced him with Marty Chandler and put together enough cash to get to the studio again and put four more songs on tape; “Pull The Plug”, “Time Waits For No One”, “Death Warmed Over” and something else; This time we went to a bigger studio in Redmond and recorded the “Pull The Plug” - demo. I can't remember the name of the studio right now, but it was the same studio Queensryche recorded a few tracks for the "Empire" CD. Marty was a hell of a guitarist and songwriter; definitely a great replacement for Mark and we seemed to be getting heavier and better. We were playing all the time and getting even more offers.
MANIC MOSH: The band then seemed to further address to the up-and-coming Thrash thing, with a more intensified sound on "Pull The Plug"; a high octane ThrashMetal number in the significant West Coast styles. Now, the time-setting and concept was just right, nicely blending in with Exodus and Testament for instance; what happened..?
Paul : What happened? Honestly, things just kind of fell apart. Let's just say we weren't exactly saints, especially me, and it just kind of went to shit. Fighting amongst each other, and ultimately the lifestyle took its toll. I had to go get my shit together and that's when the band called it quits.
MANIC MOSH: Was it there and then that the band changed its name and / or concept when it continued as MYRA MAINZ; What's the story behind all this…and what stopped this band in its tracks?
Paul : While I was away, that's when MYRAMAINZ formed. Jack, Dan, Randy, Greg Bauer on guitar and Rich Furtner on bass. It never really went anywhere. By then I think Dan was pretty burnt with the whole thing and took a job in California; MYRAMAINZ was no more.
MANIC MOSH: It was then one continued as Fountainhead?
Paul : Eventually Dan moved back to the Seattle area as did my brother Pete. I got my shit together and by then we had all kind of discovered other types of music that we enjoyed. This time it was perfect for a keyboardist and Dan, Pete and I founded FOUNTAINHEAD. Randy joined and we recruited a drummer who we had known for a long time; Kevin Inglett. We wrote and performed and recorded a few tracks and had a lot of fun with it. Eventually Kevin wasn't working out and Jack Coy, who was now drumming for Panic, sat in and did a few shows with us too.
MANIC MOSH: So, what’s the story with Fountainhead; how long did this go on..?
Paul : FOUNTAINHEAD only lasted a couple of years; I took a job in California, Pete took a job in Portland. Dan got married and has three kids, I've got a son and that was about it. Great bands and lots of fun, I wouldn't trade it for the world.
MANIC MOSH: Any chance of old STRYCHNINE material being re-released or re-recorded, or a compilation of the aforementioned bands?
Paul : I seriously doubt it. I still talk to Jack on occasion but haven't seen Randy in years. A long time ago I ran into Marty Chandler. I have no idea what happened to Mark Baker, last I heard he was living in New York. So yeah, I doubt, it will ever go any further than it has.
MANIC MOSH: Anything else you'd like to add?
Paul : Like I said, great times. The best of my life so far, wouldn't trade it for anything.
This Washington based outfit may be known by a selected group of insiders through their contribution to the compilation LP “Metal Meltdown vol.I” in’85. Prior to this, one circulated a 7-inch single “No Escape” that is considered a top gem in US Metal territories. Strychnine were close with locals Metal Church and their then singer Mark Baker even took off for a stint with the aforementioned. Strychnine continued to record and release material, their finest being the more Thrash geared “Pull The Plug” demo, but unfortunately never made it to the vinyl stage again. Bass-guitarist Paul Lamberty takes us back to where it all started… and continued…
MANIC MOSH: Seems the band incepted as early as '80, but is wasn't until '85 that you first exposed any material either through demo or vinyl… What took the band so long or has there been low-profile demo outlets before things got vinylized?
Tapping into that, there seemed to be a cassette circulating with both single tracks, "No Escape", "Live Or Die", "Run For Your Life" (that showed up on the Metal Meltdown compilation LP) and “Psychopath”; were these recorded in one session, and first released as a demo or promotional cassette?
Paul: Well when we first started out we were doing largely cover songs and kind of cutting our teeth as a band playing tons of Black Sabbath, Judas Priest, U.F.O., Ozzy etc. with a few early originals. Playing keg parties and backyards and stuff. Anywhere we could get a gig for some pay or beer. We didn't really start writing material seriously and playing exclusively our own stuff until probably '82 - '83 when Mark Baker joined the band. Dan and Mark were largely the creative force when Strychnine started getting serious about writing and playing our own stuff exclusively. Once that happened and we had a collection of pretty good stuff we went to a little studio, with the financial help of Mark's parents and the guidance of Craig Wells of Metal Church and put four songs on tape; "No Escape", "Run For Your Life", "Psychopath" and "Live or Die." All these were done at Woodmont Studios in our home town of Kent, Washington.
MANIC MOSH: So, what's been the amount of tapes released, or songs taped as a demo / or promotional tool?
Paul : I believe we put about a thousand of the two song demos out on vinyl and shopped those around quite a bit. We had some interest from a few labels but honestly; the guy that was the most interested in us wanted to change us too much and we didn't like the direction he was trying to lead us.
MANIC MOSH: How many originals did the Strychine set count at that stage, and, which were those?
Paul : How many songs did we have at that time? Wow, there were quite a few; “Lord Executioner”, “Hell on Wheels”, “Wings of Glory”, “Time Waits For No One”, “Rise From The Grave”, “Cold Day In Hell” ..... I can't remember them all.
MANIC MOSH: Then, there was the single, which obviously was a private press, released through J & P records; assumingly this stands for your brother Pete Lamberty and Jack Coy, the drummer, as they produced the songs...?
Paul : Actually, the single came from that first studio session. J&P stands for our other brothers Joe and Pete Lamberty. Joe is also a musician who was living in the bay area at the time and not really into metal like us, but a great guitar player in his own right. They produced the vinyl for us and came up with the cash to get that started.
MANIC MOSH: The line up then included you, and your brother Dan, why wasn't your other brother, Pete, in? Eventually, this would happen years on in this band FOUNTAINHEAD, right…?
Paul : Yeah; Pete is an amazingly talented keyboard player and composer. He was going to college in Portland at the time and honestly, we weren't a keyboard kind of band. Fountain Head was a much different type of band. Very Cure influenced but with some edgier guitars. Kind of a cross of Cure and Faith No More, I think.
MANIC MOSH: How many copies of the single were pressed; most likely only a few hundred..? and, has the Ever Rat label been involved in somehow in the release of this single?
Paul : I think we pressed roughly a thousand of those, and the Ever Rat label was basically my brothers Joe and Pete's project.
MANIC MOSH: So, how did the single do, and was this a mere local affair, or has it also been mailed out overseas? The band did get some fanzine coverage over there alright...
Paul : Oh yeah, we mailed it mostly to labels everywhere. That was really the purpose of that single. Get it out to as many people that mattered as we could. Our manager would send them to anyone that was interested. If we sold a few here and there that was cool too, but it wasn't really supposed to be a money making thing as much as a promotional tool. We got lots of good press and a lot of interest from that project. It gave us the attention we were looking for.
MANIC MOSH: Then, there was the contribution of the song "Run For Your Life" to the local "Metal Meltdown" vol.I compilation… how did that come about, and did that trigger anything response-wise?
Paul : “Metal Meltdown” was also something our manager set up for us. There was this kid that ran a Fanzine in Seattle, I can't remember his name but the Fanzine was called "Subway". He and some other guys put the “Metal Meltdown” thing together and we contributed "Run For Your Life" which was also from the same studio session. It did pretty well locally and I believe it did okay overseas as well. About that time we really started getting noticed. Quite a few indie labels started corresponding with us by then.
MANIC MOSH: At the time, the Washington area seemed pretty vivid in the Metal field, with lots of bands emerging; of course there's Metal Church, Queensryche and Heir Apparent as the most familiar names, but also Kil D' Kor, Overlord and Mace; all quality bands and all pretty much delivering a heavy style.. quite remarkable... So, how was the scene back in the days, and, was there any inter-action between bands and have you gigged with any of the bands I've just mentioned?
Paul : Yeah, Seattle was a hell of a place at the time. That was pretty much all what led up to the Seattle scene totally blowing up and producing the Grunge thing. We gigged with Kil D' Kor a few times; bands like Husker Du and Sato were also playing a lot. We played a place called ‘The Gorilla Gardens’ frequently, and that's where most of these shows took place. We played one weekend with a band called Malfunkshun. The lead singer was Andy Wood, who later started Mother Love Bone. He died of a heroin overdose a few years later and Mother Love Bone picked up Eddie Vedder and became Pearl Jam.
MANIC MOSH: There seemed to be a connection with Metal Church, not only as guitarist Mark Baker later drifted off to Metal Church, but also musical wise, gauging the song "No Escape" that, in a way, shows certain similarities to Metal Church's "Battalions"...
Paul : We were pretty close with the guys in Metal Church. I used to party with ‘the reverend’ once in a while and we would all go to the same parties and stuff. Craig Wells lived really close to Mark’s house where we would practice. Mark was a big fan of Metal Church and I'm sure they influenced some of his writing.
MANIC MOSH: Then again, down this particular song, there's also blends of Maiden (aswell as on "Live Or Die", and most evidently "Run For Your Life", that is seemingly influenced by Maiden's "Aces High") and Metallica, particularly guitar-wise. Assumingly, there's one or two inspirational sources here...
Paul : Yeah, definitely. We were huge Maiden fans, and they definitely influenced the direction of Strychnine, but once Metallica hit we were just blown away. Holy Shit were they amazing in the early days. We all went to the ‘Ride The Lightning’ show and walked out of there just blown away. When Metal Church opened up for Metallica on the ‘Master Of Puppets’ - tour we were hanging out backstage drinking their beer and eating their food. Great times.
MANIC MOSH: Overall, the sound on the single sounds much like the 1st generation US Metal / Speedmetal bands which was already in full swing halfway the 80's. Do you reckon the band would have benefited if only these tunes would have been exposed say, 2 or 3 years earlier?
Paul : Not necessarily. We had a lot of offers from smaller labels, but were reluctant to sign with any of them. Being young we really wanted to hold out for something bigger. We were writing like crazy. We had a falling out with Mark and he went on to join Metal Church for a little while. We replaced him with Marty Chandler and put together enough cash to get to the studio again and put four more songs on tape; “Pull The Plug”, “Time Waits For No One”, “Death Warmed Over” and something else; This time we went to a bigger studio in Redmond and recorded the “Pull The Plug” - demo. I can't remember the name of the studio right now, but it was the same studio Queensryche recorded a few tracks for the "Empire" CD. Marty was a hell of a guitarist and songwriter; definitely a great replacement for Mark and we seemed to be getting heavier and better. We were playing all the time and getting even more offers.
MANIC MOSH: The band then seemed to further address to the up-and-coming Thrash thing, with a more intensified sound on "Pull The Plug"; a high octane ThrashMetal number in the significant West Coast styles. Now, the time-setting and concept was just right, nicely blending in with Exodus and Testament for instance; what happened..?
Paul : What happened? Honestly, things just kind of fell apart. Let's just say we weren't exactly saints, especially me, and it just kind of went to shit. Fighting amongst each other, and ultimately the lifestyle took its toll. I had to go get my shit together and that's when the band called it quits.
MANIC MOSH: Was it there and then that the band changed its name and / or concept when it continued as MYRA MAINZ; What's the story behind all this…and what stopped this band in its tracks?
Paul : While I was away, that's when MYRAMAINZ formed. Jack, Dan, Randy, Greg Bauer on guitar and Rich Furtner on bass. It never really went anywhere. By then I think Dan was pretty burnt with the whole thing and took a job in California; MYRAMAINZ was no more.
MANIC MOSH: It was then one continued as Fountainhead?
Paul : Eventually Dan moved back to the Seattle area as did my brother Pete. I got my shit together and by then we had all kind of discovered other types of music that we enjoyed. This time it was perfect for a keyboardist and Dan, Pete and I founded FOUNTAINHEAD. Randy joined and we recruited a drummer who we had known for a long time; Kevin Inglett. We wrote and performed and recorded a few tracks and had a lot of fun with it. Eventually Kevin wasn't working out and Jack Coy, who was now drumming for Panic, sat in and did a few shows with us too.
MANIC MOSH: So, what’s the story with Fountainhead; how long did this go on..?
Paul : FOUNTAINHEAD only lasted a couple of years; I took a job in California, Pete took a job in Portland. Dan got married and has three kids, I've got a son and that was about it. Great bands and lots of fun, I wouldn't trade it for the world.
MANIC MOSH: Any chance of old STRYCHNINE material being re-released or re-recorded, or a compilation of the aforementioned bands?
Paul : I seriously doubt it. I still talk to Jack on occasion but haven't seen Randy in years. A long time ago I ran into Marty Chandler. I have no idea what happened to Mark Baker, last I heard he was living in New York. So yeah, I doubt, it will ever go any further than it has.
MANIC MOSH: Anything else you'd like to add?
Paul : Like I said, great times. The best of my life so far, wouldn't trade it for anything.