MANIC MOSH METAL #13 January - June 2021
last updated 18 June 2021
SIGNIFICANT POINT - 2021 “Into The Storm”
label: Dying Victims productions
web: https://www.facebook.com/Significant-Point-257488107708532
Japanese outfit that caused quite a bit of mayhemic turbulence with their 2018 “Attacker” E.P that hit the nail on the head, perfectly replicating the mid 80's Metal / SpeedMetal sound, and this full-lengther is no different from that. The high octane opening track “Attacker”, lifted from the E.P, sets the tone for the set on this 10 songer that also features the E.P flipside track “Danger Zone”; a driven semi-Headbanger that kind of couples the classic European and U.S sound or separate per song; In areas, the band reminds somewhat of Deuce / Tension, referring to tracks such as “Run For Your Life” and “Deathrider”, whilst “Riders under The Sun” has Euro-(Speed)Metal written all over and has some nice structural twists, melodic undertone and blistering guitar work. “Heavy Attack” is another speedy, riff-based offering fuelled by agility staccato riffs and layered with high-speed twin melodies. Then, in between the U.S and Euro sounding moments, there's a turn towards the 80's Japanese Metal thing with the driven Speedster “Into The Storm” that reminds of Loudness in both concept and vocal. A moment of 'rest' comes in the shape of the Priest / Maiden phased up-tempo Metaler “You've Got The Power”, the melodic laden “Night Of The Axe” and “Running Alone” with its Maiden-esque acceleration and rhythmics. The whole thing is dressed with a matching vocal that is quite variable in tone, though mainly upper mid-range with a higher pitched roar that reaches maximum vocal output. The band has slipped in a good lot of melodic guitar melodies / twin leads, lots of sizzling solo actions and has glued it all together with sufficient structural variation in both songs and concept. In all, a very complete and enjoyable old-school styled album that sounds exactly the way thing used to sound back in the 80's. Convincing!
Paul van der Burght
label: Dying Victims productions
web: https://www.facebook.com/Significant-Point-257488107708532
Japanese outfit that caused quite a bit of mayhemic turbulence with their 2018 “Attacker” E.P that hit the nail on the head, perfectly replicating the mid 80's Metal / SpeedMetal sound, and this full-lengther is no different from that. The high octane opening track “Attacker”, lifted from the E.P, sets the tone for the set on this 10 songer that also features the E.P flipside track “Danger Zone”; a driven semi-Headbanger that kind of couples the classic European and U.S sound or separate per song; In areas, the band reminds somewhat of Deuce / Tension, referring to tracks such as “Run For Your Life” and “Deathrider”, whilst “Riders under The Sun” has Euro-(Speed)Metal written all over and has some nice structural twists, melodic undertone and blistering guitar work. “Heavy Attack” is another speedy, riff-based offering fuelled by agility staccato riffs and layered with high-speed twin melodies. Then, in between the U.S and Euro sounding moments, there's a turn towards the 80's Japanese Metal thing with the driven Speedster “Into The Storm” that reminds of Loudness in both concept and vocal. A moment of 'rest' comes in the shape of the Priest / Maiden phased up-tempo Metaler “You've Got The Power”, the melodic laden “Night Of The Axe” and “Running Alone” with its Maiden-esque acceleration and rhythmics. The whole thing is dressed with a matching vocal that is quite variable in tone, though mainly upper mid-range with a higher pitched roar that reaches maximum vocal output. The band has slipped in a good lot of melodic guitar melodies / twin leads, lots of sizzling solo actions and has glued it all together with sufficient structural variation in both songs and concept. In all, a very complete and enjoyable old-school styled album that sounds exactly the way thing used to sound back in the 80's. Convincing!
Paul van der Burght
RISING STEEL – CD 2020 “Fight Them All”
label: Frontiers records
songs: Mystic Voices / Fight Them All / Steel Hammer / Blackheart / Savage / Gloomy World / Malefice / Metal Nation / Pussy / Led By Judas / Master Control //
web: http://risingsteel.fr/
Make no mistake, this is one prime offering of 90's U.S PowerMetal that meets the modern adaptation of the genre with a fair dose of classic Metallica thrown in to start things off with “Mystic Voices”, resembling “Metal Militia” in the riff department. This is proper PowerMetal with a melodic twist and tending towards Trash in the guitar department, glued together by the powerhouse vocals of singer Emmanuelson. Best thing about Rising Steel is that they sound pretty American and yet they are from France! More 80's PowerMetal is delivered with the bobbing, Bay Area tinged titletrack, rolling on a driving mid-tempo with some in-your-face staccato riffage. Some cool, Thrashy slow-grinding going on down “Blackheart” and the Forbidden esque “Gloomy World”, sandwiching the mobility riffed, 80's European edged “Savage” with hints of Obsession in the back. Full on Thrash comes in the shape of the 90's styled, mod / mid-tempo scorcher “Malefice” and “Metal Nation” has the Metallica riff thing re-appearing with a hint of Wargasm thrown in. The classic rooted, moderately paced HardRock / Metaler “Pussy” brings back the 80's sound with traces of Loudness, and the traditional thing is furthered on “Led By Judas” that kind of couples the European Metal sound with Saxon-esque features. The disc concludes in true U.S. PowerMetal fashion with the bobbing, mod-paced “Master Control”.What really makes this album is the contrast of crunching riffs and a melodic edged vocal roar which turns out to be a winning combination. Add to this gripping, instant access themes and a good, allround differentiation in tempo and melodies and there is an album that just needs to be heard. Fantastic!
Paul van der Burght
label: Frontiers records
songs: Mystic Voices / Fight Them All / Steel Hammer / Blackheart / Savage / Gloomy World / Malefice / Metal Nation / Pussy / Led By Judas / Master Control //
web: http://risingsteel.fr/
Make no mistake, this is one prime offering of 90's U.S PowerMetal that meets the modern adaptation of the genre with a fair dose of classic Metallica thrown in to start things off with “Mystic Voices”, resembling “Metal Militia” in the riff department. This is proper PowerMetal with a melodic twist and tending towards Trash in the guitar department, glued together by the powerhouse vocals of singer Emmanuelson. Best thing about Rising Steel is that they sound pretty American and yet they are from France! More 80's PowerMetal is delivered with the bobbing, Bay Area tinged titletrack, rolling on a driving mid-tempo with some in-your-face staccato riffage. Some cool, Thrashy slow-grinding going on down “Blackheart” and the Forbidden esque “Gloomy World”, sandwiching the mobility riffed, 80's European edged “Savage” with hints of Obsession in the back. Full on Thrash comes in the shape of the 90's styled, mod / mid-tempo scorcher “Malefice” and “Metal Nation” has the Metallica riff thing re-appearing with a hint of Wargasm thrown in. The classic rooted, moderately paced HardRock / Metaler “Pussy” brings back the 80's sound with traces of Loudness, and the traditional thing is furthered on “Led By Judas” that kind of couples the European Metal sound with Saxon-esque features. The disc concludes in true U.S. PowerMetal fashion with the bobbing, mod-paced “Master Control”.What really makes this album is the contrast of crunching riffs and a melodic edged vocal roar which turns out to be a winning combination. Add to this gripping, instant access themes and a good, allround differentiation in tempo and melodies and there is an album that just needs to be heard. Fantastic!
Paul van der Burght
HEXX – 2020 “Entangled In Sin”
label:High Roller records
web: https://www.facebook.com/officialhexx
U.S Metal veterans whose '84 “No Escape” album was up there with the better and heavier acts to emerge from the New Wave of U.S Metal that developed towards the mid 80's. “Entangled In Sin” holds high this 80's U.S Metal / Power / Speed Sound that was in full swing at the time, and this set of songs pretty much collects all of the aforementioned, presented in a no-nonsense, straight-forward approach that does not need any additions. This is quite an energetic affair that mainly rolls on up-tempo driven, head bobbing modes, magnified on the slow-moving "Wise To The Ways World" and the catchy, mid-paced pounder "Signal 30 I-5". The album is layered with gripping riff-themes, a variable vocal roar and some nice guitar solos that are peaking on "Watching Me Burn". There's moments the sound leans towards Thrash, as on "Entangled In SIn" but it does not go any further than that. For some reason, the music brings Metal Church to mind but that may well be due to the similarities in the vocal department, although the slow burner "Strive To The Grave" also shows parallels in concept and sound, clicking with Metal Church's “Beyond The Black”. Summing it all up, “Entangled In Sin” is one solid set of songs and a joy to listen to. Great.
Paul van der Burght
label:High Roller records
web: https://www.facebook.com/officialhexx
U.S Metal veterans whose '84 “No Escape” album was up there with the better and heavier acts to emerge from the New Wave of U.S Metal that developed towards the mid 80's. “Entangled In Sin” holds high this 80's U.S Metal / Power / Speed Sound that was in full swing at the time, and this set of songs pretty much collects all of the aforementioned, presented in a no-nonsense, straight-forward approach that does not need any additions. This is quite an energetic affair that mainly rolls on up-tempo driven, head bobbing modes, magnified on the slow-moving "Wise To The Ways World" and the catchy, mid-paced pounder "Signal 30 I-5". The album is layered with gripping riff-themes, a variable vocal roar and some nice guitar solos that are peaking on "Watching Me Burn". There's moments the sound leans towards Thrash, as on "Entangled In SIn" but it does not go any further than that. For some reason, the music brings Metal Church to mind but that may well be due to the similarities in the vocal department, although the slow burner "Strive To The Grave" also shows parallels in concept and sound, clicking with Metal Church's “Beyond The Black”. Summing it all up, “Entangled In Sin” is one solid set of songs and a joy to listen to. Great.
Paul van der Burght
IMMORTAL SYNN – single 2020 “Denver Nights” (Rusty Sun mix)
label: private
web: https://www.facebook.com/immortalsynnmusic/
Newest outing by this Denver / Colorada based act, released as a Thrashy 'taster' for the forthcoming album “Force Of Habit”. The song has strong similarities to Metallica's “Phantom Lord” with an added sense of humour and groove a la Austrian Death Machine, topped with a Punk / Hardcore style chorus and matching bar-riffage. This is one energetic affair but clean cut regarding its nature and Metal oriented vocals with the occasional high end. Nice guitar action and double-bass / rhythm riff tandem halfway down the song. Catchy and cool.
Paul van der Burght
label: private
web: https://www.facebook.com/immortalsynnmusic/
Newest outing by this Denver / Colorada based act, released as a Thrashy 'taster' for the forthcoming album “Force Of Habit”. The song has strong similarities to Metallica's “Phantom Lord” with an added sense of humour and groove a la Austrian Death Machine, topped with a Punk / Hardcore style chorus and matching bar-riffage. This is one energetic affair but clean cut regarding its nature and Metal oriented vocals with the occasional high end. Nice guitar action and double-bass / rhythm riff tandem halfway down the song. Catchy and cool.
Paul van der Burght
ELECTRIC MOB – 2020 “Discharge”
label: Frontiers records
songs: Awaken / Devil You Know / King’s Ale / Got Me Runnin’ / Far Off / Your Ghost / Gypsy Touch / 1 2 3 Burn / Upside Down / Higher Than Your Heels / Brand New Rope / We Are Wrong //
web: http://www.electricmob.com.br/
Brazilian 4-piece unit that have entered the HardRock scene with a bang, producing a debut album that tears the roof off in a variety of styles! This thing sounds anything but a 1st appearance and is almost like listening to a mix-tape featuring a selection of Lynch Mob, Alter Bridge, Badlands and Audioslave! After an intro (“Awaken”) the band shakes the dust off their boots with the Southern HardRock stomper “Devil You Know” that is fuelled by a toe-tapping beat, a wall of sludgy guitars and the formidable muscle vocals of Renan Zonta. Some Funk – Southern Rock fusion comes popping up on the 90's styled HardRocker “King's Ale”, whilst the semi-balladry of slow burner “Got Me Runnin” has Badlands all over, as does the moderately paced Rocker “Far Off”, highlighting the power and range of the vocals, that are taken to the max in range and appearance on the soul drenched Southern-esque Rock ballad “Your Ghost”. Halfway down the album the concept intensifies as it takes a different turn with “Gypsy Touch” alternating the Funky element with some Audioslave styled sludge riffage and matching vocalage in the Chris Cornell styles, and on it goes in 90's fashion with the slow, melancholy laden “1 2 3 Burn” and the Hard Rockin “Upside Down”. More Funky phased Rock surfaces on “Higher Than Your heels”, including horn section! The heavy ballad “Brand New Hope” has a hint of Alter Bridge in the back, as does the slow burner “We Are Wrong”. Listening through the entire set, it truly shows the quality and potential of this band, from the musical abilities and performance to the delivery of its varies concepts; it is exactly there that Electric Mob may have overdone it as a palette this diverse (and at times almost contrasting) may not appeal to everyone. Nonetheless a very convincing slab of music that peaks on the first half of the set.
Paul van der Burght
label: Frontiers records
songs: Awaken / Devil You Know / King’s Ale / Got Me Runnin’ / Far Off / Your Ghost / Gypsy Touch / 1 2 3 Burn / Upside Down / Higher Than Your Heels / Brand New Rope / We Are Wrong //
web: http://www.electricmob.com.br/
Brazilian 4-piece unit that have entered the HardRock scene with a bang, producing a debut album that tears the roof off in a variety of styles! This thing sounds anything but a 1st appearance and is almost like listening to a mix-tape featuring a selection of Lynch Mob, Alter Bridge, Badlands and Audioslave! After an intro (“Awaken”) the band shakes the dust off their boots with the Southern HardRock stomper “Devil You Know” that is fuelled by a toe-tapping beat, a wall of sludgy guitars and the formidable muscle vocals of Renan Zonta. Some Funk – Southern Rock fusion comes popping up on the 90's styled HardRocker “King's Ale”, whilst the semi-balladry of slow burner “Got Me Runnin” has Badlands all over, as does the moderately paced Rocker “Far Off”, highlighting the power and range of the vocals, that are taken to the max in range and appearance on the soul drenched Southern-esque Rock ballad “Your Ghost”. Halfway down the album the concept intensifies as it takes a different turn with “Gypsy Touch” alternating the Funky element with some Audioslave styled sludge riffage and matching vocalage in the Chris Cornell styles, and on it goes in 90's fashion with the slow, melancholy laden “1 2 3 Burn” and the Hard Rockin “Upside Down”. More Funky phased Rock surfaces on “Higher Than Your heels”, including horn section! The heavy ballad “Brand New Hope” has a hint of Alter Bridge in the back, as does the slow burner “We Are Wrong”. Listening through the entire set, it truly shows the quality and potential of this band, from the musical abilities and performance to the delivery of its varies concepts; it is exactly there that Electric Mob may have overdone it as a palette this diverse (and at times almost contrasting) may not appeal to everyone. Nonetheless a very convincing slab of music that peaks on the first half of the set.
Paul van der Burght
JadeDaGlampire
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Photo above left by JadeDaGlampire, photo above right by JadeDaGlampire, necklace @WonderLandMC98
Photo above by JadeDaGlampire, necklace @WonderLandMC98, lenses @sps_eye
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JadeDaGlampire – U.K Alternative Model
My name is Jade (JadeDaGlampire) and I am a Alternative model based in the U.K. I have been modelling roughly 4 years now and currently mainly work with Gothic clothing brands and cosmetic companies on Instagram. I love experimenting with concepts in shoots; I mainly shoot Gothic fashion but I also love shooting Horror and Halloween themed shoots. I feel I embody the creepy and spooky characters well, but I also love glitz and glam which is where the username Glampire came from. I have always loved being creative and love to express it in many forms such as modelling, make-up artistry and design. Drawing and art is also a big passion of mine. I have experience working in a few Tattoo shops and would love to turn my artwork into a living. From walking the catwalk and being a finalist at the Alternative Modelling Awards 2019 to modelling jewellery for WonderlandMC98 which was then named after me. Follow me and my journey on Instagram @JadeDaGlampire where I am most active. Links: www.instagram.com/JadeDaGlampire www.facebook.com/JadeDaGlampire www.twitter.com/JadeDaGlampire |
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Photo above left by JadeDaGlampire, dress @LongClothing
photo above right by JadeDaGlampire, headpiece made @makeup_by_lorna, contact Lenses @sps_eye
photo above right by JadeDaGlampire, headpiece made @makeup_by_lorna, contact Lenses @sps_eye
BE THE WOLF – 2021 “Torino”
label: Scarlet records
web: https://www.facebook.com/bethewolf
Fourth and newest album that, as its title suggests, originates from Torino, Italy. Be The Wolf have put together a melange of 'fresh' melodic Grunge Pop somewhere in between Avril Lavigne and Maroon 5 with added twists and turns, including Blues hooks that come surfacing on the Alter Bridge sprinkled 'slow burner' "Sorry Not Sorry" and the riff based "Dancing Rhinos" which also happens to be the heaviest piece of the album, along with the Modern / Nu Rock oriented "Failures". Be The Wolf keep their concept quite 'minimalistic' but with enough variety to keep things interesting so the principle of less is more definitely applies here. The click with Maroon 5 is most evident in the vocal department, delivering a crisp, upper mid-range voice that is quite contrasting yet pleasant and 'easy on the ear'. Songs stick instantly and are more than capable in many respects with certain, early 00's 'hit-potential "April". Some nice, semi-acoustic Alternative Rock layers throughout and a bit of an atmosphere surrounding tracks such as "Torino". Overall, a well nice, and fresh sounding album.
Paul van der Burght
label: Scarlet records
web: https://www.facebook.com/bethewolf
Fourth and newest album that, as its title suggests, originates from Torino, Italy. Be The Wolf have put together a melange of 'fresh' melodic Grunge Pop somewhere in between Avril Lavigne and Maroon 5 with added twists and turns, including Blues hooks that come surfacing on the Alter Bridge sprinkled 'slow burner' "Sorry Not Sorry" and the riff based "Dancing Rhinos" which also happens to be the heaviest piece of the album, along with the Modern / Nu Rock oriented "Failures". Be The Wolf keep their concept quite 'minimalistic' but with enough variety to keep things interesting so the principle of less is more definitely applies here. The click with Maroon 5 is most evident in the vocal department, delivering a crisp, upper mid-range voice that is quite contrasting yet pleasant and 'easy on the ear'. Songs stick instantly and are more than capable in many respects with certain, early 00's 'hit-potential "April". Some nice, semi-acoustic Alternative Rock layers throughout and a bit of an atmosphere surrounding tracks such as "Torino". Overall, a well nice, and fresh sounding album.
Paul van der Burght
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CHAOSAROMA – single 2021 “Doghouse”
web: http://www.chaosaroma.com/
West Midlands (U.K) based unit that entered the scene in 2018 with a 5-song affair. “Doghouse” is their newest offering, harking back to a blend of sounds that rocked the 90's and early 00's. Stickered by the band as a melange of the Alternative thing, Grunge and Metal there's only little to add to this, apart maybe for the light, melodic undertone. “Doghouse” is a song that reflects the commercial appeal of the 00's Alternative sound whilst still having that 'bite', funnelled through the one-off power-grooves and the muscular vocal peak of singer Josh Blakevoals. It is the vocals that start off this catchy up-tempo Rocker with a lot of anticipation, hinting at Audioslave / Soundgarden but it is not until further down the song that this vocal strength comes to full force, if only briefly. The counterpart of this is a crisp, mid-range vocal tone that kind of smoothens the whole thing American style with the added vocals choirs. This does all work really well but equally, the song could have smashed it with a more rough and ready approach in the vocal department as it is all there in both volume and delivery. Either ways, “Doghouse” is a fine representation of a band that brings new life to the old school Alternative sound with a melodic flair and the musical ability to back it up. Nice.
Paul van der Burght
web: http://www.chaosaroma.com/
West Midlands (U.K) based unit that entered the scene in 2018 with a 5-song affair. “Doghouse” is their newest offering, harking back to a blend of sounds that rocked the 90's and early 00's. Stickered by the band as a melange of the Alternative thing, Grunge and Metal there's only little to add to this, apart maybe for the light, melodic undertone. “Doghouse” is a song that reflects the commercial appeal of the 00's Alternative sound whilst still having that 'bite', funnelled through the one-off power-grooves and the muscular vocal peak of singer Josh Blakevoals. It is the vocals that start off this catchy up-tempo Rocker with a lot of anticipation, hinting at Audioslave / Soundgarden but it is not until further down the song that this vocal strength comes to full force, if only briefly. The counterpart of this is a crisp, mid-range vocal tone that kind of smoothens the whole thing American style with the added vocals choirs. This does all work really well but equally, the song could have smashed it with a more rough and ready approach in the vocal department as it is all there in both volume and delivery. Either ways, “Doghouse” is a fine representation of a band that brings new life to the old school Alternative sound with a melodic flair and the musical ability to back it up. Nice.
Paul van der Burght
THE CREATORS BARN
web: https://www.facebook.com/groups/866419707456032/
The Creators Barn is a community FB group initiated in January 2021 by Derek Pountney. The group is set up for collaboration and networking for and between creatives and covers anything from Music, Art & Design, Graphics, Photography, Fashion and Dance to Performing Arts, Media etc. Even if you don't create works yourself, but want to find something new to experience & share then this is the community to be part of. The idea for this group page is join forces, so to speak, to bring in bigger audiences for your work and also to network with people that you may never have had chance to meet, to boost your own work, availability for online projects and hopefully future work opportunities. Many of you will already have made good use of other social media, but this is about building a community with good people to promote yourself and others and bring together a wider Creative Arts network & community.
web: https://www.facebook.com/groups/866419707456032/
The Creators Barn is a community FB group initiated in January 2021 by Derek Pountney. The group is set up for collaboration and networking for and between creatives and covers anything from Music, Art & Design, Graphics, Photography, Fashion and Dance to Performing Arts, Media etc. Even if you don't create works yourself, but want to find something new to experience & share then this is the community to be part of. The idea for this group page is join forces, so to speak, to bring in bigger audiences for your work and also to network with people that you may never have had chance to meet, to boost your own work, availability for online projects and hopefully future work opportunities. Many of you will already have made good use of other social media, but this is about building a community with good people to promote yourself and others and bring together a wider Creative Arts network & community.
STRYPER – 2020 “Even The Devil Believes”
label: Frontiers records
web: http://www.stryper.com/
U.S act Stryper are the undisputed legends of Christian Metal that first brought their 'Metal with a message' to the scene almost three decades ago and are still doing so in the now. The sound of 'The Yellow And Black Attack' from 1984 still echoes on their newest work, “Even The Devil Believes” although the greater part is now geared towards riff-based HardRock / Metal with a less polished, more straight forward approach The traditional, melodic edged sound of the band resonates on the energetic riff-monster that is “Blood From Above” tending towards PowerMetal as do the moderately paced slow burner “Do Onto Others” and the high octane, semi-Headbanger “Middle Finger Messiah”; the heaviest and fastest offering on the disc. The album dips down a bit halfway though with the more generic styled titletrack and “How To Fly” but picks up again with the Euro-Metal mould shout along pumper that is “Divider” and the uplifting Rocker that is “Invitation Only”. The vocals of Michael Sweet are sill a stand-out throughout the repertoire, delivering a deserving mid-range tone with higher pitched siren yells PowerMetal style. Cool
Paul van der Burght
label: Frontiers records
web: http://www.stryper.com/
U.S act Stryper are the undisputed legends of Christian Metal that first brought their 'Metal with a message' to the scene almost three decades ago and are still doing so in the now. The sound of 'The Yellow And Black Attack' from 1984 still echoes on their newest work, “Even The Devil Believes” although the greater part is now geared towards riff-based HardRock / Metal with a less polished, more straight forward approach The traditional, melodic edged sound of the band resonates on the energetic riff-monster that is “Blood From Above” tending towards PowerMetal as do the moderately paced slow burner “Do Onto Others” and the high octane, semi-Headbanger “Middle Finger Messiah”; the heaviest and fastest offering on the disc. The album dips down a bit halfway though with the more generic styled titletrack and “How To Fly” but picks up again with the Euro-Metal mould shout along pumper that is “Divider” and the uplifting Rocker that is “Invitation Only”. The vocals of Michael Sweet are sill a stand-out throughout the repertoire, delivering a deserving mid-range tone with higher pitched siren yells PowerMetal style. Cool
Paul van der Burght
POUNDER – 2021 “Breaking The World”
label: Shadow Kingdom records
web: https://www.facebook.com/pounderheavymetal
California's Pounder deliver some unpretentious, fairly straight forward Euro HardRock / Metal in the 80's tradition. This comes with a handful of double-bass powered semi-Headbangers such as the Gravedigger esque “Spoils Of War” and the Loudness tinged “Deadly Eyes”. Some all-out HardRock / Metal is presented on the mid-paced “Hard City” and the 80's, German styled “Give Me Rock”. The band taps into some Anthemic Metal a la Manowar on the moderately paced shout along pounder “Breaking The World” and shows yet another approach on the driven, upbeat “Hard Road To Home” addressing to Power Metal. The variety is topped with some melodic, almost AOR like chants on the driven Metaler “Never Forever” highlighting the fact that Pounder's concept is quite unpredictable at times but somehow this melange of styles works. The vocals are not the strongest and not always able to deliver the right voice for the broad variety of styles on display, but not to such extend that it brings the music down, Overall, quite an entertaining affair that is lifted by the pounding double-bass chops, the nice solo-actions and the 'easy' accessibility of it all. Decent.
Paul van der Burght
label: Shadow Kingdom records
web: https://www.facebook.com/pounderheavymetal
California's Pounder deliver some unpretentious, fairly straight forward Euro HardRock / Metal in the 80's tradition. This comes with a handful of double-bass powered semi-Headbangers such as the Gravedigger esque “Spoils Of War” and the Loudness tinged “Deadly Eyes”. Some all-out HardRock / Metal is presented on the mid-paced “Hard City” and the 80's, German styled “Give Me Rock”. The band taps into some Anthemic Metal a la Manowar on the moderately paced shout along pounder “Breaking The World” and shows yet another approach on the driven, upbeat “Hard Road To Home” addressing to Power Metal. The variety is topped with some melodic, almost AOR like chants on the driven Metaler “Never Forever” highlighting the fact that Pounder's concept is quite unpredictable at times but somehow this melange of styles works. The vocals are not the strongest and not always able to deliver the right voice for the broad variety of styles on display, but not to such extend that it brings the music down, Overall, quite an entertaining affair that is lifted by the pounding double-bass chops, the nice solo-actions and the 'easy' accessibility of it all. Decent.
Paul van der Burght
IBRIDOMA – 2018 “City Of Ruins”
label: Punishment 18 records
web: http://www.ibridoma.com/
Italian act that came into existence in 2001 and entered the scene in 2005 with the “Lady Of Darkness” E.P. “City Of Ruins” is their latest work and finds the band coupling Modern Metal to light format Thrash, Power Metal and even the Industrial thing, as evidenced on the Megadeth esque “Sadness Comes” and the slightly Alter Bridge flavoured “Terminator”. Shades of Megadeth come resurfacing on the melodic edged Metaler “T.F.U”, whilst the driven upbeat Metaler “Evil Wind” has some classic notes that draw certain similarities to Metallica's “Creeping Death”. The parallels with Megadeth do not only reflect in the instrumental department of certain songs but are also present in the vocalage, be it in a more polished up, mid-range tone. The more modern adaptation of Metal is showcased on I the title-track, closely followed by the mid-paced “Terminator”. Although the material mainly moves in either an up-tempo or upbeat drive, the concept as a whole is pretty diverse and entertaining with the bobbing “Fragile” as one of the better picks of the album. The approach of the band is rather modest and 'light' without being overly melodic or such. It all works well minus the semi-acoustic “I'm Broken” which is a bit out of place. Overall, a pretty decent set of tunes.
Paul van der Burght
label: Punishment 18 records
web: http://www.ibridoma.com/
Italian act that came into existence in 2001 and entered the scene in 2005 with the “Lady Of Darkness” E.P. “City Of Ruins” is their latest work and finds the band coupling Modern Metal to light format Thrash, Power Metal and even the Industrial thing, as evidenced on the Megadeth esque “Sadness Comes” and the slightly Alter Bridge flavoured “Terminator”. Shades of Megadeth come resurfacing on the melodic edged Metaler “T.F.U”, whilst the driven upbeat Metaler “Evil Wind” has some classic notes that draw certain similarities to Metallica's “Creeping Death”. The parallels with Megadeth do not only reflect in the instrumental department of certain songs but are also present in the vocalage, be it in a more polished up, mid-range tone. The more modern adaptation of Metal is showcased on I the title-track, closely followed by the mid-paced “Terminator”. Although the material mainly moves in either an up-tempo or upbeat drive, the concept as a whole is pretty diverse and entertaining with the bobbing “Fragile” as one of the better picks of the album. The approach of the band is rather modest and 'light' without being overly melodic or such. It all works well minus the semi-acoustic “I'm Broken” which is a bit out of place. Overall, a pretty decent set of tunes.
Paul van der Burght
THRASHWALL – 2020 “Thrashwall”
label: Firecum records
web: https://www.facebook.com/thrashwall/
With a band-name and an album cover that have Thrash written all over, it comes as no surprise that this 8-songer is alll that and beyond! This truly is a Thrash treat from start to finish, harking back to the 80's interpretation of the genre with a strong Bay Area feel that, on more than one occasion, connects with Testament. This is clearly evidenced on the multi-structured “War Outside The Wall” and the intense “Old Jail”. The set presented here is all a bit samey in approach but that ain't much of a downer as there is plenty of plus features that make the album for it is incredibly intense, tight as a strait jacket and sharp as a razor's edge, trimmed with rough, talk-type vocals, flashy guitar actions and a fist-clenching vibe, peaking on the aggressive sounding “World Domination”. Solid.
Paul van der Burght
label: Firecum records
web: https://www.facebook.com/thrashwall/
With a band-name and an album cover that have Thrash written all over, it comes as no surprise that this 8-songer is alll that and beyond! This truly is a Thrash treat from start to finish, harking back to the 80's interpretation of the genre with a strong Bay Area feel that, on more than one occasion, connects with Testament. This is clearly evidenced on the multi-structured “War Outside The Wall” and the intense “Old Jail”. The set presented here is all a bit samey in approach but that ain't much of a downer as there is plenty of plus features that make the album for it is incredibly intense, tight as a strait jacket and sharp as a razor's edge, trimmed with rough, talk-type vocals, flashy guitar actions and a fist-clenching vibe, peaking on the aggressive sounding “World Domination”. Solid.
Paul van der Burght
MARTYR – 2020 “Fists Of Iron”
label: Gates Of Hell records
web: https://www.facebook.com/MARTYRONLINE
Martyr were one of the few non-U.S based acts to appear on the early series of the Metal Massacre compilation LP's. By then, the band was already on its way building a solid following backed by numerous fanzine features. Despite the impressive technicality and fairly novel Power / Speed Metal concept, the band did not manage to claim the recognition they deserved, and neither did their comeback a few years ago. Their newest work, “Fists Of Iron” does not remind of the old sound of the band but does hark back to the 80's Euro (Power) Metal sound without the technicality. This thing is rather straight forward and easy going with an instant access that is peaking on the anthemic Rocker that is “Nothing But Metal” that sounds much like a cocktail of Saxon's “Crusader” and “Denim And Leather”. The band harks back to the early Metal Massacre days with SpeedMetaler “Protectors Of Metal” that fuelled by a gripping riff-theme and high pitched vocals. The PowerMetal thing is pushed forward on the first 2 tracks, followed by a rather plain, galloping instrumental that, apart form its catchy vibe, doesn't really do anything. In all, an OK effort but bit of an underachievement knowing the qualities of the band and the pioneering sound they developed back in the day.
Paul van der Burght
label: Gates Of Hell records
web: https://www.facebook.com/MARTYRONLINE
Martyr were one of the few non-U.S based acts to appear on the early series of the Metal Massacre compilation LP's. By then, the band was already on its way building a solid following backed by numerous fanzine features. Despite the impressive technicality and fairly novel Power / Speed Metal concept, the band did not manage to claim the recognition they deserved, and neither did their comeback a few years ago. Their newest work, “Fists Of Iron” does not remind of the old sound of the band but does hark back to the 80's Euro (Power) Metal sound without the technicality. This thing is rather straight forward and easy going with an instant access that is peaking on the anthemic Rocker that is “Nothing But Metal” that sounds much like a cocktail of Saxon's “Crusader” and “Denim And Leather”. The band harks back to the early Metal Massacre days with SpeedMetaler “Protectors Of Metal” that fuelled by a gripping riff-theme and high pitched vocals. The PowerMetal thing is pushed forward on the first 2 tracks, followed by a rather plain, galloping instrumental that, apart form its catchy vibe, doesn't really do anything. In all, an OK effort but bit of an underachievement knowing the qualities of the band and the pioneering sound they developed back in the day.
Paul van der Burght
GONE SAVAGE – single 2020 “Love Caught Me Out”
label: 3@47inc records
web https://www.facebook.com/gonesavageuk/
Newest single that actually is a re-recorded oldie that was written some 30 years ago and previously appeared on the 2016 “Resurrection” E.P. This mid-tempo groovster has the mid 80's written all over, rolling on a riff-based, straight forward drive and hoarse vocals blending a style of classic U.S Mainstream Hard Rock with shades of Dokken, F.M, Whitesnake and Razor Maidd; this is a no-frills affair with a catchy beat and a sticky refrain by an U.K based band with an American sound. Decent.
Paul van der Burght
label: 3@47inc records
web https://www.facebook.com/gonesavageuk/
Newest single that actually is a re-recorded oldie that was written some 30 years ago and previously appeared on the 2016 “Resurrection” E.P. This mid-tempo groovster has the mid 80's written all over, rolling on a riff-based, straight forward drive and hoarse vocals blending a style of classic U.S Mainstream Hard Rock with shades of Dokken, F.M, Whitesnake and Razor Maidd; this is a no-frills affair with a catchy beat and a sticky refrain by an U.K based band with an American sound. Decent.
Paul van der Burght
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THE TD9 ROCK SHOW
ttps://td9radio.online/presenters/wullie The TD9 ROCK SHOW is a weekly radio show playing the finest selection of Classic Rock, Hard Rock and Heaby Metal. The TD9 Rock is part of the TD9 Hawick Community Radio and is put together by DJ Wullie Robertson. The show airs every Thursday from 19:00 – 22:00 and can be listened to live via on-line streaming by clicking the link above. |
SATAN'S FALL – 2020 “Final Day”
label: High Roller records
web: https://www.facebook.com/SatansFall
From Finland comes Satan's Fall, delivering an album that does really well in terms of musicianship; it is solid and convincing all round with that typical Scandinavian appearance. This is clearly evidenced by those signature melodic guitar harmonies, and the vibe of songs such as the semi-Headbanger “Juggernaut” and the classic Metal rooted title-track. Material is fairly straight forward but fitted with sufficient diversity flow and melody twists. The music mostly dates back to the 80's Euro-Metal sound with certain similarities to Accept, be it relating to the vocalage that sounds much like a lower toned Udo with a melodic edge. Different from the concept and quite a nice touch is the more Epic U.S PowerMetal oriented “Madness” (“Finds A Way”), brushing with Griffin in style and sound. A bit of an unusual twist in concept comes in the shape of the slightly Nu / Modern edged Metal on the more dramatic laden “Retribution”, the mid-paced “There Will Be Blood” and the Anthemic “The Flamekeeper”. O.K
Paul van der Burght
label: High Roller records
web: https://www.facebook.com/SatansFall
From Finland comes Satan's Fall, delivering an album that does really well in terms of musicianship; it is solid and convincing all round with that typical Scandinavian appearance. This is clearly evidenced by those signature melodic guitar harmonies, and the vibe of songs such as the semi-Headbanger “Juggernaut” and the classic Metal rooted title-track. Material is fairly straight forward but fitted with sufficient diversity flow and melody twists. The music mostly dates back to the 80's Euro-Metal sound with certain similarities to Accept, be it relating to the vocalage that sounds much like a lower toned Udo with a melodic edge. Different from the concept and quite a nice touch is the more Epic U.S PowerMetal oriented “Madness” (“Finds A Way”), brushing with Griffin in style and sound. A bit of an unusual twist in concept comes in the shape of the slightly Nu / Modern edged Metal on the more dramatic laden “Retribution”, the mid-paced “There Will Be Blood” and the Anthemic “The Flamekeeper”. O.K
Paul van der Burght
WITHOUT MERCY – 2020 “Seismic”
label: Private / Bloodblast distribution
web: https://withoutmercy.bandcamp.com/
https://www.facebook.com/withoutmercyband
This truly is an album of seismic proportions, collecting a set of most intense, technical Death Metal that is phased with Doom hooks, MetalCore ish power-grooves, Industrial modes and even Blues! Whilst the Blues thing is a one-off and actually concerns a Bluesy solo over a mid-tempo drive amidst some frenzied Death Metal technicality, the other elements are more randomly found throughout the disc, with the power-grooves popping up most frequently. “Disinfect The Soul” is like listening to a cocktail of Pantera, Fear Factory with a splash of the band's very own blend. The music is shaped by a multitude of timing and melody changes, thundering double-bass drums, O.T.T vocalage and some cool virtuoso guitar action, peaking on “Thunderbird”. This album may require a few spins to get accustomed to but is well worth doing so. Solid.
Paul van der Burght
label: Private / Bloodblast distribution
web: https://withoutmercy.bandcamp.com/
https://www.facebook.com/withoutmercyband
This truly is an album of seismic proportions, collecting a set of most intense, technical Death Metal that is phased with Doom hooks, MetalCore ish power-grooves, Industrial modes and even Blues! Whilst the Blues thing is a one-off and actually concerns a Bluesy solo over a mid-tempo drive amidst some frenzied Death Metal technicality, the other elements are more randomly found throughout the disc, with the power-grooves popping up most frequently. “Disinfect The Soul” is like listening to a cocktail of Pantera, Fear Factory with a splash of the band's very own blend. The music is shaped by a multitude of timing and melody changes, thundering double-bass drums, O.T.T vocalage and some cool virtuoso guitar action, peaking on “Thunderbird”. This album may require a few spins to get accustomed to but is well worth doing so. Solid.
Paul van der Burght
MARCH IN ARMS – 2020 “Pulse Of The Daring”
label: private
web: https://www.facebook.com/marchinarms
Neat and subtle delivery that moves in between Euro Metal, Power Metal and Epic Metal with the addition of two speedy Headbangers, “Omaha” and “Thunderbolt”, the latter of which is almost Thrash like in places (riffage). There's a good, all round differentiation in songs, tempo and 'character' with some Manowar-esque vibes sparking off the double bass drum - rhythm riff propelled “An Act Of Valor”. Things really get going with the mid-paced monster-bobber that is “No Years Resolution”; a rhythm riffed (Power) Metal pounder with some sludge grooves towards the end. More shout-along modes come surfacing in the chorus of “Welcome The Blitz” The band takes a turn towards more modern oriented (NWOTHM) Metal with the moderately paced, dramatic edged “Pulse Of The Daring” and opts for subtlety on the upbeat Metaler “1914”. Material comes with a crisp but beefy production, some nicely balanced guitar work with twin melodies and nice, upper mid-range vocals with the occasional hint of Volbeat. “Pulse Of The Daring” is a tidy and entertaining album that gets even better halfway down... Solid.
Paul van der Burght
label: private
web: https://www.facebook.com/marchinarms
Neat and subtle delivery that moves in between Euro Metal, Power Metal and Epic Metal with the addition of two speedy Headbangers, “Omaha” and “Thunderbolt”, the latter of which is almost Thrash like in places (riffage). There's a good, all round differentiation in songs, tempo and 'character' with some Manowar-esque vibes sparking off the double bass drum - rhythm riff propelled “An Act Of Valor”. Things really get going with the mid-paced monster-bobber that is “No Years Resolution”; a rhythm riffed (Power) Metal pounder with some sludge grooves towards the end. More shout-along modes come surfacing in the chorus of “Welcome The Blitz” The band takes a turn towards more modern oriented (NWOTHM) Metal with the moderately paced, dramatic edged “Pulse Of The Daring” and opts for subtlety on the upbeat Metaler “1914”. Material comes with a crisp but beefy production, some nicely balanced guitar work with twin melodies and nice, upper mid-range vocals with the occasional hint of Volbeat. “Pulse Of The Daring” is a tidy and entertaining album that gets even better halfway down... Solid.
Paul van der Burght
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GLACIER – 2020 “The Passing Of Time”
label: No Remorse records
songs: Eldest And Truest / Live For The Whip / Ride Out / Sands Of Time / Valor / Into The Night / Infidel / The Temple And The Tomb //
web: https://www.facebook.com/GlacierMetal
This is the very same U.S cult Metal band that released the selftitled “Glacier” E.P back in 1985. Dipped in obscurity for most of the time after, Glacier are now back in full force with their newest outing, “The Passing Of Time”. Time sure has passed, but the material still sounds as potent as it did back in the 80's. Glacier maintained the sound of old, delivering a brand of 80's U.S Metal that occasionally tips over to PowerMetal (as on the driven, up-tempo “Live For The Whip”; an unreleased song that was actually written back in the 80's. The majority of the set moves in an up-tempo, accelerated to a fast pace on the 80's Headbanger “Into The Night” and fragments of the propelling semi-Headbanger “The Temple And The Tomb”. Some Epic Metal comes surfacing on “Ride Out” and “Valor” with its Manowar esque feel & chant. There's a good, all round diversity flow and focusing in on the material, there's quite a lot of detail running underneath it all with some good, mobility drummage throughout. Trademark features are the harmonized guitar hooks and the upper mid-range vocals that nicely compliment the music. Emerging from the 80's scene, “The Passing Of Time” holds high the flame of traditional Heavy Metal and those keen on the genre and bands such as Omen, Griffin, and Liege Lord will be entertained with this album. Cool.
Paul van der Burght
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STEEL SHARK records
web: https://www.facebook.com/steelsharkrecords
New, France based Underground Heavy Metal record label aiming to (re)release vinyl, tapes and CD's. First bands on the roster include LEATHER WITCH and LONEWOLF.
BLOOD STAR – 7”EP / tape “The Fear”
label: Shadow Kingdom records www.shadowkingdomrecords.com
songs: The Fear / Tortured Earth //
web: https://www.facebook.com/bloodstarslc
Two songer by this U.S based unit, delivering some NWOTHM, dressed with female vocals that somehow sound like a female version of Mark Sheldon (Manilla Road). Opening track “The Fear” spins off with a NWOBHM styled agility riff that is followed up with staccato rhythm riffage to drive this fast-paced offering, gelling 80's Euro (Speed) Metal thing and NWOBHM in a traditional U.S Metal setting with shades of Savage Grace. “Tortured Earth” is a more straight-forward Heavy Metal happening, rolling on an up-tempo . This one once more sports the traditional sound with a melodic edge that kind of reminds of the 80's Scandinavian Metal thing. Nice.
Paul van der Burght
label: Shadow Kingdom records www.shadowkingdomrecords.com
songs: The Fear / Tortured Earth //
web: https://www.facebook.com/bloodstarslc
Two songer by this U.S based unit, delivering some NWOTHM, dressed with female vocals that somehow sound like a female version of Mark Sheldon (Manilla Road). Opening track “The Fear” spins off with a NWOBHM styled agility riff that is followed up with staccato rhythm riffage to drive this fast-paced offering, gelling 80's Euro (Speed) Metal thing and NWOBHM in a traditional U.S Metal setting with shades of Savage Grace. “Tortured Earth” is a more straight-forward Heavy Metal happening, rolling on an up-tempo . This one once more sports the traditional sound with a melodic edge that kind of reminds of the 80's Scandinavian Metal thing. Nice.
Paul van der Burght
RAMPANT – CD single 2020 “Phantom Riders”
label: private
songs: Phantom Riders /
https://www.facebook.com/NWOBHM.RAMPANT/
Rampant are an original NWOBHM act from '80 / '81 whose existence has been clouded by obscurity until recently. Following a growing interest in the band, two its original members blew new life into Rampant and reformed as a 5-piece. The “Phantom Riders” single is their first, officially documented material and a taster for the forthcoming debut album “A Frayed New World”. The single spins off with the 10+ minute “Phantom Riders”; a thumping mid-tempo Metaler in the traditional styles. This one sounds much like early European style PowerMetal with the muscle vocals of singer / keyboardist Tee Rets there to beef it all up, delivering some brilliant, variable vocalage that sounds much like a mix of Harry Conklin (Jag Panzer), Bobby Elsworth (Overkill) and Bruce Dickinson (Maiden). “The rhythmic “All The World's A Cage” sports an Epic / Folk-ish lead riff and follows up with a combination of chords and rhythm riffs over a mid-tempo and mobility drummage. There's slight traces of the NWOBHM thing, but tends more towards the overseas sound, connecting with Overkill's “Kill At Command” phased with material of Dark Wizard (Holland) whilst maintaining a sound that is their own. Rampant have managed to emerge with a most convincing and entertaining set of songs that instantly capture one's attention. Solid!
Paul van der Burght
CD format and digital downloads here: https://rampant2.bandcamp.com/
label: private
songs: Phantom Riders /
https://www.facebook.com/NWOBHM.RAMPANT/
Rampant are an original NWOBHM act from '80 / '81 whose existence has been clouded by obscurity until recently. Following a growing interest in the band, two its original members blew new life into Rampant and reformed as a 5-piece. The “Phantom Riders” single is their first, officially documented material and a taster for the forthcoming debut album “A Frayed New World”. The single spins off with the 10+ minute “Phantom Riders”; a thumping mid-tempo Metaler in the traditional styles. This one sounds much like early European style PowerMetal with the muscle vocals of singer / keyboardist Tee Rets there to beef it all up, delivering some brilliant, variable vocalage that sounds much like a mix of Harry Conklin (Jag Panzer), Bobby Elsworth (Overkill) and Bruce Dickinson (Maiden). “The rhythmic “All The World's A Cage” sports an Epic / Folk-ish lead riff and follows up with a combination of chords and rhythm riffs over a mid-tempo and mobility drummage. There's slight traces of the NWOBHM thing, but tends more towards the overseas sound, connecting with Overkill's “Kill At Command” phased with material of Dark Wizard (Holland) whilst maintaining a sound that is their own. Rampant have managed to emerge with a most convincing and entertaining set of songs that instantly capture one's attention. Solid!
Paul van der Burght
CD format and digital downloads here: https://rampant2.bandcamp.com/
TORMENT – 2020 “The War They Feed”
label: Punishment18records
songs: Power Abuse / Nothing To Tell / Paralysis / The War They Feed / The Tunnel / Explode / Greed / Alienation / Survival //
web: https://www.facebook.com/Tormentmystery/
Italian three-piece unit that activated in 2002 but didn't release any material until 2008 (“Suffocated Dreams” album). Throughout the career of the band, line-up changes have halted the release of material, and as a result, it wasn't until 2010 that another Torment release, the “Scars Remain” E.P ,, saw the light of day. More line-up changes and another release down, “The Damage Is Done” (2012), Torment have now emerged with another set of songs in the shape of a full-length album, “The War They Feed”. In its early stages, Torment was a cover band playing the likes of Destruction, Slayer and Possessed. Well, this album is entirely and clearly sourced by all three, addressing to some all out 80's Thrash of the heavier kind that sports all the characteristics; snare-drummed drives, rhythmic hooks, gruff vocals and gripping rhythm riffs. Although mostly fast-paced in nature, songs are all pretty loaded tempo and melody wise but nicely spaced out which does not make it technical. The Destruction sound is most evident in the guitar/ riff department and is all over tracks such as “Paralysis” and “Survival”. The Slayer thing is pushed forward on tracks such as “Power Abuse”, “Explode” and “Greed”. The click with Possessed is evidenced on the fast, rhythm riffed “The War They Feed”. Follow-up tune “The Tunnel” is one of the more intense tracks of the album, along with its titletrack, but it is the harsh vocalage that lifts most of the sound from Thrash to (almost) DeathThrash like. Nice, Thrashy instrumental in there aswell, “Alienation”, be it without solos which there are not plenty of throughout the album but somehow is not missed anyway; the many riff patterns well make up for this. In all, a most enjoyable, classic Thrash / DeathThrash album that grips from start to finish. Great.
Paul van der Burght
label: Punishment18records
songs: Power Abuse / Nothing To Tell / Paralysis / The War They Feed / The Tunnel / Explode / Greed / Alienation / Survival //
web: https://www.facebook.com/Tormentmystery/
Italian three-piece unit that activated in 2002 but didn't release any material until 2008 (“Suffocated Dreams” album). Throughout the career of the band, line-up changes have halted the release of material, and as a result, it wasn't until 2010 that another Torment release, the “Scars Remain” E.P ,, saw the light of day. More line-up changes and another release down, “The Damage Is Done” (2012), Torment have now emerged with another set of songs in the shape of a full-length album, “The War They Feed”. In its early stages, Torment was a cover band playing the likes of Destruction, Slayer and Possessed. Well, this album is entirely and clearly sourced by all three, addressing to some all out 80's Thrash of the heavier kind that sports all the characteristics; snare-drummed drives, rhythmic hooks, gruff vocals and gripping rhythm riffs. Although mostly fast-paced in nature, songs are all pretty loaded tempo and melody wise but nicely spaced out which does not make it technical. The Destruction sound is most evident in the guitar/ riff department and is all over tracks such as “Paralysis” and “Survival”. The Slayer thing is pushed forward on tracks such as “Power Abuse”, “Explode” and “Greed”. The click with Possessed is evidenced on the fast, rhythm riffed “The War They Feed”. Follow-up tune “The Tunnel” is one of the more intense tracks of the album, along with its titletrack, but it is the harsh vocalage that lifts most of the sound from Thrash to (almost) DeathThrash like. Nice, Thrashy instrumental in there aswell, “Alienation”, be it without solos which there are not plenty of throughout the album but somehow is not missed anyway; the many riff patterns well make up for this. In all, a most enjoyable, classic Thrash / DeathThrash album that grips from start to finish. Great.
Paul van der Burght
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FM – CD 2020 “Synchronized”
label: Frontiers records
songs: Synchronized / Superstar / Best Of Times / Ghosts Of You And I / Broken / Change For The Better / End Of Days / Pray / Walk Through The Fire / Hell Or High Water / Angels Cried / Ready For Me //
web: www.fmofficial.com
“Indiscreet” was the band's debut album that got into circulation as far back as 1986! After a break from the scene, and a come-back album, “Metropolis” in 2010, F.M were back in the spotlights, and their newest work, “Synchronized” crowns the band's reputable career as a solid, melodic HardRock outfit with a very appealing, easy-going sound. This 12 songer is all that, coupling catchy Radio Rockers such as the album's top track “Superstar” and the foot stompin' titletrack, with subtle balladry (“Ghosts Of You And I”), Gospely Rock a la Bad Company (“Angels Cried”), and heavier moments such as the slow burner “End Of Days” and the second half of “Walk Through The Fire”. Some bobbing melodic Rock comes in the shape of “Best Of Times” and hints of mild Fusion come surfacing on the mid-paced Rocker “Pray”. Nothing really over the top or out there, but over against that entertaining and easy on the ear all the way through. There's quite a bit of detail running underneath its rather straight forward appearance and musically it all holds together very well, sauced with some with some nice guitar hooks and crisp lead vocals with a melodic punch and a good vibrato. Entertaining.
Paul van der Burght
label: Frontiers records
songs: Synchronized / Superstar / Best Of Times / Ghosts Of You And I / Broken / Change For The Better / End Of Days / Pray / Walk Through The Fire / Hell Or High Water / Angels Cried / Ready For Me //
web: www.fmofficial.com
“Indiscreet” was the band's debut album that got into circulation as far back as 1986! After a break from the scene, and a come-back album, “Metropolis” in 2010, F.M were back in the spotlights, and their newest work, “Synchronized” crowns the band's reputable career as a solid, melodic HardRock outfit with a very appealing, easy-going sound. This 12 songer is all that, coupling catchy Radio Rockers such as the album's top track “Superstar” and the foot stompin' titletrack, with subtle balladry (“Ghosts Of You And I”), Gospely Rock a la Bad Company (“Angels Cried”), and heavier moments such as the slow burner “End Of Days” and the second half of “Walk Through The Fire”. Some bobbing melodic Rock comes in the shape of “Best Of Times” and hints of mild Fusion come surfacing on the mid-paced Rocker “Pray”. Nothing really over the top or out there, but over against that entertaining and easy on the ear all the way through. There's quite a bit of detail running underneath its rather straight forward appearance and musically it all holds together very well, sauced with some with some nice guitar hooks and crisp lead vocals with a melodic punch and a good vibrato. Entertaining.
Paul van der Burght
ORIANTHI – 2020 “O”
label: Frontiers records
web: www.iamorianthi.com
Australian singer / songwriter that built a reputation performing and touring with some of the big players in the games including Santana and Alice Cooper. There's been a few-year gap between Orianthi's last release and her most recent solo work, simply titled 'O'. The album is a display of various styles within the 'Rock' boundaries; from Southern stompers such as “Rescue Me” and Blues based Rockers such as “Sinners Hymn” and “Streams Of Consciousness”, onto more Poppy Grunge Rock oriented material that fills about half of the album. Opening tune “Contagious” collects most o f all the styles represented on the album, phasing PopRock with the traditional, female fronted Mainstream Goth thing, and even Poppy Industrial Rock. So, there is a lot going on and clearly, songs here are written with hit potential in mind, as highlighted on the Bluesy edged billboard Rocker “Impulsive” but thing is that most of the 'potential' on the disc is out-dated, harking back to a Sam Brown / Alannah Myles / Avril Lavigne – Mainstream cocktail that does not do the trick here. Everything sticks together well but equally gets overly 'pushy' towards the overground sound without one specific direction, and the non matching Soul / R&B girl-band thing of “Moonwalker” testifies to this in full. Orianthi has a nice vocal tone with the occasional 'edge' but knowing that she is a deserving guitarist - her main asset that is – does not come off here and is fairly kept to a minimum with a one-off burst of talent in the shape of some Hendrix-esque play on “Sinners Hymn”. It is the guitarwork that may have possibly lifted the album out of the mundane spectrum that it is in. Average.
Paul van der Burght
label: Frontiers records
web: www.iamorianthi.com
Australian singer / songwriter that built a reputation performing and touring with some of the big players in the games including Santana and Alice Cooper. There's been a few-year gap between Orianthi's last release and her most recent solo work, simply titled 'O'. The album is a display of various styles within the 'Rock' boundaries; from Southern stompers such as “Rescue Me” and Blues based Rockers such as “Sinners Hymn” and “Streams Of Consciousness”, onto more Poppy Grunge Rock oriented material that fills about half of the album. Opening tune “Contagious” collects most o f all the styles represented on the album, phasing PopRock with the traditional, female fronted Mainstream Goth thing, and even Poppy Industrial Rock. So, there is a lot going on and clearly, songs here are written with hit potential in mind, as highlighted on the Bluesy edged billboard Rocker “Impulsive” but thing is that most of the 'potential' on the disc is out-dated, harking back to a Sam Brown / Alannah Myles / Avril Lavigne – Mainstream cocktail that does not do the trick here. Everything sticks together well but equally gets overly 'pushy' towards the overground sound without one specific direction, and the non matching Soul / R&B girl-band thing of “Moonwalker” testifies to this in full. Orianthi has a nice vocal tone with the occasional 'edge' but knowing that she is a deserving guitarist - her main asset that is – does not come off here and is fairly kept to a minimum with a one-off burst of talent in the shape of some Hendrix-esque play on “Sinners Hymn”. It is the guitarwork that may have possibly lifted the album out of the mundane spectrum that it is in. Average.
Paul van der Burght
PIG photography by E Gabriel Edvy
PIG – single 2020 “Rock N Roll Refugee”
label: Metropolis
web: https://www.pigindustries.com/
New single by Industrial legends PIG as a taster for the forthcoming album “Pain Is God”. At the helm of this single is frontman Raymond Watts who wrote, produced and mixed the whole thing. The characteristic PIG sound is all over this Industrial Rocker, layering lardy electronics with melancholic vocals and crisp staccato riffage over a bobbing mid-tempo. “Rock N Roll Refugee” (that in a distance sounds like a mish-mash of hit classics “Spirit In The Sky” and “Personal Jesus”) sticks from start to finish and is crowned with an Anthemic like shout along chorus, featuring backing vocals by Michelle Martinez. The guitarwork here is delivered by Steve White who recorded with PIG back in the 1990's.
Paul van der Burght
To order single download: https://pigindustries.bandcamp.com/track/rock-n-roll-refugee
The “Pain Is God” full-lengther will be out November 20 via Metropolis records.
Pre-order here: https://pigindustries.bandcamp.com/album/pain-is-god
label: Metropolis
web: https://www.pigindustries.com/
New single by Industrial legends PIG as a taster for the forthcoming album “Pain Is God”. At the helm of this single is frontman Raymond Watts who wrote, produced and mixed the whole thing. The characteristic PIG sound is all over this Industrial Rocker, layering lardy electronics with melancholic vocals and crisp staccato riffage over a bobbing mid-tempo. “Rock N Roll Refugee” (that in a distance sounds like a mish-mash of hit classics “Spirit In The Sky” and “Personal Jesus”) sticks from start to finish and is crowned with an Anthemic like shout along chorus, featuring backing vocals by Michelle Martinez. The guitarwork here is delivered by Steve White who recorded with PIG back in the 1990's.
Paul van der Burght
To order single download: https://pigindustries.bandcamp.com/track/rock-n-roll-refugee
The “Pain Is God” full-lengther will be out November 20 via Metropolis records.
Pre-order here: https://pigindustries.bandcamp.com/album/pain-is-god
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Real Rock Music On A real Radio Station
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Sweden's Screem were right there when the Scandinavian Metal scene was skyrocketing. Lots of bands from the North managed to claim their fame over in mainland Europe and further afield, but with this many bands out there, a lot of them got overlooked as well which was also the case with Screem. In more recent years, this highly talented band has become increasingly popular and praised for the quality of their '86 demo tape. Guitarist Anders Bernson takes us back to the early days of Screem and the scene as it was back in the 80's.
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Above left: Screem live in the 80's. Above right: Screem line-up featuring top left: Anders Bernson, right: Mickael Johansson, bottom left:Anders Almqvist, centre: Tomas Stahl, right: Bent Tollemark
Manic Mosh Metal: How and when did Screem form?
Anders: It all started in 1983; a band with the wonderful name X-Metal (that name must have been an emergency solution) featuring Tomas Stahl on guitar / vocals, Micke Johansson on drums and Bengt Tollemark on bass. Anders Bernson joins a little later on guitar. The name changes to Screem when Anders Almqvist joins the band on guitar, Bernson took over bass and Bengt became singer.
MMM: Was the line up that started Screem the same until the band folded, or has there been additional line-up changes during the career of the band other than the ones you just mentioned?
AB: Screem reformed when Bernson, Johansson and Tollemark left the band. The new members in the band were Jonas "Urna" Beijer on drums and Martin Andreasson on bass. They also changed the name to Orion. As far as I remember no demos and the band did not last that long. Tomas went to a Music school in the south of Sweden, Anders Almqvist went to G.I.T (guitar school in the USA).
MMM: When were the first originals written?
AB:I think “Fight To Be Free” was an early song that we played live for a long time. “Die In The Gutter”, “Ice Inferno” and “Stone Age” were also with us for a long time. I would think that “Fight To Be Free” was done already in 1984 when we were X-Metal but I’m not sure.
MMM: In 1986 Screem made a demo-tape with the songs “Serpent Kiss”, “Lonely Night” and “I Want You”, where was the demo recorded and how many copies were made in total?
AB: The demo was recorded in Vanersborg, Studiframjandet's studio. Around 100-200 tapes were made and they are hard to find, so I don’t have one, I know guys that are collecting old Swedish Metal have the tape.
MMM: The song “Lonely Night” somehow reminds of Overdrive, also from Sweden. Has this band by any chance been an inspirational source for Screem? Any (other) bands that influenced the sound of Screem?
AB: I have no idea about Overdrive but I probably think that at least a little in “Lonely Night” sounds like Judas Priest. Otherwise, it's a concoction of influences from Judas, Maiden, Accept, Pretty Maids, Ratt. Saxon and everything else we listened to then. Although I still think we got a little own touch on it (although all bands think so)
MMM: Were there ever any plans to record a vinyl single or an LP and has there ever been any other songs released as a demo tape?
AB: Of course! we dreamed to have an LP out but we did not focus on it. We just played and had fun... We sent out the demo and did interviews with magazines in Scandinavia. We got good feedback from all magazines.
MMM: How many songs did the entire repertoire of Screem count and what were the titles?
AB: Hard to remember, around 30-40 songs; “Garden Of Eden”, “Victim Of Desire”, “Fight To Be Free” and “Shout It Out”, etc. “Victim Of Desire” and “Garden Of Eden” were really good songs. Too bad we never recorded “Shout It Out”; it’s a good one too. In the end I think we had 15+ really good songs
MMM: You guys had a brilliant demo tape out; did you shop this tape around to record labels and has there ever been any label interest?
AB: I think Tomas sent the tape to record labels but no response; it is just that there were so many good Metal bands around in Sweden at the time (and still are!). The record labels received hundreds of tapes weekly and I’m sure they just put them in the bin without listening. You need to pressurize them to make them interested or at least listen for ten seconds to the tape. We could have done a better job and focus more on it for sure
MMM: So, how wscreemas the live scene like back then, locally and further afield?
AB: We had a lot of gigs but mainly in the area where we lived. We used a lot of fireworks when we played, sometimes so much that we needed to take a break and open up the place to get rid of all the smoke! It was an extremely active music climate there and the rest of Sweden at the time; a lot of Metal bands playing live, so it was a great time .
MMM: Anything else you'd like to add...
AB: It's fun that our old songs get all this attention, too bad we did not record more. We recorded a video in 2006 when we had a reunion gig, Mikael did audio files of it. Unfortunately, the sound is quite loud in some places. Maybe we will post them on YouTube later. I Still think that “Shout It Out” is one of the best songs we did. “Stone Age” also sticks with the songs on the demo. Too bad that we did not remember “Victim Of Desire” and “Garden Of Eden” when we made the playlist for the reunion gig in 2006, so they are not on any tape or video.
Anders: It all started in 1983; a band with the wonderful name X-Metal (that name must have been an emergency solution) featuring Tomas Stahl on guitar / vocals, Micke Johansson on drums and Bengt Tollemark on bass. Anders Bernson joins a little later on guitar. The name changes to Screem when Anders Almqvist joins the band on guitar, Bernson took over bass and Bengt became singer.
MMM: Was the line up that started Screem the same until the band folded, or has there been additional line-up changes during the career of the band other than the ones you just mentioned?
AB: Screem reformed when Bernson, Johansson and Tollemark left the band. The new members in the band were Jonas "Urna" Beijer on drums and Martin Andreasson on bass. They also changed the name to Orion. As far as I remember no demos and the band did not last that long. Tomas went to a Music school in the south of Sweden, Anders Almqvist went to G.I.T (guitar school in the USA).
MMM: When were the first originals written?
AB:I think “Fight To Be Free” was an early song that we played live for a long time. “Die In The Gutter”, “Ice Inferno” and “Stone Age” were also with us for a long time. I would think that “Fight To Be Free” was done already in 1984 when we were X-Metal but I’m not sure.
MMM: In 1986 Screem made a demo-tape with the songs “Serpent Kiss”, “Lonely Night” and “I Want You”, where was the demo recorded and how many copies were made in total?
AB: The demo was recorded in Vanersborg, Studiframjandet's studio. Around 100-200 tapes were made and they are hard to find, so I don’t have one, I know guys that are collecting old Swedish Metal have the tape.
MMM: The song “Lonely Night” somehow reminds of Overdrive, also from Sweden. Has this band by any chance been an inspirational source for Screem? Any (other) bands that influenced the sound of Screem?
AB: I have no idea about Overdrive but I probably think that at least a little in “Lonely Night” sounds like Judas Priest. Otherwise, it's a concoction of influences from Judas, Maiden, Accept, Pretty Maids, Ratt. Saxon and everything else we listened to then. Although I still think we got a little own touch on it (although all bands think so)
MMM: Were there ever any plans to record a vinyl single or an LP and has there ever been any other songs released as a demo tape?
AB: Of course! we dreamed to have an LP out but we did not focus on it. We just played and had fun... We sent out the demo and did interviews with magazines in Scandinavia. We got good feedback from all magazines.
MMM: How many songs did the entire repertoire of Screem count and what were the titles?
AB: Hard to remember, around 30-40 songs; “Garden Of Eden”, “Victim Of Desire”, “Fight To Be Free” and “Shout It Out”, etc. “Victim Of Desire” and “Garden Of Eden” were really good songs. Too bad we never recorded “Shout It Out”; it’s a good one too. In the end I think we had 15+ really good songs
MMM: You guys had a brilliant demo tape out; did you shop this tape around to record labels and has there ever been any label interest?
AB: I think Tomas sent the tape to record labels but no response; it is just that there were so many good Metal bands around in Sweden at the time (and still are!). The record labels received hundreds of tapes weekly and I’m sure they just put them in the bin without listening. You need to pressurize them to make them interested or at least listen for ten seconds to the tape. We could have done a better job and focus more on it for sure
MMM: So, how wscreemas the live scene like back then, locally and further afield?
AB: We had a lot of gigs but mainly in the area where we lived. We used a lot of fireworks when we played, sometimes so much that we needed to take a break and open up the place to get rid of all the smoke! It was an extremely active music climate there and the rest of Sweden at the time; a lot of Metal bands playing live, so it was a great time .
MMM: Anything else you'd like to add...
AB: It's fun that our old songs get all this attention, too bad we did not record more. We recorded a video in 2006 when we had a reunion gig, Mikael did audio files of it. Unfortunately, the sound is quite loud in some places. Maybe we will post them on YouTube later. I Still think that “Shout It Out” is one of the best songs we did. “Stone Age” also sticks with the songs on the demo. Too bad that we did not remember “Victim Of Desire” and “Garden Of Eden” when we made the playlist for the reunion gig in 2006, so they are not on any tape or video.
“Barbarian Metal” is how Sweden based outfit Highlight labelled their music. This band of brothers produced two demo-tapes, and, gauging the fanzine-feedback, Highlight sure was about to go places. Misfortune crossed their path, and eventually, the band folded. In 2003 Highlight was rediscovered and got featured on a Swedish compilation LP, “Metal Knights – The Resurgence of Swedish Steel”. This sparked the reformation of Highlight with plans to release a CD with all 8 demo tracks and a another release with 'new' songs written in the mid-80's. None of these ever materialized and over time, Highlight dipped into obscurity again. Highlight was a band with an unique sound that could have gone places under the right circumstances. This interview I did back in 2005 spotlights the career of the band with answers provided by Michael Leufvenicus - guitar- and brothers Mårten - bass / vocals - and Magnus (Bon) – drums.
Manic Mosh Metal: Prior to where things got going as HIGHLIGHT, say, 1983, you guys had been around for a few years. Little is known about HIGHLIGHT in its demo-recording stages, but absolutely no info dates back to the very early days…. Exactly when did things take shape, and what was the very first line up…?
Mike: The band started towards the end of 1979 if I remember correctly. Originally we were four members with two guitar players, myself and Alis, who later joined Pleasure Avenue. After a year or so Mårten, our drummer, left the band. We auditioned at least ten new drum players before our new drummer Pär joined the band. Talented drummers and singers were hard to find. Pär knew Ola, ex singer of Heavy Load, and we decided to bring him in as well.
MMM: Was the band named HIGHLIGHT right from the start, or have there been any other names prior to this?
Bon: I think we came up with it quite early, sometime back in the seventies. We were real young then and I don´t think anyone back here in Sweden knew what it meant. It just sounded like the name for a Metal band. Then our reputation grew more and more, and suddenly it was too late to change it. Besides, we had already spray-painted it all over our gear.
MMM: The first line up – as a 5 piece unit – also produced a demo; what style did one address to and what were the tracks on this demo? Again, there was no talk of this demo back in the 80’s, assuming the ’83 "A Night At Valhalla" demo was the first thing ever to emerge from the band as HIGHLIGHT….
Mike: Actually I'd rather forget about that first demo. At the time, we had a friend of a friend who owned a studio in Malmö. He was not into Heavy Metal, but we thought it would be O.K anyway. So we worked hard in the studio for three days, with a recording engineer used to Dance music. You can never imagine what our music sounded like... we forced the man to erase the master tapes later. Anyway, it was a four-track demo, with the songs “Voice Of A Killer”, “Solitude”, “Ain't Seen Nothing Yet”, and a fourth song I don't remember the name of.
Bon: That would probably have been "Exodus", an epic song about the Fourth Crusade, that we used to play in the early days. Never the less, that demo truly was a piece of shit, and I hope that it never gets out.
Mike: Hmm, I might have a copy somewhere...
MMM: Eventually, that line up was a thing of the past halfway ’83, as you – Michael - and your brother Magnus recuperated as a three-piece with the addition of yet another brother, drummer Marten Leufvenicus…. Why wasn’t Marten in from day one…?
Bon: He was never a full time member of the Highlight thing, at least not in the more serious stages. Partly because he didn´t want to, it wasn´t really his music, and partly because he was... well, quite impossible to work with. He was a real wild child back then, always ready to pick a fight with anyone, including his own big brothers. He really only appears on the Valhalla-tape, and its him on the pictures too. The first line-up of the band had just broken up, and Mike and I said to each other, "Let's record something that´ll show them, the bastards". So we called in Mårten for the tape. He came in from nowhere, rehearsed the songs with us a couple of times, and nailed them on the first attempt. It sounded way better than ever.
Mike: No, we never got along that well. As said earlier, we already played with Mårten a couple of years earlier, he was and still is a natural drum talent, you know the type of drummer that plays with all of his body, but he wanted to do other things musically.
Marten: We started out as kids playing some weird kind of Progressive instrumental Rock together with different friends. When we got into harder music I always wanted to play live, but the other two were keen on rehearsing. I wanted to play more gigs and I went on and joined a really corny Reggae band after highlight. We got along better after we got older though, he he.
MMM: Assumingly, in this new line-up, brother Magnus now also took on the vocals in addition to his duties as a bass-player… Was this a direct result of the absence of capable singers around as you mentioned earlier...were there any auditions?
Mike: Magnus always was one of the vocalists in the band. And yeah, we auditioned a dozen other singers. Unfortunately, the vocals on both of our demo tapes were made in the eleventh hour, and there was not much time to correct any mistakes, the same goes for the lead guitars. We just had to go with the first take and make the best of it.
Bon: My ears always curl up when i hear my own voice on those old tapes. But people have actually told me afterwards that the sound of my raw, almost hitting the notes style of singing is one of the trademarks of the band. So, I guess I´ll have to live with that. Besides, we never went for that polished sound of bands such as Europe or Whitesnake. To us, that was girl-music. We only wanted our music to sound 'fat', which meant loud, fast and violent. That's probably what people liked about the “Valhalla-tape”: It captured the brutal energy of the band.
Marten: I kind of remember singing in the beginning, but it didn't look all that cool with a drummer / singer. That, and my voice being more kind of Pop anyway...
MMM: It didn’t take long before you released a demo; this in the shape of the "A Night At Valhalla" 4-songer, taped in ’83; Focusing in on that demo, it sounds much as if that concerns two different recording-sessions, as it separates the first set of two from the other half (coupling "Pagans" and "Pilgrim") in both production and musical content
Mike: The truth about our '83 demo is that we split the band on a Monday, rehearsed with Mårten for three days, rented and borrowed equipment and recorded and mixed those four tracks over the weekend. Man, we were driven by so much anger and frustration. The first recording day we had to set up all equipment, the second day we recorded and did the final mixing. it was pretty much a 'first take' recording on four-track equipment. We played live in the studio, and just put down the vocals and lead guitar afterwards. Actually, we used to pick two of my songs and two of Magnus' songs for our demos. For "A Night At Valhalla", I wrote “Pilgrim” and “Children Of The Brave”.
Bon: I guess that any differences you may experience between the songs is caused by the cheap and hasty recording, rather that any actual 'producing', because there simply wasn´t any. That's one of the things that we´ve asked ourselves afterwards: what would it have sounded like on a professional recording? We all felt that the band had a greater potential, that was never manifested on any of those half-assed demos.
MMM: It just seemed as if the second set found the band toying with blends of Maiden and rhythm riffage, over the trademark Scandinavian sound (meets Judas Priest) that hallmarks the first two songs on offer, and truly justifies the ‘Barbarian Metal’ tag...
Mike: Well, we were never that much into Maiden, but we were often compared to them. I guess people need to have some point of reference to things they hear.
Bon: I kind of like the early Maiden records, the ones with Paul D´Ianno on them. And Priest was great, at least when they were at their best. But I really think that the common denominator between us and the NWOBHM bands was that we used to listen to the same stuff when we grew up back in the seventies; Black sabbath, Alice Cooper, Uriah Heep, early Frank Zappa; that kind of thing. Those were our real heroes.
MMM: This demo showed up down the pages of quite a number of European fanzines; that is where Syron Vanes manager Ola Nilsson comes into play, right…?
Mike: Yes, we sent some copies of the demo to the Swedish record companies, and a few copies to our friends and fans. A typical reaction was that it was violent, raw, and lacked commercial potential. Record companies at that time were looking for more polished Metal bands.
Bon: Actually, I contacted Ola Nilsson first. We knew the guys in Syron Vanes, and I asked him if he wanted to promote our tapes as well. He said "sure, let me hear it".
MMM: Where did most response come from, and where had most tapes been distributed to?
Mike: We were very self-critical, and did not really share the enthusiasm that Ola showed our band. We always knew we could do much better, and moved on auditioning for a new drummer. Ola sent me some fanzines, fan mail and record contract proposals from time to time. Some American record companies and some European ones showed interest and asked for more material.
MMM: There’s never been much talk of the Swedish live scene, or the Scandinavian scene in general… word has it chances were few to get one’s act going on stage… Did you do any shows, and have you ever opened as a support act for Syron Vanes?
Mike: HAHA! At the time, there were two good Metal bands in Malmö, HIGHLIGHT and Syron Vanes! We did kind of a Metal festival together with Syron Vanes at the Vitoria Theatre in central Malmö. Actually, we flipped a coin to decide who was the first and who was the second band to enter the stage. Really nice guys, Syron Vanes. We helped each other carrying Marshall stacks and drum kits later that night. There was a live scene, often at youth clubs, for example Lorensborg in Malmö, but if you wanted to do a bigger gig, you had to arrange it yourself.
Bon: The way I remember it, there was a bit of rivalry between us and Syron Vanes. Both bands had built themselves quite a reputation in the local scene, and we used to go to each other's gigs to check out the 'competition'. But they were great guys, Syron Vanes, and a damn good live-band too. They, like us, really deserved a better treatment from record companies and such.
MMM: If it wasn’t for the line-up, that new demo sure did sound like a musical make-over, decreasing on the ‘Barbaric’ element, and picking up on the Priest / Maiden – element, as clearly evidenced on "The Voice Of A Killer" and the second, accelerated half of "Holy Night" sporting a trademark Maiden-ish co-ordination…
Bon: We were not really happy with the new tape. I like the songs on it, but we didn't manage to recapture the sound and energy from the first tape. Patrik was an excellent drummer though, and I wish he had stayed with the band. We were on to something together; a new, ever faster and heavier sound.
Mike: Yeah, we were really on to something there.
MMM: The 2nd demo circulated well in the tape-traders scene but did not equal the exposure of its predecessor, knowing that it was a more mature, more musically convincing effort…. What happened?
Bon: Patrik got seriously ill and he couldn´t play with us for at least half a year. After that, he decided to leave the band and move to Gothenburg. That, I think, was the end of it all.
MMM: Nonetheless, it got the band close to inking a recording deal; apparently Ebony was the one record-label that showed a serious interest in landing a deal here, or…?
Mike: There were others as well, but yes, I think Ebony was one of them.
MMM: It seems much like the loss of manager Ola, somehow also delivered a severe blow in the career of the band…
Mike: Yeah, he made all the difference! We were just angry young men rehearsing ridiculously much, we did not have time or interest in marketing the band. I think I played eight hours a day, I just wanted to be the best f*cking guitar player around. Ola believed in us, and saw the potential. If he had lived, I guess he would have talked us into a record deal.
Bon: It was totally unexpected, and such a shock to all of us. He was one of the nicest guys I´ve ever met, and he handled everything for the band, the distribution of the tapes, the promotion and the record company contacts, without ever asking for anything in return. When he left us, it felt like the rug was pulled out from under our feet. He´d been the man holding all the keys to the music business, and now we were back to zero again.
MMM: At that point, did the band have any new originals with relation to a possible recording deal, or would this then have been a collection of the songs from both demos….?
Mike: Yes and No. There are a couple of songs from the demos that we really loved playing. But we wrote new songs all the time, as we were two song-writers in the band.
Bon: I agree. Some of them could have landed on the record, but we always wanted newer, better, heavier songs.
MMM: So, when the band called it a day did any of you guys continue in other bands or projects?
Mike: Being seekers, we continued with various strange and weird projects.
Bon: Some of them really weird, but none of them really Metal, for some reason. Its only in later years that we returned to the old music.
MMM: Then, in 2003, HIGHLIGHT got selected to land a track on the "Metal Knights - The Resurgence Of Swedish Steel" compilation LP, featuring all 80’s Metal bands… Did this trigger the re-formation of the band, or was it existent again at that point…?
Mike: Being a 'pact of brothers' we have always wanted to re-unite to complete the circle.
Bon: There still is a number of great songs, that deserve to be recorded.
Marten: older, wiser and heavier than ever.
MMM: This actually concerns the original, all-brothers line up with you – Michael – on guitar, Marten on drums and Magnus on bass & vocals…. Now, regarding the vocalage; have you guys ever considered enrolling a front man /singer, the more so as the vocalage was not the strongest point throughout the material, although it did improve considerably on the second demo…
Bon: Hey, easy now! but I guess you have a point... It would probably have meant a lot to the bands career back then if we could have landed us a real top-class Metal singer. The way things are now, with the band in a sort of half-sleeping hobby-state, that´s just not an option. If we ever record anything again, it will be with the old Valhalla line-up: Mike on all the guitars, Mårten on the drums, and me on bass and vocals. Like it or not...
Marten: I thought that Bon had a cool voice; he could scream his ass of both in the rehearsals and live. Many of the singers around where real posers and I remember that we didn't like that; we wanted something raw.
MMM: There is talk of a Highlight CD featuring all 8 demo-tracks, is there any additional tracks to be included here?
Mike: Actually, the original master tapes are damaged, so two of those songs are lost forever. We will release at least two, but probably four new songs, all written in the mid-eighties. It might even be a new 4-track demo...
MMM: Will this CD be independently released, or will it be used as a promotional tool, to trigger interested parties….
Mike: Well, we just want to do our thing, partly for ourselves, and partly for those who still cares for this type of music. It guess that we will release it independently, but you never know. We really like the concept of Vinyl, and we still haven't released our own Vinyl album.
MMM: What’s in it for the future?
Mike: A Night At Valhalla, if we all behave...
MMM: Anything else you’d like to add?
Mike: Yeah, I want to thank Niclas at Stormbringer Productions who finally put us on vinyl.
Bon: Yeah, and f*ck all the other record companies, who didn´t believe in us back then.
Marten: We hope to put together a new tape in near future. It´s cool that we finally got on vinyl, and that people show an interest in us so many years later.
Mike: The band started towards the end of 1979 if I remember correctly. Originally we were four members with two guitar players, myself and Alis, who later joined Pleasure Avenue. After a year or so Mårten, our drummer, left the band. We auditioned at least ten new drum players before our new drummer Pär joined the band. Talented drummers and singers were hard to find. Pär knew Ola, ex singer of Heavy Load, and we decided to bring him in as well.
MMM: Was the band named HIGHLIGHT right from the start, or have there been any other names prior to this?
Bon: I think we came up with it quite early, sometime back in the seventies. We were real young then and I don´t think anyone back here in Sweden knew what it meant. It just sounded like the name for a Metal band. Then our reputation grew more and more, and suddenly it was too late to change it. Besides, we had already spray-painted it all over our gear.
MMM: The first line up – as a 5 piece unit – also produced a demo; what style did one address to and what were the tracks on this demo? Again, there was no talk of this demo back in the 80’s, assuming the ’83 "A Night At Valhalla" demo was the first thing ever to emerge from the band as HIGHLIGHT….
Mike: Actually I'd rather forget about that first demo. At the time, we had a friend of a friend who owned a studio in Malmö. He was not into Heavy Metal, but we thought it would be O.K anyway. So we worked hard in the studio for three days, with a recording engineer used to Dance music. You can never imagine what our music sounded like... we forced the man to erase the master tapes later. Anyway, it was a four-track demo, with the songs “Voice Of A Killer”, “Solitude”, “Ain't Seen Nothing Yet”, and a fourth song I don't remember the name of.
Bon: That would probably have been "Exodus", an epic song about the Fourth Crusade, that we used to play in the early days. Never the less, that demo truly was a piece of shit, and I hope that it never gets out.
Mike: Hmm, I might have a copy somewhere...
MMM: Eventually, that line up was a thing of the past halfway ’83, as you – Michael - and your brother Magnus recuperated as a three-piece with the addition of yet another brother, drummer Marten Leufvenicus…. Why wasn’t Marten in from day one…?
Bon: He was never a full time member of the Highlight thing, at least not in the more serious stages. Partly because he didn´t want to, it wasn´t really his music, and partly because he was... well, quite impossible to work with. He was a real wild child back then, always ready to pick a fight with anyone, including his own big brothers. He really only appears on the Valhalla-tape, and its him on the pictures too. The first line-up of the band had just broken up, and Mike and I said to each other, "Let's record something that´ll show them, the bastards". So we called in Mårten for the tape. He came in from nowhere, rehearsed the songs with us a couple of times, and nailed them on the first attempt. It sounded way better than ever.
Mike: No, we never got along that well. As said earlier, we already played with Mårten a couple of years earlier, he was and still is a natural drum talent, you know the type of drummer that plays with all of his body, but he wanted to do other things musically.
Marten: We started out as kids playing some weird kind of Progressive instrumental Rock together with different friends. When we got into harder music I always wanted to play live, but the other two were keen on rehearsing. I wanted to play more gigs and I went on and joined a really corny Reggae band after highlight. We got along better after we got older though, he he.
MMM: Assumingly, in this new line-up, brother Magnus now also took on the vocals in addition to his duties as a bass-player… Was this a direct result of the absence of capable singers around as you mentioned earlier...were there any auditions?
Mike: Magnus always was one of the vocalists in the band. And yeah, we auditioned a dozen other singers. Unfortunately, the vocals on both of our demo tapes were made in the eleventh hour, and there was not much time to correct any mistakes, the same goes for the lead guitars. We just had to go with the first take and make the best of it.
Bon: My ears always curl up when i hear my own voice on those old tapes. But people have actually told me afterwards that the sound of my raw, almost hitting the notes style of singing is one of the trademarks of the band. So, I guess I´ll have to live with that. Besides, we never went for that polished sound of bands such as Europe or Whitesnake. To us, that was girl-music. We only wanted our music to sound 'fat', which meant loud, fast and violent. That's probably what people liked about the “Valhalla-tape”: It captured the brutal energy of the band.
Marten: I kind of remember singing in the beginning, but it didn't look all that cool with a drummer / singer. That, and my voice being more kind of Pop anyway...
MMM: It didn’t take long before you released a demo; this in the shape of the "A Night At Valhalla" 4-songer, taped in ’83; Focusing in on that demo, it sounds much as if that concerns two different recording-sessions, as it separates the first set of two from the other half (coupling "Pagans" and "Pilgrim") in both production and musical content
Mike: The truth about our '83 demo is that we split the band on a Monday, rehearsed with Mårten for three days, rented and borrowed equipment and recorded and mixed those four tracks over the weekend. Man, we were driven by so much anger and frustration. The first recording day we had to set up all equipment, the second day we recorded and did the final mixing. it was pretty much a 'first take' recording on four-track equipment. We played live in the studio, and just put down the vocals and lead guitar afterwards. Actually, we used to pick two of my songs and two of Magnus' songs for our demos. For "A Night At Valhalla", I wrote “Pilgrim” and “Children Of The Brave”.
Bon: I guess that any differences you may experience between the songs is caused by the cheap and hasty recording, rather that any actual 'producing', because there simply wasn´t any. That's one of the things that we´ve asked ourselves afterwards: what would it have sounded like on a professional recording? We all felt that the band had a greater potential, that was never manifested on any of those half-assed demos.
MMM: It just seemed as if the second set found the band toying with blends of Maiden and rhythm riffage, over the trademark Scandinavian sound (meets Judas Priest) that hallmarks the first two songs on offer, and truly justifies the ‘Barbarian Metal’ tag...
Mike: Well, we were never that much into Maiden, but we were often compared to them. I guess people need to have some point of reference to things they hear.
Bon: I kind of like the early Maiden records, the ones with Paul D´Ianno on them. And Priest was great, at least when they were at their best. But I really think that the common denominator between us and the NWOBHM bands was that we used to listen to the same stuff when we grew up back in the seventies; Black sabbath, Alice Cooper, Uriah Heep, early Frank Zappa; that kind of thing. Those were our real heroes.
MMM: This demo showed up down the pages of quite a number of European fanzines; that is where Syron Vanes manager Ola Nilsson comes into play, right…?
Mike: Yes, we sent some copies of the demo to the Swedish record companies, and a few copies to our friends and fans. A typical reaction was that it was violent, raw, and lacked commercial potential. Record companies at that time were looking for more polished Metal bands.
Bon: Actually, I contacted Ola Nilsson first. We knew the guys in Syron Vanes, and I asked him if he wanted to promote our tapes as well. He said "sure, let me hear it".
MMM: Where did most response come from, and where had most tapes been distributed to?
Mike: We were very self-critical, and did not really share the enthusiasm that Ola showed our band. We always knew we could do much better, and moved on auditioning for a new drummer. Ola sent me some fanzines, fan mail and record contract proposals from time to time. Some American record companies and some European ones showed interest and asked for more material.
MMM: There’s never been much talk of the Swedish live scene, or the Scandinavian scene in general… word has it chances were few to get one’s act going on stage… Did you do any shows, and have you ever opened as a support act for Syron Vanes?
Mike: HAHA! At the time, there were two good Metal bands in Malmö, HIGHLIGHT and Syron Vanes! We did kind of a Metal festival together with Syron Vanes at the Vitoria Theatre in central Malmö. Actually, we flipped a coin to decide who was the first and who was the second band to enter the stage. Really nice guys, Syron Vanes. We helped each other carrying Marshall stacks and drum kits later that night. There was a live scene, often at youth clubs, for example Lorensborg in Malmö, but if you wanted to do a bigger gig, you had to arrange it yourself.
Bon: The way I remember it, there was a bit of rivalry between us and Syron Vanes. Both bands had built themselves quite a reputation in the local scene, and we used to go to each other's gigs to check out the 'competition'. But they were great guys, Syron Vanes, and a damn good live-band too. They, like us, really deserved a better treatment from record companies and such.
MMM: If it wasn’t for the line-up, that new demo sure did sound like a musical make-over, decreasing on the ‘Barbaric’ element, and picking up on the Priest / Maiden – element, as clearly evidenced on "The Voice Of A Killer" and the second, accelerated half of "Holy Night" sporting a trademark Maiden-ish co-ordination…
Bon: We were not really happy with the new tape. I like the songs on it, but we didn't manage to recapture the sound and energy from the first tape. Patrik was an excellent drummer though, and I wish he had stayed with the band. We were on to something together; a new, ever faster and heavier sound.
Mike: Yeah, we were really on to something there.
MMM: The 2nd demo circulated well in the tape-traders scene but did not equal the exposure of its predecessor, knowing that it was a more mature, more musically convincing effort…. What happened?
Bon: Patrik got seriously ill and he couldn´t play with us for at least half a year. After that, he decided to leave the band and move to Gothenburg. That, I think, was the end of it all.
MMM: Nonetheless, it got the band close to inking a recording deal; apparently Ebony was the one record-label that showed a serious interest in landing a deal here, or…?
Mike: There were others as well, but yes, I think Ebony was one of them.
MMM: It seems much like the loss of manager Ola, somehow also delivered a severe blow in the career of the band…
Mike: Yeah, he made all the difference! We were just angry young men rehearsing ridiculously much, we did not have time or interest in marketing the band. I think I played eight hours a day, I just wanted to be the best f*cking guitar player around. Ola believed in us, and saw the potential. If he had lived, I guess he would have talked us into a record deal.
Bon: It was totally unexpected, and such a shock to all of us. He was one of the nicest guys I´ve ever met, and he handled everything for the band, the distribution of the tapes, the promotion and the record company contacts, without ever asking for anything in return. When he left us, it felt like the rug was pulled out from under our feet. He´d been the man holding all the keys to the music business, and now we were back to zero again.
MMM: At that point, did the band have any new originals with relation to a possible recording deal, or would this then have been a collection of the songs from both demos….?
Mike: Yes and No. There are a couple of songs from the demos that we really loved playing. But we wrote new songs all the time, as we were two song-writers in the band.
Bon: I agree. Some of them could have landed on the record, but we always wanted newer, better, heavier songs.
MMM: So, when the band called it a day did any of you guys continue in other bands or projects?
Mike: Being seekers, we continued with various strange and weird projects.
Bon: Some of them really weird, but none of them really Metal, for some reason. Its only in later years that we returned to the old music.
MMM: Then, in 2003, HIGHLIGHT got selected to land a track on the "Metal Knights - The Resurgence Of Swedish Steel" compilation LP, featuring all 80’s Metal bands… Did this trigger the re-formation of the band, or was it existent again at that point…?
Mike: Being a 'pact of brothers' we have always wanted to re-unite to complete the circle.
Bon: There still is a number of great songs, that deserve to be recorded.
Marten: older, wiser and heavier than ever.
MMM: This actually concerns the original, all-brothers line up with you – Michael – on guitar, Marten on drums and Magnus on bass & vocals…. Now, regarding the vocalage; have you guys ever considered enrolling a front man /singer, the more so as the vocalage was not the strongest point throughout the material, although it did improve considerably on the second demo…
Bon: Hey, easy now! but I guess you have a point... It would probably have meant a lot to the bands career back then if we could have landed us a real top-class Metal singer. The way things are now, with the band in a sort of half-sleeping hobby-state, that´s just not an option. If we ever record anything again, it will be with the old Valhalla line-up: Mike on all the guitars, Mårten on the drums, and me on bass and vocals. Like it or not...
Marten: I thought that Bon had a cool voice; he could scream his ass of both in the rehearsals and live. Many of the singers around where real posers and I remember that we didn't like that; we wanted something raw.
MMM: There is talk of a Highlight CD featuring all 8 demo-tracks, is there any additional tracks to be included here?
Mike: Actually, the original master tapes are damaged, so two of those songs are lost forever. We will release at least two, but probably four new songs, all written in the mid-eighties. It might even be a new 4-track demo...
MMM: Will this CD be independently released, or will it be used as a promotional tool, to trigger interested parties….
Mike: Well, we just want to do our thing, partly for ourselves, and partly for those who still cares for this type of music. It guess that we will release it independently, but you never know. We really like the concept of Vinyl, and we still haven't released our own Vinyl album.
MMM: What’s in it for the future?
Mike: A Night At Valhalla, if we all behave...
MMM: Anything else you’d like to add?
Mike: Yeah, I want to thank Niclas at Stormbringer Productions who finally put us on vinyl.
Bon: Yeah, and f*ck all the other record companies, who didn´t believe in us back then.
Marten: We hope to put together a new tape in near future. It´s cool that we finally got on vinyl, and that people show an interest in us so many years later.
HIGHLIGHT – DEMO I SWE’83 “A NIGHT AT VALHALLA ”
Songs: Children Of The Brave / R**e & Plunder (A Night At Valhalla ) / Pagans / Pilgrim //
Back in the day, Sweden produced a string of quality bands, a good lot of which remain undiscovered for the simple fact that they never got to the vinyl stage. One of such bands is Malmo based 3-piece Highlight – comprised of three brothers! - that forked out 2 demos during their brief existence. Highlight truly captured the spirit of trademark Scandinavian Metal, with the Barbaric / Viking element and atmosphere firmly rooted in their concept – which the band actually called ‘Barbarian Metal’ - Furthermore, their sound connects at large with the vast majority from the North, as it comes complete with Celtic-type, multi-vocal chants, a beefy sounding instrumentation, classical-inspired guitar hooks, and, as a standard, off-key lead vocals. Their singer is just pushing it too hard, trying to sound like Rob Halford in the low-range, and the regular modes are just too far off. Over against that, and as a standard as well, guitars are most deserving, with solos down each and every tune. The demo opens with “Children Of The Brave”; a chunky up-tempo Metaler with a lot of guitar and chants in the styles of Heavy Load. The mid-paced “R**e & Plunder” highlights the Barbaric / Viking atmosphere and is driven by obviously Priest inspired riff-schemes and vocals, whilst the second half finds the band addressing to the Scandinavian Metal sound referring to chants and guitar harmonies. Both “Pagans” and “Pilgrim” sound as if they come from a different session, as well as their musical content slightly differs, as they’re both moderately fast Headbangers with rhythm-riff layers and Maiden inspired melodies / harmonies, which make up for some good listening. In all, a pretty deserving demo.
Paul van der Burght
HIGHLIGHT – DEMO SWE II ’84 “BRING ON THE TERROR”
songs: Bring On The Terror / Hell On This Earth / Holy Night / The Voice Of A Killer //
The second Highlight demo shows quite a few modifications in the musical department, as one decreased on the ‘Barbaric’ element and opted for a more all round European Hard Rock / Metal sound with the Scandinavian thing in there alright. With this also came a more significant Priest / Maiden flavour, the latter which is most evident on “Voice Of A Killer” and particularly “Holy Night”; this slow-paced number starts off in a conventional fashion – much in the styles of Zone Zero’s “Live Or Die” - until this dark, Doomy mood sets in, to be followed by a moderately-fast acceleration with a Maiden-ish drive. The riff-based, moderately fast driven “The Voice Of A Killer” sounds something like Judas Priest’s “Electric Eye”-meets-Maiden and comes complete with twin-harmonies. “Hell On This Earth” is the least convincing workout, and concerns a rather mediocre, conventional rooted Hard Rocker, European style with a Scandinavian finish / chant. Instrumental / performance-wise, the material on display shows a considerable development over the debut demo, with the vocals as a second best improvement. Highlight breathe the sound of the more atmospheric geared thing to emerge from the North, and is likely to please those into Metal produced by acts such as Gotham City, Heavy Load, and Zone Zero.
Paul van der Burght
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THRUST – 2020 “Helm Of Awe”
label: Pure Steel records
songs: Black River / Blood In The Sky / Purgatory Gates / Still Alive / Killing Bridge / Battle Flag / Ghost In Me / The Traveler / Crucifixion / Helm Of Awe //
web: https://www.facebook.com/ThrustBandOfficial/
Follow-up to the 2018 “Harvest Of Souls” come-back album that somehow did not spark, delivering a brand of NWOTHM with no connection to the early sound of the band. The main obstacle of the album was the fairly continuous moderate / mid-tempo that dominated the set. This new album furthers on the same tempos with some atmospheric slow burners thrown in, “Killing Bridge”, “The Traveler”, but main difference, opposed to its predecessor is this all round power punch and a wall of guitars that lay the foundations for some thundering, 90's styled U.S PowerMetal that comes with matching, vibrato laden muscle vocals. Some power-grooves fuel the chunky “Still Alive” that is fused with accelerations. The Metaler “Purgatory Gates” harks back at the 80's, tapping into a riff-based / mid-paced modus with traces of Dio. The power levels are peaking on the instant bobber “Blood In The Sky” with its anthemic like shout along theme; a thing that is repeated on the galloping up-tempo pounder “Battle Fag”.The slower, Heavy balladry comes out nicely, surrounded by this ominous, dark atmosphere to give it this dramatic Power Metal finish. A broad, meaty production adds to the impact of it all and makes “The Helm Of Awe” a pleasure to listen to. Strong!
Paul van der Burght
label: Pure Steel records
songs: Black River / Blood In The Sky / Purgatory Gates / Still Alive / Killing Bridge / Battle Flag / Ghost In Me / The Traveler / Crucifixion / Helm Of Awe //
web: https://www.facebook.com/ThrustBandOfficial/
Follow-up to the 2018 “Harvest Of Souls” come-back album that somehow did not spark, delivering a brand of NWOTHM with no connection to the early sound of the band. The main obstacle of the album was the fairly continuous moderate / mid-tempo that dominated the set. This new album furthers on the same tempos with some atmospheric slow burners thrown in, “Killing Bridge”, “The Traveler”, but main difference, opposed to its predecessor is this all round power punch and a wall of guitars that lay the foundations for some thundering, 90's styled U.S PowerMetal that comes with matching, vibrato laden muscle vocals. Some power-grooves fuel the chunky “Still Alive” that is fused with accelerations. The Metaler “Purgatory Gates” harks back at the 80's, tapping into a riff-based / mid-paced modus with traces of Dio. The power levels are peaking on the instant bobber “Blood In The Sky” with its anthemic like shout along theme; a thing that is repeated on the galloping up-tempo pounder “Battle Fag”.The slower, Heavy balladry comes out nicely, surrounded by this ominous, dark atmosphere to give it this dramatic Power Metal finish. A broad, meaty production adds to the impact of it all and makes “The Helm Of Awe” a pleasure to listen to. Strong!
Paul van der Burght
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LEATHER WITCH – 2020 “Pull The Trigger”
web: https://www.facebook.com/LeatherWitchBand
Colombian unit premiering with some traditional Euro Metal / SpeedMetal in the early – mid 80's styles; fast, straight forward and pure with the rough edge added by the vocal duties of singer Tania 'Soulstorm', delivering some serious bite with a screamy, sandpaper style vocal tone. Song has an instant Headbang vibe and sound a la Gravedigger with a propelling rhythm riff / double bass drum tandem, alternated with Motorpunk style chords. Great stuff.
Band will be releasing forthcoming material via the new STEEL SHARK records label.
web: https://www.facebook.com/LeatherWitchBand
Colombian unit premiering with some traditional Euro Metal / SpeedMetal in the early – mid 80's styles; fast, straight forward and pure with the rough edge added by the vocal duties of singer Tania 'Soulstorm', delivering some serious bite with a screamy, sandpaper style vocal tone. Song has an instant Headbang vibe and sound a la Gravedigger with a propelling rhythm riff / double bass drum tandem, alternated with Motorpunk style chords. Great stuff.
Band will be releasing forthcoming material via the new STEEL SHARK records label.
BLACK SUN – CD 2020 “Silent Enemy”
label: Rockshots records
songs: Moebius / Resist / Terror Zone / Dark Mirror / No Return / Still Alive / Finale //
web: https://www.facebook.com/blacksunec/
After a rather lengthy intro (2+ minutes) the band gets into gear with “Resist”; a female fronted, Gothic edged Pop Rocker in the Mainstream Radio styles that comes complete with 'bombastic' sing along chorus; neat an nicely done with a textbook performance with the deserving vocals of Netta Laurenne adding the magic. Next one up, “Terror Zone” shows a completely different approach, tapping into (late) 80's riff-based and mid-paced Heavy Metal tending to Power Metal; think a mix of Accept and Metal Church, dressed with rough and raised, mid-range vocals to add this bite to the song that - again - has most of its attention drawn towards its fist pumping chorus. Some crisp riffage throughout and some cool, added guitar flash; a thing that is furthered on follow up tune, “Dark Mirror”; an instrumental that starts off a bit 'shaky' and artificial, home programming type, but warms up nicely as it develops into a propelling, double-bass drummed pounder with Thrashy riff-hooks and some proper guitar flash with melody and balance. “Still Alive” has the Mainstream Goth thing re-appearing merged with melodic Euro Metal a la Helloween, featuring a host of guest vocal appearances delivering male grunts, melodic Power Metal vocals and topping scale female vocals in succession to all chant together in the grand finale that is the bombastic Euro PowerMetal chorus. Black Sun, from Ecuador, prove here to be able to write potential hit songs in the more Mainstream department and back it up with a instrumental skill and finesse. The departure of their lead singer, and the replacement in the shape of session musicians works wonders here. There is no telling here what the portrayed style actually is or will be with only 3 vocalized songs to go by, one of which contrasts with the nature of the other 2. Fact remains that this is a product well taken care of but a bit short in overall playing time with in / outros, interlude and an instrumental. Again, all done nicely and well worth investigating.
Paul van der Burght
label: Rockshots records
songs: Moebius / Resist / Terror Zone / Dark Mirror / No Return / Still Alive / Finale //
web: https://www.facebook.com/blacksunec/
After a rather lengthy intro (2+ minutes) the band gets into gear with “Resist”; a female fronted, Gothic edged Pop Rocker in the Mainstream Radio styles that comes complete with 'bombastic' sing along chorus; neat an nicely done with a textbook performance with the deserving vocals of Netta Laurenne adding the magic. Next one up, “Terror Zone” shows a completely different approach, tapping into (late) 80's riff-based and mid-paced Heavy Metal tending to Power Metal; think a mix of Accept and Metal Church, dressed with rough and raised, mid-range vocals to add this bite to the song that - again - has most of its attention drawn towards its fist pumping chorus. Some crisp riffage throughout and some cool, added guitar flash; a thing that is furthered on follow up tune, “Dark Mirror”; an instrumental that starts off a bit 'shaky' and artificial, home programming type, but warms up nicely as it develops into a propelling, double-bass drummed pounder with Thrashy riff-hooks and some proper guitar flash with melody and balance. “Still Alive” has the Mainstream Goth thing re-appearing merged with melodic Euro Metal a la Helloween, featuring a host of guest vocal appearances delivering male grunts, melodic Power Metal vocals and topping scale female vocals in succession to all chant together in the grand finale that is the bombastic Euro PowerMetal chorus. Black Sun, from Ecuador, prove here to be able to write potential hit songs in the more Mainstream department and back it up with a instrumental skill and finesse. The departure of their lead singer, and the replacement in the shape of session musicians works wonders here. There is no telling here what the portrayed style actually is or will be with only 3 vocalized songs to go by, one of which contrasts with the nature of the other 2. Fact remains that this is a product well taken care of but a bit short in overall playing time with in / outros, interlude and an instrumental. Again, all done nicely and well worth investigating.
Paul van der Burght
RADIOACTIVE BONES – CD 2013 “Eye In The Sky”
label: private
songs:Man In The Sky / Suns, Moons, Planets And Stars / Eye In The Sky / Born To Wreck / Planet X / Luna Snow / Voodoo Bombs / The Ghost / Radioactive Bones //
Second album by this U.K based 3-piece that have now added vocals to the previous, all instrumental concept. The grainy, talk-type vocals of singer / guitarist Roy 'Radiation' complement the HardCore / MetalPunk element that runs through the disc, but it is the ad-lib / live-session style instrumentation that takes up the greater part of the music including one full instrumental in the shape of the driven up-tempo “Planet X”, sounding much like a Iron Maiden – meets – Melodic Punk workout complete with a galloping beat, synchronized bass – lead guitar and Punk ish melody leads. The albums spins off in a rough and ready HardCore Metal style with the bobbing, up-tempo driven “Man In The Sky”; a straight forward song with a catchy beat, raw vocals and a free-flowing guitar / instrumental section. “Suns, Moons, Planets And Stars” continues in a similar fashion and, in the distance kind of brings up certain similarities to Rory Gallagher's “Shadow Play” on a PunkMetal trip with a hint of Hawkwind. The PunkMetal thing is pushed forward on the easy going and upbeat driven “Eye In The Sky”, be it in a mild format with some Ambient Prog and Reggae twists thrown in before the free-style instrumental part kicks in. The sort of rasp that singer / guitarist Roy delivers directs the music towards 80's (U.S) HardCore / Punk, pushed forward on the provocative and fast paced “Voodoo Bombs”. The remarkable thing about this concept and album is that underneath its prime HardCore PunkMetal appearance radiating from the vocals (and some riffage), there's a variety of musical twists and turns, including 80's HardRock / Metal (“Eye In The Sky”, “Planet X”), Chicano Rock (“Luna Show”) and Psychedelic Prog Rock (“The Ghost”). Knowing there is quite a lot happening down the music, the whole thing is still remarkably easy on the ear, dressed with catchy themes, gripping riffs and toe-tapping beats. In all, an interesting and entertaining selection of tracks in the heavier, more experimental musical territories.
Paul van der Burght
label: private
songs:Man In The Sky / Suns, Moons, Planets And Stars / Eye In The Sky / Born To Wreck / Planet X / Luna Snow / Voodoo Bombs / The Ghost / Radioactive Bones //
Second album by this U.K based 3-piece that have now added vocals to the previous, all instrumental concept. The grainy, talk-type vocals of singer / guitarist Roy 'Radiation' complement the HardCore / MetalPunk element that runs through the disc, but it is the ad-lib / live-session style instrumentation that takes up the greater part of the music including one full instrumental in the shape of the driven up-tempo “Planet X”, sounding much like a Iron Maiden – meets – Melodic Punk workout complete with a galloping beat, synchronized bass – lead guitar and Punk ish melody leads. The albums spins off in a rough and ready HardCore Metal style with the bobbing, up-tempo driven “Man In The Sky”; a straight forward song with a catchy beat, raw vocals and a free-flowing guitar / instrumental section. “Suns, Moons, Planets And Stars” continues in a similar fashion and, in the distance kind of brings up certain similarities to Rory Gallagher's “Shadow Play” on a PunkMetal trip with a hint of Hawkwind. The PunkMetal thing is pushed forward on the easy going and upbeat driven “Eye In The Sky”, be it in a mild format with some Ambient Prog and Reggae twists thrown in before the free-style instrumental part kicks in. The sort of rasp that singer / guitarist Roy delivers directs the music towards 80's (U.S) HardCore / Punk, pushed forward on the provocative and fast paced “Voodoo Bombs”. The remarkable thing about this concept and album is that underneath its prime HardCore PunkMetal appearance radiating from the vocals (and some riffage), there's a variety of musical twists and turns, including 80's HardRock / Metal (“Eye In The Sky”, “Planet X”), Chicano Rock (“Luna Show”) and Psychedelic Prog Rock (“The Ghost”). Knowing there is quite a lot happening down the music, the whole thing is still remarkably easy on the ear, dressed with catchy themes, gripping riffs and toe-tapping beats. In all, an interesting and entertaining selection of tracks in the heavier, more experimental musical territories.
Paul van der Burght
LYKANTROPI – digital single 2020 “Axis Of Margaret”
label: Despotz records
web: https://www.facebook.com/lykantropiband
Third single from the band's third, forthcoming album ”Tales To Be Told”. Originating from the woods of Sweden, 6-piece act Lykantropi lay the perfect basis for their sound, sourced from early 70's Rock and dressed with a light mystical undertone; a musical package that is stickered as 'Vintage Rock'. “Axis Of Margaret” is a mod / mid-paced Rock number that reminds of early Fleetwood Mac, phased with traces of Katatonia in the riff-department. This song listens away really easy, even though the instrumentation is quite mobile and Progressive edged. Most of the feel is given value by the subtle, mid-range vocalage of female singer 'My Shaolin', with the vocal harmonies adding up to the retro sound of things . Nice
Paul van der Burght
label: Despotz records
web: https://www.facebook.com/lykantropiband
Third single from the band's third, forthcoming album ”Tales To Be Told”. Originating from the woods of Sweden, 6-piece act Lykantropi lay the perfect basis for their sound, sourced from early 70's Rock and dressed with a light mystical undertone; a musical package that is stickered as 'Vintage Rock'. “Axis Of Margaret” is a mod / mid-paced Rock number that reminds of early Fleetwood Mac, phased with traces of Katatonia in the riff-department. This song listens away really easy, even though the instrumentation is quite mobile and Progressive edged. Most of the feel is given value by the subtle, mid-range vocalage of female singer 'My Shaolin', with the vocal harmonies adding up to the retro sound of things . Nice
Paul van der Burght
STARDUST – 2020 “Highway To Heartbreak”
label: Frontiers records
songs: Runaway / Heartbreaker / Bullet To My Heart / Perfect Obsession / 2nd Hand Love / Shout It Out / Can’t Stop Loving You / Eye To Eye / Hey Mother / Blue Jeans Eyes (Bonus Track) / The River Is Rollin’ //
web: http://www.stardustaor.com/
https://www.facebook.com/stardustaor/
Hungarian A.O.R unit now premiering their debut full lengther “Highway To Heartbreak”. This 11 songer is a real treat in its territories, sourcing their concept from the 80's, gelling the likes of Journey and Saga with a hint of Foreigner thrown in. The synths are quite prominent, but in the centre of attention are the vocals of Adam Stewart, delivering a variable, mid-range to upper mid-range tone that is subtle and melodic, like a lower pitched Steve Perry. The Journey / Perry thing is pushed forward on the U.S styled Radio Rocker “Blue Jeans Eyes” and “The River Is Rollin'”. The album has had some input of no other than Mark Spiro (Bad English, Giant, House Of Lords) which comes surfacing on “2nd Hand Love” and the solo-action of the catchy, mid-paced “Bullet To My Heart”. The set is mainly geared towards the American radio Rock / A.O.R sound, accented by the semi-acoustic, sing along nature of “Perfect Obsession” and the subtlety of “Blue Jeans Eyes”. This is one album well taken care of with a good, all round diversity flow in style and songs, neatly played and produced; just too bad the guitar action is a bit on the back burner with only but a few prime slots, delivering the flash on the Bon Jovi esque sing along Rocker “Shout It Out” and “Eye To Eye”. All in all, a proper release that makes a really enjoyable listening affair in the more subtle A.O.R department. Nice cover version of Pat Benatar's “Heart Breaker” as well.
Paul van der Burght
label: Frontiers records
songs: Runaway / Heartbreaker / Bullet To My Heart / Perfect Obsession / 2nd Hand Love / Shout It Out / Can’t Stop Loving You / Eye To Eye / Hey Mother / Blue Jeans Eyes (Bonus Track) / The River Is Rollin’ //
web: http://www.stardustaor.com/
https://www.facebook.com/stardustaor/
Hungarian A.O.R unit now premiering their debut full lengther “Highway To Heartbreak”. This 11 songer is a real treat in its territories, sourcing their concept from the 80's, gelling the likes of Journey and Saga with a hint of Foreigner thrown in. The synths are quite prominent, but in the centre of attention are the vocals of Adam Stewart, delivering a variable, mid-range to upper mid-range tone that is subtle and melodic, like a lower pitched Steve Perry. The Journey / Perry thing is pushed forward on the U.S styled Radio Rocker “Blue Jeans Eyes” and “The River Is Rollin'”. The album has had some input of no other than Mark Spiro (Bad English, Giant, House Of Lords) which comes surfacing on “2nd Hand Love” and the solo-action of the catchy, mid-paced “Bullet To My Heart”. The set is mainly geared towards the American radio Rock / A.O.R sound, accented by the semi-acoustic, sing along nature of “Perfect Obsession” and the subtlety of “Blue Jeans Eyes”. This is one album well taken care of with a good, all round diversity flow in style and songs, neatly played and produced; just too bad the guitar action is a bit on the back burner with only but a few prime slots, delivering the flash on the Bon Jovi esque sing along Rocker “Shout It Out” and “Eye To Eye”. All in all, a proper release that makes a really enjoyable listening affair in the more subtle A.O.R department. Nice cover version of Pat Benatar's “Heart Breaker” as well.
Paul van der Burght
Canada's Midnight Vice are the undiscovered gem from the 80's that never managed to release anything on vinyl apart from a contribution the '85 “Speed Metal Hell” vol.I compilation. The band narrowly missed getting “Shanghai Battlecry”, one of the band's heaviest tracks , featured on of the earlier 'Metal Massacre' LP's back in '83 which could have put the band on the map. Still, Midnight Vice did very well in the international Underground scene with frequent appearances in fanzines and on tape-traders lists. The band even had one of their demos land in the hands of Twisted Sister's Dee Snider who dropped it off at CBS records but unfortunately, nothing came out of this. Eventually, the band disappeared from the scene to make a come-back with the 2010 “Evidence” album, followed in 2018 by the “Full Disclosure” album, collecting all of the band's demo tapes.
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Above left, centre and right; Midnight Vice in '84. Photos provided by Midnight Vice
Back in April 2008, Manic Mosh (Then known as Loud and Legendary) did an interview with Rob Furland, Rick Hart and Sandy Hyde and here's the result.
Manic Mosh: When did the band come into existence, and was this through earlier band experiences, or was MIDNIGHT VICE the first ‘real’ band for most of its original members?
Rob: The band Midnight Vice officially started in 1983 under that name however Rick and Rod Bruno were neighbours of mine and we used to play in a band since we were 11 or 12 years old; in fact, Rod was a drummer at that time and later switched to bass when Rick changed back to guitar after the first Midnight Vice demo. We met Sandy at our Junior High School and later asked him to join with us.
Sandy: I remember seeing Rob and Rick in the halls at Junior High. I believe it was Rob that approached me about jamming with them. I was pretty excited, as I’d never really played in any bands until then. I think we were around 14 or 15 when we all got together.
MM: So, what was the very first Midnight Vice line-up, as there’s been quite a few along the way...
Rob: Yes, the initial line-up was Rick on bass & vocals, myself on guitar, Sandy Hyde on drums and a guy named Gord Spence on lead guitar. The first 2 song demo with “Sacred Trust” and “Arrow To The Sun” was recorded at this time but I didn’t actually play guitar on these tracks. I did however add some backing shouts and assist in the mix-down at the studio.
MM: With the band up there and running at a time that the whole Hard Rock / Metal genre was exploring new grounds with all those sub-genres (Speed, Power, Thrash Metal) in the making; was the opted musical direction a preset choice, or a trend-conscious thing to get the band on the map, recognition-wise. This, as the musical concept did seriously change over the years / or with every new demo out....
Rob: The band sound from my perspective was influenced by the groups each of us listened to like Trust, Rose Tattoo, AC/DC, The Angels, Iron Maiden and various others. I would say the changes that occurred with the sound were a natural evolution more than anything conscious.
Sandy: I remember Rick and I were really into a lot of the French bands at one point like Trust, Sortilege & Satan Jokers. It was really cool because the whole band was into groups that none our friends had heard of.
MM: Talking Canada down the early – mid 80’s in a musical sense; there doesn’t seem to have been a thing that would serve as a starting platform for anything Power / Speed or Metal related with only a handful of bands band that got the word out big time, and only down Underground circles anyways such as Sacred Blade and Deaf Dealer. So, how was the domestic scene in reality when it comes to fans, live-venues, radio-airplay etc etc...
Sandy: Back then the only time you’d see an original Metal band playing was at a public Recreation Centre or at an all ages venue that the bands would have to rent out. Vancouver at that time was rampant with Top 40 bands and clubs. That didn’t change until around 1987.
Rick: I’m not sure if Canada was that different than most countries in that Metal wasn’t really an accessible genre for radio or TV for that matter at the time. As a consequence, lots of acts lived totally under the radar, with their music distributed by underground networks of tape swappers (imagine if we had the Internet back then!). As the scene was really just developing, most of the bands were made up of really young people like ourselves who were too young to play in bars and clubs even if we had been wanted. Bands had to hunt down venues and do all the work themselves.
MM: Is it also for that reason that the band aimed at the USA and Europe recognition-wise, as you did get a fair share of feedback over there, not to mention the tape-trading scene that quickly picked up on this band that sounded like fair competition to Sacred Blade down its early stages!
Rick: The U.S and Europe were the only places that seemed to have big enough bases of interest to support a number of fanzines. We just went to where the interest was really. Japan too, but though Rob has always been interested in Japan he couldn’t write in Kanji!
Sandy: I think we focused on Europe more because the NWOBHM scene was really big and two guys we knew traded a lot of tapes with people from Europe and the States. We were kind of lucky meeting Ron Singer and Gerald Yoshida who were local Metal aficionados. They really helped us out with getting our tapes out there. Ron also showed me how to get into magazines, who to direct our tapes to etc. It really worked well, soon enough we had magazines from the States and Europe contacting us. I used that same formula in other bands I was in and it worked exceedingly well.
Rob: Sandy really was the one that should get the credit of getting our name and material circulated to the widest audience possible in those days.
MM: So, does this refer to the 2 song tape featuring the songs “Sacred Trust” and “Arrow To The Sun”, the latter which would later appear in a modified – actually completely different - version on another demo tape. As for this one cut, “Sacred Trust”; that just breathes Sacred Blade; any coincidence? Was there an early click or acquaintance with the band, the more so as Jeff Ulmer of Sacred Blade later mixed some material....
Rob: At the time we had some friends in common so we did know Jeff, although not that well. “Sacred Trust” was written by Rick so I should let him answer that one.
Rick: We always thought our sound was very different from Sacred Blade’s. The title “Sacred Trust” goes back many, many years before either version of the song was recorded or before Sacred Blade was around. I can now, after many years, reveal the impetus for the song title: it came from a political war of words regarding the indexing of government pensions. Pretty hilarious – not very “Metal”. I kept a mental note that the term would make a great song title and it stuck with me for years. You can never question where inspiration comes from, just be thankful if it comes at all. I remember we invited Jeff into the studio to see what tinkering he would suggest. The first thing he wanted to do was drop my 'wild' guitar track. Too funny, he was right though, it’s pretty sloppy, especially compared to Rob’s.
Rob: Thanks Rick, I didn’t think your playing was sloppy. Maybe Jeff just preferred my heavy Hi-watt sound over your Marshall’s. Hmmm…, interesting.
MM: How many Midnight Vice originals have there been produced all together, and is there any that remained unreleased?
Rob: We released about 20 songs with 2 or 3 of these being re-written / modified in some manner. There are a few tracks that we made rough tapes of but were never fully developed. In fact I still want to record one of these in particular but I think I will have to persuade the others to go along with that idea.
MM: So, what is the exact number of demos produced over the years, and could you please list year of release, demo-title, and titles of tracks featured on the individual tapes...
Rob: OK here it goes:
Ocean Sound Studios Demo #1 (1983)
(Rick Hart / Bass & Vocals, Gord Spence / Guitar, Sandy Hyde / Drums, **Rob Furland / Backing Vocals)
1. Sacred Trust** (Hart)
2. Arrow To The Sun (Early version of Vice Squad) (Hart / Furland)
Silencer Demo #2 (1983)
(Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums & Vocals, Rod Bruno / Bass)
1. For King And Country (Furland / Hart / Hyde)
2. After Me (Hart)
3. Lead Picks (The Piece) (Hart)
4. Out Of The North (Furland / Hart)
5. Croon The Blues (Bruno)
Grapevine Studios Demo #3 (1983)
(Carlos Tesler / Vocals, Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums, Rod Bruno / Bass)
1. Shanghai Battlecry (Hart)
Vice ‘N’ Virtue Cassette (aka Demo #4)(1984)
(Andrew Marti / Vocals, Rick Hart / Guitar-Bass, Rob Furland / Guitar-Bass, Sandy Hyde / Drums & Vocals)
1. Fool To Let You Go (Hart)
2. You Bet Your Life (Furland / Hyde)
3. Worlds Away (Hart)
4. In The Night (Furland / Hyde)
5. Shanghai Battlecry (Version 2) (Hart)
6. Sacred Trust (Hart)
7. Maiden Voyage (Hart)
8. Vice 'n' Virtue (Furland / Hyde)
9. Time – The victor (Hart)
10. Out Of The North (Furland / Hart)
11. Suspicion (Furland / Hyde / Marti) – VNV Outtake
Studio 12 Demo #5 (1984)
(Steve Jack / Vocals, Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums, Rod Bruno / Bass)
1. Arrow To The Sun (Fly Up High) (Furland / Jack)
2. Vice Squad (Hart / Furland / Hyde)
3. Refections (Keep Turning Away) (Furland / Jack)
MM: What has been the heaviest-ever tune produced by MIDNIGHT VICE? A fair chance that this would be “Sacred Trust”, closely followed by “Shanghai Battlecry”... ?
Rob: Those are pretty heavy tunes but for me an earlier one called “For King And Country” is the heaviest in my opinion. Sandy did the vocals on that demo.
Rick: I don’t think we ever went out of our way to write the heaviest songs possible. We just made songs that we liked. Some of the other bands at the time sounded like they were in a competition to see who could be the heaviest, fastest or loudest. Maybe that’s where Thrash came from. It wasn’t really us though.
MM: At some stage, things really went snowballing for you guys with the band getting fanzine footage all over the world, tapes in circulation, and a track, “Vice Squad”, appearing on the ’85 “Speed Metal Hell” compilation LP.... Did you guys have a manager, or just a good inside look at the international Underground scene, and how to set foot it in....
Rick: A lot of our success in getting the Vice word out belongs to Ron Singer who was probably he biggest Metal fan in the Northern hemisphere at the time. He had a lot of contacts that spread the demos around. He also exposed us to a lot of great bands that we probably never would have found otherwise. We never had a manager or anyone giving us tips and ideas. Looking back, I think this could have made a big difference. But, again, we were really young. We had the ambition (and talent I’d like to think), but were pretty clueless as to how about doing anything with it. I remember once we got an invitation to play at an outdoor festival in Belgium. We probably couldn’t have found Belgium on a map.
Rob: We sent demo’s out to fanzines and were covered in several such as Aardschok, Metal Forces, Metallion, etc. Sandy was also doing his best to promote the band by sending tapes to several record companies and we narrowly missed getting “Shanghai Battlecry” on one of the earlier 'Metal Massacre' LP’s back in 1983. It was down to us versus a much heavier band and we were the ones to be cut.
Sandy: I remember 'Heavy Metal Ron' got us to meet with an A&R Rep at CBS Records who told us he liked the music but was going to pass. We also got one of our demos passed onto to Warner Brothers by Dee Snider. A friend of ours met Dee and and gave him our demo. Dee then passed it onto someone at Warner’s. We got a letter back saying basically the same thing, that they liked it but were going to pass…keep them up to date, etc. Very cool that Mr. Snider went out of his way to do that. According to the Midnite Vice diary I kept, we also gave tapes to John Bush from Armored Saint, John Sykes and Paul Stanley.
MM: So, how did Midnight Vice land this song to the New Renaissance sampler.... Did a tape land on the desk of Ann Boleyn, and, did you have a say in the selection of the contribution... Also, has there been an offer from the same label – or another – to record a full-length release?
Sandy:That was basically 30 plus years ago, but from what I recall we received a letter from New Renaissance asking if we’d like to submit a song for consideration for a Metal compilation. We sent the tape off and about a month later we had been chosen to appear on the compilation. We were all pretty stoked as you can imagine you would be at 17 years old. New Renaissance sent us a contract to do two albums after Speed Metal Hell came out. It apparently sold quite well. This was October of 1985. The band at that point had basically disintegrated, so unfortunately that never came to fruition. Later that year Rod hooked up with guitarist Mike Downing and Singer Dave…something. He asked me to join and that version of the band lasted for about a year, almost getting into the studio and doing some shows…but it all fell through.
MM: At some stage in the musical directions, the band seemed to be heavily inspired by the NWOBHM, Bitches Sin in particular, referring to the ’84 “Vice ‘n Virtue” demo. This comes clearly surfacing on “You Bet Your Life” (with additional shades of Savage), and the Bitches Sin carbon-copy “Out Of The North”, drawing similarities to “Down The Road”. Not knowing better, this material could have come from an English band, playing genuine NWOBHM with all the trademark trimmings, rhythm and riffage....
Rob: Well to be honest, I can’t recall ever listening to Bitches Sin so I could not give any such comparison. The track “Out Of The North” was likely influenced by the Dutch band Picture, but I used to listen to a lot of bands at the time so I couldn’t say for sure. The other track mentioned, “You Bet Your Life” had some chords I picked up from listening to bands like The Angels (Angel City). I never tried to write in the NWOBHM mode but clearly I was hearing a lot of that music and I tried to write music that I would want to listen to myself.
MM: What have been the inspiration sources, and / or examples for the band over the years... although it seems those have changed as well... referring to the '84 “Studio 12” demo, addressing to melodic Metal with elements of PowerMetal in the true American styles, as highlighted on “Vice Squad”....
Rob: Can’t exactly remember but Rick or I suggested bringing back ‘”Arrow To The Sun” but we didn’t like the lyrics so they were changed and the song became “Vice Squad”. We did decide that this demo should be rounded and coincidentally I had a couple of songs that I was playing with, one a ballad type “Reflections” and another more melodic one which borrowed an earlier title called “Arrow To The Sun”. The song selection just kind of fell together and off we went to the studio with our new singer, Steve Jack.
Rick: Rob has mentioned some of our key influences earlier (Maiden, AC/DC, Trust). I would add a couple things. First, Rob, Rod, Sandy and I were always into loud, aggressive music – going back to Kiss, Ted Nugent, Blue Oyster Cult, Rush, etc. Our influences really evolved with the music around us – Tank, Tygers of Pan Tang, Saxon, Motorhead, Angel City, Vandale, Warning, Loudness, Raven, Baron Rojo... If I had to pick a geographic place that we seemed to draw influences from, it would probably be split between the UK and Australia, the U.S. less so. Don’t know why… I think we were probably just hitting our peak in terms of solidifying our own sound when we got caught up in other things and the band fell apart. I don’t know if I could describe the sound, but it was a real mix of things.
MM: Remarkable though that by then, the melodic thing took the upper hand, as the previously released “Shanghai Battlecry” is full on U.S Metal / Power, mid-80’s style, whereas “Suspicion” goes back to a more transparent, NWOBHM style.... was this a leftover from the “Vice ‘n Virtue” recordings, as it sounds pretty much cut from the same mold....
Rob: Suspicion was a track that was a last minute thought. We had finished with the “Vice 'N Virtue” recording and everyone had left except Sandy and I. The song just came along with the recording being done on the 3rd or 4th take. I did the slide and rhythm guitars along with Sandy on drums. Sandy wrote the main lyric that night and we added Rick on Bass and Andrew’s vocals the following day. That song, which is a band favourite to this day, almost never happened.
Sandy: The video of “Suspicion” is priceless! Recorded in my parents basement with a video camera with no view finder….ahhh those were the days.
Rob: It was made by a good friend of the band, Joey ’Vidboy’ Brehm, who kindly helped us out with a few different things along the way.
MM: Which were the other tracks that were recorded but never finished from the ’83 Grapevine-studio recordings, the one song of which emerged in full was “Shanghai Battlecry”
Rob: Ah yes, well the tracks were basically ones that we had already recorded on the earlier ‘Silencer Demo’ with the exception of one track “Dawn Is Breaking”. In fact, a part of this one was re-used in a later composition of mine called “Reflections”.
MM: Eventually, the band evaporated, somewhere down the tail-end of ’85.... what caused the split or disbanding, and to what bands did its members flock to?
Rob: Steve left shortly after the Studio 12 demo was recorded in October ’84 and I was out of the band about a month later in November. I joined a band called ‘Knights Realm’ but we only lasted about 6 months.
Sandy: I jammed in Rod’s incarnation of Vice for about a year. When that fell apart I joined a band called Pretty Boy Floyd (Not the L.A poseurs) We were like a sleaze rock AC/DC. We opened for Skid Row, Savatage, Hurricane, Masi etc…Had a 4K review in Kerrang, got in Hit Parader, RIP etc., We were in the U.K top 10 indie charts for a month which was really cool.. Things went great for that band and we were on the verge of being picked up by a major. Then the L.A band came along and we got into a big legal fight, which ultimately we settled out of court. It was basically the demise of that band. I then played in Grandma Moses, which was featured in Metal Edge’s 'Rock On The Rise'. We came close to getting a deal in Japan, but it fell through. Years later, 2004, Perris Records in Texas put out Grandma Moses “Too Little Too Late” which was our
unreleased album and a bunch of demos. I have spent the last 12 years in The McRackins, a Pop Punk band. We’ve put out 12 albums from labels around the globe and did a 12 country tour of Europe in 2007. One thing should be mentioned about Steve Jack, He went on to sing in RockHead, 'Bob Rock of producing fame’s band'. He toured with Bon Jovi all over Europe and they released one album. I ran into him at a club when I was in Pretty Boy Floyd and he had just gotten back from the tour and told me how much fun he had. He didn’t do much after that band split up and Rock got back to focusing on producing. Rod Bruno – currently plays with Universal Recording Artist, Matthew Good
MM: What do you reckon, was the most successful, or ‘best’ line-up over the years and with all these musicians coming and going; particularly the lead-singers, which doesn’t make things easier... has this been an obstacle you think?
Rob: The line-up that received the most positive feedback was the final recording members: Steve Jack - Vocals, Rick Hart – Guitar, Sandy Hyde – Drums, Rod Bruno - Bass and myself on guitar. The changing singer issue was probably comparable to Spinal Tap’s changing drummers but most definitely was not intentional or desirable. Every time the vocalist is changed the sound of the band is altered. Unless the singer is absolutely terrible, it is better to keep an established sound to work on and develop.
MM: How was the live-thing; ever done opening slots for major acts, and did you guys play frequently?
Rob: As mentioned earlier, the Vancouver area was not really the best place for live Metal acts as there were not many places to play club-wise. Most local bands would set up a show at a venue themselves and sell tickets. A couple of places we played were a hotel in Vancouver as support for a friends band and at a community centre in Richmond with another local band ‘Solen’s Lair’ opening for us. Clearly being under drinking age at the time did limit our chance to play at the few clubs available.
To find out more about the band; check out these links:
https://www.facebook.com/midnightvice
http://midnightvice.com/
Manic Mosh: When did the band come into existence, and was this through earlier band experiences, or was MIDNIGHT VICE the first ‘real’ band for most of its original members?
Rob: The band Midnight Vice officially started in 1983 under that name however Rick and Rod Bruno were neighbours of mine and we used to play in a band since we were 11 or 12 years old; in fact, Rod was a drummer at that time and later switched to bass when Rick changed back to guitar after the first Midnight Vice demo. We met Sandy at our Junior High School and later asked him to join with us.
Sandy: I remember seeing Rob and Rick in the halls at Junior High. I believe it was Rob that approached me about jamming with them. I was pretty excited, as I’d never really played in any bands until then. I think we were around 14 or 15 when we all got together.
MM: So, what was the very first Midnight Vice line-up, as there’s been quite a few along the way...
Rob: Yes, the initial line-up was Rick on bass & vocals, myself on guitar, Sandy Hyde on drums and a guy named Gord Spence on lead guitar. The first 2 song demo with “Sacred Trust” and “Arrow To The Sun” was recorded at this time but I didn’t actually play guitar on these tracks. I did however add some backing shouts and assist in the mix-down at the studio.
MM: With the band up there and running at a time that the whole Hard Rock / Metal genre was exploring new grounds with all those sub-genres (Speed, Power, Thrash Metal) in the making; was the opted musical direction a preset choice, or a trend-conscious thing to get the band on the map, recognition-wise. This, as the musical concept did seriously change over the years / or with every new demo out....
Rob: The band sound from my perspective was influenced by the groups each of us listened to like Trust, Rose Tattoo, AC/DC, The Angels, Iron Maiden and various others. I would say the changes that occurred with the sound were a natural evolution more than anything conscious.
Sandy: I remember Rick and I were really into a lot of the French bands at one point like Trust, Sortilege & Satan Jokers. It was really cool because the whole band was into groups that none our friends had heard of.
MM: Talking Canada down the early – mid 80’s in a musical sense; there doesn’t seem to have been a thing that would serve as a starting platform for anything Power / Speed or Metal related with only a handful of bands band that got the word out big time, and only down Underground circles anyways such as Sacred Blade and Deaf Dealer. So, how was the domestic scene in reality when it comes to fans, live-venues, radio-airplay etc etc...
Sandy: Back then the only time you’d see an original Metal band playing was at a public Recreation Centre or at an all ages venue that the bands would have to rent out. Vancouver at that time was rampant with Top 40 bands and clubs. That didn’t change until around 1987.
Rick: I’m not sure if Canada was that different than most countries in that Metal wasn’t really an accessible genre for radio or TV for that matter at the time. As a consequence, lots of acts lived totally under the radar, with their music distributed by underground networks of tape swappers (imagine if we had the Internet back then!). As the scene was really just developing, most of the bands were made up of really young people like ourselves who were too young to play in bars and clubs even if we had been wanted. Bands had to hunt down venues and do all the work themselves.
MM: Is it also for that reason that the band aimed at the USA and Europe recognition-wise, as you did get a fair share of feedback over there, not to mention the tape-trading scene that quickly picked up on this band that sounded like fair competition to Sacred Blade down its early stages!
Rick: The U.S and Europe were the only places that seemed to have big enough bases of interest to support a number of fanzines. We just went to where the interest was really. Japan too, but though Rob has always been interested in Japan he couldn’t write in Kanji!
Sandy: I think we focused on Europe more because the NWOBHM scene was really big and two guys we knew traded a lot of tapes with people from Europe and the States. We were kind of lucky meeting Ron Singer and Gerald Yoshida who were local Metal aficionados. They really helped us out with getting our tapes out there. Ron also showed me how to get into magazines, who to direct our tapes to etc. It really worked well, soon enough we had magazines from the States and Europe contacting us. I used that same formula in other bands I was in and it worked exceedingly well.
Rob: Sandy really was the one that should get the credit of getting our name and material circulated to the widest audience possible in those days.
MM: So, does this refer to the 2 song tape featuring the songs “Sacred Trust” and “Arrow To The Sun”, the latter which would later appear in a modified – actually completely different - version on another demo tape. As for this one cut, “Sacred Trust”; that just breathes Sacred Blade; any coincidence? Was there an early click or acquaintance with the band, the more so as Jeff Ulmer of Sacred Blade later mixed some material....
Rob: At the time we had some friends in common so we did know Jeff, although not that well. “Sacred Trust” was written by Rick so I should let him answer that one.
Rick: We always thought our sound was very different from Sacred Blade’s. The title “Sacred Trust” goes back many, many years before either version of the song was recorded or before Sacred Blade was around. I can now, after many years, reveal the impetus for the song title: it came from a political war of words regarding the indexing of government pensions. Pretty hilarious – not very “Metal”. I kept a mental note that the term would make a great song title and it stuck with me for years. You can never question where inspiration comes from, just be thankful if it comes at all. I remember we invited Jeff into the studio to see what tinkering he would suggest. The first thing he wanted to do was drop my 'wild' guitar track. Too funny, he was right though, it’s pretty sloppy, especially compared to Rob’s.
Rob: Thanks Rick, I didn’t think your playing was sloppy. Maybe Jeff just preferred my heavy Hi-watt sound over your Marshall’s. Hmmm…, interesting.
MM: How many Midnight Vice originals have there been produced all together, and is there any that remained unreleased?
Rob: We released about 20 songs with 2 or 3 of these being re-written / modified in some manner. There are a few tracks that we made rough tapes of but were never fully developed. In fact I still want to record one of these in particular but I think I will have to persuade the others to go along with that idea.
MM: So, what is the exact number of demos produced over the years, and could you please list year of release, demo-title, and titles of tracks featured on the individual tapes...
Rob: OK here it goes:
Ocean Sound Studios Demo #1 (1983)
(Rick Hart / Bass & Vocals, Gord Spence / Guitar, Sandy Hyde / Drums, **Rob Furland / Backing Vocals)
1. Sacred Trust** (Hart)
2. Arrow To The Sun (Early version of Vice Squad) (Hart / Furland)
Silencer Demo #2 (1983)
(Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums & Vocals, Rod Bruno / Bass)
1. For King And Country (Furland / Hart / Hyde)
2. After Me (Hart)
3. Lead Picks (The Piece) (Hart)
4. Out Of The North (Furland / Hart)
5. Croon The Blues (Bruno)
Grapevine Studios Demo #3 (1983)
(Carlos Tesler / Vocals, Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums, Rod Bruno / Bass)
1. Shanghai Battlecry (Hart)
Vice ‘N’ Virtue Cassette (aka Demo #4)(1984)
(Andrew Marti / Vocals, Rick Hart / Guitar-Bass, Rob Furland / Guitar-Bass, Sandy Hyde / Drums & Vocals)
1. Fool To Let You Go (Hart)
2. You Bet Your Life (Furland / Hyde)
3. Worlds Away (Hart)
4. In The Night (Furland / Hyde)
5. Shanghai Battlecry (Version 2) (Hart)
6. Sacred Trust (Hart)
7. Maiden Voyage (Hart)
8. Vice 'n' Virtue (Furland / Hyde)
9. Time – The victor (Hart)
10. Out Of The North (Furland / Hart)
11. Suspicion (Furland / Hyde / Marti) – VNV Outtake
Studio 12 Demo #5 (1984)
(Steve Jack / Vocals, Rick Hart / Guitar, Rob Furland / Guitar, Sandy Hyde / Drums, Rod Bruno / Bass)
1. Arrow To The Sun (Fly Up High) (Furland / Jack)
2. Vice Squad (Hart / Furland / Hyde)
3. Refections (Keep Turning Away) (Furland / Jack)
MM: What has been the heaviest-ever tune produced by MIDNIGHT VICE? A fair chance that this would be “Sacred Trust”, closely followed by “Shanghai Battlecry”... ?
Rob: Those are pretty heavy tunes but for me an earlier one called “For King And Country” is the heaviest in my opinion. Sandy did the vocals on that demo.
Rick: I don’t think we ever went out of our way to write the heaviest songs possible. We just made songs that we liked. Some of the other bands at the time sounded like they were in a competition to see who could be the heaviest, fastest or loudest. Maybe that’s where Thrash came from. It wasn’t really us though.
MM: At some stage, things really went snowballing for you guys with the band getting fanzine footage all over the world, tapes in circulation, and a track, “Vice Squad”, appearing on the ’85 “Speed Metal Hell” compilation LP.... Did you guys have a manager, or just a good inside look at the international Underground scene, and how to set foot it in....
Rick: A lot of our success in getting the Vice word out belongs to Ron Singer who was probably he biggest Metal fan in the Northern hemisphere at the time. He had a lot of contacts that spread the demos around. He also exposed us to a lot of great bands that we probably never would have found otherwise. We never had a manager or anyone giving us tips and ideas. Looking back, I think this could have made a big difference. But, again, we were really young. We had the ambition (and talent I’d like to think), but were pretty clueless as to how about doing anything with it. I remember once we got an invitation to play at an outdoor festival in Belgium. We probably couldn’t have found Belgium on a map.
Rob: We sent demo’s out to fanzines and were covered in several such as Aardschok, Metal Forces, Metallion, etc. Sandy was also doing his best to promote the band by sending tapes to several record companies and we narrowly missed getting “Shanghai Battlecry” on one of the earlier 'Metal Massacre' LP’s back in 1983. It was down to us versus a much heavier band and we were the ones to be cut.
Sandy: I remember 'Heavy Metal Ron' got us to meet with an A&R Rep at CBS Records who told us he liked the music but was going to pass. We also got one of our demos passed onto to Warner Brothers by Dee Snider. A friend of ours met Dee and and gave him our demo. Dee then passed it onto someone at Warner’s. We got a letter back saying basically the same thing, that they liked it but were going to pass…keep them up to date, etc. Very cool that Mr. Snider went out of his way to do that. According to the Midnite Vice diary I kept, we also gave tapes to John Bush from Armored Saint, John Sykes and Paul Stanley.
MM: So, how did Midnight Vice land this song to the New Renaissance sampler.... Did a tape land on the desk of Ann Boleyn, and, did you have a say in the selection of the contribution... Also, has there been an offer from the same label – or another – to record a full-length release?
Sandy:That was basically 30 plus years ago, but from what I recall we received a letter from New Renaissance asking if we’d like to submit a song for consideration for a Metal compilation. We sent the tape off and about a month later we had been chosen to appear on the compilation. We were all pretty stoked as you can imagine you would be at 17 years old. New Renaissance sent us a contract to do two albums after Speed Metal Hell came out. It apparently sold quite well. This was October of 1985. The band at that point had basically disintegrated, so unfortunately that never came to fruition. Later that year Rod hooked up with guitarist Mike Downing and Singer Dave…something. He asked me to join and that version of the band lasted for about a year, almost getting into the studio and doing some shows…but it all fell through.
MM: At some stage in the musical directions, the band seemed to be heavily inspired by the NWOBHM, Bitches Sin in particular, referring to the ’84 “Vice ‘n Virtue” demo. This comes clearly surfacing on “You Bet Your Life” (with additional shades of Savage), and the Bitches Sin carbon-copy “Out Of The North”, drawing similarities to “Down The Road”. Not knowing better, this material could have come from an English band, playing genuine NWOBHM with all the trademark trimmings, rhythm and riffage....
Rob: Well to be honest, I can’t recall ever listening to Bitches Sin so I could not give any such comparison. The track “Out Of The North” was likely influenced by the Dutch band Picture, but I used to listen to a lot of bands at the time so I couldn’t say for sure. The other track mentioned, “You Bet Your Life” had some chords I picked up from listening to bands like The Angels (Angel City). I never tried to write in the NWOBHM mode but clearly I was hearing a lot of that music and I tried to write music that I would want to listen to myself.
MM: What have been the inspiration sources, and / or examples for the band over the years... although it seems those have changed as well... referring to the '84 “Studio 12” demo, addressing to melodic Metal with elements of PowerMetal in the true American styles, as highlighted on “Vice Squad”....
Rob: Can’t exactly remember but Rick or I suggested bringing back ‘”Arrow To The Sun” but we didn’t like the lyrics so they were changed and the song became “Vice Squad”. We did decide that this demo should be rounded and coincidentally I had a couple of songs that I was playing with, one a ballad type “Reflections” and another more melodic one which borrowed an earlier title called “Arrow To The Sun”. The song selection just kind of fell together and off we went to the studio with our new singer, Steve Jack.
Rick: Rob has mentioned some of our key influences earlier (Maiden, AC/DC, Trust). I would add a couple things. First, Rob, Rod, Sandy and I were always into loud, aggressive music – going back to Kiss, Ted Nugent, Blue Oyster Cult, Rush, etc. Our influences really evolved with the music around us – Tank, Tygers of Pan Tang, Saxon, Motorhead, Angel City, Vandale, Warning, Loudness, Raven, Baron Rojo... If I had to pick a geographic place that we seemed to draw influences from, it would probably be split between the UK and Australia, the U.S. less so. Don’t know why… I think we were probably just hitting our peak in terms of solidifying our own sound when we got caught up in other things and the band fell apart. I don’t know if I could describe the sound, but it was a real mix of things.
MM: Remarkable though that by then, the melodic thing took the upper hand, as the previously released “Shanghai Battlecry” is full on U.S Metal / Power, mid-80’s style, whereas “Suspicion” goes back to a more transparent, NWOBHM style.... was this a leftover from the “Vice ‘n Virtue” recordings, as it sounds pretty much cut from the same mold....
Rob: Suspicion was a track that was a last minute thought. We had finished with the “Vice 'N Virtue” recording and everyone had left except Sandy and I. The song just came along with the recording being done on the 3rd or 4th take. I did the slide and rhythm guitars along with Sandy on drums. Sandy wrote the main lyric that night and we added Rick on Bass and Andrew’s vocals the following day. That song, which is a band favourite to this day, almost never happened.
Sandy: The video of “Suspicion” is priceless! Recorded in my parents basement with a video camera with no view finder….ahhh those were the days.
Rob: It was made by a good friend of the band, Joey ’Vidboy’ Brehm, who kindly helped us out with a few different things along the way.
MM: Which were the other tracks that were recorded but never finished from the ’83 Grapevine-studio recordings, the one song of which emerged in full was “Shanghai Battlecry”
Rob: Ah yes, well the tracks were basically ones that we had already recorded on the earlier ‘Silencer Demo’ with the exception of one track “Dawn Is Breaking”. In fact, a part of this one was re-used in a later composition of mine called “Reflections”.
MM: Eventually, the band evaporated, somewhere down the tail-end of ’85.... what caused the split or disbanding, and to what bands did its members flock to?
Rob: Steve left shortly after the Studio 12 demo was recorded in October ’84 and I was out of the band about a month later in November. I joined a band called ‘Knights Realm’ but we only lasted about 6 months.
Sandy: I jammed in Rod’s incarnation of Vice for about a year. When that fell apart I joined a band called Pretty Boy Floyd (Not the L.A poseurs) We were like a sleaze rock AC/DC. We opened for Skid Row, Savatage, Hurricane, Masi etc…Had a 4K review in Kerrang, got in Hit Parader, RIP etc., We were in the U.K top 10 indie charts for a month which was really cool.. Things went great for that band and we were on the verge of being picked up by a major. Then the L.A band came along and we got into a big legal fight, which ultimately we settled out of court. It was basically the demise of that band. I then played in Grandma Moses, which was featured in Metal Edge’s 'Rock On The Rise'. We came close to getting a deal in Japan, but it fell through. Years later, 2004, Perris Records in Texas put out Grandma Moses “Too Little Too Late” which was our
unreleased album and a bunch of demos. I have spent the last 12 years in The McRackins, a Pop Punk band. We’ve put out 12 albums from labels around the globe and did a 12 country tour of Europe in 2007. One thing should be mentioned about Steve Jack, He went on to sing in RockHead, 'Bob Rock of producing fame’s band'. He toured with Bon Jovi all over Europe and they released one album. I ran into him at a club when I was in Pretty Boy Floyd and he had just gotten back from the tour and told me how much fun he had. He didn’t do much after that band split up and Rock got back to focusing on producing. Rod Bruno – currently plays with Universal Recording Artist, Matthew Good
MM: What do you reckon, was the most successful, or ‘best’ line-up over the years and with all these musicians coming and going; particularly the lead-singers, which doesn’t make things easier... has this been an obstacle you think?
Rob: The line-up that received the most positive feedback was the final recording members: Steve Jack - Vocals, Rick Hart – Guitar, Sandy Hyde – Drums, Rod Bruno - Bass and myself on guitar. The changing singer issue was probably comparable to Spinal Tap’s changing drummers but most definitely was not intentional or desirable. Every time the vocalist is changed the sound of the band is altered. Unless the singer is absolutely terrible, it is better to keep an established sound to work on and develop.
MM: How was the live-thing; ever done opening slots for major acts, and did you guys play frequently?
Rob: As mentioned earlier, the Vancouver area was not really the best place for live Metal acts as there were not many places to play club-wise. Most local bands would set up a show at a venue themselves and sell tickets. A couple of places we played were a hotel in Vancouver as support for a friends band and at a community centre in Richmond with another local band ‘Solen’s Lair’ opening for us. Clearly being under drinking age at the time did limit our chance to play at the few clubs available.
To find out more about the band; check out these links:
https://www.facebook.com/midnightvice
http://midnightvice.com/
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Above left and right; Midnight Vice albums "Evidence" and "Full Disclosure". Above centre: Midnight Vice live '84.
centre photo provided by Midnight Vice
centre photo provided by Midnight Vice
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N.W.O.B.H.M special |
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MARZ are one the more obscure bands from the early stream of NWOBHM with just one demo and one limited press single being circulated in 1980. Only few may know about the connection with the other Grantham / UK based act OVERDRIVE, featuring MARZ members Ian Padgett a.k.a 'Scratch' (drums) and Steve Farmer (vocals), and whereas Overdrive skyrocketed to cult status in more recent years, Marz remained an act clouded in obscurity whilst having about 14 original songs out. In this interview, singer Steve Farmer spotlights the short-lived career of the band and where it all began....
Manic Mosh Metal: When did Marz come in existence, how, and what was the very first line-up?
Steve Farmer: Well, it’s around 1978 / '79 when Scratch (drums) left Overdrive and got together with Russ Clough (bass) and Dave Lamont (lead guitar). I joined shortly after after leaving Overdrive. I brought in another guitarist, Mark Lindley, old friend of mine.
MMM: In 1980, Marz recorded a demo with the tracks, “On The Road To Freedom”, “When The City Sleeps” and “Love Is What You Make Of It”; was this the first documented material or has there been any other tapes released?
Also, was this an official demo that was made available to the public or a promotional release?
SF: Yes, it was the first recording we did but I don’t remember recording it. It was for demo purposes to get gigs and we also sold them at gigs with t shirts and pins.
MMM: That same year, Marz released the “Lady Of The Night” 7” EP featuring “Lady Of The Night”, “On The Road To Freedom” and “Daydreamer”; were these songs from the same recording session as the demo tracks?
SF: I remember recording the E.P at 'Sin City' studios in Nottingham and I think the demo was recorded somewhere else.
MMM: It is known that 500 copies of the single were pressed, is that the exact amount? Also, how many of these did come with the sleeve and pin and did all of the ones with sleeve have a pin?
SF: 500 was the amount pressed. As I remember there were 400 sleeves and the first 100 had a pin.
MMM: Has there ever been any label interest in the band and / or have you shopped any demo tapes or rehearsals around in order to land a recording deal?
SF: There has been some interest recently regarding re-releasing the E.P on vinyl again but at the moment I’ve not followed it up yet.
MMM: What was the connection with Overdrive, both you and drummer Ian Padgett were in that band for a while... Also, Overdrive was before Marz, but released their “On The Run” single later than Marz.
SF: Myself and Ian 'Scratch' Padgett (drums) were both in Overdrive when the “On The Run” single was recorded, then both of us left on separate occasions and Marz was formed. The original 7” single “On The Run” came out before we left Overdrive.
MMM: You were also in a band called Vesuvius; when exactly was this and what was the style of the band?
SF: I can’t remember the dates of Vesuvius but I do remember I was living in London at the time and having to travel back to Grantham for rehearsals and gigs. The style changed from Overdrive’s Metal roots to a Van Halen type of sound.
MMM: Did Marz do any / many live shows and have you shared the stage with other bands?
SF: Yes we were very popular with a good following and did a lot of shows around the the East Midlands.
The only band that I recall supporting Marz was the original English Dogs; a Punk band from Grantham that got very big and supported Metallica on a couple of tours in the U.S.A.
MMM: When did the band fold, what was the reason, and what bands did its members get involved with afterwards?
SF: I Don’t remember the date but Scratch left and got married, Mark left to concentrate on classical guitar and a career. Then I left. Marz continued for a year or so afterwards with new members and I went to see them in Lincoln, they were still really good.
MMM: Anything else you'd like to add?
SF: Myself and Scratch are still very good friends; I’m his youngest son’s godfather and our families still spend evenings at each other’s homes. We spent most of our lives together right from infant school. Bloody hell, that's 55 years!
Steve Farmer: Well, it’s around 1978 / '79 when Scratch (drums) left Overdrive and got together with Russ Clough (bass) and Dave Lamont (lead guitar). I joined shortly after after leaving Overdrive. I brought in another guitarist, Mark Lindley, old friend of mine.
MMM: In 1980, Marz recorded a demo with the tracks, “On The Road To Freedom”, “When The City Sleeps” and “Love Is What You Make Of It”; was this the first documented material or has there been any other tapes released?
Also, was this an official demo that was made available to the public or a promotional release?
SF: Yes, it was the first recording we did but I don’t remember recording it. It was for demo purposes to get gigs and we also sold them at gigs with t shirts and pins.
MMM: That same year, Marz released the “Lady Of The Night” 7” EP featuring “Lady Of The Night”, “On The Road To Freedom” and “Daydreamer”; were these songs from the same recording session as the demo tracks?
SF: I remember recording the E.P at 'Sin City' studios in Nottingham and I think the demo was recorded somewhere else.
MMM: It is known that 500 copies of the single were pressed, is that the exact amount? Also, how many of these did come with the sleeve and pin and did all of the ones with sleeve have a pin?
SF: 500 was the amount pressed. As I remember there were 400 sleeves and the first 100 had a pin.
MMM: Has there ever been any label interest in the band and / or have you shopped any demo tapes or rehearsals around in order to land a recording deal?
SF: There has been some interest recently regarding re-releasing the E.P on vinyl again but at the moment I’ve not followed it up yet.
MMM: What was the connection with Overdrive, both you and drummer Ian Padgett were in that band for a while... Also, Overdrive was before Marz, but released their “On The Run” single later than Marz.
SF: Myself and Ian 'Scratch' Padgett (drums) were both in Overdrive when the “On The Run” single was recorded, then both of us left on separate occasions and Marz was formed. The original 7” single “On The Run” came out before we left Overdrive.
MMM: You were also in a band called Vesuvius; when exactly was this and what was the style of the band?
SF: I can’t remember the dates of Vesuvius but I do remember I was living in London at the time and having to travel back to Grantham for rehearsals and gigs. The style changed from Overdrive’s Metal roots to a Van Halen type of sound.
MMM: Did Marz do any / many live shows and have you shared the stage with other bands?
SF: Yes we were very popular with a good following and did a lot of shows around the the East Midlands.
The only band that I recall supporting Marz was the original English Dogs; a Punk band from Grantham that got very big and supported Metallica on a couple of tours in the U.S.A.
MMM: When did the band fold, what was the reason, and what bands did its members get involved with afterwards?
SF: I Don’t remember the date but Scratch left and got married, Mark left to concentrate on classical guitar and a career. Then I left. Marz continued for a year or so afterwards with new members and I went to see them in Lincoln, they were still really good.
MMM: Anything else you'd like to add?
SF: Myself and Scratch are still very good friends; I’m his youngest son’s godfather and our families still spend evenings at each other’s homes. We spent most of our lives together right from infant school. Bloody hell, that's 55 years!
Before the resurgence of NWOBHM in more recent years and cult labels snapping up bands of old to release back catalogues, there wasn't much of a reference to Essex (UK) based unit RANDOM BLACK, other than a contribution to the '84 “Metal Warriors” compilation LP released by Ebony records. Yet, Random Black had a whole repertoire of originals and a sound that definitely could have gone places as evidenced by one of the band's heaviest works “Witch Daughter” that came from the recording session for the 1981 “Vanishing Point” demo, as guitarist Mark Kirkman acknowledges: “We were on fire during those sessions. John’s thunderous drums in 'Witch Daughter', Ron’s guitar in 'Lost Child', Don’s passionate vocal delivery...”. Random Black continued to record material but a record deal was not on the cards, even though a major label showed interest in the band. One can only but wonder have things would have turned out for the band if they had taken matters into their own hands, doing the D.I.Y single thing like many others bands from the NWOBHM did at the time, Mark adds: “In retrospect maybe we should have gone down the single route and signed to Neat or Heavy Metal Records, or even done what Def Leppard did and self-fund a single on our own label. Maybe we should have done both?” Whatever the outcome might have been, at least the band finally got their material documented via the old-school Metal prominence that is High Roller records
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Above left: guitarist Mark Kirkman. Above right; guitarist Ron Scates. Photos provided by Mark Kirkman
RANDOM BLACK – 2020 “Under The Cross”
label: High Roller records
Until recent times, UK's Random Black was clouded in obscurity despite a series of demo tapes and an appearance on the '84 “Metal Warriors” compilation in the shape of the song 'Ophelia'. Spinning this collection of tracks it is clear to see that Random Black was up there with the better bands from the NWOBHM but never really got the chance to shine. They do on this set but in a variety of styles, reflecting the various line-up changes the band went through during its existence. The very first recorded material, dating back to 1980, has this raw, traditional NWOBHM sound all over, as evidenced on the riff-based, Holocaust – meets – Rush tinged “Love Gone Stale” and “Taking The Easy Way Out” that has the Rush thing sticking out over it's all out NWOBHM styled base layer, particularly in the vocal department. Things are surrounded by a rather dark atmosphere / mood on “Loves No Friend” whilst still retaining this NWOBHM feel and sound. The best and heaviest material on the disc is lifted from the band's '81 3-song demo tape with “Witch Daughter” as the top Metal track, sounding much like the thing Anvil would later showcase on their “Metal On Metal” album via the song “Mothra”, with a matching vocal style. Quite a remarkable and coincidental resemblance, with Anvil doing this sort of thing a year later, and Random Black's guitarist Mark Kirkman saying this track had more of a connection to The Scorpion's “Love Drive” which is apparent as well. Whichever connection there may be, “Witch Daughter” is a real Metal scorcher in its own right, caked with a lot of guitar. More guitar actions are also found on “Fool's Paradise”; a mid-tempo Hard Rock song with some technical twists. Although the band opted to have the song “Under The Cross” featured on the 'Metal Warriors' compilation LP, the label chose “Ophelia” instead; a decent HardRock / Metal song with certain similarities to Trespass in the guitar department. Approaching 1986, the sound of the band had become more melodic minded (“London Life”) and in-depth whilst maintaining this raw edge as evidenced on the driven Metaler “Rest In Peace” and the Blind Fury / Trespass tinged “Catch 22”; another driven Metal track with guitar and vocal harmonies. Quite a contrasting sound to the main concept is delivered on the moderately paced “Love That Never Lies”, tapping into some classic, moody sphered HardRock with shades of Thin Lizzy. Also a bit different is the driven instrumental “End Of The Line” played much in the style of (80's) American sports themes. Overall, a nice palette of songs from a productive band that moved under the radars of recognition for far too long.
Paul van der Burght
Album comes in various formats, including slipcase DCD, black vinyl DLP and splattered vinyl DLP, available directly from High Roller here:
RANDOM BLACK (hrrshop.de)
label: High Roller records
Until recent times, UK's Random Black was clouded in obscurity despite a series of demo tapes and an appearance on the '84 “Metal Warriors” compilation in the shape of the song 'Ophelia'. Spinning this collection of tracks it is clear to see that Random Black was up there with the better bands from the NWOBHM but never really got the chance to shine. They do on this set but in a variety of styles, reflecting the various line-up changes the band went through during its existence. The very first recorded material, dating back to 1980, has this raw, traditional NWOBHM sound all over, as evidenced on the riff-based, Holocaust – meets – Rush tinged “Love Gone Stale” and “Taking The Easy Way Out” that has the Rush thing sticking out over it's all out NWOBHM styled base layer, particularly in the vocal department. Things are surrounded by a rather dark atmosphere / mood on “Loves No Friend” whilst still retaining this NWOBHM feel and sound. The best and heaviest material on the disc is lifted from the band's '81 3-song demo tape with “Witch Daughter” as the top Metal track, sounding much like the thing Anvil would later showcase on their “Metal On Metal” album via the song “Mothra”, with a matching vocal style. Quite a remarkable and coincidental resemblance, with Anvil doing this sort of thing a year later, and Random Black's guitarist Mark Kirkman saying this track had more of a connection to The Scorpion's “Love Drive” which is apparent as well. Whichever connection there may be, “Witch Daughter” is a real Metal scorcher in its own right, caked with a lot of guitar. More guitar actions are also found on “Fool's Paradise”; a mid-tempo Hard Rock song with some technical twists. Although the band opted to have the song “Under The Cross” featured on the 'Metal Warriors' compilation LP, the label chose “Ophelia” instead; a decent HardRock / Metal song with certain similarities to Trespass in the guitar department. Approaching 1986, the sound of the band had become more melodic minded (“London Life”) and in-depth whilst maintaining this raw edge as evidenced on the driven Metaler “Rest In Peace” and the Blind Fury / Trespass tinged “Catch 22”; another driven Metal track with guitar and vocal harmonies. Quite a contrasting sound to the main concept is delivered on the moderately paced “Love That Never Lies”, tapping into some classic, moody sphered HardRock with shades of Thin Lizzy. Also a bit different is the driven instrumental “End Of The Line” played much in the style of (80's) American sports themes. Overall, a nice palette of songs from a productive band that moved under the radars of recognition for far too long.
Paul van der Burght
Album comes in various formats, including slipcase DCD, black vinyl DLP and splattered vinyl DLP, available directly from High Roller here:
RANDOM BLACK (hrrshop.de)
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interview with Paul J Armfield / RENEGADE / RED / |WHITE HEAT / DEJA VU
A man with a solid background in the NWOBHM is singer Paul J. Armfield. From his first band Viner Carva, onto Renegade who released the “Lonely Road” E.P in 1980 followed by an inclusion on the “Kent Rocks” compilation LP in '81. Via a short stint with a band called Ryder, Paul moved on to Red and recorded three songs for their 1982 demo tape. He then joined White Heat prior to them releasing the “Soldier Of Fortune” single in '84. Deja-Vu was the band he joined next in 1987, opting for a more symphonic / melodic approach; a change in concept that proved successful as it was snapped up by radio stations as far afield as the U.S.A and 2 compilations featuring Deja-Vu tracks in 2 successive years. In the following interview, Paul talks about the early days in his musical career all the way to Deja-Vu and everything in between.
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Above left and right: RENEGADE. Photos provided by Paul J Armfield
Manic Mosh Metal: When and how did Renegade come into existence and were you involved in any other bands prior to Renegade?
Paul: l was 15 years old and l loved Deep Purple. Previously, I had a band called Viner Carva, done a few gigs and and left in 1978. In 1979 Renegade was looking for a Rock singer, l got the job and that's how it all started.
MMM: Did you guys do a lot of shows and any show in particular you remember?
Paul: We played lots of gigs including the Ruskin Arms. There was this gig with Renegade where we played in a church in Sidcup. Two bands were on and we were last, there was this D.J dressed up with top hat and a long cloak, a turntable that looked like a coffin and he drove a hearse, he was called T.F.Much!
MMM: How did the deal with White Witch records come about, and how many copies of the “Lonely Road” E.P were circulated.
Paul: White Witch records approached us
MMM: Wasn't there another song called “Lock The Door”?
Paul: There was but I lost that tape
MMM: Eventually, Renegade folded, what happened next?
Paul: The band finished in 1981 and I then joined Ryder for one year. We played the Ruskin Arms and some other gigs
MMM: So, when were you in Red, and were you also on the '82 demo tape featuring the songs “Father's Son”, “Time To Go” and “Red”?
Paul: In 1982 I joined Red but just to do the demo, 3 songs only and no gigs. The lead guitar player in Red is famous now in a band called Luzbel in Mexico, his name is Raul Grenas.
MMM: Was it after Red that you were also in White Heat before they released the “Soldier Of Fortune” single in '84 with another singer. Also, did you record any material whilst in White Heat? Apparently there were original songs like “Ride To Hell” and “Missing You”, was it you on vocals on these tracks?
Paul: In 1983 I joined White Heat; a great band with J.J.Cox (guitar). We recorded the two songs “Ride To Hell” and “Missing You”. We went to Holland doing lots of gigs and then I left.
MMM: At the tail end of the 80's you were part of another band, Deja Vu. The song “Black Angel” was the first thing to emerge from the band and landed on the “Hands Off” compilation E.P on Ride Records, was that in '87 as the band followed things up with another track, “Love Me Tonight” to be included on the “Full Force” vol.II compilation (Reaction / Ebony records) in 1988.
Paul: I joined this great band in 1987; we only done 5 gigs and then I had to leave the band for personal reasons. Now I am back with Deja Vu again and recording!
RENEGADE / RED – The Last Warrior available here:
RENEGADE / RED -- Last Warrior SLIPCASE MCD (hrrshop.de)
Paul: l was 15 years old and l loved Deep Purple. Previously, I had a band called Viner Carva, done a few gigs and and left in 1978. In 1979 Renegade was looking for a Rock singer, l got the job and that's how it all started.
MMM: Did you guys do a lot of shows and any show in particular you remember?
Paul: We played lots of gigs including the Ruskin Arms. There was this gig with Renegade where we played in a church in Sidcup. Two bands were on and we were last, there was this D.J dressed up with top hat and a long cloak, a turntable that looked like a coffin and he drove a hearse, he was called T.F.Much!
MMM: How did the deal with White Witch records come about, and how many copies of the “Lonely Road” E.P were circulated.
Paul: White Witch records approached us
MMM: Wasn't there another song called “Lock The Door”?
Paul: There was but I lost that tape
MMM: Eventually, Renegade folded, what happened next?
Paul: The band finished in 1981 and I then joined Ryder for one year. We played the Ruskin Arms and some other gigs
MMM: So, when were you in Red, and were you also on the '82 demo tape featuring the songs “Father's Son”, “Time To Go” and “Red”?
Paul: In 1982 I joined Red but just to do the demo, 3 songs only and no gigs. The lead guitar player in Red is famous now in a band called Luzbel in Mexico, his name is Raul Grenas.
MMM: Was it after Red that you were also in White Heat before they released the “Soldier Of Fortune” single in '84 with another singer. Also, did you record any material whilst in White Heat? Apparently there were original songs like “Ride To Hell” and “Missing You”, was it you on vocals on these tracks?
Paul: In 1983 I joined White Heat; a great band with J.J.Cox (guitar). We recorded the two songs “Ride To Hell” and “Missing You”. We went to Holland doing lots of gigs and then I left.
MMM: At the tail end of the 80's you were part of another band, Deja Vu. The song “Black Angel” was the first thing to emerge from the band and landed on the “Hands Off” compilation E.P on Ride Records, was that in '87 as the band followed things up with another track, “Love Me Tonight” to be included on the “Full Force” vol.II compilation (Reaction / Ebony records) in 1988.
Paul: I joined this great band in 1987; we only done 5 gigs and then I had to leave the band for personal reasons. Now I am back with Deja Vu again and recording!
RENEGADE / RED – The Last Warrior available here:
RENEGADE / RED -- Last Warrior SLIPCASE MCD (hrrshop.de)
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Above left: Renegade. Above right, Paul J Armfield (right) with Ian Gillan (left), photos provided by Paul J Armfield
The following interview with J.J.Cox / White Heat / J.J's Powerhouse / Panik Attak was conducted back in 2005
for my then fanzine Loud And Legendary
for my then fanzine Loud And Legendary
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The name White Heat stands for obscurity in the NWOBHM genre, as the band only but released one single in ’84, “Soldier Of Fortune” in a circulation of 1000 copies. Yet, the band intensively toured through Europe and even headlined to replace Gary Moore on one occasion! The following interview with guitarist John J. Cox sheds some light on the history of the band as well as it looks at at related bands Panik Attak and J.J.’s Powerhouse, also starring John on guitar
MMM: When exactly did the band come into existence, was this straight after J.J's PowerHouse folded?
John: J.J’s Powerhouse as a gigging band never actually existed. After the advent of my first band “Quad” (because there were four of us), split up, I moved from Southport to Preston and played in various line ups there; I think in 1982, I got some money together and produced a single called “Running For The Line” in which my old friend Oz from my Quad days sang on. The music was from my time with Quad and Oz wrote the lyrics on the day it was recorded. It was Ozz’s idea to call the line up JJ.’s Powerhouse.
MMM: Did you opt for a different sound - other than that showcased with JJ's PowerHouse - or did it just end up sounding different, putting all of its members inspirational sources and musical backgrounds together..?
John: The sound I suppose was just a case of evolution. In those days I had a 'Carlsborough' 100 watt amp and for my sound I used a 'Coloursound Power Boost' pedal; This really had a powerful sound and was great ,more so live than in the studio. The only problem that I had live was that it picked up bloody taxis. I never ever thought about it sounding different but I guess that was for other people to judge. In terms of the band Quad and other bands I was in, people just bought whatever equipment they could afford but since I always had the format of bass, drums, vocals and my guitar, then most bands I was in would usually sound the same.
MMM: Was there any material recorded for a demo, or did you go straight for the vinyl option?
John: Straight for the vinyl; There was a few demos made on tape in the past but my mate Dunc had just produced his own vinyl single so I was really inspired to do the same.
MMM: Did you have any originals to put a full live set together?
John: If you mean songs, then as always, I tended to have the set mostly built from my own material with a few popular Rock covers thrown in such as “You Really Got Me” which lasted a good ten minutes because I put a whole original middle section in which was basically a rip-off of the middle section from Deep Purple’s live “Space Truckin”. Also dotted here and there in the set were your usual Black Sabbath, MSG, and a few others.
MMM:Were any independent labels approached in order to release any White Heat material?
John: At the time White Heat were playing in Holland a lot and supporting bands such as Wishbone Ash, Motorhead, Hawkwind, and a few others. The best one though was when Gary Moore cancelled and we took over the headline for him and it was at this time that a Belgium company called Mausoleum wanted to sign us. We of course jumped at the chance but before we could they went bankrupt so it never happened.
MMM: Why wasn't there any successor, either in 7" or full-length format?
John: It just didn’t happen. The White Heat single was a one-off and was paid for by the singer, who was a guy called John Dunning. Incidentally that single was recorded at Ray Dorset’s studio in Guilford and he was the man in Mungo Jerry (“In The Summertime” - fame)
MMM: How many copies of the 7" were pressed, and did these all come in the picture sleeve?
John: there were 1000 singles pressed but I didn’t see many of them. Also, I think that it was the worst sounding and recorded piece of music that I had ever recorded. In those days I had no control whatsoever over production. And yes they were all in picture sleeves.
MMM: As for inspirational sources; Ritchie Blackmore seems to be one, referring to particular guitar modes on the solo of "Soldier Of Fortune"... Any others? Obviously purely coincidental, but in a way the rhythm lead on "Soldiers.." connects with The Rods' "Nothing Going On In The City"... Were The Rods in any way a source to draw a certain inspiration from, the more so, as the Blues-injected HardRock on display on B-side cut "Love Maker" could also be a match here…
John: Well, you are quite correct with your thoughts about Ritchie Blackmore and later on I was well influenced by guys like Gary Moore, and Michael Schenker. Also, Toni Iommi was a huge source of inspiration especially in the early days of my music. In the re-make of “Soldiers Of Fortune” - now known as “Starsoldiers” - , if you listen close you can hear excerpts of Blackmore, Schenker and Iommi all in the one solo. In fact, the “Soldiers” track was inspired or ripped off if you like, from a Sabbath track called “Neon Knights”. The track “Love Maker” was not inspired by anything really and it’s only coincidental that it may sound like something.
MMM: According to fanzine footage and overall recognition, the band's career passed rather unnoticed. Surprisingly, the band toured intensively throughout Europe from '83 - '87; how come this was not reflected by a considerable media response or was it that the promotional tools of the trade were merely, if not all, focused on getting the band to perform live, over recording / releasing material?
John: As you rightly say we were in Europe for most of our time and this was purely because as a London based band, there was nowhere in London for us to play because of the New Wave or Punk thing that was going on. It was the same for the British music press/media; they just didn’t want to know us. However, we were in quite a few mags and fanzines in Holland and Belgium.
MMM: Where did most of the White Heat shows take place, and any memorable moments?
John: As said before; we played a lot of our time in Holland. At first it began in small venues such as one in the red light district called “The Last Waterhole”; This was a great place to play and we would be resident for a week at a time. Later when we were handled by a great promoter call Rudolf Heinze, we started to get the bigger venues such as “De Melkweg” (Milky Way) and to my favourite venue, the “Paradiso.” The “Paradiso” was a cathedral which was used for concerts and I and White Heat were video-ed there. The best one, as I’ve said, was the gig in which Gary Moore had backed out of. I’m not sure why this happened but I sure was not about to argue. The only problem that night was that the crowd were not told about the cancellation until just before we went on stage. We were terrified, but as soon as we opened up with “Running For The Line” they were incredible and that was without doubt the best gig of my life. Funny thing was that three days later I played a gig in Cornwall to about thirty people and had to change in the toilet. But get this; Me and the band pulled out all the stops even for thirty people!! The Motorhead gig was a festival in Holland, called “Earthshaker” and included bands such as Manowar, Exciter and a few others. I have to say here a big thanks to Lemmy because all the bands that played dropped a number from their sets so that we could squeeze in our set and play that night.
MMM: The song "Soldier Of Fortune" found its way on a later release (the 2005 “In More Rock album”), just how much does the remake of "Soldier Of Fortune", now called "Star Soldiers", differ from its original version, and why this change of title?
John: Soldiers of fortune became “Starsoldiers” because although I wrote the music for it, John Dunning wrote the lyrics. So, when it came to re-recording it for the “In More Rock” album, my mate Oz re-wrote the words and called it “Starsoldiers.” I really loved that song around the White Heat days and was annoyed at how it was recorded and so I knew I could do a better job in my little home studio myself. It differs in that the guitar sounds are much better and I put a keyboard track on at the end which is very much like a track called “Megalomania” from the Sabbath’s “Sabotage” album.
MMM: Why did the band call it quits, and did all of its members continue in band format? You then formed Panik Attak with singer Derek John Hodd; what's the story here, and just how long has that band been together?
John: We called it a day because I saw that as well as our work in Europe, we had a chance to play more in Cornwall but the rest of the guys didn’t want to do this because they wouldn’t travel or move from London. I left and I think they carried on for a while but nothing came of it. I think they all ended up in other bands but I feel that, at that time in and around London, the places to play were dwindling. I formed P/A around 1987 and went through various line-up changes until I had the right combination of musicians. Derek joined the band in 1989 I think and after a few demo tapes we decided to record the 12” single which included a track called “Shout.” This later was re-recorded in my little studio and the lyrics were re-written by, yep, you guessed it, my mate Oz. The band P/A split in 1991 but I was a dad by then so I really wasn’t that bothered.
John: J.J’s Powerhouse as a gigging band never actually existed. After the advent of my first band “Quad” (because there were four of us), split up, I moved from Southport to Preston and played in various line ups there; I think in 1982, I got some money together and produced a single called “Running For The Line” in which my old friend Oz from my Quad days sang on. The music was from my time with Quad and Oz wrote the lyrics on the day it was recorded. It was Ozz’s idea to call the line up JJ.’s Powerhouse.
MMM: Did you opt for a different sound - other than that showcased with JJ's PowerHouse - or did it just end up sounding different, putting all of its members inspirational sources and musical backgrounds together..?
John: The sound I suppose was just a case of evolution. In those days I had a 'Carlsborough' 100 watt amp and for my sound I used a 'Coloursound Power Boost' pedal; This really had a powerful sound and was great ,more so live than in the studio. The only problem that I had live was that it picked up bloody taxis. I never ever thought about it sounding different but I guess that was for other people to judge. In terms of the band Quad and other bands I was in, people just bought whatever equipment they could afford but since I always had the format of bass, drums, vocals and my guitar, then most bands I was in would usually sound the same.
MMM: Was there any material recorded for a demo, or did you go straight for the vinyl option?
John: Straight for the vinyl; There was a few demos made on tape in the past but my mate Dunc had just produced his own vinyl single so I was really inspired to do the same.
MMM: Did you have any originals to put a full live set together?
John: If you mean songs, then as always, I tended to have the set mostly built from my own material with a few popular Rock covers thrown in such as “You Really Got Me” which lasted a good ten minutes because I put a whole original middle section in which was basically a rip-off of the middle section from Deep Purple’s live “Space Truckin”. Also dotted here and there in the set were your usual Black Sabbath, MSG, and a few others.
MMM:Were any independent labels approached in order to release any White Heat material?
John: At the time White Heat were playing in Holland a lot and supporting bands such as Wishbone Ash, Motorhead, Hawkwind, and a few others. The best one though was when Gary Moore cancelled and we took over the headline for him and it was at this time that a Belgium company called Mausoleum wanted to sign us. We of course jumped at the chance but before we could they went bankrupt so it never happened.
MMM: Why wasn't there any successor, either in 7" or full-length format?
John: It just didn’t happen. The White Heat single was a one-off and was paid for by the singer, who was a guy called John Dunning. Incidentally that single was recorded at Ray Dorset’s studio in Guilford and he was the man in Mungo Jerry (“In The Summertime” - fame)
MMM: How many copies of the 7" were pressed, and did these all come in the picture sleeve?
John: there were 1000 singles pressed but I didn’t see many of them. Also, I think that it was the worst sounding and recorded piece of music that I had ever recorded. In those days I had no control whatsoever over production. And yes they were all in picture sleeves.
MMM: As for inspirational sources; Ritchie Blackmore seems to be one, referring to particular guitar modes on the solo of "Soldier Of Fortune"... Any others? Obviously purely coincidental, but in a way the rhythm lead on "Soldiers.." connects with The Rods' "Nothing Going On In The City"... Were The Rods in any way a source to draw a certain inspiration from, the more so, as the Blues-injected HardRock on display on B-side cut "Love Maker" could also be a match here…
John: Well, you are quite correct with your thoughts about Ritchie Blackmore and later on I was well influenced by guys like Gary Moore, and Michael Schenker. Also, Toni Iommi was a huge source of inspiration especially in the early days of my music. In the re-make of “Soldiers Of Fortune” - now known as “Starsoldiers” - , if you listen close you can hear excerpts of Blackmore, Schenker and Iommi all in the one solo. In fact, the “Soldiers” track was inspired or ripped off if you like, from a Sabbath track called “Neon Knights”. The track “Love Maker” was not inspired by anything really and it’s only coincidental that it may sound like something.
MMM: According to fanzine footage and overall recognition, the band's career passed rather unnoticed. Surprisingly, the band toured intensively throughout Europe from '83 - '87; how come this was not reflected by a considerable media response or was it that the promotional tools of the trade were merely, if not all, focused on getting the band to perform live, over recording / releasing material?
John: As you rightly say we were in Europe for most of our time and this was purely because as a London based band, there was nowhere in London for us to play because of the New Wave or Punk thing that was going on. It was the same for the British music press/media; they just didn’t want to know us. However, we were in quite a few mags and fanzines in Holland and Belgium.
MMM: Where did most of the White Heat shows take place, and any memorable moments?
John: As said before; we played a lot of our time in Holland. At first it began in small venues such as one in the red light district called “The Last Waterhole”; This was a great place to play and we would be resident for a week at a time. Later when we were handled by a great promoter call Rudolf Heinze, we started to get the bigger venues such as “De Melkweg” (Milky Way) and to my favourite venue, the “Paradiso.” The “Paradiso” was a cathedral which was used for concerts and I and White Heat were video-ed there. The best one, as I’ve said, was the gig in which Gary Moore had backed out of. I’m not sure why this happened but I sure was not about to argue. The only problem that night was that the crowd were not told about the cancellation until just before we went on stage. We were terrified, but as soon as we opened up with “Running For The Line” they were incredible and that was without doubt the best gig of my life. Funny thing was that three days later I played a gig in Cornwall to about thirty people and had to change in the toilet. But get this; Me and the band pulled out all the stops even for thirty people!! The Motorhead gig was a festival in Holland, called “Earthshaker” and included bands such as Manowar, Exciter and a few others. I have to say here a big thanks to Lemmy because all the bands that played dropped a number from their sets so that we could squeeze in our set and play that night.
MMM: The song "Soldier Of Fortune" found its way on a later release (the 2005 “In More Rock album”), just how much does the remake of "Soldier Of Fortune", now called "Star Soldiers", differ from its original version, and why this change of title?
John: Soldiers of fortune became “Starsoldiers” because although I wrote the music for it, John Dunning wrote the lyrics. So, when it came to re-recording it for the “In More Rock” album, my mate Oz re-wrote the words and called it “Starsoldiers.” I really loved that song around the White Heat days and was annoyed at how it was recorded and so I knew I could do a better job in my little home studio myself. It differs in that the guitar sounds are much better and I put a keyboard track on at the end which is very much like a track called “Megalomania” from the Sabbath’s “Sabotage” album.
MMM: Why did the band call it quits, and did all of its members continue in band format? You then formed Panik Attak with singer Derek John Hodd; what's the story here, and just how long has that band been together?
John: We called it a day because I saw that as well as our work in Europe, we had a chance to play more in Cornwall but the rest of the guys didn’t want to do this because they wouldn’t travel or move from London. I left and I think they carried on for a while but nothing came of it. I think they all ended up in other bands but I feel that, at that time in and around London, the places to play were dwindling. I formed P/A around 1987 and went through various line-up changes until I had the right combination of musicians. Derek joined the band in 1989 I think and after a few demo tapes we decided to record the 12” single which included a track called “Shout.” This later was re-recorded in my little studio and the lyrics were re-written by, yep, you guessed it, my mate Oz. The band P/A split in 1991 but I was a dad by then so I really wasn’t that bothered.
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Driving South photos above left and right provided by Russell King
Back in the early 80's, East London based Driving South were a regular act at The Ruskin Arms pub amidst a predominant flow of Metal bands. Yet, their brand of Southern Rock managed to wow the crowds but somehow the band never got beyond the demo status. In 1984 Driving South became Street Legal with the core of the band, singer Chris Bailey, and bassist Jeff Gibbs still at it, and the band took the stage with renowned acts such as Paul Di'Anno's Battlezone, RoachFord and Wrathchild. Eventually, Street Legal became Mr. President in the 90's and continued as a cover-band. This is the story of a band that managed to peak at a time when Metal was the talk of the town, blending in with the scene and those who were in it. Manic Mosh Metal talks with Driving South frontman Chris Bailey.
Above: Driving South photo by Michael Parker
Manic Mosh Metal: When did Driving South come into existence and what was the line-up at the very start?
Chris Bailey: Driving South came about after me and Jeff Gibbs ( a friend from school ) left a Blues band called Badge. Getting a bit fed up with constant rehearsals but no gigs I had made a impromptu appearance with JJ Foot at 'The Three Rabbits' singing “Sweet Home Alabama”; this was probably around 1980. Me and Jeff didn't even acknowledge each other at school, but meeting each other at The Ruskin Arms started what was to become a lifelong friendship and musical sparring partners after deciding that we wanted to start a band playing music that we both loved. Driving South started their early days, rehearsing above 'The Denmark Arms' in East Ham. My brother was a member for a short while. The line up what was to play its debut gig (at The Ruskin incidentally) consisted of Chris Bailey (vocals), Jeff Gibbs (bass), Steve Sawkins (rhythm guitar), Stuart Rollings (lead guitar) and Dave Owen (drums). I think we got the usual 30 quid that was the norm at The Ruskin!
MMM: What were the inspirational sources of the band and what was the style of the band?
CB: Southern Rock was our influence; we used to have a rebel flag as our backdrop and we was listening to Lynyrd Skynyrd, Blackfoot, 38 Special; the more harder edged Southern bands although we were listening to the Allman Brothers, Marshall Tucker and Charlie Daniels; they seemed to have more of a Country edge to their music. There probably wasn't many bands doing the same stuff as us as Heavy Rock and Metal was in vogue at the time.
MMM: What was the location of the band and was there a lot of competition from other bands with regards to playing live.
CB: All the band bar one was East Enders; me and Jeff from East Ham, Steve from Barking, Dave from Stratford, Stuart being the odd one out coming from Newcastle but living in Brixton. There was other members who were in the band which I will go into later! Playing The Ruskin was always the gig that you wanted to go well because 60% of the audience was made up from other bands that played there.... I don't think there was any rivalry as far as I can remember; I think we were all involved in our own music; me and Jeff would spend every weekend up The Ruskin regardless of whether we were playing or not! Where else would two guys into Rock music and living in East Ham go???
MMM: What material of Driving South has been recorded and released?
CB: Driving South recorded their 1st demo at the BBC studios Shepherd's Bush around '81 if my memory serves me well; it was organized by Pete Fletcher (Wurzel) who managed to get access via his job. We recorded about four tracks, I think one of which remains today, the rest disappeared in time. In fairness, Pete wasn't a recording engineer so the end result can only be described as average. Driving South's next studio outing was in East Dulwich where we recorded two tracks; a much better result but we had to pay this time, that was around '81 I believe. The 3rd and final time Driving South went into a studio turned out to be a different story, Pete Phillips went on holiday in Bulgaria I believe and met up with a guy called Andy Lovell who was a sound engineer in the famous 'Marquee' studios and managed to persuade him to record Driving South. We recorded two tracks which I have included on my album and it was a fantastic experience; Pete Phillips even played the grand piano that Elton John recorded 'Yellow Brick Road' on. Looking through the Marquee archives was truly mind blowing! I think this took place around '84; that was the Last time Driving South would enter a recording studio.
MMM: Driving South was a regular act at the Ruskin Arms, how did you guys get to play there and what year(s) did you play there?
CB: one of our guitarists (Pete Phillips) kept a diary of gigs that he performed with Driving South, so fortunately I have dates that we played the Ruskin, in order; starting from September '83 we played Friday Sept 9th, Friday Oct 7th, Friday Nov 18th, Friday Dec 9th, then in '84, Friday 13th Jan with Tranz Am supporting, Friday Feb 10th and Friday Feb 24th. As you can see we was pretty much up the Ruskin every month and even more frequent in '84. Pete left in February '84 but there was more gigs played at the Ruskin with Kevin Watson I believe. When not playing the Ruskin we would be playing other local gigs including the 'Three Rabbits', The 'Cranbrook', the 'Bridge House' and the 'Tunnel Club' to name a few. I think Driving South continued till around late '84 early '85.
MMM: You guys were close with Paul Di'Anno's Battlezone, was this as Driving South, or later as Street Legal?
CB: Driving South supported Paul Di'Anno's Battlezone at 'The Bridge House' that came about probably by knowing his band which was pretty much all of Minas Tirith; another regular Ruskin band I was good friends with; Lea the guitarist, Kev the bass player and Mark the keyboard player, they used to come round my flat in Plashet Grove on a Thursday evening and we would listen to music and drink, great times! I often used to have a beer with Paul in a pub just near the top of Green Street on the way to 'The Princess Alice' where Driving South used to rehearse.
MMM: At some point, Driving South morphed into Street Legal; How and when did this happen and did this come with any line-up changes?
CB: Driving South wrapped up around 1984. Street Legal was formed again by me and Jeff. I remember one afternoon in 'The Wakefield' pub we headed back to Jeff's house and drafted an add for Melody Maker looking for musicians to form a Rock band aimed more towards A.O.R. I think we took the Southern Rock thing as far as we could! The 1st person to answer the add was Pete Rainbow (guitar) followed by Barry Everton (guitar), Robin Finesilver (keys) and Danny Rowe (drums). This was to be our longest and most successful line-up; we played numerous gigs all over London, Essex and Kent, even heading out to Paris for a short tour. We opened for a few decent acts (Roachford, Wrathchild ) and we played most of the U.S airbases as well as still doing regular dates at The Ruskin. We had a featured slot on B.B.C Radio Kent; this line-up was to change mainly due to a couple of members getting a little bit messed up with drugs which incidentally led to us getting arrested and locked up at Lake Lakenheath U.S airbase and receiving a ban for life on returning to the base. Me, Jeff and Pete remained in Street Legal; we recruited a new drummer (Spider) and a new guitarist (Jerry Barter) who worked in 'The Marquee Studios' which led us there to do further recordings and also play the famous venue. Once more, the band fragmented leaving me, Jeff and Pete again. We even had a girl keyboard player for a while but that caused problems with girlfriends in the band so that was short lived. We eventually found another drummer (Pete Cowan) and went into a studio in Catford and recorded two tracks. Pete's cousin (Glen Coe) joined the band and we recorded the video “Worlds Changing” which was recorded in “The Red House” studio in Highbury. Street Legal carried on into the early nineties before disbanding. Me, Jeff and Pete the drummer morphed into Mr. President which was a covers band which again toured London and Essex. All in all I think Street Legal was a great band; many ups and downs but hey ho that's Rock and Roll....
Chris Bailey: Driving South came about after me and Jeff Gibbs ( a friend from school ) left a Blues band called Badge. Getting a bit fed up with constant rehearsals but no gigs I had made a impromptu appearance with JJ Foot at 'The Three Rabbits' singing “Sweet Home Alabama”; this was probably around 1980. Me and Jeff didn't even acknowledge each other at school, but meeting each other at The Ruskin Arms started what was to become a lifelong friendship and musical sparring partners after deciding that we wanted to start a band playing music that we both loved. Driving South started their early days, rehearsing above 'The Denmark Arms' in East Ham. My brother was a member for a short while. The line up what was to play its debut gig (at The Ruskin incidentally) consisted of Chris Bailey (vocals), Jeff Gibbs (bass), Steve Sawkins (rhythm guitar), Stuart Rollings (lead guitar) and Dave Owen (drums). I think we got the usual 30 quid that was the norm at The Ruskin!
MMM: What were the inspirational sources of the band and what was the style of the band?
CB: Southern Rock was our influence; we used to have a rebel flag as our backdrop and we was listening to Lynyrd Skynyrd, Blackfoot, 38 Special; the more harder edged Southern bands although we were listening to the Allman Brothers, Marshall Tucker and Charlie Daniels; they seemed to have more of a Country edge to their music. There probably wasn't many bands doing the same stuff as us as Heavy Rock and Metal was in vogue at the time.
MMM: What was the location of the band and was there a lot of competition from other bands with regards to playing live.
CB: All the band bar one was East Enders; me and Jeff from East Ham, Steve from Barking, Dave from Stratford, Stuart being the odd one out coming from Newcastle but living in Brixton. There was other members who were in the band which I will go into later! Playing The Ruskin was always the gig that you wanted to go well because 60% of the audience was made up from other bands that played there.... I don't think there was any rivalry as far as I can remember; I think we were all involved in our own music; me and Jeff would spend every weekend up The Ruskin regardless of whether we were playing or not! Where else would two guys into Rock music and living in East Ham go???
MMM: What material of Driving South has been recorded and released?
CB: Driving South recorded their 1st demo at the BBC studios Shepherd's Bush around '81 if my memory serves me well; it was organized by Pete Fletcher (Wurzel) who managed to get access via his job. We recorded about four tracks, I think one of which remains today, the rest disappeared in time. In fairness, Pete wasn't a recording engineer so the end result can only be described as average. Driving South's next studio outing was in East Dulwich where we recorded two tracks; a much better result but we had to pay this time, that was around '81 I believe. The 3rd and final time Driving South went into a studio turned out to be a different story, Pete Phillips went on holiday in Bulgaria I believe and met up with a guy called Andy Lovell who was a sound engineer in the famous 'Marquee' studios and managed to persuade him to record Driving South. We recorded two tracks which I have included on my album and it was a fantastic experience; Pete Phillips even played the grand piano that Elton John recorded 'Yellow Brick Road' on. Looking through the Marquee archives was truly mind blowing! I think this took place around '84; that was the Last time Driving South would enter a recording studio.
MMM: Driving South was a regular act at the Ruskin Arms, how did you guys get to play there and what year(s) did you play there?
CB: one of our guitarists (Pete Phillips) kept a diary of gigs that he performed with Driving South, so fortunately I have dates that we played the Ruskin, in order; starting from September '83 we played Friday Sept 9th, Friday Oct 7th, Friday Nov 18th, Friday Dec 9th, then in '84, Friday 13th Jan with Tranz Am supporting, Friday Feb 10th and Friday Feb 24th. As you can see we was pretty much up the Ruskin every month and even more frequent in '84. Pete left in February '84 but there was more gigs played at the Ruskin with Kevin Watson I believe. When not playing the Ruskin we would be playing other local gigs including the 'Three Rabbits', The 'Cranbrook', the 'Bridge House' and the 'Tunnel Club' to name a few. I think Driving South continued till around late '84 early '85.
MMM: You guys were close with Paul Di'Anno's Battlezone, was this as Driving South, or later as Street Legal?
CB: Driving South supported Paul Di'Anno's Battlezone at 'The Bridge House' that came about probably by knowing his band which was pretty much all of Minas Tirith; another regular Ruskin band I was good friends with; Lea the guitarist, Kev the bass player and Mark the keyboard player, they used to come round my flat in Plashet Grove on a Thursday evening and we would listen to music and drink, great times! I often used to have a beer with Paul in a pub just near the top of Green Street on the way to 'The Princess Alice' where Driving South used to rehearse.
MMM: At some point, Driving South morphed into Street Legal; How and when did this happen and did this come with any line-up changes?
CB: Driving South wrapped up around 1984. Street Legal was formed again by me and Jeff. I remember one afternoon in 'The Wakefield' pub we headed back to Jeff's house and drafted an add for Melody Maker looking for musicians to form a Rock band aimed more towards A.O.R. I think we took the Southern Rock thing as far as we could! The 1st person to answer the add was Pete Rainbow (guitar) followed by Barry Everton (guitar), Robin Finesilver (keys) and Danny Rowe (drums). This was to be our longest and most successful line-up; we played numerous gigs all over London, Essex and Kent, even heading out to Paris for a short tour. We opened for a few decent acts (Roachford, Wrathchild ) and we played most of the U.S airbases as well as still doing regular dates at The Ruskin. We had a featured slot on B.B.C Radio Kent; this line-up was to change mainly due to a couple of members getting a little bit messed up with drugs which incidentally led to us getting arrested and locked up at Lake Lakenheath U.S airbase and receiving a ban for life on returning to the base. Me, Jeff and Pete remained in Street Legal; we recruited a new drummer (Spider) and a new guitarist (Jerry Barter) who worked in 'The Marquee Studios' which led us there to do further recordings and also play the famous venue. Once more, the band fragmented leaving me, Jeff and Pete again. We even had a girl keyboard player for a while but that caused problems with girlfriends in the band so that was short lived. We eventually found another drummer (Pete Cowan) and went into a studio in Catford and recorded two tracks. Pete's cousin (Glen Coe) joined the band and we recorded the video “Worlds Changing” which was recorded in “The Red House” studio in Highbury. Street Legal carried on into the early nineties before disbanding. Me, Jeff and Pete the drummer morphed into Mr. President which was a covers band which again toured London and Essex. All in all I think Street Legal was a great band; many ups and downs but hey ho that's Rock and Roll....
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Above left: Driving South with fans outside the Ruskin Arms '81. Photo provided by Alan Sinclair.