club.kingsnake.com - CD Reviews

CD Review: Suicidal Tendencies - Year of the Cyco

nospam@example.com (Cindy Steinle) — Sun, 19 Apr 2009 22:13:48 -0500

Suicidal Tendencies
Suicidal Records
Year of the Cyco
Released April 2009

OK, I admit, I have been lazy and haven't actually written this review. It doesn't mean I haven't been listening to the CD. I think I was just keeping it as my own personal secret. At the Suicidal Tendencies show in December I went loaded with a good chunk of change, and I proceeded to spend most of it. One of my purchases was the tour release of "Year of the Cyco" which is a CD containing new, old and live releases by ST, Infectious Grooves and Cyco Miko. A teaser if you will as all three bands should be releasing albums in 2009. This is like GOLD to me. With nothing new hitting the world from any of the bands since '01 (and that was Infectious), this was just short of glory. It's almost like a marriage. A little old, a little new, a little borrowed and the cover has blue...

The thing that I loved the most about this album is that each band had its own sound. Suicidal was back to its punk roots. Infectious is hanging over in its funky groove area and Cyco Myko is just plain off. Over the years the groups merged in some extent to their sound as ST evolved into IG with CM just kinda going off and doing its own thing. I like that the lines seem much straighter between ST and IG. Rather than another off shoot sounding a little different, they now sound like two totally different projects. The best way to see hear this is the ST song "The Future is Now" and the IG song "Funny Farm". Two totally different bands.

For fans who have been there over the years, there are updated version of ST "Two Wrongs Don't Make a Right" and a live version of "Cyco Vision" as well. There is also a lovely track, "Crazy But Proud" by No Mercy.

My personal faves from the album are "Big Man" and "My Summer Vacation/All Goes to Hell" My Cyco Miko, "The Future's Now" by ST and "Funny Farm" by IG. Not that I have any reason, but these just happen to be the songs that get me going the most. "Big Man" is classic Miko rambling on the state of society and I think that is my current total favorite off the album.

Something spiff if you actually take the time to read liner notes, there is a break down of each and every song, its origins, what's new or just new to us. Reading the liner notes, I realized why I liked "Funny Farm" so much actually. It is from the final recording with Robert Trujillo. It is good to read liner notes, especially when they have nifty little tidbits like that!

OK so here is the good news. This was a tour release only, but alas, now that the loyal Cycos like me know every song forward and backward, the stragglers (or those not fortunate to have an ST show with in several hundred miles like I did) can play catch up. Of course it is only available on their website. Personally I think I will order the Vinyl copy as well.

Now the only question I have remaining is when are my full releases from all three bands coming out?

CD Review: Thin Lizzy Still Dangerous: Live At The Tower Theatre Philadelphia 1977

nospam@example.com (Jeff Barringer) — Thu, 19 Feb 2009 07:07:00 -0600

It always made me mad that Phil Lynott died at what was probably long before the peak of his career. Sure he and Thin Lizzy released some classic hits but I suspect that they would have gained much from the rise of metal in the 80's, would have seen a long career in the industry, and over time released a tremendous amount of great music. The story of Phil Lynott and Thin Lizzy has to be as much about what we never got to see or hear from the band due to Phil's death as it is about the legacy that he left behind. With such an incredible voice its sad to know that what is out there is all we will ever have.

Luckily every once in a while gems appear to shine a light on what was and what could have been, and such is the case with the newly released Still Dangerous.

Recorded live in 1977 some of the material sounds a bit dated but Phil's voice sounds crisp and clear, the band sounds exceptionally tight, and in the guitar work you can hear the runs that would inspire countless rock and metal guitarists to explore further. It literally gave me a chill to hear some of these songs again live, like "Cowboy Song" and "Jailbreak". I never saw Thin Lizzy live so this is the closest I will ever get.

On March 3rd VH1 Classic Records will release Thin Lizzy’s Still Dangerous: Live At The Tower Theatre Philadelphia 1977, on CD, digitally and limited edition vinyl.

Wherever you are Phil Lynott you are missed.

Still Dangerous Track Listing:
1) Soldier Of Fortune
2) Jailbreak
3) Cowboy Song
4) The Boys Are Back In Town
5) Dancing In The Moonlight
6) Massacre
7) Opium Trail
8) Don’t Believe A Word
9) Baby Makes Me Cry
10) Me And The Boys

CD Review: Guns n Roses - Chinese Democracy

nospam@example.com (Cindy Steinle) — Sun, 23 Nov 2008 20:38:27 -0600

So 15 years. The joke was always that China would be a democracy before the album was released, but alas, the album came first. I scurried my behind over to best buy today. Every other album release by GNR I got the day of release. In fact I once waited in line for 4 hours after skipping school to get my copy of Use Your Illusion I only to learn II was out! I once camped out for tickets to the opening day of the Use Your Illusion tour which kicked off here in WI at Alpine Valley. There was no way I wasn't getting "Chinese Democracy" today.

At first listen, I was mildly let down. All these years (15 of them) awaiting this, and the edge isn't there. I knew what I expected, dreamed and hoped for. It wasn't there. The edge is gone. The raw grit is missing. Now at second listen, trying to separate the GNR I worshipped as a child. Its an oddly mellow CD. Axl's voice sounds more refined and less gravelly. The list of musicians involved in the project is totally mind boggling. Buckethead, Bumblefoot, Brain. All amazing artists in their own respect collaborated on this project. This is the first album I have ever looked at liner notes and each song had a list of people playing instruments and who did what on arrangements.

Some songs give touches of old GNR. "Scraped" and "Riad n' the Bodouins" are songs with hints of the old guard. "IRS", while a more mellow selection is most definately a Guns song. Songs like "Sorry" have in my taste too much processing on vocals, almost to the point that Rose's voice is unrecognizable.

I think die hard GNR fans like me may need more than one listen to get into the CD. When not comparing it to what I expect, the CD is ok. Just remember its the new Guns.

CD Review: Static X - Cannibal Killers Live

nospam@example.com (Cindy Steinle) — Wed, 12 Nov 2008 00:47:43 -0600

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I really regret the fact that I have seen so many Static X shows and this is the first one I actually watched. I also further regret the fact that it took Jeff starting this website for me to actually listen to this band.

Released on October 14, 2008 "Cannibal Killers Live" is a cool little collection of a live show, both the video and audio, shot in Spokane Washington on the Cannibal Tour, 12 of their made for TV Videos (which for me was the true highlight) and a ring tone feature. Your One Stop Static shop if you will.

There are very few live CDs that I ever find fault with and this one definitely lived up to my expectations. For those who haven't seen Static X, I have no clue where to start. The video is shot with at least 10 different camera angles including a few from the sound board and the wings. It gives you an almost 360 degree view of the band. While at times, I wish the camera shots were a bit longer in positions, the switches actually coincide nicely with the tempo of the music. Brian has been telling me that drummer Nick Oshiro is one of the most animated drummers around, and despite the fact that I have seen X at least 4 times in the past 2 years this is the first time I ever actually got to see how animated he really is. Wayne Static is almost so much of a geek that he is cool. He postures like a rooster, he has some of the most entertaining facial expressions and never fails to make me laugh during a show. He loves what he is doing and it comes through. Even with some of the sound issues with the venues I see them at regularly they sound near perfect and that comes across on both the CD and DVD.

The video portion is cool for a Johnny Come Lately fan like me. I missed the peak of their MTV times, and seeing older videos was just plain cool. It sounds cheesy, but I just fell in love with the aura of fun that this band puts forth.

Personally I cant wait to load the CD portion on my IPod for the gym. Nothing gets me going better on the bike than a little evil disco. LONG LIVE EVIL DISCO!

CD Review: Staind - Illusion Of Progress

nospam@example.com (Jeff Barringer) — Tue, 02 Sep 2008 22:25:00 -0500

Sluruuuuuururururururrrrppp.

That giant sucking sound is the new release by the band Staind called Illusion of Progress, and a more aptly named release I could not suggest. What the fuck happened?

I love Staind. I have worn out my copies of Dysfunction, Break The Cycle, and Chapter V, much to the chagrin of my friends that think all I listen too is hard and fast. I have listened to this over and over and I can find absolutely no re-deeming qualities about this disc at all. Not a single song worth mentioning. In fact I don't think it would even make a good coaster for my coffee table. Maybe I can use it like a mirror to signal low flying aircraft.

No wonder The Jonas Brothers beat em to #1.

CD Review: Slipknot - All Hope Is Gone

nospam@example.com (Jeff Barringer) — Sat, 30 Aug 2008 21:56:00 -0500

Ok... I liked this disc - right up until they tried to go mainstream with the vocals. All the tracks where they try to go mainstream suck. All the tracks that don't go mainstream go crunch in a big way and are worth buying.

Tracks I liked include "Gematria" and "Sulfer". "Psychosocial" has a real grind to it to start but then really wimps out. "Dead Memories" is just wrong. Sounds like Breaking Benjamin. Not that I don't like Breaking Benjamin, it's just that it doesn't sound like Slipknot.

This is definitely a disc to cherry pick your downloads.

Concert Review: MÃ¶tley CrÃ¼e at the Verizon Wireless Amphitheater, Selma, Texas

nospam@example.com (Jeff Barringer) — Thu, 24 Jul 2008 10:10:12 -0500

Vince Neil of MÃ¶tley CrÃ¼e - more photos
photo by Jeff Barringer - Staff Photographer

MÃ¶tley CrÃ¼e
Hometown: Los Angeles, Ca.
http://www.motley.com/
MÃ¶tley CrÃ¼e Concert Photos
Wednesday, July 23rd, 2008
Verizon Wireless Amphitheater(Selma, Texas)
Also: Trapt, Sixx:A.M., Papa Roach, Buck Cherry

Angry clouds boiled and brewed, the outer bands of Hurricane Dolly breaking against the drought stricken hill country, raised a pissing intermittent rain, driven by bursts of wind and pelting concert goers as they filed into the covered protection of the Verizon's "shed" in Selma. The wind driven attack by the weather paled in comparison to aural and visual assault they were about to experience.

CrÃ¼efest, the raunchy rowdy tattoo emblazoned tour headlined by the notorious MÃ¶tley CrÃ¼e was about to leave a mark on their eardrums and leave them seeing tracers long after they closed their eyes to sleep.

It was an early show and as Gary and I pulled up the parking lot in Selma was filling rapidly. Traffic on the intestate slowing us down, we arrived just in time to collect our badges and head down to the stage. Rounding the corner from the ticket office I got a most pleasant surprise. Just inside the gate was the ever so delectable Avery "Babicator" from the Austin band the Applicators. Running up to me and giving me a big hug we got to talk as we walked down to the stage, making the other photographers jealous. I was jealous of me too!. Getting to hang out with a hot babe AND getting to shoot the CrÃ¼e. Alas my dreams of a perfect concert experience were to come to naught as Avery had a pit ticket and I was relegated to shooting from the area by the sound boards, thus she went one way and I the other when we got to the entrance.

Continue reading "Concert Review: MÃ¶tley CrÃ¼e at the Verizon Wireless Amphitheater, Selma, Texas"

CD Review: Testament, The Formation of Damnation

nospam@example.com (Cindy Steinle) — Sun, 20 Jul 2008 20:19:00 -0500

Testament
The Formation of Damnation
Nuclear Assault Records

I cant tell you how very long I have waited for this. Yeah I have all the other CDs that Testament has put out, but to have the band back together is beautiful. Magical even. To have Alex Skolnick back where he belongs on lead, the planets were aligned this year.

"Formation" merges the many sounds of Testament flawlessly. From the classic thrash sound that Testament is known for on "More Than Meets the Eye" to the Chuck Bill's death metal vocals on the title track "The Formation of Damnation." The chemistry that was the original line up is still present on this release, although they are short Louie Clemente. "Leave Me Forever" about the only song that really stands out as something new style wise. Switching between a jazzy funkiness on the guitar to a thrash sound, it is a definite highlight on the album.

I am so very much in love with this album, I have a hard time putting it to words. It inspires memories of the many times I have spent with the band over the years and to have them back with most of the original line up is amazing.

Testament is currently on tour promoting the album as well as hooking up on the Masters Of Metal Tour with Motorhead, Heaven and Hell, and Judas Priest. Club Kingsnake will be catching them on a solo show at The Rave here in Milwaukee on August 1.

CD Review: Earache Records - Thrashing Like A Maniac

nospam@example.com (Cindy Steinle) — Thu, 22 May 2008 00:01:00 -0500

Thrashing Like a Maniac - Compilation
Earache Records

As a general rule, I donâ€™t really like compilations. Iâ€™ll listen to them, but I tend to only half listen. Most of the time it is a rehashing of best of clips from the summer tour I picked the CD up at as a free be. However â€œThrashing Like A Maniacâ€? does what compilations should do, bring you the best new titles in the genre. This genre being the sleeping Thrash. With old skoolers like Testament and Exodus seeing renewed interest, its great to see a groundswell of new thrash coming on their heels. Thrash is gaining some momentum again with acts like Bonded By Blood, Fueled By Fire and Warbringer receiving support from the major labels. It seems almost as though most everyone on this disc hails from CA, which after all is appropriate since thash was born in the Bay Area. I do also have to give props to fellow cheese heads Lazarus. We first covered them in September of 2006 and I was taken with them then. Heavy as hell chunk with the classic noodle solos, there is some new feel to it, but listening, I can pick out who inspired each act. Old Skool inspiration shows, but it doesnâ€™t diminish the new sounds. I cant give each band a real review with a single song, this isnâ€™t AI. Ill just tell you who were my faves , in no particular order.

Bonded By Blood
Dekapitator
Fueled by Fire
Decadence
Deadfall
Lazarus
Violator

This CD brought back a whole lot of old day memories. Memories of when I fell in love with the heavier side of music. It also gave me a whole new batch of possible new favorite bands.

CD Review: R.E.M. - Accelerate

nospam@example.com (Jeff Barringer) — Fri, 16 May 2008 07:41:00 -0500

Lean, mean, raw, this is probably R.E.M.'s best work in a decade or more.

Returning to a stripped down sound reminiscent of a younger, hungrier R.E.M. this is a buzzy, guitar heavy disc with an edge. With 11 tracks clocking in at just 35 minutes, it's almost like they took a page from The Ramones, short songs with lots of hooks delivered rapid fire. With a "garage like" sound production by Jacknife Lee (co-producer of U2, The Hives and Snow Patrol), this disc goes far to capture the energy I felt during their sold out Stubb's appearance during this years SXSW.

If your a long time R.E.M. fan you'll like this disc and the band stands to attract some of the younger audience as well. Some of my favorite songs on the disc include "Living Well Is The Best Revenge", "Hollow Man", "Houston", and "I'm Gonna DJ". Hell I like the whole disc. I put the whole thing on my iPod.

Track list under the jump.
Continue reading "CD Review: R.E.M. - Accelerate"

CD Review: Asia - Phoenix

nospam@example.com (Jeff Barringer) — Thu, 15 May 2008 07:35:00 -0500

Ok back in the 70's there were these huge progressive rock dinosaurs like ELP (Emerson, Lake & Palmer), Yes, and UK that made these sweeping orchestral epics that rarely came in under 8 minutes. I loved every one of them, but unfortunately making good music with long track lengths was not enough for FM radio success where 3 minute pop/rock songs ruled and made or broke careers.

Eventually these bands shed their members in various directions, some of them landing in other bands, some of them starting their own groups. Asia was one of those bands started up by former members. With vocalist John Wetton of UK, Yes guitarist Steve Howe, percussionist Carl Palmer of ELP, and pop keyboardist and former Buggle Geoff Downes, Asia was a progressive rock "supergroup" unloved by critics, yet still managing to sell 15 million albums or so to pop fans based on songs like "Heat Of The Moment". I actually owned all 3 of their original releases on vinyl at one point. The first one was alright but it just went downhill from there.

After much shuffling in the lineup the actual original 4 members of Asia have reformed 25+ years later to release a new album and a tour. Unfortunately the new album sounds like it was recorded 25+ years ago.

While that may please hard core Asia fans, it is unlikely that the new disc will attract many younger listeners. The band is still trying to stuff 12 minutes worth or talent into 3 minutes, and the band's sound just sounds so dated at this point. I hear Howe straining to confine himself, as well as Palmer, trying to sqyeeze themselves into the format. Progressive rock is not pop and throttling these musicians with a 3 minute pop song is like making thoroughbreds pull a beer wagon. It was a mistake 25 years ago, and time has only made it worse. I did not like any of the songs on this disc. Sorry. I would go see them if their tour was coming anywhere near me though. Incredible musicians. If you really want a glimpse of the future of progressive rock, see the Mars Volta review below. I would rather have seen a UK or an ELP reunion album and tour.

Track list under the jump.

Continue reading "CD Review: Asia - Phoenix"

CD Review: The Mars Volta - Bedlam In Goliath

nospam@example.com (Jeff Barringer) — Tue, 13 May 2008 07:40:00 -0500

Bedlam In Goliath, the latest CD from The Mars Volta gave me a headache the first time I listened to it.

There was just so much musical information flying out of the little silver CD, my ears and my brain just couldn't keep up. An astoundingly rich melange of styles, sounds, and harmonics, that borrows from many, yet isn't derivative, sounds fresh, and is crunchy like a shovel to the face. Zeppelin, Zappa, ELP, Santana, Jeff Beck, there are hints of each interwoven into a whirling dervish of musical sights sounds and colors. My favorite songs included "Abernikula", "Wax Simulacra", and "Goliath". These guys play like they all have bees in their pants. If the Tasmanian Devil played in a band, this would be it.

Track list under the jump.
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CD Review: Kick to tha Head - "As we think...So We Are"

nospam@example.com (Cindy Steinle) — Mon, 12 May 2008 10:03:00 -0500

www.myspace.com/kicktothahead
Hometown - Springfield, IL
Turkey Vulture Records

Not the heaviest hardcore out there but a good taste of a lighter side, Kick to Tha Head's newest release is worth a listen for HC fans out there. The rhythmic guitar and blasting drums give it the classic sound. Kevinâ€™s vocals sometimes have a bit of the Cookie Monster grumblings. The classic hc/punk sound that I remember from the area is the most evident on the songs â€œFakeâ€? and â€œHeads Held Highâ€? and they are also my two favorite tracks. The almost march quality to the drums and guitar on â€œFakeâ€? are classic and clean. â€œHeads Held Highâ€? holds a little extra after the music ends so hold out and donâ€™t take the CD out. â€œAnthemâ€? brings the speed down a notch to a slightly slower grind that has a very thrashy feel. However I suspect this one makes for the best pit on the album.

Over all, a classic hardcore release.

Track list under the jump.
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CD Reviews: Annihilator â€“ METAL VS. Gamma Ray â€“ Land of the Free Part 2

nospam@example.com (Nokturnel Tom) — Thu, 14 Feb 2008 01:33:00 -0600

If you're asking yourself why this review is a comparison between these two awesome bands, understand that this is not exactly the type of metal I listen to. But these solid releases have dominated my stereo for weeks, and I keep thinking these two together would be a hell of a show.

Their music tracks a very natural progression of classic metal becoming more extreme. Being a death/black/ thrash metal head, it took me a few listens to get used to these "real" vocalists who actually sing. Once I got past that, I have to admit these records are nothing short of astonishing. Incredible music, captured perfectly by the recording engineers.

This is going to be one long review so get yourself a frosty beverage, some popcorn or whatever, and read on. These bands absolutely deserve some attention.
Continue reading "CD Reviews: Annihilator â€“ METAL VS. Gamma Ray â€“ Land of the Free Part 2"

CD Review: Protest The Hero - Fortress

nospam@example.com (ClintG) — Mon, 28 Jan 2008 11:24:00 -0600

Finally..... It's finally here. After expected release dates in August 2007, and then September and November Fortress is set for release on Jan 29, 2008. I promise.

How exactly does one follow-up something as genre defining/defying as 2006's Kezia?

From the first dissonant bleats of "Bloodmeat" you know PTH has not strayed far from what made their debut album a masterpiece. Songs shoehorned together by an ADHD sufferer performed by idiot savants with mind numbing musical prowess. Over all the mayhem, potty mouthed Rody Walker manages to sing/howl/growl surprisingly smart lyrics.

What they have done is increase the production values, pen even smarter lyrics, and Rody's vocals have developed an admirable range. No longer limited to metal growls or nasal whine we get actual singing and layered harmonies (along with the metal growl and nasal whine).

The album is divided into two distinct parts. The first, entitled "On Conquest and Capture", is seven songs deep. The lead off track, "Bloodmeat", just owns from the seizure inducing into to the outro riff which grinds and chugs begging for raised fists and flying bodies. Then it's on to "The Dissentience" which raises the intensity level and teeters on the edge of some tricky time signatures. Only two songs in and I can't begin to count how many distinct riffs and time signatures have been thrown at the listener. This is Protest and they continue to weave an enthralling tapestry before crescendoing on "Spoils".

"Isosceles" is comprised of only three songs and has a much more flamboyant rock opera type vibe. I can't get into this as much as the septet that came before. It is a cool look at Protest The Hero exploring some new ideas and directions.

If you didn't like Kezia you probably won't like Fortress. If you didn't like Kezia you probably need to get a clue anyway.

What the boys in Protest have done is craft and album which is an evolution from Kezia not a reprise . What I love about Protest is that they mix jaw dropping musical prowess with intelligent lyrics, and just enough pop sensibility creeps in to afford them a wider appeal.

Holiday music that won't make your teeth hurt

nospam@example.com (Christie Keith) — Tue, 27 Nov 2007 11:19:47 -0600

I'm no Scrooge. I love the holidays, love presents and shopping and holiday parties and trees and lights and wreaths.

I also love Christmas music, and if that means Bing Crosby singing "White Christmas," I'm there. My favorite Christmas recording ever is probably "I Heard the Bells on Christmas Day" by Harry Belafonte.

Not so much with top 40 pre-packaged holiday songs for me, though -- I prefer either straight-up traditional or a little bit alternative, something with an edge or a twist.

I'll post my iPod's "Holiday" playlist after the jump, but first, a new CD of holiday music by Mindy Smith was released last month, and it's got that slight edge mixed with tradition that I love best this time of year.

My Holiday isn't alt and edgy in the kind of way that means your parents will cry if you play it during Christmas dinner. It also isn't so sweet and bland that you'll go into a diabetic coma after the pumpkin pie, either. The fact that it treads that line is entirely due to its spare production and the warm beauty of Smith's voice. Smith is is generally considered a folk/country singer and the CD claims it's folk, but this holiday CD is more like alternative supper club music with hints of jazz, pop, and country weaving through.

There's both original material and classics, with a taste of her Nashville roots on the standout track "Follow the Shepherd Home" (amusingly typo'd on the CD's track listing as "Follow the Shepherd Dog"). Alison Krauss sings along on a delicate "Away in a Manger," the country-tinged "Silver Bells" actually manages to stand out from the other 45,679 versions of this song that have been recorded over the years, and her poppy (and I mean that in the pure 60s girl singer way) "I'll Be Home for Christmas" is probably my favorite cut.

So, what's on my iPod Holiday playlist? It's under the jump....
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CD Review: Seether - Finding Beauty in Negative Spaces

nospam@example.com (Jeff Barringer) — Sat, 10 Nov 2007 21:47:26 -0600

I have struggled with this disc for the last 2 weeks, alternately running hot and cold, listening to it solid for a couple days then taking a break listening to my iPod instead, trying to "wash" my aural palette before picking it up again. Sometimes I like it, sometimes I find it annoying.

I am a big fan of Seether, owning their whole catalog. I had hoped for more with this latest release, but aside from a couple of tracks I was somewhat disappointed with Finding Beauty in Negative Spaces.

Maybe I had let my expectations become too great. Maybe it's like Les Claypool says "They can't all be zingers". It's tough to hit a home run all the time, and arguably, their first two studio releases were that.

Though the characteristic Seether sound is there, overall this disc didn't come close to the tightness of Karma and Effect or even Disclaimer. Probably the strongest tracks on this album are FMLYHM and No Jesus Christ, both of which have that classic Seether crunchiness and sound as well as somewhat controversial lyrics. The track Fallen sounds like it was written for the Foo Fighters. The disc isn't bad, it's not their best. Seether fans might be happy with this release but the best songs probably won't be getting much airplay on FM. If you like Seether, you'll probably like this disc, but if your on the fence, this is unlikely to push you in either direction.

Seether is currently touring in support of this release, unfortunately, despite our best efforts, we were unable to secure credentials to cover their show here locally. Maybe next time.

Track list under the jump.
Continue reading "CD Review: Seether - Finding Beauty in Negative Spaces"

CD Review: Avenged Sevenfold - Avenged Sevenfold.

nospam@example.com (ClintG) — Wed, 31 Oct 2007 21:49:00 -0500

I loved the FedEx man. I really did. I loved the FedEx man because he brought my preview copy of A7X's latest. I've listened to the self titled release a bunch of times and now I've begun to hate the FedEx man. Huh? Well, you see as far as mainstream commercially viable hard rock/metal albums go this one is the shizzle. As far as A7X albums go it leaves quite a bit to be desired.

Don't get me wrong. I am a fan. City of Evil was my go-to disc for long drives, short walks and just hanging around. I so wanted its successor to be at least as good as "Evil".

The album starts strong with the kidney punch that is "Critical Acclaim". With its soaring intro, chunky riffing, and sinister whispers one instantly sees why it was released several months ago as a teaser. "Critical Acclaim" is also blatantly political and flexes A7X's right-wing muscles.

After that there is no sign of the complex arrangements and dynamic shifts seen on previous releases. There are songs that tween chicks will dig. When my wife starts bopping to "Lost" I know the album isn't what I'd hoped it would be.

The people who began chanting "Sellout, Sellout!" when City Of Evil was released will undoubtedly begin their chant again. There's nothing incredibly new here. With every album A7X has moved toward the mainstream. That's a balancing act which I don't envy them. I guess they could have stayed underground with M. Shadows screaming his lungs out and selling a few thousand albums here and there, or they can take their incredible talent and pen some hits.

I struggle with how to end this review. I remember all too well my sense of loss upon hearing Metallica's Black Album. Gone were the 9 minute long epics with 16 different time signatures and nary a chorus to be found. Metallica had gone mainstream, and in the opinion of millions had never sounded better.
I, on the other hand, wept.

A7X - A7X marks a significant departure from a solid body of work. And I'm sure in the opinion of millions they too have never sounded better.

CD Review: The Meat Puppets - Rise To Your Knees

nospam@example.com (Jeff Barringer) — Thu, 11 Oct 2007 01:17:00 -0500

Released on July 17, 2007, Rise to Your Knees is the Meat Puppets' eleventh full-length studio album, and the first to include both Curt and Cris Kirkwood since 1995's No Joke!. Since it had a one month advance release on the iTunes Music Store and eMusic, I didn't drag my butt out to Best Buy to get the CD until mid-August. The cute little teen girl behind the counter wanted to know if it was some sort of death metal CD.

Far from a death metal CD, this disc still isn't what most would consider "accessible" by the general public. But then, the Puppets have never really aimed for that main stream audience. It's rough, it's edgy, and it's definitely the Meat Puppets, and if you're a fan like I am you will enjoy it.

The opening track, "Fly Like The Wind," is a low, slow raw song with lots of fuzzy guitars. "Radio Moth" has a big sweeping sound and would be a great single release. The song "Tiny Kingdom" has an interesting layered sound with a plucky guit-jo and a chorus that sounds all the world like an XTC song. The song "Enemy Love" sounds like it was written for Elvis Costello. Other songs worth noting are "New Leaf" with it's brusque busyness, and "The Ship," another song with a big sweeping sound. Probably one of the disc's best tracks is "Island," with its memorable harmony. All in all, this disc is bound to inspire another new crop of young musicians not afraid to challenge the boundaries and make music because they like making music, not because they are trying to fit some record companies mold of what is "marketable."

Track list under the jump.

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CD Review - Annie Lennox, Songs of Mass Destruction

nospam@example.com (Christie Keith) — Fri, 05 Oct 2007 17:50:43 -0500

I haven't had Annie Lennox's Songs of Mass Destruction long enough to really give it an in-depth review yet, but it's currently blowing my head off.

I wasn't quite as excited at the first single, "Dark Road," as other folks were, so I wasn't in a particular hurry to get the CD, and yet I picked it up Tuesday when it came out. It's been playing in my mind, I mean, excuse me, on my iPod, since then. "Dark Road" grew on me, but "Sing," "Womankind," and "Coloured Bedspread" are doing for me what the best of 80s Eurythmics and Diva-era Annie did, which is to say... some of my personal favorite music ever. Some of it's synth-y, some of it's just full-on diva-esque singing by one of the era's best voices, some of it's maybe just a bit too AOR for my taste, but still... it's snappy, it's smart, it's got tons of heart, and much of it's even got enough of an edge to make me realize why it was that Annie Lennox made me break my "I hate synthesizers" rule back in the 80s in the first place.

Lots and lots of beauty here. Give it a listen.

CD Review: Foreign Born - On The Wing Now

nospam@example.com (ClintG) — Wed, 03 Oct 2007 00:33:00 -0500

I love to pop a CD in without any knowledge of or preconceived ideas about a band. Foreign Born's latest On The Wing Now (Dim Mak) was one of these. Out of the mailbox, into the CD player, let's have a listen.

Man, what gorgeous collection of songs. One immediately thinks of early U2, but also Arcade Fire, Tokyo Police Club, many of the current Brit imports and the like. The opener "Union Hall" immediately grabs you and takes you where Foreign Born wants you to go. Then there's a shot from left field. "Into Your Dream" is the closest they come to a rocker.

The musicianship is impressive. Guitarist Lewis Pesacov's composition is often touted, and with good reason. The arrangements are what separates these reverb-washed atmospheric compositions from the nap-inducing Coldplay school of composition. There are super emotive vocals that hearken back to the indie rock of the late 80s and early 90s. The guitar is spartan single note lines mixed with heavily effected riffing, ambient squawks, and noise, all richly and intelligently layered.

And those drums! The percussion is out of this world and is really what lifts this album to another level. Often it seems unrelated to the song playing over it and even the mix has the drums sounding far off and otherworldly. Somehow this works.

The album is like a journey with each piece inescapably linked to the last. This culminates with Never Wrong deliciously building to a crescendo that never quite comes.

Yeah, I dig this record. What a fresh slap in the face of indie rock. Foreign Born has raised the bar.

CD Review: Birdflesh - Mongo Musicale

nospam@example.com (Nokturnel Tom) — Sun, 23 Sep 2007 16:21:50 -0500

It's about time I got something to review that is nothing short of pulverizing. The name of this band is pretty out there, but to hear the music for about 30 seconds was enough to get past it and give them a chance.

I'm finally hearing a band that understands how to be heavy as fuck without sounding like a pile of shit. Way back when, a now-legendary band named Carcass came onto the scene and set a new standard for heaviness. Many god-awful clones appeared, and not many of them ever went anywhere. But some bands took influence from Carcass and made killer records. One such band -- one of my favorite bands -- is Exhumed. Another one of my faves is Macabre, who have some of the sickest lyrics imagineable and have always been very fast. The thing that sets them apart from every other band is their ability to merge this zany humor and downright kooky childlike music into their brand of death metal, which must be heard to be fully understood and appreciated.

Macabre is absolutely incredible to behold live, and I highly recommend both Macabre and Exhumed, but here's the relevance: Birdflesh is like a perfect union of Exhumed and Macabre.

Birdflesh is not a technical band. The riffing is usually very straightforward and easy to follow. The arrangements of the riffs and drum work will keep your head banging and blood pressure rising. Just when you think you'rw about to smash something due to a surge of adrenaline, they make you laugh. And I mean that in a good way.

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CD Reviews: The Zico Chain - Food

nospam@example.com (Jeff Barringer) — Tue, 21 Aug 2007 04:37:28 -0500

Talk about your pre-release copies...

Sorry guys I can't wait anymore, and certainly not until October 15th when The Zico Chain's Food releases! I have been sitting on my hands since Chris, Paul, and Ollie burned me a copy of their mix back at SXSW in the spring. Now that a final release date has been announced I feel pretty safe in telling you this disc "bleeping" rocks end to end. It's spent more time in my disc player than any other CD in the last 6 months.

Building on the metal meets grunge sound from their debut EP, this scaldingly hot disc on the Hassle Records label out of the U.K. may be tough to find on this side of the pond until the band lines up a north american label but if you can, get your hands on it. My favorite tracks are "Anemia", "Where Would You Rather Be" , "Pretty Pictures", hell the whole disc is great. Recorded in L.A. with producer Joe Baresi (Queens of the Stone Age, Tool), this is almost a perfect snapshot of the bands frenetic onstage energy and presence. Joe did a fantastic job of capturing the sound without beating the life out of it in the edits. This is probably my favorite CD release of all of 2007. It's pretty amazing these guys still aren't signed onto a major label and headlining in the states yet.

CD Review - Dylanesque by Bryan Ferry

nospam@example.com (Christie Keith) — Wed, 04 Jul 2007 18:58:00 -0500

Okay, I'm flailing around here, totally madly in love with Bryan Ferry's Dylanesque.

The last CD of covers I was excited about was Patti Smith's Twelve, which was a huge disappointment to me. I hadn't even heard a rumor of the existence of this one (perhaps I need to get out more?), and when I saw it I was at first OMG I MUST BUY THIS AT ONCE, and then hesitant, based on that recent disappointment.

I've now listened to Dylanesque pretty much continuously all day and I can't give this CD enough love.

When Clint and I saw the Scott Walker: 30 Century Man documentary at SXSW last March, it opened with some vintage video of Roxy Music doing "Editions of You," with a glammed-out Brian Eno (who was featured in the film) on tambourine. I love that Bryan Ferry. And I think Roxy Music's live version of "Like a Hurricane" is probably my favorite cover song ever. And I have another album of Bryan Ferry covers, Foolish Pleasures (he sings "It's My Party and I'll Cry if I Want To" on that one, it's priceless). But this CD of Bob Dylan covers is as good as anything I've ever loved by Roxy Music or Ferry solo. It's stunning.

Like the cover of Neil Young's "Hurricane," these cuts are all live, although recorded in the studio over a one-week period. He turns rockers into pop songs, croons the most blistering of Dylan's lyrics, and there are strings... STRINGS... on his brilliant, beautiful rendition of "Positively Fourth Street." And there's not one cut on here that doesn't work, but standouts were "Fourth Street," "The Times They Are A-Changin'," "Just Like Tom Thumb's Blues," "Simple Twist of Fate," "All I Really Want to Do," and "Baby, Let Me Follow You Down."

Videos of "Positively Fourth Street" and "The Times They are A-Changin'" under the jump, along with a track list. But don't waste time watching these vids, go buy the CD. Go now.
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What I'm doing this weekend

nospam@example.com (Christie Keith) — Sat, 30 Jun 2007 15:36:24 -0500

Voices on the Air: The Peel Sessions
Siouxsie and the Banshees

When I was a little punk rocker girl, I loved me some Siouxsie Sioux. Earlier this month, Polydor released a CD with some of her work with the Banshees dating back to 1977, when they appeared on BBC's John Peel Sessions, live. They made another visit a few months later, and two more over the next several years. Cuts from each of these sessions are included on Voices on the Air: The Peel Sessions.

"Playground Twist" alone is worth buying this CD, but as a record not only of what the Banshees were, and their influence, there's nothing like this.

I don't think there are any previously unreleased tracks on this CD, but they've never been all in one place before. If you weren't around and want to know what all the fuss is about, and why we all still know who Siouxise is 30 years later, this is a great place to start. If you, like me, were there, this is a really good way to spend a weekend.

Track list under the jump.
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CD Review: Necrophobic - Hrimthursum

nospam@example.com (Nokturnel Tom) — Wed, 13 Jun 2007 18:32:00 -0500

I popped Necrophobic's Hrimthursum into the stereo and was immediately taken by the intro. It's majestic and powerful and sets the mood for METAL. It really is one of the best intros I've heard in a while as I find most pointless. Then at the first listen, track one let me down just a bit. I thought the guitar sound could have been a lot heavier. There was just something about the record that made me think they could have done things differently, creating a heavier record overall, but I soon got over it and realized I was wrong.

One of things about Hrimthursum that makes it great is the fact that nothing is overdone. Nothing is too over the top. It is a bunch of killer songs that are also arranged in an order that gave the record a cool feel to it. It seems very well thought out and put together. Being a guitarist myself, I have a tendency to over-analyze things and look at music in a sense of how difficult it is to play. The song "I Strike With Wrath" has what guitar players usually refer to as the AC/DC or Iron Maiden bounce-the-notes-off-the-high-E-string riff. Almost anyone who can play guitar at all could easily play it, but it really ads a lot of feeling to the song. The riffs have some mildly technical parts, but again it's all very basic. Don't think that takes away from it; this is one hell of a record.

Surprisingly, the vocals hack into the mix, and you can actually understand a lot of the lyrics. Song topics are typical for the black/death genres, but I found the cheese factor to be minimal. The levels of all the instruments really were put together brilliantly on this disc. It doesnâ€™t sound over processed and that only helps you get into Necrophobic's music. The underground used to be dominated by old school production, and since every other band has an engineer capable of recording from their garage on equipment that is quite high tech, way too many records have come out that sound too digitized. Metal isn't supposed to be that way. This record is clean, but it still has balls. I would guess Necrophobic had a decent budget for recording Hrimthursum and thankfully they didn't go overboard on the production.

The drums are also arranged perfectly. There are many tempos, but nothing gets lost in the speed of it all. It's never so fast that you're distracted by the impressive speed many modern drummers possess. That aspect of metal in general really damaged the genre as drummers were suddenly looked at as not much more than speed freaks who would try to be as over the top fast with blasting and double bass to the point where that's all people would speak of. I love speed, but what about the fucking guitar riffs? Guitars create songs, drums keep the beat... and Necrophobic created an awesome disc, as Hrimthursum is very much so worth a listen. Chances are it wonâ€™t soon leave your CD player as it's a quality release that's down right addicting.

CD Review: Loudon Wainwright III - Strange Weirdos

nospam@example.com (Jeff Barringer) — Tue, 22 May 2007 23:44:00 -0500

Fate has decreed that I review this CD. I got the opportunity to see Loudon Wainwright III perform at La Zona Rosa for the media party for the Judd Apatow film Knocked Up during this year's SXSW, so it came as a pleasant surprise to see a copy of the CD Strange Weirdos: Music From And Inspired By The Film Knocked Up, show up in my mailbox last week. Then tonight watching Conan O'Brien, I catch him playing again.

With a recording career stretching back to 1970, it's a little surprising to find Loudon Wainwright III doing the soundtrack for a film aimed at such a young audience, but it's not that surprising knowing how seemingly random and disconnected the connections in the entertainment industry can be. The music itself is certainly a refreshing change from the buzzsaw guitars I'm usually reviewing. A singer-songwriter, one of many touted in the 70s as the new "Dylan," his voice reminds me a lot of Don McLean, but not quite as flowery. Probably best known to the public for his 70s song "Dead Skunk In The Middle Of The Road," I remember him more for the three episodes of M.A.S.H., where he was credited in the role as Capt. Calvin Spaulding, the singing surgeon.

I really enjoyed seeing him play live, and he performed a number of songs off this disc. This CD is loaded with great music and I especially enjoyed the cuts "Grey in L.A." and and "Valley Morning." Loudon even shines on the songs he didn't write, like Peter Blegvad's "Daughter." This disc is like a series of audio snapshots taken with a black and white camera that captures the emptiness of living in modern day suburbia. It will be interesting to see how the music works with the film. I really enjoyed this disc and it will end up long term on my iPod.

CD Review: Hell Yeah

nospam@example.com (Cindy Steinle) — Thu, 10 May 2007 00:03:00 -0500

I was anxious to get this album. Vinnie Paul gathered up a few of his friends from Mudvayne and Nothingface and created a NEW super group of metal. Not really a fan of the other bands involved, I automatically had a preconceived notion of the album. And from hearing from other people who got it, they did too. We were all a smidge wrong.

First off this is not Mudvayne, Nothingface, Damageplan and this is notPantera. Thatâ€™s not saying it isnâ€™t good, however, if thatâ€™s what you want it to sound like, save the $15 and go get a different CD. Yeah, some of it sounds like Pantera, some of it sounds like Damageplan. It should. It has a member of those bands. And yeah, you can hear parts of Mudvayne and Nothingface as well. It should, as there are members from those bands, too. This is a supergroup. It has influences from all areas.

While most people are drawn to the title track â€œHell Yeah,â€? I find myself going back to â€œAlcohaulin' Ass,â€? which is just a heavy southern rock, feel good type of song. I also find myself drawn to the song â€œThank You,â€? which instantly made me think of Dime. It gave me chills and choked me up. Thatâ€™s ok, Iâ€™m female and that reaction is allowed. I was also really partial to the guitars on the song â€œGoddamn.â€?. Of the heavier songs, this was my clear favorite.

I think for fans of any of the bands involved in this project, there is something to enjoy. You need, however, to separate what you expect from those bands and what's in this band. Looking at this to be just like any of them it will disappoint you. Looking at it as a NEW act will be the deal breaker. Yeah, there is a ballad. GET OVER IT. People change and grow with life experiences. Vinnie is still pulling out heavy as hell drum beats. If you donâ€™t believe it, check out the song â€œMatter of Time,â€? where they sounded just like a Harley warming up.

CD Review: The Nightwatchman - One Man Revolution

nospam@example.com (ClintG) — Thu, 03 May 2007 21:35:00 -0500

Startling. That's what first comes to mind when introduced to the Nightwatchman. Tom Morello is the rapid-fire-riffing, space-sound-creating lead guitarist for Rage Against the Machine and Audioslave right? Well, when he's not a metal revolutionary (in Rage) or flailing under Chris Cornell's plodding vocals (in Audioslave), he is also a folk singing revolutionary called the Nightwatchman.

I caught the Nightwatchman's set in the basement of Stubb's Bar-B-Q back in March while I was in Austin for South By Southwest, and I for one was impressed.

Thought hard about this next line.
Pretty sure it's true.
If you take a step toward freedom it'll take two steps toward you

It was such an intimate setting and it lent itself very well to Tom accompanied only by his nylon string "Whatever It Takes" guitar and a harmonica. Tom has an immediately identifiable guitar style and this comes through even on an acoustic. His vocals make me think of Bob Dylan and Leonard Cohen.

This juxtoposition seems to throw many for a loop. No, Tom is not a incredible finger picker, and his version of folk doesn't sound like Peter, Paul and Mary or Joan Baez. Breezy and beautiful it ain't. The album has an immediacy to it. Like any moment storm troopers could bust in and haul us away for speaking our mind. I feel hot and dusty just listening to it.

Yeah, this is wierd. Tom may not find tremendous success as an acoustic folk/protest singer, but he's got me as a fan, I'm glad I saw him live and I'm glad I bought this album. Keep fighting Tom.

The highlights for me include "Maximum Firepower," "Flesh Shapes The Day," and "House Gone Up In Flames."

CD Review: Six Feet Under - Commandment

nospam@example.com (Cindy Steinle) — Wed, 02 May 2007 19:38:00 -0500

Commandment

Six Feet Under
Manufacturer:Metal Blade
Released:17 April, 2007

Slow, grinding and brutal. That would be the quickest way to explain the new Commandment. It's heavy enough to satisfy the most discriminating palate of death metal fans, but it seems almost normal.

Chris Barnes' vocals are, as always, pure death metal perfection. Demonic growls with an intelligible quality that is sometimes lacking from other bands. There is almost a "dying a slow death" quality to the whole album. This album has the potential to attract more than just death metal fans. Fans of the heavier stuff, who shied away, may find a new love in death metal. Rounding out the band is bass god Terry Butler, Steve Swanson on guitar, and Greg Gall on drums.

It's hard to pick the true highlights of this album because each song is damned solid. "Zombie Executioner" is probably my fave track vocally on this CD. Of course "Bled To Death" has all the evils of an excellent chunk guitar, blast beat, and strong base line, a combination of all things that make one helluva tune. I really also liked the guitar line on "As The Blade Turns." Definitely one for the live show. Lastly the drum line on "The Evil Eye" gets the blood going.

Old school or new style death metal fans will definitely enjoy this CD. Heavy enough to piss you off, yet the calming aspect I have always found in death metal.

CD Review: Jimmy Bowskill - Jimmy Bowskill

nospam@example.com (ClintG) — Tue, 01 May 2007 02:40:00 -0500

Hot off the presses, sixteen-year-old Jimmy's new self-titled album was dropped off to me the other day.

The opener, "Diamond Ring," brings to mind Gordie "Grady" Johnson and Big Sugar, although Jimmy's guitar tones aren't quite as monsterous as Gordie's (but whose are?). It's a great opener that sets the tone for the rest of the record.

"Rattle Snake Shake" is Jimmy's take on legendary Peter Green's (Fleetwood Mac) blues rock anthem. The lead break is a thing of beauty and I love Wayne DeAdder's baseline just hanging out in the back.

I was introduced to "Nine" at one of Jimmy's shows in fall 2006 (at that time called "Nine String Thing"). This is Jimmy on one of the mad scientist guitars he builds in his workshop, a flat top accoustic with three extra strings shoehorned onto it. "Nine" is a hybrid bluegrass, folk, blues, with drones a la Indian classical music. The Tabla accompaniment further ads to the Indian feel. I dug it last fall and I really dig it now!

"Drifting Haze" isn't necessarily my cup of tea. At a length of 6:04 it's Zepplin-meets-Stonerrock that goes on for a few more minutes more than I would have liked. If I recall correctly, the lead breaks are performed on an electric twelve string which in itself is pretty cool. If you're into moody Zepplinesque jams then this may be your cup of tea.

In "Far From Reality," Jimmy definately has a Page/Plant vibe going on. I also had flashes of early Aerosmith. I like this song and its tastey single note riffing, chord inversions, and the always dissonant 7#9 chord. The guitar tone is stellar on this as well. Sounds like a little 'Class A' sleeper cranked until it is begging for mercy.

"Black Sea Star" a is shining four and a half minutes. I love the way Jimmy used the ambient room sound of the guitar and drums to create an intimate lo-fi reggae sound. I feel like I'm right in the room, and sipping a tropical drink.

Hmmm, was "The Kara-Dag" co-written with the drummer? The two minute drum solo at 00:50 may have tipped me to that. Just call me Sherlock.

"Loser" is from the same ballpark as "Drifting Haze", but with some moody and fitting slide lines. Jimmy's vocals also take the wheel and we get to hear his chops now that his voice has changed.

A great groove from the get-go is what "Mortisha" offers. Fun lyrics too.

The album's only ballad is "Falling." This is a beautiful song hindered only by the heavy-handed drumming which seems to come from left field.

Rounding out Jimmy's effort is the masterpiece "The Truth," A minor blues which is just pumped full of emotions, from the heartfelt vocal to the lead breaks which squeeze a story from a recurring four or so notes and a wha pedal.

With this self titled disc, Jimmy has moved away from the more traditional blues found on his two previous recordings. Overall the album has a classic stadium rock vibe. Earth shaking drums and big guitars are found throughout. This is an evolution I for one am happy to witness. Will this alienate some of the more conservative fans? Probably. Will this bring new fans into the fold. For sure!

CD Review: Twelve by Patti Smith

nospam@example.com (Christie Keith) — Thu, 26 Apr 2007 01:03:00 -0500

Oh Patti. I wanted to love this. I'm a whore for cover albums. I have loved you since I was 17 years old. I cried with happiness when they put you in the Rock and Roll Hall of Fame and you sang "baby baby baby was a rock 'n' roll nigger."

I'm so sorry, Patti, but Twelve is just kind of boring. It really is.

I would have sworn Patti Smith would do a brilliant job of Jimi Hendrix's "Are You Experienced," Neil Young's "Helpless," Grace Slick's "White Rabbit," the Doors' "Soul Kitchen." She didn't. They were just kind of rough and tuneless.

I was scared to hear what she'd do with Nirvana's "Smells Like Teen Spirit," and rightly so.

I'm so very sorry, Patti, I still love you, but please go write a whole album of your own stuff right now, kthnx.

She did give a great interview to Salon last week, though:

When I was younger there was the mainstream and the maverick, and there was a real difference between us. Right now in America, we're a nation of disenfranchised people. All of us are victims, no matter if we're right wing or left wing, of the terrible mistakes of the Bush administration -- whether it's because of the atmosphere he has produced globally, the loss of Iraqi citizens' life and infrastructure, the loss of American life, the abandonment of New Orleans, the deterioration of our environment. And economically the country is heading for a fall.

I think rock 'n' roll is more valuable as an acceptable form of communication because we don't need some cool, hip thing that only a few people understand or communicate about: We need global action. We need a voice. The new generation is communicating, deciding how they're going to receive and send music [on the Web], and the next step is to inject content into it. And they will do that, because things are just going to get worse and worse and people will react. I don't think the new generations are going to be like Nero and fiddle while Rome burns. I think that people are going to step up. It's just that people are finding each other, finding their voice and figuring out how to process all the information around them.

Go read or listen to the podcast.

But you should probably skip Twelve.

CD Reviews: Chevelle - Vena Sera

nospam@example.com (Jeff Barringer) — Wed, 25 Apr 2007 00:33:00 -0500

When I first heard Chevelle's latest release, Vena Sera, I promised myself I wouldn't read anyone else's review first. Wouldn't you know it, though -- when I googled it for the track list, Rolling Stone's review popped up. And they dogged it. Of course, their rabid fans replied saying it was "their best album ever" I dunno. I gotta go with the Stone on this one.

Tool, er... eh... Chevelle is one of those bands whose musical complexity takes a while to appreciate at the best of times, sometimes requiring repeated playings to hear the subtle hooks. Kind of a "creeper" type of music. The first full play of Vena Sera through my stereo, I couldn't hear a single. It was only after listening for a week that the nuances started to seep into my head. After that, I found myself humming songs such as "Antisaint" and "Brainiac" while I was in the produce section of my local market.

I like Chevelle, and I am not ashamed to admit it's primarily because of Pete Loeffler's ability to channel Maynard James Keenan, but this disc is definitely not their best work. It sounds droney, and heavy, and because many of these songs are previously unreleased material, it feels pieced together. I like a couple songs but this is no Wonder What's Next.

Click Below For Track List....
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CD Review-Time Requiem, Optical Illusion

nospam@example.com (Nokturnel Tom) — Thu, 08 Feb 2007 14:22:00 -0600

In case you haven't noticed, all my reviews are for death and black metal bands. This is NOT a typical review for me. Time Requiem (Regain Records) is an incredible group of musicians very influenced by classical music adapted into the genre of progressive metal. Regardless of your personal tastes, as a musician you find yourself at times unable to ignore music you would not normally pay attention to. This record had that effect on me. It is simply brilliant.
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CD Review - The Deftones, Saturday Night Wrist

nospam@example.com (Alexis Allo) — Wed, 17 Jan 2007 16:12:00 -0600

The Deftones fifth album, Saturday Night Wrist, released Halloween 2006, is loaded with 12 tracks of aggressive music, adding a new twist to their sound. Lyrically, this is a darker Deftones CD compared to past releases. This Sacramento-based quintet attempts to change up their style and they succeeded. The CD embodies a dynamic play list with tantalizing vocals and mid-tempo beats with Tool-influenced drum solos. They have definitely kept their â€œDeftonianâ€? sound fans know so well. Chingo Morenoâ€™s hushed vocals layered atop a massive guitar wall take their musical experimentation to a newer, harder place while not forsaking their trademark sound.

The bulk of the album highlights Morenoâ€™s vocal range, crying over heavy guitar licks and wildly paced drum variations. Their single, "Hole in the Earth," leads off the CD with an explosive blending of both bass and electric guitars with hard hitting drums working in unison to bring you the Deftonesâ€™ latest of works. Morenoâ€™s voice eases its way in after about thirty seconds of instrumentals, producing a song that goes beyond the vocal realm of what listeners would expect. "Beware the Water" is a great example of the darker lyrical pieces on the CD. Chingo Moreno comments on this song in a Rolling Stone interview stating, â€œThe lyrics are a warning against the temptation of women, drugs, alcohol or any other vice. It's quite dark."

"Cherry Waves" is a meditation on trust and its inherent limitations. It has a catchy chorus with dreamy guitar strums. There are two â€œscream-oâ€? songs, "Rapture" and "RATS!RATS!RATS!". "Rapture" defines the Deftonesâ€™ heavy metal experimentation, but listeners beware: a lyric sheet is required, â€œthankfully enclosed.â€? "RATS!RATS!RATS!", a song about an old actress gone crazy named Frances Farmer, is another Moreno screamer, incorporating peculiar â€œnon-royalty-receivingâ€? cricket sounds towards the song's closure.

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CD Review - Robbers and Cowards, Cold War Kids

nospam@example.com (Christie Keith) — Thu, 11 Jan 2007 00:35:24 -0600

This little gem of alternative rock came out last October, just when I was in the middle of moving, and I only sat down to listen to it the other day. Too bad, because its angsty folky geeky jangly dissonant vibe would have been the perfect soundtrack to my hellish move.

Some people find Nathan Willet's voice annoying, others worship it. It's perfect for songs such as "Hang Me Up to Dry" or "We Used to Vacation," perhaps more on the annoying side of the spectrum on cuts like "God, Make Up Your Mind," sung in his falsetto. Or maybe you'll love his falsetto.

I don't know if they're really doing anything new here, and I'm kind of easy for bands that give me the jangling chiming guitar sound, but their music is clever and fun.

"Hang Me Up to Dry" is the free download of the week on iTunes if you want to check it out for free.

Vader-Impressions In Blood

nospam@example.com (Nokturnel Tom) — Wed, 10 Jan 2007 18:07:00 -0600

Coming up on their 25th anniversary with a collection of records behind them any band would be proud of ,Vader still continues to release nothing but top notch death metal perfected with their signaturistic song writing.

There are many reasons to support this band. Live, they are just about perfect, and their sound is always audible. The songs are memorable and follow the tried and true formula this band has stuck with since the beginning. They do not ignore their past, and include songs from many older releases in their set list, which is something fans, including me, really appreciate. Many bands push newer songs from the most recent release, which is understandable, but fans always want to hear the classics. Vader is the type of band that delivers them with a fresh ferocity that makes their music timeless.
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CD Review: Roddy Woomble â€“ My Secret is My Silence

nospam@example.com (Tony Reptiles) — Sun, 24 Dec 2006 18:41:42 -0600

I feel I should warn you guys about the dangers of folk music. You may feel, like I once did, that you would never be stupid enough to get into folk. I mean, weâ€™ve all seen those sad bearded fools delirious on the joys of hard accordion, and thought â€œIâ€™ll never let that happen to me!â€?

Well, Iâ€™m here to tell you. It can happen. It happened to me.

I started off as many rock folk do, yâ€™know a bit of New Model Army, a couple of Levellers' albums. Itâ€™s not really â€œfolk,â€? I told myself. Itâ€™s so heavy! I thought I could handle it. I thought I could keep it under control. Then before I knew it, I was enjoying a regular dose of Kate Rusby and downloading Nick Drake albums. It took me a while before I admitted to myself I was hooked.

My name is Tony Reptiles and I have a folk music habit.

There. I said it. And it feels good!

So when the new CD by Roddy Woomble landed in my mailbox, I thought I was saved. Roddy is the lead singer of Scottish rock band Idlewild, which is well known for their loud, abrasive,punk rock sound. â€œNo folk fix here, then!â€? I thought.

I should have known better by the picture on the sleeve. â€œFECK OFF!!!!â€? he seems to be saying from beneath his beard and thick knit beanie hat. Sorry Roddy, here, have a beer! Youâ€™re alright you are! Youâ€™re my best mate you are!

I slipped the CD into the machine and sat down with the media notes. Then it hit me. This was folk, alright. Another smooth mellow hit of folk. I eased back into my seat as the fiddle and the accordion took hold of me again.

Although the last few Idlewild albums kind of leaned in this direction, this solo project is something more traditional. â€œThese are songs that would never have lived with Idlewild, but are very much a part of me," says Roddy in the media notes. â€œI felt like I was part of a new band. This allowed me to feel free to describe myself in a way Iâ€™ve wanted to for a long timeâ€¦â€¦and I think it shows.â€?

The album was two tracks in when I caught myself tapping my foot. â€œAs still as I watched your graveâ€? is a meaty, beaty track where you can still get a sniff of the Roddyâ€™s rock roots. (Should you indeed wish to?) â€œWhiskyfaceâ€? is an acoustic fiddle-battering tune that left me wanting more.

But most of this album is pretty mellow and acoustic, and blends into the background easily. I like that in an album. I found myself enjoying the smoothness without having to try too hard. â€œWaverly stepsâ€? would be at home on commercial radio with its melodic vocals and electric guitar. I think I can hear a single release here.

You would certainly need a folk leaning to enjoy this album in its entirety, but I think you should give it a try. Thereâ€™s something here for discerning the listener and youâ€™ll catch yourself enjoying it - if you can get over the fact that it's folk. There are some great melodies and some excellent musicians at work. They just happen to be a bit folky, thatâ€™s all.

Track list after the jump.
Continue reading "CD Review: Roddy Woomble â€“ My Secret is My Silence"

CD Review: Sarah McLachlan - Wintersong

nospam@example.com (Christie Keith) — Wed, 13 Dec 2006 02:22:25 -0600

I'm not a big fan of Sarah McLachlan, finding her mostly overly sentimental and over-produced, a deadly combination. There's no denying her voice is beautiful, and I have a few remixes, live cuts, and duets with other artists that get fairly heavy play on my iPod. But a fan? No.

I'm also not a big fan of holiday compilations.

So what the hell am I doing reviewing Wintersong, a holiday CD released last week by Sarah McLachlan? I got hooked on it when I downloaded, in a fit of perversity, her cover of John Lennon's "Happy Xmas (War is Over)," and thought it was... gulp... really good. Okay, maybe my brain melts at the holidays, I don't know. Probably that's the reason why I completely lost my senses and bought the whole freaking CD.

And it really doesn't suck. The icy purity of her voice works beautifully with the Christmas standards, such as "Silent Night" and "What Child is This," while also doing beautiful justice to newer holiday songs like the Lennon cover and Joni Mitchell's "River."

So I don't know, if you have to buy a holiday CD this year, you could do a lot worse than the unrelenting prettiness of Wintersong. And I won't tell anyone you bought it.

Note: "Silent Night" from the CD is the free download on iTunes this week, and you can also see videos from the CD on Amazon here.

CD Review: Neil Young & Crazy Horse - Live at the Fillmore East

nospam@example.com (Jeff Barringer) — Fri, 01 Dec 2006 15:40:00 -0600

Some concerts have a way of becoming "historical events" the more they are documented. The big festivals like Woodstock and Live Aid certainly are more than historical footnotes in the conciousness of the music listening public, but the smaller shows also have an important place in history as well. Every once in a while the archives serve up one of these musical time capsules, a slice of time, a musical millisecond, and allow us to view artists from a perspective or point in their career literally lost to the march of time. Such is the case with the new release by Neil Young & Crazy Horse.

Recorded live at the Fillmore East in 1970, the end of a turbulent decade, the beginning of a new, this six-song disc captures a young-ish Neil Young, post-C,S,N&Y, post-Buffalo Springfield, starting up with a new band, Crazy Horse, way way before their movie Rust Never Sleeps and accompanying album Live Rust propelled the band's career to the heights of superstardom.

Featuring the second act in a three-act bill that opened with the Steve Miller Band and closed with jazz legend Miles Davis, this six-song disk is a musical snaphot of a moment in time, catching Neil immediately after his debut solo album. This is especially so since it includes guitar work by the late Danny Whitten, who played with Crazy Horse only until his death in 1972. This disk contains some blisteringly long extended versions of "Down By The River" and "Cowgirl In The Sand." This is the first of a series of planned releases from Neil Young's archives, and it will be interesting to see what comes next. I liked this disc, it won't replace Live Rust in my collection, but it makes a fine addendum.

Track list after the jump.
Continue reading "CD Review: Neil Young & Crazy Horse - Live at the Fillmore East"

CD Review - The Best of Rik Emmett, The Millenium Collection and Rik Emmett & Dave Dunlop, Strung-Out Troubadours

nospam@example.com (ClintG) — Mon, 20 Nov 2006 23:58:00 -0600

I was more than pleasantly surprised when I saw these two CDs come accross my desk. Rik Emmett of course was one-third of the 70s-80s stadium rockers Triumph. Triumph alway teetered on the edge of progressive rock, but with a much more blue collar, every-man appeal.

Rik never tried to hide his virtuosity and his love of acoustic/classical/jazz guitar. When Triumph came to an end, Rik dabbled a little in rock, but the acoustic guitar appears to have (at least for now) won out.

The Best of Rik Emmett from The Millenium Collection series chronicles that transformation, and offers a retrospective of Rik's solo career through 2001. The CD opens with "Saved by Love" from Rik's debut solo release. This is still a "rock" song but with a more adult contemporary lean. Following are samples of Rik's unique take on flamenco, R&B, hard rock, and world music.

The CD isn't in chronological order, which I might have prefered, but the order does provide a pleasant listen. Possibly saving the best for last, the final three tracks on the CD are "unplugged" interpretations of classic Triumph songs recorded in 2000 and 2001. For me, the true test of a great rock song is if it still has the same power when played acoustically. The Triumph classics "Lay It On The Line" and "Hold On" do. Rounding out this exploration is a beautiful solo rendition of "Suitcase Blues." This gives us a taste of Rik's jazz stylings, which are not otherwise featured in this collection.

Strung-Out Troubadours combines the talents of Dave Dunlop with those of Rik Emmett. Let's put this into perspective, shall we? You'd need to be one hell of a guitarist to back up Rik, let alone receive the equal billing that Dave does.

The CD for the most part is acoustic, although there is a little keyboard and drums. It opens with "Light of Day" which sets the mood for the rest of the album: Vibrant, uplifting and inspiring. The songs are pretty much evenly divided between instumental and vocal.

As a guitar player, I was of course impressed with Rik and Dave's playing. What impressed me even more was the tastefulness and the fact that they kept Troubadours from turning into a shred fest. Yes, these guys rip at times, but they also know when to lay back and let the music speak.

The high points for me were "Light of Day," "Cross Country," which paints the vivid picture indicated in its title, "Dos Arroyos," where the lead guitar has a startlingly emotional and vocal quality, and "Faithful Stranger (Love Returns)."

The CD closes with a live version of "Three Clouds across the Moon" from 1997's Swing Shift. Ok, this one is a nine-and-a-half minute shred fest!

Together these albums offer a great insight into the guitarist that is Rik Emmett. The Best of chronicles Rik's evolution as a solo performer, and Strung-Out Troubadours provides a snapshot of the 2006 incarnation of Rik Emmett. I'm sure Rik will keep evolving and I hope he continues to invite us for a listen.

--
For more info about Rik and Dave see:

rikemmett.com
davedunlopmusic.com

CD Review: J. J.Cale and Eric Clapton - The Road to Escondido

nospam@example.com (Jeff Barringer) — Fri, 17 Nov 2006 11:24:00 -0600

An album combining the talents of Eric Clapton and J. J.Cale has been overdue since Clapton recorded Cale's song "Cocaine" in 1977 on the album Slow Hand. Listening to this album, it seems as if the relationship picked right up where it left off. To say that this is a natural pairing would be an incredible understatement. It almost sounds like J. J. and Eric are living inside each other's heads.

Starting with the cut "Danger," which sounds like it came out of the studio ', this is a solid 14 track disc that fans of both Clapton and Cale will enjoy immensely. "Missing Person" is a swanky, barroom blues rag, one of my favorite tracks on the disc, as is the smoky sultry "Sporting Life Blues." "Dead End Road" is a country/swing number complete with fiddle. "Three Little Girls" is a delicate soft composition. The whole disc just glides effortlessly back and forth between soft rock and southern blues. Most of the songs on the disc were penned by Cale, who has left his mark indelibly on Clapton's musical stylings over the years.

Of course, Eric and J .J. did have a little help with this disc. In fact just counting musician,s there are over 20 credited on the sleeve, and not your average, everyday session players either. The late Billy Preston on the Hammond organ, Taj Mahal on some sweet harmonica riffs, and some extra help on the guitars by Doyle Bramhall II, John Mayer and Albert Lee. This is an all-star blues lineup.

If I have only two complaints, my first is that this disc was just a little too well produced and clean. This disc almost needs some dirty scratchy pops and a little rougher/raspier/rawer edge. My other issue is that although the sleeve lists all the players, it doesn't tell you who played on which tracks, and with such an all-star cast that would be nice to know. But if those are my only complaints, they are insignificant in relation to the rest of the disc.

Track list under the jump.
Continue reading "CD Review: J. J.Cale and Eric Clapton - The Road to Escondido"

CD Review: Protest The Hero, Kezia

nospam@example.com (ClintG) — Wed, 08 Nov 2006 15:01:00 -0600

Man, Protest the Hero is a breath of fresh air! As I said in the premier installment of Canadian Bands That Don't Suck, "These kids can play."

In a world seemingly dominated by pop metal (which I have gone on record as liking as well) from the likes of Three Days Grace, Nickelback and Hedley, it makes me all warm inside to hear a band that can really rip and make some great thought-provoking music.

At first listen it's not completely original, and I immediately think of Avenged Sevenfold, Panic! at the Disco, and Alexisonfire, but as i dig deeper I find PtH has created something I have a hard time saying I've heard before. I feel like one of those wine snobs as I listen to the album (again and again and again) ..... I hear a hint of Yngwie Malmsteen, with a precocious smattering of Iron Maiden, a little Testament, with a whisper of King Diamond.

The pigeonholers seem to have a hard time pigeonholing this type of music. Is it metal, punk, screamo, emo, what is it? I guess "metal" today is the brutal gutteral beating put out by Children of Bodom and the like. Nope, PtH won't fit in that niche. Punk is easier to define as it hasn't changed a lot in the last 30 years. Quite obviously PtH doesn't belong there. I guess screamo and emo are close. I consider PtH Good Music. Plain and simple, 'aint it?

As evidenced in a blog entry, the band seems to feel this classification problem depending who they are touring with:

On a "metal" tour we are a pussy little emo band, and on an "emo" tour we are a heavy fucking metal band....

As far as music that's great to put on and rock out to, Kezia is fantastic. The real surprise comes when you pay attention to the lyrics and descend into the "concept." Kezia - sentenced to die, the priest and the prison guard/executioner all get equal billing on this dark journey.

One of the most surpsising moments comes at 4:20 into "Blindfolds Aside." The acoustic interlude is spellbinding.

Sin I didn't care for, but a sin that paid my debts
A sin that fed my children and burned my smiles and cigarettes

"The Soonest to the Sea," with its message about the position of women in our society, left me sitting and thinking for quite a while afterward.

The spoken:

So when you bled on the bed as you fed those expectations as a whore and not a human
You embraced with hesitation the very parameters of all you can be
Not a mother, not an aunt, not a sister that's not subdued
Because dignity's not physical and your flesh means more than you

and the outro/chorus:

Maybe someday when, when this bloody skull has dried
Know our city is in ruins when our greatest source of pride,
A monument of dicks and ribs and the gender crown we wore
Where underneath, a plaque will read, a plaque will read, No woman is a whore

Incredible musicianship, phenomenal vocals, and intelligent lyrics from a bunch of teenagers. Buy this album.

It looks like I'll be covering their December 9th show in Toronto. Keep an eye out for a review and photos soon after.

Also See:
protestthehero.com
http://myspace.com/protestthehero

New AlternaDance Releases

nospam@example.com (Christie Keith) — Thu, 02 Nov 2006 12:38:31 -0600

One of my ~~secret addictions~~ favorite music stores is PerfectBeat.com, and they got some hot alternative dance CDs in this week. The best and brightest is the sizzling six-song CD of Moby's "New York, New York" with Debbie Harry singing vocals. A song has to be really good to get me to spend twelve bucks on a CD with six different versions of it and nothing else. This one is.

Moby also released a CD with several remixes of "Slipping Away (Crier la vie)," featuring vocals by French-Canadian chanteuse Mylene Farmer. Same twelve bucks, only four cuts. Hey, it was number one in France. Perhaps my 80s roots are showing, but I liked the Debbie Harry release better.

Basement Jaxx got all screwy wonderful with six remixes of "Take Me Back to Your House," which kind of sounds like Jewel got high with the Scissor Sisters and then went into the studio with Basement Jaxx, I have no idea how else to describe it. It's bizarrely addictive and totally danceable.

All in all, a good week for weird dance music.

CD Review: Evanescence - The Open Door

nospam@example.com (Jeff Barringer) — Thu, 02 Nov 2006 12:25:00 -0600

After the harder "crunch" of the first Evanescence album, I eagerly anticipated this next release. I popped into my CD player in the truck on the way home from the store and almost turned around to see if they had slipped a Sarah McLachlan disk in the sleeve by mistake.

Wel,l I've driven around the block a few more times (it was in my CD player for a week) and unfortunately, it's not a mistake. There is no "crunch" to this album, not a single song with a hard edge. I don't even think I hear a radio single. Any "crunchiness" that this disk had was removed in the edits, or was added during the edits almost as an afterthought. While this disc might cut it at a Lillith Fair audition, it's not what I'd hoped for.

It is a tremendous solo showcase for Amy Lee, although again I don't hear a single, but I don't think its fair to label this an "Evanescence" disc. I guess I'll have to rely on Flyleaf to supply that "crunchy" female lead vocal.

Track list under the jump.
Continue reading "CD Review: Evanescence - The Open Door"

CD Review - R.E.M., And I Feel Fine: Best of the I.R.S. Years 1982-1987

nospam@example.com (Christie Keith) — Mon, 30 Oct 2006 14:13:31 -0600

The gods of college radio, R.E.M. bubbled up out of the cauldron that was Athens, GA, in the 80s. They got signed to indy label I.R.S. and burst out with one of the best rock albums ever recorded, Rolling Stone's 1983 best album of the year, Murmur.

And I Feel Fine: Best of the I.R.S. Years 1982-1987 draws heavily on Murmur and its follow-up, Reckoning, making it a much more valuable compilation of the wonder that was early R.E.M. than 1998's Eponymous - and not just for the choice of material. The sound quality is light years better.

But forget all that, and understand this: Pay the extra bucks and get the Collectors Edition. The second disc is absolutely loaded with demos, b-sides, and live cuts, and all kinds of great material. And then, what the hell, go get the companion DVD, When the Light is Mine... The Best of the I.R.S. Years 1982-1987 Video Collection, too - lots of stuff there I've never even heard of before, let alone seen.

These discs are absolutely golden for old fans (even if you already have most of it), and those who want to understand R.E.M. in the days before the line between "indy" and "mainstream" got blurred.

Complete CD and DVD track listings under the jump.
Continue reading "CD Review - R.E.M., And I Feel Fine: Best of the I.R.S. Years 1982-1987"

CD Review: Audioslave - Revelations

nospam@example.com (Jeff Barringer) — Wed, 25 Oct 2006 18:20:00 -0500

Don't get me wrong.

I love Soundgarden and its lead vocalist, Chris Cornell. Soundgarden's album Badmotorfinger is still one of my top 50 rock albums of all time, as is Rage Against The Machines debut release. I own both these band's complete catalogs, and am a total fan of each. Seperately each in itself is a strong and well matched unit. Combined, they sound about as comfortable together as size 8 shoes on size 12 feet.

I've tried really really hard to enjoy these guys. I bought their debut and Out of Exile when they were released and crossed my fingers each time. Each time I have been disappointed. I am no less disappointed with this latest release. The styles are too different, Cornell's voice is too lyrical and needs a band with a more fluid sound behind it. When he gets that sound his voice works well. Here, as in each of the other releases, Zach De La Rosa's old band's sound is halting, choppy and fixed, and it calls more for a rapping style of vocalist, like De La Rosa's, to complement it well. Cornell tries but his voice sounds abbreviated and halted, like he's waiting on the rest of the band to catch up to him all the time.

Try as they might, I don't think that their styles will ever mesh well enough to allow them to create the kind of work they created seperately. Either Cornell has to slow down to his band's abrupt style, which doesn't sound like it's working now and is a waste of his talent, or the band will have to completely have to change their musical style to accomodate Cornell. That doesn't appear to be happening, at least not from what I hear on this or their previous discs. I listened to this disc for a full week and can honestly say that none of the songs was memorable enough for me to mention, other than list them below.

1. Revelations 4:11
2. One And The Same 3:37
3. Sound Of A Gun 4:20
4. Until We Fall 3:51
5. Original Fire 3:41
6. Broken City 3:49
7. Somedays 3:34
8. Shape Of Things To Come 4:35
9. Jewel Of The Summertime 3:53
10. Wide Awake 4:26
11. Nothing Left To Say But Goodbye 3:33
12. Moth

CD Review: Cattle Decapitation - Karma Bloody Karma

nospam@example.com (Nokturnel Tom) — Sat, 21 Oct 2006 18:22:00 -0500

Cattle Decapitation is incredible, and their new release, Karma Bloody Karma, is really something unique. I need to talk a bit about the band before the review as these guys are far from your ordinary death metal band. Grind bands are usually guys who just want to be as brutal as possible, and although lyrically some of these bands really give you something to think about, youâ€™d really never know what the fuck they were screaming about unless you bought the CD and read the lyrics. Cattle Decapitation seems to have matured into a great death metal band but the brutality is a major factor. Throw in some multi-genre influence and you have a finished product that could be easily overlooked as just another band - but that, they are not. Theyâ€™re practically in a league of their own.

I read the lyrics to this CD (since Metal Blade Promos come with the covers, which is really great! Many labels only send the discs) after a few listens. I was a little confused, but impressed at the same time. This made me look at the band's site as well as what the label has for them on their site, and I came to realize just how different this band is from most. Most death metal is very typical. It consists of horror and gore movie influence, anti-religious themes, violence, and brutality. This record is full of hate, but it is towards humanity and spells it out quite clearly.

One of the most powerful moments for me on this record is in track one, "Unintelligent Design." When speaking of humans the hatred is delivered in a crushing hypnotic riff....
Idiots!...Backwards!....Self-serving!...Self Righteous!...All Consuming!...Bastards!

Lyrics like these can be considered common, however the band's lyricist/vocalist has been known for his â€œobsessively gore orientated musings laced with pro vegetarian/anti human posture.â€? Thereâ€™s the twist. Some metal bands try to be cooler than the next by basically hating everything, and there is no explanation needed. It usually revolves around religion. Thereâ€™s reason behind the hatred on this record and it is pretty bold in my opinion to go against the grain and offer something that not many other bands would dare try. Their bio mentions their Humanure album, featuring artwork described as the ultimate revenge on humanity. A cow excreting human remains. Now that is fucking smart...and sick! I mean, the record doesnâ€™t make me wanna be a vegan, but hell, it makes you think about the sickness us carnivores support, since we do not often think about how the food we eat gets on our tables. I mean being a snake breeder the amount of rodents I personally basically kill doesnâ€™t bother me much, and I am not too sympathetic when I drive past a field of cows. Iâ€™d kill the damn thing myself if I was hungry enough.

Regardless, this record gets under your skin. It makes you think about things, and it points out the faults that we should be ashamed of but arenâ€™t, as well as mocking the way some people follow what they believe without much question. It is harsh and it goes in many directions from technical arrangements to an occasional simple haunting moment - as I mentioned before, almost hypnotic. The guys know how to play, and they do it well. I would like to know how long they worked on writing this record because it is phenomenal. The sound quality is killer, and each member has done an outstanding job, but the vocals and lyrics are just too much .... I mean fucking amazing.

Thereâ€™s an abundance of chaos on the record, but this is not grindcore. I would call this death metal. Plenty of blasting drums, but that does not equal grind. The same goes for a few sweeping arpeggios, that does not make a guitar solo - but I think this guy knows that. His guitar work is excellent and the minimal soloing keeps the heaviness of the record at the level of intensity that sometimes is lost when death metal guys become possessed by Malmsteen. Iâ€™d bet this guy was a Human Remains fan. Either that or he must have relatives in New Jersey where us oddball metal musicians come from. Some say thereâ€™s something in the water.

The band will be touring again soon, something they apparently do a lot of. They have Kevin Talley (ex-Dying Fetus) drumming and will be on the road with Goatwhore. I will not miss this tour and have to tell you, I have listened to this disc no less than fifty fucking times. This review has taken me so god damn long I have a pile of discs collecting dust on my desk and many of them are great. The thing is, I feel I have barely done my job here. I hope I piqued your interest in hearing this record. You'll understand after you listen to it and read the lyrics why I felt it was so important to make you understand this is not a typical band or record. This is the type of record you could overlook, and that would not be cool. This record is a masterpiece and it is addicting. I myself almost stuck with the initial thought that this was some sort of typical record and I am glad I took so long to really take it in. The more you listen to it, the angrier you get. It is fucking powerful, chaotic and brilliant. Check it out

CD Review: Demiricous, One

nospam@example.com (Nokturnel Tom) — Wed, 18 Oct 2006 20:02:00 -0500

When I started writing for this site I announced I would not waste much of my time on bad reviews - and I wonâ€™t. This record has some good points, but I will never put this on again, one spin was enough for me, thanks.

The write up on the Metal Blade site says thereâ€™s almost a raw punk vibe on this record. Really? Where the hell is that? This to me is 85 percent Slayer worship to the point of cloning. The vocals are different and some of the drumming is faster, but the guitars have Slayer written all over them. Why Slayer is not mentioned in this write up is just ridiculous.

It is a great sounding record. I am sure some people will find this very appealing, but if I wanna hear Slayer I'll listen to Slayer.

The production leaves nothing to complain about. Crisp and heavy and very audible. The vocal style fits the music well, no singing or melody here. The guys can play, it's a tight record without any sloppiness. I think for me, it's just the fact that after listening to the disc, and reading what the label and band has to say about this band, I'm sitting here wondering, how you could say youâ€™re old school but doing something different as compared to bands of today? There has been a resurgence of old bands making comebacks and current bands showing this influence, so I donâ€™t get it. To claim nothing thrashy is coming out anymore? Huh??? They describe themselves as street metal? I just canâ€™t stand it.

The lyrics... Well, hereâ€™s an example:

Assassins unscavenge.
Aesthetic trauma.
Bringer of the rising tide of low carb suicide.

I seriously hate this guy's lyrics, canâ€™t stress that enough but....

In all seriousness. If you like the type of metal with the first few notes of "Reign In Blood" rearranged eighty-nine different ways, this record is for you. It does not suck at all, it's a good record, but for me it's something I've heard a million times before. I love the older metal records and I'm glad these guys are trying to rekindle some of the old spirit, but hopefully their next record will be a bit more original. This record shows potential, as they as a group have the ingredients to make great records, but I don't think this is one of them.

CD Review: Three Days Grace - One X

nospam@example.com (ClintG) — Wed, 20 Sep 2006 10:42:00 -0500

There's baggage and then there's Three Days Grace (3DG). 3DG frontman Adam Gontier either has a lot of issues he's worked/working through or a very vivid (if not very fertile) imagination.

While their self-titled debut dealt with, among other things, Adam's anger toward his father, One X drags us into self destruction, drug abuse, crumbling relationships, and other dark topics. The scope of the album is a little limited, with several songs on the topic of women fucking you over and how you've moved on, and several others about being a misfit.

I wanted to love this album. These guys grew up just down the road from me and I remember hearing of them in the "Groundswell" days. I really wanted to love this album.

In my initial draft of this review I really felt that I couldn't love this album.

Angry disenfranchised teens would eat this stuff up. When I was 16 I would have loved this and felt like Adam was talking directly to me. I've been to the dirty underbelly and come out the other side, 3DG isn't really telling me anything I don't know.

But......

Just yesterday I realized that every time I get in my car I put it on. What's that mean? I guess, what it may lack in substance and breadth it makes up for with some great hooks and solid riffs.

The production values of One X are much improved over those of their first release. This time the guitars don't sound like they were played through a Peavey Backstage Plus with a Boss Metal Zone and recorded on a Fostex 4 Track. The vocals are also higher in the mix and overall the sound is less muddy.

High points:
Animal I Have Become
On My Own
Get Out Alive

CD Review: Unearth - III In The Eyes Of Fire

nospam@example.com (Cindy Steinle) — Mon, 11 Sep 2006 00:05:00 -0500

The truly sad part of this review is, this is what I consider a new band. Their last recording was in 2004. But hell, that was two years ago. And that was a major release. Their first was an EP in 2001. That was five years ago. This isn't a new band by any means. So it is mildly sad that it took me until this spring to find the band. Once again, thank gawd for Sirius. This is NOT a band you would hear on a regular radio station. And since well we don't really have a heavier music station here in Milwaukee anymore,I would have never heard them. They are trying to sell their music to fans, not advertisers. Looks like I have to track back in time and get the other CD now.

Unearth are heavier in the vocals than you would expect hearing the guitars. Guitar-wise, they remind me of Maiden. Remember a time when the guitars told the stories? You actually hear harmonies in this stuff. The vocals are raw and guttural, but not the chunk growl with death metal. Almost thrash vocals that are kinda like Phil Anselmo. The drums come hard and fast and brutal and at times almost march like. The drums on this band will be the thing to drive the pit at a show, not the guitars.

Lyrically it seems like a lot of inner searching was almost put into them. Also reflection on politics, which is always a long standing metal theme. From "So It Goes":

Take us back - reawake
Take us back - erase the wrongs that plague us
Reawake - rewrite the page that changed me
Take us back - to the times of cherished past

Seems almost as if major life hell came down on the band as a whole when writing lyrics like that. Then again, I could be over thinking things. Reading too much into the picture. However I like to think the words have a little meaning to them. The song " This Time Was Mine" is about a family member of Trevor Phipps who was dying and the issues surrounding it and how it affected everyone involved. I love when lyrically, you get a piece of the people. Personal touch to the music is a great thing.

Fave Tracks
"This Glorious Nightmare" - chorus kicks hiney
"March of the Mutes"
"Imposter's Kingdom"

BTW Don't forget, Unearth Ozz Fest shots are in the photo gallery. :)

The Most Mixed Bag Ever

nospam@example.com (Christie Keith) — Wed, 06 Sep 2006 03:59:37 -0500

Do you ever like a song and feel like some kind of alien infection got into your brain or you wouldn't? Kind of like falling in love with someone you know is bad for you, or maybe more like eating junk food, I don' t know.

I fell in love with "Sleepwalking" by Maria Lawson. Big old schmoopy pop song. She's a British singer who won some kind of hideous reality TV competition thing, the type of show I'd rather swallow ground glass than watch.

And then, less distressingly, I stumbled on one called "Love Burns" by California indie band Black Rebel Motorcycle Club, a not-new-but-new-to-me song, that I can't seem to stop playing.

And I recently got some of my beloved old Dead Kennedys' songs into digital format and have been blissing out reliving my misspent youth and thinking "Holiday in Cambodia" probably really was the best punk song ever. Except for "Nazi Punks, Fuck Off," that was the best.

Or "California Uber Alles."

I don't know, some of us never grew up. And yet even that didn't inoculate me against big swoony Britpop.

And after seeing a version of "Because the Night" by Bruce Springsteen and Bono on YouTube, I had to cleanse my brain by cranking Patti Smith's original version as loud as possible for several hours. I know Bruce Springsteen co-wrote the song with Patti Smith, but her version owns me. Always has, always will.

CD Review: Deicide - Stench of Redemption

nospam@example.com (Cindy Steinle) — Fri, 01 Sep 2006 18:58:57 -0500

Eagerly anticipated by me (and that's all that matters!), this is the evilest band I know of. While I am mildly disappointed that neither Slayer or Deicide were able to manage a release on 6/6/6, I'm damned glad they didn't make me wait too long.

Glenn Benton, the only person to actually frighten me, has not really mellowed with age one bit. Deicide is one of the true forbearers of death metal as we know it today. From the Florida underground many years ago, to world wide dominance. Honestly, this is the most melodic and clean recording by the band I've heard. Recent additions to the band of guitarists Jack Owen (ex-Cannibal Corpse) and Ralph Santolla (ex-Iced Earth/Death) are probably responsible for this. While Cannibal is death metal in the truest sense, Iced Earth is a whole different ball game and seems to have brought a different, cleaner feel to the music. Glenn's vocals seem far less forced than in previous years, and have a stronger force behind them. Almost a relaxed feel. It is still the Benton growl, but seems to have something more almost aged or mellowed, but those aren't good words. Almost that his voice has become perfection. Critics of death metal say they can't understand the lyrics. While there are some bands that, yes I agree that is an issue, I have never seemed to have a problem with Benton. Steve Asheim on drums has the heart pounding speed and double bass going that is a true death metal staple.

Lyrically it is what you would expect from Deicide. Heavy satanic influences in every song. From title track "Stench of Redemption":

Bow to a God I will never want,
Look him in the face as I taste his blood..
Fall to my knees and forget myself..
Rot with disgust and no dignity..
Enemy of me you will always be...

This is death metal at its purest form. The originators. Age has not taken their edge of in the least. While some bands talk the talk of Satanism for giggles and sales, I truly suspect Benton practices what he preaches.

While the turmoil in change of guitarist is always tragic, I think the new members really make this album great. Who would have ever thought I would say "Hey the new Deicide is really freaking good. So melodic!" Honestly not me, let alone anyone else. The solos on the album really seem to give the band a new car type of feel. Fresh and clean and all brand spanking new. While I can't replace my fav Deicide, (not quite ready to give up old loves babe) I have to say this may replace Legion in my regular play.

My only true bitch is that this album is too damned short. Song length is about 4 minutes each song and it seems to be over as soon as it starts. Short of that little issue, this is the reason I listen to death metal. And this reason seems aged to perfection.

Fav Tracks:
Black Night
Not of this Earth

CD Review: Cellador- Enter Deception

nospam@example.com (Nokturnel Tom) — Tue, 29 Aug 2006 22:13:52 -0500

I've listened to this disc a lot and it really grabbed me from the first play and hasn't let go. This band really has some serious potential. I love the drumming, which at times is as brutal as death metal, but no bones about it, these guys are very melodic.

The vocalist is really impressive. No screaming here, this guy can sing his ass off and his voice is very complementary to the music. He reminds me of a young Bruce Dickinson and the guitars seem influenced by Maiden, but a hell of a lot faster and much more technical.
The musicianship is top notch and the songs are well structured. The record flows from song to song and holds your attention. The type of CD that gets to the last track, ends and starts again and more often than not gets a second spin instead of playing another record. The opening track is my favorite and horns up to Eric Rutan (Hate Eternal/ Mana Studios) for engineering such a great sounding disc. He really did a great job of making this band burst out of your speakers and Iâ€™d bet the band themselves are stoked to have had their art captured in its finest form. Freaking awesome!

Thereâ€™s a fair amount of melody and harmonies for both the guitars and vocals which make me wonder if anyone in the band sings back up for their live performances? Regardless I can not wait to see these guys. I bet they tear it up. The art work on their CD cover is impressive and the packaging is top notch. A fine power metal release from Metal Blade that is sure to bring a lot of attention to a well deserved band. This is the kind of record that older metal heads who moved onto the heavier genres, namely death and back metal, could hear and say something along the lines of â€œnow this is something I can really appreciate.â€? This is just incredible, I mean traditional metal gone over the top. Harsh screaming or guttural vocals would have ruined this record. It is flawless! This is so god damned metal MANOWAR probably listens to it! It is so god damned metal youâ€™ll shit bullets when listening to it! Cheese free power metal! It is so god damned metal you will basically be a total poser for not buying it, so get you hands on this disc and be god damned metal!

CD Review: Slayer - Christ Illusion

nospam@example.com (Cindy Steinle) — Mon, 21 Aug 2006 19:47:25 -0500

There are few bands that really make political statements so perfectly, and Slayer has always been one that really hides it perfectly in their lyrics and makes you eventually start to listen and think.

The long-awaited release from Slayer proves that while they may have been around for a long time, they are still one of the strongest bands out there. Being an old fart (well sort of) Slayer is one of my top bands. Add to it that Kerry keeps snakes, and we have a winner. But I digress.

Some of the songs are a tad slower than in the past, however, no less powerful. It is wonderful to have the gang back together. It is also to know that thrash metal still lives in its most perfect form. This album is also one of the most protested ones they have put out in a while. I actually heard of churches planning on going out and visiting record stores in Wisconsin to save the hordes of Slayer fans from losing their souls. Thankfully I pre-ordered my CD with a new Wermacht shirt. The old shirt is in storage now as I can not longer wash it without it falling apart. But once again my brain is straying.

In my opinion, "Catalyst" is lyrically the best Slayer song ever written. Of course that is because I closely associate with the words.

Attitude is my addiction
I live life with no regrets
Unlike you it's my conviction
That sets me apart from the rest

Then again the words speak of how I live my life exactly. Never look back and never have regrets.

"Jihad" is another great song. It has the lovely slow grind that is almost a Slayer trademark. Even without Tom's vocals I could easily know it was Slayer. "Cult," the first single, is another phenomenal classic song. My only complaint with the entire CD, in fact, is the very beginning intro to "Skeleton Christ" is kinda cheesy, however, the song on a whole is fantastic.

Slayer, dark as ever, does not disappoint. Heavy on themes and lyrics that make you think, it left one person I know asking "What did God ever do to them." If nothing more than inspiring a great album, I'm not complaining.

Lastly, as in the past, Larry Carroll did a great job on the cover art.

Fav Songs:
Catalyst
Cult
Jihad

CD Review: Torchbearer - Warnaments

nospam@example.com (Nokturnel Tom) — Sat, 12 Aug 2006 09:51:19 -0500

I had no idea what to expect when I put this disc in the player, I ended up playing it three times in a row. I then put on two other newly acquired releases......they didnâ€™t last 5 minutes, and I listened to the Torchbearer two more times. This is a great release, and with hooks like these youâ€™d swear your brain was bleeding from them latching onto your mind.

I was starting to think that some of this was very predictable, which at times can be annoying. Then I realized to my surprise what I was predicting was actually what I was hoping to hear, not dreading. After about 20 seconds of the first song you start to think things like these guys are going to be great, and man the sound is crisp, modern and heavy. Thereâ€™s so much influence from many genres of metal that it is astounding they could be meshed together in such a great way without anything being overdone, and nothing weak to ruin it.

The guitars are catchy, sometimes a little more melodic than I like to hear but the record in itself is irresistible. I guess you probably figured that out since I listened to it 5 times in a single day. If you read my bio you will know I prefer the harshest heaviest types of metal, and this is not exactly my favorite style. However what makes this band so killer is I could see them opening for some tough crowds with any major death or black metal bands and them being more than tolerated, I can see this appealing to many metal heads regardless of what they prefer to listen to. This record has no boring parts, it is an interesting listen and it astounds me that things so familiar could enter my mind seeming so fresh, as if it is a rejuvenated improved version of more traditional metal gone as heavy as modern metal of this day and age.

I was not a big Testament fan, but I definitely acknowledge Alex Skolnick as one of the most phenomenal guitarist I ever had a chance to see. Some of the soloing on this record reminded me of his style and that is seriously impressive. This band could somewhat be described as a power metal band gone death metal. The drumming is more aggressive and the vocals are much heavier than the overly melodic operatic type power metal that people who listen to much heavier music find annoying. Vocally it is death/ black metal, no actual singing here. These guys are extremely talented. This a well written, great sounding record and this band shows some serious promise. I look forward to hearing more from them and hope you check them out. This is not regurgitated crap, this sounds like a record written by guys who know their metal and found a phenomenal way to manifest their influence into one great record, buy it!

From the Candelight Records site:

The debut album Yersinia Pestis was released by Metalblade under license from Cold Records throughout Europe/US in 2004. The new album Warnaments is, like the debut album, a concept album lyricwise. While the debut dealt with the black plague and its way through medieval Europe, Warnaments deals with two special occations from World War One. Mainly itÌ?'s about the Battle of Jutland, which was a massive naval battle between the British and the Germans. Apart from that, two of the songs concern the sinking of a German submarine outside the coast of Great Britain in 1915.

CD Reviews: Indie Quickies

nospam@example.com (Christie Keith) — Wed, 26 Jul 2006 13:50:07 -0500

I haven't had the time to listen carefully to these new indie releases, and while I can usually form my opinions based on the ~~shallowest of criteria~~ quickest listen when it comes to dance music, most indie/alt recordings deserve more attention. And yet, there are still only 24 hours in a day.

I'm not sure about Hallelujah Sirens. Their new CD is Dirty on Purpose, a Mogwai-ish sophomore effort released late last month. They tend to grab me because I'm a sucker for that chiming guitar thing, but the music is maybe a bit drowsy. It's all about the interweaving vocals and the guitar special effects and although it's more focused than their first album, the title of that previous release sums up how I feel about this one: Sleep Late for a Better Tomorrow. Which isn't a bad thing. Just, you know, drowsy.

I'm not a Belle & Sebastian fan, but I can't resist B&S proteges Camera Osbscura, whose third CD, Let's Get Out of this Country, was released in June. Chimey guitars (yeah, I'm fucking predictable, bite me), pretty vocals, and an air of enchanting poppiness infuse the recording. They also dabble in a kind of country-ish thing on a few cuts, most notably the standout track "Dory Previn." I don't really think this is as sweet as it seems at first, but then again, it might be.

I'm sort of morally opposed to concept albums, although in my younger years, I wore through three copies of The Lamb Lies Down on Broadway by Genesis when they were still Peter Gabriel's bitches. But usually when I hear a band is doing a concept album I want to just hide my eyes and cover my ears. And mabye The Early November felt the same way, because I've heard they almost broke up several times while writing and recording their massive three-disc concept CD The Mother, the Mechanic, and the Path. This story of a boy's troubled relationship with his father, and his subsequent troubled relationship with his own child is getting great reviews and I guess I'm just cranky and irritable because it's not working for me. They do, though, put the "rock" in "indie ROCK," definitely not a pop moment in sight. Keep my bias in mind and maybe give it a try.

CD Review: Gorgoroth - Ad Majorem Sathanas Gloriam

nospam@example.com (Nokturnel Tom) — Sun, 23 Jul 2006 14:59:00 -0500

Thanks to Candelight Records US Office for contributing to club.kingsnake.com! One of the first discs they sent me to review is the new Gorgoroth. What a tremendous release it is!

This band has been around for many years now and the name Gorgoroth has been etched into the minds of many worshipers of Norwegian black metal. This record is definitely my favorite but I think some fans of their older harsher releases will not be too into it. Tough shit on them, as this is really a killer record

Rather than draw comparisons to the old recordings I will focus on the new one. The production is awesome, a good sounding record without being too over produced. Everything is audible and clear but not too digitized. I hear some death metal influence and even some traditional metal riffing thrown in the mix,. I remember years back when black metal was very specific as far as the style and sound, very un-death metal. This has changed a lot and this record has balls, as the heavier guitar sound of death metal is apparent. The song writing is excellent. The vocals are varied and really fit in with the feel of this record, I love it. The record is the type that really held my attention. Zoning out with the different feel from song to song and of course when the band goes into brutal mode it is definitive of what extreme metal should be, especially from a legendary band out of Norway.

The long list of musicians who have contributed to the history of Gorgoroth must be raising their swords in honor of this glorious attack on the senses. I think this record will attract some new fans who may not have been much into the older records, but if the next record was a slopfest of harsh destructive noise, or ambient melody or anything in between, nothing would surprise me. Black metal has mutated a lot since itâ€™s rise to popularity. Some of it sucks and some of it is just a gift to the world of extreme music. This release seems to be in comparison to the way bands like Behemoth and Immortal chose to go in a more serious direction. What I mean by that is some bands prefer to stick with recordings released by themselves through mail order only or despise the thought of appealing to the masses. They care little for sound quality and expect to attract a small audience of â€œtrueâ€? kult fans. They try to come off as the harshest of the harsh as if their lives revolve around the band and destruction of serious ideals of what most people would see as normal is what they want you to believe they focus on. This attitude works well for some, but what they donâ€™t tell you is they live with their parents and spend the majority of their time looking for the most obscure bands on the planet in an attempt to be cool. Gorgoroth are apparently trying to spread their message and music with better song writing that does seem more appealing to the masses, but not in some bullshit sell out way! It is just a very easy-to-get-into record. Easy to inspire you let out your aggressions and get your neck in a brace.

Knowing the band's strong beliefs and history in the back metal uprising this must be a very important record to them. With unbelievable set backs to people unfamiliar with black metal such as suicide and imprisonment and of course not being on the same page with some of the former members this record is a triumph. Founding member Infernus has overcome a lot and hopefully has secured a lineup to deliver their message of hate and a true wake up call to ask yourself what you believe in,.....and why? Infernus has had some well known musicians contribute to Gogoroths recordings such as Frost of Satyricon, Samoth of Emperor/Zyklon, and now Dirge Rep from Enslaved for live performances. It seems the three members who will be looked at as names to be heard again in the band are Gaahl on vocals and King on bass and of course Infernus on guitars. Frost played drums on this recording and as usual he did a tremendous job.

I highly recommend this release, it is by far one of the best I have heard in a while. To run through this band's discography and get to this phenomenal record would be a journey into darkness with times being almost too much to handle mentally, yet to finally get to this record would leave you in shock, with screams of anguish and hate and a violent whirlwind of noise in your mind......this is the real deal. Horns up for Gorgoroth, this record is worthy of worship. TRUE Norwegian black metal from some of the most serious men in corpse paint. Buy it.

In the US itâ€™s on Candelight Records, the release date was July 15.
In Europe...Regain Records.

CD Review: Seether - One Cold Night

nospam@example.com (Jeff Barringer) — Wed, 19 Jul 2006 22:58:14 -0500

This is pretty much a can't-miss disc for fans of the South African band Seether. Continuing with MTV's unplugged concept, Seether performs a special live acoustic set of some of their best songs at a small club. Lucky for us, not only did they make an audio recording, they also recorded a DVD, which is included.

I love Seether, so for me this was like a slice of hot apple pie with vanilla ice cream, hard to turn down, and when finished I was left greedily hoping for more. Even though this is an acoustic set, it still rocks. One thing that really struck me when listening to this disc is Seether's aural resemblance to Nirvana on some cuts. Seether is known to cover some Nirvana tunes live, and sometimes the resemblance on this disc can be spooky.

This is one of the cleaner mixes I have heard for a live disc. Kudos go out to the engineers that put this down. There are 12 live songs included on the disc(s). Each one is great.

Gasoline
Driven Under
Diseased
Truth
Immortality
Tied My Hands

Sympathetic
Fine Again
Broken
The Gift
Remedy
Plastic Man

An extra bonus on the DVD is a one-hour interview with the band and the CD includes a special "radio edit" of "The Gift."

CD Review: Ray Wylie Hubbard - Snake Farm

nospam@example.com (Jeff Barringer) — Sat, 15 Jul 2006 05:02:00 -0500

As dry and gritty as a West Texas sandstorm, Ray Wylie Hubbard's latest release "Snake Farm" is a slice of texified outlaw blues rock best washed down with a cold Lone Star. Some Texas musicians have earned the right to be called legendary and this disc is a perfect example of why Ray Wylie Hubbard is on that list.

This release couldn't come out of L.A. or Nashville, it just doesn't fit into any of their genre labels and Ray's fusion of Texas country, rock, and blues show much of where Rick Rubin must have come up with the "distressed country" direction that he took with Johnny Cash's final releases. Never mind that I am already partial to the artist, having seen him during the "Up Against The Wall, Redneck Mothers" cosmic cowboy days at the Dillo in the 70s, never mind that the album is called "Snake Farm" and has snakes on the cover and you know I am goin' to be partial to that, this is one damn fine disc.

It starts with the title track "Snake Farm" about a guy and his relationship with a gal who works at the snake farm. Though the song is not specific to any particluar snake farm, Ray in fact got the idea and words for the song as he drove past the "infamous" snake farm in New Braunfels, Texas. Not sure if Ray knows of that particular institution's history as a "bawdy house" in the 60s, masquerading as a snake farm, but I digress. It's a great song that evokes the feelings most people have the first time they encounter one of these roadside attractions. I know I felt that way when we would see the signs for one up in Oklahoma on family vacations. We would always scream "EEEEWWWW" and then "Can we stop and see the snakes PLEASE!!!" Of course we never did. I finally saw a snake farm, the one in New Braunfels, but only after I became a herper and by then the reaction had changed from "EEEWWW" to "WOW."

Songs like "Killowatts," "Heartaches and Grease," and "The Way of The Fallen" are masterful and robust yet raw and unrefined. I absolutely love the song "Rabbit," its got a real "thwack" to it. Songs like these could only be penned by someone who has been to the very edge of the precipice and had a good hard look at what lies beyond.

Best Line: "Young pups ask me, what makes my kind, shameless women and pork rinds..." Ray is a true Texas poet laureate. I liked every song on the disc.

CD Review: Buckcherry - 15

nospam@example.com (Cindy Steinle) — Sun, 09 Jul 2006 00:01:00 -0500

Buckcherry
Manufacturer:Eleven Seven Music
Released:11 April, 2006

When Buckcherry first came out I didn't want to like them. Yeah sure, in the past I partied pretty hard, but a mega hit song about cocaine? Come on now, that's just plain bad. Then I kept listening. I got Time Bomb. I got hooked.

To me Buckcherry is the glam of the new century. I hear a lot of things that remind me of bands like LA Guns, GNR, even Crue at times. They are a little rougher around the edges, but they are to me at least the New Glam Metal. They sing about sex, drugs and rock 'n' roll and they make it seem fun again.

"Crazy Bitch" is the first song I heard off of this on Bubba the Love Sponge's Show used as bumper music. So what if I am a bubba mark, I sure as hell wasn't going to hear this song OFF of satellite radio. And if I did, it wasn't going to be anywhere near as fun. Come on, a song about sex with a half crazed woman? Tell me that isn't glam. Unfortunately it is catchy as hell, and let me tell ya the folks at the grocery store give me dirty looks when the song gets stuck on repeat in my brain.

Everything is a sweet sounding song about basically a girl having a shit ass life. "Sorry" is the true glam love ballad. The apology song. "Carousel," a song about broken romance. "Brooklyn," a song about rock star life.

Sure there is no substance. Sure it's a whole lotta fluff. Sure it's catchy and will probably get some mainstream air play (can't tell ya for sure tho). But it's a damned fun CD. It's glam, but it's damned fun.

Song List
So Far
Next to you
Out Of Line
Carousel
Sorry
Crazy Bitch
Onset
Sunshine
Brooklyn
Broken Glass

Fave Songs
Crazy Bitch
Sorry
Broken Glass

CD Review: Billy Talent - Billy Talent II

nospam@example.com (ClintG) — Wed, 28 Jun 2006 10:30:56 -0500

Billy Talent
Billy Talent II
Atlantic Records/Warner Music Canada

Every song on the album is strong. Every song on the album is angst-ridden, angry, or jaded. Ben Kowalewicz's nasal vocals and larynx bruising screams are in fine form.

For me the shining star in this band is guitarist Ian D'sa. His machine gun riffing style is unique and he somehow manages to make a chimey clean guitar sound incredibly heavy as it teeters on the edge of breaking up. With the exception of the fuzzed-out tone on "Devil in a Midnight Mass," Ian's heavy tone allows every note to be heard and the cool chord inversions don't just disappear under a wall of distortion.

That being said, "Devil in a Midnight Mass" does feature what has to be one of the heaviest guitar riffs ever recorded.

"Pins and Needles" and "Surrender" are the closest Billy Talent get to a ballad. They don't get too close though.

"Worker Bees" has anthem written all over it. I can't wait to hear it live.

So much for the sophomore jinx. Canada's Billy Talent have taken their unique music style and crafted a solid second effort. Billy Talent II isn't noticeably different from their self titled debut, but you know what? Who gives a fuck?

High Points:
The whole damn thing!

CD Review - The Stills, Without Feathers

nospam@example.com (Kate L Foster) — Sat, 24 Jun 2006 17:32:00 -0500

Montreal boys the Stills used Vice records as a catalyst to their fame to break out to the scenesters far and wide (well, in Canada at least) with their debut Logic Will Break Your Heart. It had a sweet sound that wasn't very out of the ordinary, but when the sometimes dark and heartbreaking lyrics drenched in honesty hit you, it was addictive. They sang about love, drugs and sex, typical rock star themes, but somehow you could relate to it. You could lie back and listen to that record and let the imagery flood your mind, and every song could be a soundtrack to one night or another.

So when the Stills finally got around to putting out their second album, there were high expectations to deliver an album as real and personal as the first. Alas, Without Feathers came out a little under par after the band played musical chairs and let the hype of Logic go to their heads. Moving Dave Hamelin from drums to vocalist/guitarist and losing a lot of their charm, the Stills were back with their second album. It opens with a build up of guitar that slowly adds keyboard and other things into the mix, to a very pop melody that is deadened by Dave's flat vocals. The lyrics are mostly repetitive and nowhere near as touching as before; as well as the musical aspects being less innovative than Logic. With "Oh Shoplifter" and "It Takes Time" both having upbeat fairly danceable music but with lyrics that get almost annoying, the songs are ruined. Other songs drone on a little too long, with either poor song writing or Dave's voice simply being a little too much to handle in such a large dose, overall making the album less than impressive.

The band describes it as their journey through dealing with fame and breakups with girlfriends and the like, all things which typically could make a changed band with a great, matured second album, but The Stills seem to have lost their touch. Their charm of cleverly talking about girls and their virginity, night clubs and death is lost in poor singing and song writing, with boring music underneath it all, even on tracks that attempt to revive their dance rock vibe. As with every record there are a couple exceptions, such as "Helicopters" which may be explained by the fact that original Stills singer Tim is taking care of the lead vocals. "Helicopters" is a long buildup of pulsing guitar and the sorrow filled question "Why do you take this so hard?" that rocks out at the end and the vibe of the whole song is almost like a throwback to the feel of the debut album. Great for dancing without needing any sort of electro beats as well, which makes it superb. It is followed by "In The End" a ballad about an unattainable, lonely girl but finishes up with fun keyboard melodies and with Tim's vocals making it much more listenable, this is another great track to give a little bit of merit to Without Feathers. A few other tracks are fun, but overall the album has taken a slide downhill, which probably doesn't lead to anything else noteworthy coming from the Stills boys anytime in the near future.

CD Review: Gabriel & Dresden - Organized Nature

nospam@example.com (Christie Keith) — Wed, 14 Jun 2006 00:41:59 -0500

It's hard to imagine that a remake of the old Kansas chestnut "Dust in the Wind" could find new life as an indie/alt rock vocal over an eletcro-tech-trance-house dance beat. And even more bizarre, that it would be so fucking good.

But San Francisco dj/producer duo Josh Gabriel and Dave Dresden do all that and more on their debut album Organized Nature. From the massive club hit "Tracking Treasure Down" (don't miss the Francis Preve remix) to standout tracks like "One Step Closer" and "Enemy," this scorching mix of vintage guitar, high tech gadgetry, powerful lyrics, and engaging melodies is kicking dance floor ass all over the US and Europe.

Vocals on "Dust in the Wind," "One Step Closer," and two other songs are handled by Atlanta's indie rock vocalist Molly Bancroft, and four others, including "Enemy" are sung by London-based Josh Burton, whose voice at times bears an uncanny resemblance to that of David Sylvian.

It's true that Gabriel & Dresden are best known for producing the massive trance hits "As the Rush Comes" by Motorcycle and "Way Out West" by Mindcircus, but a little trance goes a long way with me, and I loved this album. Although frankly dance music and certainly electronic, it plays with the boundaries of many genres, including rock and pop, for a sound that's easily recognizable as their own.

Gabriel & Dresden have also done remixing chores on songs by Annie Lennox, Dido, Sarah McLachlan, Depeche Mode, and a number of other artists. This is the first release on their own label, also called "Organized Nature."

By the way, you don't have to take my word for it... the album is streaming free here.

CD Review: Les Claypool - Of Whales and Woe

nospam@example.com (Jeff Barringer) — Sun, 11 Jun 2006 20:40:00 -0500

It's awfully hard to think of any band that sounds stranger than Primus, but Primus frontman Les Claypool apparently finds even Primus too constricting at times. Thus begat Les' latest solo project "Of Whales and Woe."

This disc is a lot like eating sushi with a a variety of tastes and textures, flavors and smells. Some of the dishes you want to go back for seconds on, others just may not be your thing. Certainly his music is not designed to appeal to the great unwashed masses, but to push the boundaries of what music is and what it is composed of at the nuclear level.

My best description aurally of this new release is that of an MTV deathmatch between Primus and the Mothers of Invention with the blow-by-blow commentary provided by Buck Owens of Hee-Haw and a guest appearance by Ravi Shankar. Les is flat out all over the place on this disc as usual (was that a theremin I heard?), and being un-bounded by the restrictions (?) of Primus, it gets kinda funky and kinda freaky.

Some of the tunes are annoying at best, filler at most, some of them are wonderfully bouncy and funky. "Vernon The Company Man" is a strange tale with some odd sitar work. "Iowan Gal" is a bluegrass tune that left its harmony in my head and took days to shake. The song "Nothing Ventured" sounds like a something taken from the King Crimson's Discipline song book . "Of Whales and Woe" and "Phantom Patriot" have a Mothers-esque vibe that is helped by some neat xylaphone work. "One Better" and "Rumble of the Deisel" are just flat out funky in a Parliment/Funkadelic meets Zappa kind of way. "Robot Chicken" is pure Primus and "Filipino Ray" and "Off White Guilt" have some of the wickedest bass riffs you'll ever hear.

Not for beginners, Les Claypool is definitely an aquired taste.

Favorites:
One Better
Nothing Ventured
Rumble of the Deisel

CD Review: Cannibal Corpse - KILL

nospam@example.com (Cindy Steinle) — Mon, 05 Jun 2006 11:40:51 -0500

Cannibal Corpse, the forefathers of death metal as we know it, are back with a vengeance. Kill is hard. Not like Cannibal was ever pussified, but this one is hard. It starts off like a punch in the chops and a kick in the nether regions and does not let up. Hearing it, I yearn for the hella pits I have been in. As I have said before I always worry when a band I have loved for a long time starts releasing things these days. Are they going to change? Well Cannibal has proven that they, much like a good whiskey, only get better with age.

This album brought back they days of Eaten Back to Life for me for some reason. Hard, fast, and straight in your face. They show the delicate balance between death and nlack metal.

I really liked some of the changes between the chunk guitar and an almost melodic tone on both "Murder Worship", "5 Nails In Your Neck" and "Necrosadistic Warning," however, the pauses in "Necrosadisitic Warning" left me bored (a second of silence in the pure aggression that is Cannibal). The solo, though, was lovely.

The drumming is flawless. Double bass that when turned up can make your heart stop.

The first video and single off this album is "Make Them Suffer," a kick ass song. Over the years, I have always defended the aggression of the land of death metal, and recently some of the newer acts are too busy sounding evil in their growls while losing themselves completely lyrically. That is one thing I have always adored about Cannibal, be it back in the Chris Barnes days or present. They don't try too hard to be what they are, they just be.

Whatever mix that is needed to create the perfect death metal band has always been present in the land of Cannibal Corpse.

Favorite Tracks:
Time to Kill is Now
Purification By Fire

CD Review: Rock Kills Kid - Are you nervous?

nospam@example.com (Jeff Barringer) — Wed, 31 May 2006 17:44:07 -0500

Well, to answer the band's question posed, no I am rather bored thank you.

I liked this music better when it was new, in the 80s, and the bands that were doing it were more inventive and daring both musically and lyrically (and hair-stylistically as well I suppose). This, this just sounds like a re-gurgitation of those bands and their music into a putty colored melange of turgid bull plop. Overall I hear strains of the Cure, The Smiths, some Ultravox, a little INXS and a couple bands I just can't quite put my finger on (Simple Minds?). Don't get me wrong, I love most of those bands, that era, and those sounds, and I love new wave bands in general, but this disc just doesn't rise to the occasion.

Even the songs listed on the label as being the "feature" tracks, "Paralysed" and "Hide Away," aren't really edgy enough or distinctive enough to elicit much enthusiasm. I don't know what they did to earn "Band to Watch 2006" from Rolling Stone and Alternative Press but I hope that it was for something other than this disc. I think for this band to succeed they will need to reach beyond the 80s for their inspiration or Molly Ringwald will start having to make teen films again.

CD Review: Rebel Meets Rebel

nospam@example.com (Cindy Steinle) — Tue, 30 May 2006 10:06:05 -0500

Being a metal head, I shouldn't like country right? Well when it is David Allen Coe, country is cool. Often referred to as "Outlaw Country", his most mainstream song is "Take This Job and Shove It" (even tho his performance isn't the one that made him famous) but anyone who has been in a hole in the wall bar with a juke box knows the song "You Never Even Called Me By My Name". I have yet to be in a bar after midnight when this song come on and not seen someone singing it, from the Punkiest Punk to the most uptight Yuppie.
If you are a fan of Pantera you will also know one other of his songs at the very least. "Jack Daniels If You Please" was often used as a warm up occasionally played during their shows. Dimebag was a huge Coe fan, and rightly so. When I heard Dime, Vinnie and Rex were releasing an album that had Coe on Vocals, I must say I got mildly excited. I love the Southern Rock Genre, unfortunately the majority of that is older than I am. What a perfect match (in my mind at least) for another great mix of Metal and a little dash of something else. This album is heavier than most southern rock you will ever hear, and it at times rivals some of the best thrash bands. Dime has some incredibly hard riffs at times.

Between the Humorous "Cowboys do more Dope", the sweet sounding ballad "Arizona Rivers", the catchy title track "Rebel Meets Rebel" and the heaviest track (featuring Hank Williams III) "Get Outta My Life" this album spans the genres of Metal, Rock, Country and Blues. And all the Genres Blend together Seamlessly. I honestly can say I really love this CD.

One side note, this may be the last recording with Dime on it, so if you are a true Die-hard CFH, you must buy this. This album defiantly comes from the hearts of 4 Cowboys From Hell. The hardest part is knowing this is a one shot album.

Track Listing
1. Nothin' to Lose
2. Rebel Meets Rebel
3. Cowboys Do More Dope
4. Panfilo
5. Heart Worn Highway
6. One Nite Stands
7. Arizona Rivers
8. Get Outta My Life
9. Cherokee Cry
10. Time
11. No Compromise
12. N.Y.C. Streets

CD Review: Hank III - Straight to Hell

nospam@example.com (Jeff Barringer) — Mon, 22 May 2006 08:44:00 -0500

Hank Williams III is indeed going straight to hell.

Initially I had a hard time trying to decide if this was a serious album or a caricature of the country music genre. After two or three listens I am convinced that it is a serious album. Lyrically it is as dark, destitute, self-destructive and morbid as any death metal album I have heard, and yet this album has a pure classic country sound, too far beyond alternative to be considered alt-country, done in a style that harkens back to his grandfather's era and roots.

This is not an album for minors, and in fact it might be a little rough for actual miners as well. Hank III seems to be aiming to be pegged as the blackest sheep in the Williams family and he hits that mark here. Songs abound about drug and alcohol abuse, and murder, death, and suicide. This is all of country and western's self destructiveness, compressed into one single release. Hank even takes time in the liner notes to jab a sharp stick at the Grand Ole Oprey and the Country Music Association.

If Hank lives as he writes, he is indeed going straight to hell.

I loved every song on this album. This is a must-have and needs to be place right next to Johnny Cash's final releases. Songs like "Country Heros" and "My Drinkin Problem" should be considered instant classics that cross genres. "Satan is Real/Straight to Hell" starts out like an old time gospel tune then rapidly turns into a romp & stomp hoedown. "Thrown out of the Bar" will make you want to get up and dance. "D Ray White" probably could have done without the echo effect but is excellent otherwise. "Louisiana Stripes" is just unreal. "Smoke & Wine" is a wonderfully bouncy pick fest set to a chorus of "I'm drinking & drugging, I'm having lots of fun, I always carry round a loaded shotgun," and "My drinking problem" with "My drinking problem left today, she packed up all her things and walked away" is an unbelieveable honky tonk. Hanks band is incredible, with Andy Gibson on steel, Joe Buck on the stand up bass, and Donnie Herron on fiddle.

Even if you are not a fan of country music, this is one album worth owning.

Favorites:

"Country Heros"
"Louisiana Stripes"
"My Drinking Problem"

CD Review: Rob Zombie - Educated Horses

nospam@example.com (Cindy Steinle) — Wed, 17 May 2006 19:52:00 -0500

Horror Sexy

Some things always amuse me. How Rob Zombie can make music sexy and scary at the same time.

He channels cheesy stripper songs and adds a dash of the Devils Rejects to make horror sexy music.

I love the intro song which is exactly that, an intro. Short, could have melded a tad better for a smooth transition in a heavier song. I must say I like "The Scorpion Sleeps." Although it can be a bit cheerleader anthem at times. But sometimes I like my music like I like my horror movies, super cheesy. "Let It All Bleed Out" is a pretty decent fast paced song and one of the heavier tracks. "17 Year Locusts" is a bit too slow for my tastes. Much like he has in the past, there are quiet intros to most every song. Nice to hear when you are listening to it loud, but at respectable tones, it tends to get lost.

Lyrically, it could be better. I like continuity to my lyrics. Some people are heavy on the instruments, but I hang on the words. Songs need some sense to them. Some of the songs actually sound like stuff off of his older songs. I hear "Living Dead Girl" in "American Witch." Sometimes its good to stay the same, and sometimes you really need to expand a bit.

One thing you can say about Rob since he went solo is that he is always Rob Zombie. Nothing changes really. If you like his stuff from before you will like this. Nothing excessively impressive, but nothing disappointing. Rob is Rob, the Zombie Man. Occasionally I wish he would go back to the heavier days of White Zombie, but this is nice relaxing super sexy tunes. Overall a decent album. Fans of the Zombie Man will not be disappointed. He sounds the same as always.

CD Review: Red Hot Chili Peppers - Stadium Arcadium

nospam@example.com (Christie Keith) — Wed, 17 May 2006 10:18:37 -0500

The first time I heard Stadium Arcadium, the new double CD from the Red Hot Chili Peppers, I loved it, in that way you do when everything you hear sounds really good, but you aren't listening that closely.

Then I listened again, paying attention, and thought... OK, it's not as good as I thought it was at first listen.

And then I listened again, and this time I started to fall under the spell of the pop-rock-funk thing they have going on. I was bouncingly happy to hear their funkier sound coming on strong on a number of cuts ("Tell Me Baby," "Warlocks," "Hump De Bump") because without Flea's funky bass it's not the Chili Peppers to me. Which isn't to say I don't like them getting all Jimi Hendrix or California beach pop rock on us either. It's hard to explain, sometimes, what this band is. "Make You Feel Better" is just pretty California beach pop rock (and I was born here, I know it when I hear it). And I kind of want to hate it, but I just can't, because it's just too sweet and everyone knows I'm a sucker for guitars that do that chiming thing. It blends into "Animal Bar," which goes rougher and a little sadder, but still holds you there near the Pacific Ocean, "swimming like a shark." And if there's ever been a more California song than "Dani California" I really don't know what it is. If I didn't live here already, that song would make me want to move, just like the poor doomed Dani of the title.

In some ways Stadium Arcadium plays like a greatest hits album, even though it's all new material. It covers everything about the Peppers, from their start as a sort of high school goof-off band, just stumbling around, drunk and obnoxious, with their instruments (and if you weren't around then to see it, don't get pissed off at me for telling you the truth) all the way to Californication, and then out beyond that to where all those things come together and melt and make you melt to listen to them.

And really, I don't want to melt. These guys have always been a little too testosterone-y for me, although their party til you puke and die days are behind them now. And the band is holding back a little too much, creating a radio-friendly sound instead of letting loose the way you know they can. Restrained but not in a "yeah, I have my panther on a leash, don't worry" way. More in a "if I really whale on this shit, they won't play this on FM radio" way.

And I absolutely refuse to work that last cliche, the one that says "there's a great album's worth or material here, too bad it's a double album," or even the one that says "double albums are the death knell." I won't say every track of the 28 on Stadium Arcadium is great. But whether you take the two CDs as separate albums, or mix and match your own little MP3 playlist of your favorites, or listen to the whole damn thing, it all works.

One last note... the CD comes digitally categorized as "alternative & punk," and I had to laugh - this is a rock album, folks, no matter what anyone might tell you. And it hit number one on the charts about ten minutes after it was released, so you do have to ask... alternative to WHAT, exactly?

CD Review: The Ramones - Weird Tales of the Ramones [BOX SET]

nospam@example.com (Jeff Barringer) — Mon, 15 May 2006 02:13:00 -0500

As you can see from the picture of my neice Samantha below, born last week, our family has always considered The Ramones to be our "family band" and we indoctrinate our children early.

I may be a LITTLE BIASED when it comes to reviewing Ramones material, but so be it.

Released just in time for Christmas last year, the Weird Tales of the Ramones box set may be the ultimate collection of Ramones music assembled in one place. At 85 songs and 93 minutes long (just kidding... one, two three, four, one, two, three, four...), the set has some rarities and b-sides along with essentially all the classics spanning the band's entire career. It also includes a documentary DVD Lifestyles of the Ramones and a comic book based history of the band along with a set of 3-D glasses, with artwork by 25 comic book artists as Matt Groening, creater of the Simpsons, Sergio Argones of Mad Magazine, and of course Zippy creator Bill Griffith.

If you only have one or two Ramones CDs, this is a great package to give you a taste of their whole career. If you have all their other discs most of the music will be redundant, with the exception of a handful of special mixes and b-sides, but the documentary and history can help justify the purchase. Even at its list price of $64.98 this box set is cheaper than buying each song one at a time at iTunes.

Personally, I have not had the opportunity to replace most of my vinyl Ramones collection with CD copies so this was a great gift for me. Kudos to our editor Christie Keith on her taste in gift selection.

Favorite Songs:

All of them

CD Review: Krisiun - Assassination

nospam@example.com (Nokturnel Tom) — Sat, 13 May 2006 09:20:00 -0500

The Boys from Brazil are back with another phenomenal record. This disc could be THE perfect death metal record. Although it is a brutal assault on your senses as all Krisiun records are this one is incredibly easy to take in without being overwhelmed by its fury. The production is incredible, I mean everything sounds clear but the heaviness is just awesome. This band is known for its pulverizing drums that lead the band through intense levels of speed. Thereâ€™s plenty of blasting as usual but the double bass work is really killer and song writing is top notch. These songs for me were very memorable, not just a mish mosh of parts strewn together with blazing drums in an attempt to be brutal.

These guys define brutality in the most tastefully executed form. Their instruments have been captured on this recording in a way I had hoped they would since I first heard the band in the late 90s. Each members contribution has been layered into one powerful release that will keep their loyal fans happy and most likely win over even more people. I have had the pleasure of touring with these guys when Apocalyptic Revelations was released, it was their first US tour. They were modest about their skills as musicians and so appreciative of their fans, I knew theyâ€™d become huge, and here they are one of the most respected bands in death metal. They also happen to be one of the hardest working bands I have ever encountered. They tour constantly and are always working on new material. At every single show, they take a minute to tell their fans â€œWe hate rock star bullshit attitudes, without you our fans.....we are nothing!â€?. These guys mean it. They never talk shit about other bands, are always happy to have a beer with fans and friends and do not hide out until they hit the stage like many bands do. This record is not just another death metal record. It is a record some may have hoped earlier heros like Deicide would have cranked out instead of some of the mediocre releases they crapped out for a while.

Moyses is one of the best guitarists I have ever seen and his use of effects is so tasteful you must label him guitar god, as if you donâ€™t you are only admitting your jealousy. The effects compliment his playing....and do not bury mistakes [as if he ever makes any HA!] and the shredding is always impressive. Alexs vocals are always killer and this release is no exception. Lyrically, Alex spews forth the hatred in a harsh poetic way that just emanates the powerful message of disgust with humanity and religion. Maxâ€™s drum work has only improved as this band continues to release amazing record after record. This band is like a machine, they are so over the top and brutal you wonder if they can pull it off live. The truth is, theyâ€™re every bit as impressive live as they are on their recordings, matter of fact theyâ€™re one of the greatest live death metal bands you will ever see. Just do yourself a favor and buy this disc. If there is one death metal band on the face of this Earth that deserves to be worshiped it is
Krisiun.

The line up as always:
Max Kolesne drums
Moyses Kolesne guitar
Alex Camargo bass and vocals

CD Review: Godsmack - IV

nospam@example.com (Jeff Barringer) — Fri, 05 May 2006 16:53:48 -0500

Lord help me but I felt like I was being pelted with a bag of oranges listening to this disc. I like Godsmack, I like the band, the sound, their lyrics, but Godsmack IV just didn't get me very excited. Yes the disc has a single, "Speak," but the album feels very much like it was rushed. The songwriting feels like it was rushed as well, and some of the songs felt like they could have been matured a little more before being committed to disc.

One song they could have kept off the disc is a "sequel" to their single "Voodoo" called "Voodoo Too." I thought "Voodoo" itself was too gimmicky and hated it from minute one, and can't say much more for the sequel other than I'm glad CD players come with track selection buttons.

There are some bone-crunching tracks that sound like Godsmack standards, like "Bleed Me" and "No Rest for the Wicked," as well as "Temptation," but none of the songs really pushed me like some of their previous stuff. I think most Godsmack fans will be pleased with and enjoy the album, but honestly I think it needed to be left in the microwave a little longer for my tastes. It's still in my CD changer so I haven't given up on it.

Favorite Songs:
Speak
Bleed Me

CD Review: Tool - 10,000 Days

nospam@example.com (Jeff Barringer) — Thu, 04 May 2006 17:44:02 -0500

For fans of the Maynard James Keenon band Tool, the title of this new release feels like the time that has passed waiting on this new disk. Tool's last disk, Lateralus, was released five years ago in 2001 and a lot has happened since then, but as evidenced by my trip to Best Buy where I was nearly trampled by a couple guys trying to get copies, they still draw a crowd. Honestly, though, after five years of waiting I was hoping for a little more.

This disk seems to take a page from Keenon's A Perfect Circle songbook, in that it is a less bone-crushing orchestrally complex piece, and has more of an ethereal, wandering, industro-metal-meets-jam-band feel. Tool fans will enjoy it, primarily because it is the first new Tool they have had in like forever, but mainstream America and certainly mainstream radio probably will be less enthusiastic. The title track itself clocks in at an astounding Pink Floyd-like 11+ minutes. Many other tracks come in at 7+ minutes and more. "Right In Two" is another long tracker, more like a Tool standard, with a long, slow build, ending in a gÃ¶tterdÃ¤merung-like crescendo.

Packaged in a strange 3-D stereographic package that must have caused fits for everyone involved, the disk actually includes thick hard plastic glasses to allow you to view the images in the liner notes.

Maynard also continues to offer his fans weird audio clips to try to decipher. On Ã†nima it was a strange Hitler-esque monologue that turned out to be a recipe for deviled eggs,"Die Eier Von Satan," proving once again that German is just not a romance language. This time it appears to be an Apache spiritual cantation, called "Lipan Conjuring." It will not so easy to deciper this one. Also on the indecipherable list is the track "Viginti Tres" which appears to consists of some kind of electronic goofing around in the studio and doesn't really add much to the disk other than another listing on the liner notes. Maybe if I wore the 3-D glasses while I listened too it...

Favorite tracks:
Vicarious
The Pot
Right In Two

CD Review: The Dresden Dolls - Yes, Virginia

nospam@example.com (Kate L Foster) — Fri, 28 Apr 2006 18:08:00 -0500

No matter how many sub-genres the elitists (and pigeon-holing critics) create, there's always going to be a band that needs one created just for themselves. The Dresden Dolls are definitely one of those bands.

Just about the best description I've heard for them thus far is "cabaret-punk," which at least hints at the unique piano and drum sound created by Amanda and Brian. Their latest album, Yes, Virginia, builds brilliantly on the style they've cut out for themselves. With a little more of a produced and polished feel on this album, they've made themselves more accessible but never any less compelling. Amanda's lyrics don't back down, she's confrontational, she's spilling her guts, she hates you but she wants you and especially wants you feeling her emotions just as vehemently as she does. Sometimes with a haunting feel (especially with the first track "Sex Changes" opening with piano very much resembling the film Halloween's theme) or a romantic one, this album explores every part of the spectrum. Amanda's powerhouse vocals have a spectacular range and seduce you like a sexy jazz singer lounging across a piano ("Mandy Goes to Med School") or make you want to hug the little broken down girl she portrays herself as on "Me and the Minibar." Mental health, sex, drugs, and rock have always been frequent themes for the Dresden Dolls, almost as though Amanda tries to piece together the events of her seemingly traumatic life through her music. Yes, Virginia evokes the band's first taste of fame, with the first single "Dirty Business" showing Amanda's reaction to the recognition she's slowly gaining - not surprising for a band breaking out of the underground and becoming the next big thing.

Amanda's sexual prowess never ceases to be a driving force behind the music, with lyrics like "I'm trying hard not to know the name of who is waking up beside me," she captivates listeners but never gives away too many details. This album perfects the Dresden Dolls' sound, and I expected nothing less.

CD Review: Erasure - Union Street

nospam@example.com (Christie Keith) — Thu, 20 Apr 2006 14:39:43 -0500

The last guy I'd ever expect to see without his synthesizers is Erasure's Vince Clarke, but their just-released Union Street is an all-acoustic remake of songs from earlier albums. They didn't touch any of their hits, and there are no dance songs, just lots of silvery guitar from producer Steve Walsh behind Andy Bell's vocals. (Walsh is also the owner of the studio in Brooklyn that gave Union Street its name.)

I was living in Europe when Clarke, an original member of Depeche Mode, broke up his wildly successful synth-band Yazoo and started searching for a vocalist for a new group. I caught one of Erasure's very first shows, at a small club in London, where Andy Bell managed to sound disturbingly like Yazoo's Allison Moyet, and they brought the house down - most especially when Bell sang Abba's "Gimme Gimme Gimme" in leather jacket, motorcycle boots, and a pink tutu.

Erasure topped the charts in the UK and had some pop success in the US as well, but have usually been seen as the lightweights of the holy trinity of surviving 80s synthpop bands (the others being Depeche Mode and the Pet Shop Boys). Certainly DM and PSB are musically more complex and topically darker, but while there's no shortage of critics who don't think much of Erasure as musicians, the real problem is that they write pure pop love songs, and that is just so not cool.

Union Street's first cut was also the first single, and if they wanted to set the bar high, they succeeded. "Boy" is killingly beautiful, and had been all but lost in its original version on 1997's Cowboy. I wondered, in fact, how I had missed it, and just put Cowboyin the CD player and thought... ok, that's how.

Is the rest of the album as good as "Boy"? No, it's not, but most of it's very good indeed. For instance, their little trip through the back catalog turned up "Tenderest Moments," a b-side I'd never even heard before and that almost hits the heights of "Boy." And the guitars in this one, by Clarke as well as Walsh, are almost as purty as Bell's vocal.

Will this risk pay off for Erasure? Reviews so far have been mixed, so maybe, maybe not. But as Mallory O'Donnell said over on Stylus:

Erasure have taken a chance with Union Street, but then their continued insistence on making music this purely honest, tender and revealing is in itself taking chances in the face of hipster irony and designer miserablism.

And don't we all need that now and then?

CD Review: Yeah Yeah Yeahs - Show Your Bones

nospam@example.com (Kate L Foster) — Wed, 19 Apr 2006 18:37:00 -0500

After a handful of EPs and their debut LP, the Yeah Yeah Yeahs have returned with Show Your Bones. The twang in Karen O's voice and Nick's guitar hasn't gone anywhere, but some of the band's in-your-face energy has. Where Fever to Tell, with its raunchy style, left you feeling like you'd just been eaten, chewed up and spit back out, Show Your Bones is much less driven. There are definitely some great, hard hitting tracks, like "DÃ©jÃ Vu," "Mysteries," and "Fancy," which really epitomize the sound the band built their fame on, and where they're taking it.

A little bit of folk style, as well as more technical production and effects from producer Squeak E. Clean fused with their original dance-rock feel, creates a newly-matured and slightly more experimental Yeah Yeah Yeahs. On the lyrics side, Bones is more emotional than we've seen in the past, probably from the band dealing with newfound recognition, hard touring and growing pains in general. With more emotional, sometimes pained, lyrics come slower tempos and songs to sway to, with a more ballad-like feel, with cuts like "The Sweets," "Warrior," and "Turn Into."

Show Your Bones still makes for a solid, engaging record, but lacks the raw, powerful execution they're capable of, and makes me wonder if they've lost that touch of what really pulled us in in the first place.

CD Review: Cat Power - The Greatest

nospam@example.com (Kate L Foster) — Tue, 18 Apr 2006 18:00:00 -0500

Chan Marshall has taken on her stunning musical persona of Cat Power once again and delivered a fantastic new record, The Greatest.

Don't let the title confuse you; this isn't a greatest hits compilation, but her sixth full length release from Matador records. The Greatest was recorded in Memphis, which makes its presence known with the twanging guitar on "Islands" and the whistling refrain on "After It All."

With the first half focusing on her skill as a pianist and the guitar taking over on the
last half, this album features more of a backing band than her previous work. Help from Al Green's backup band and a few other musicians make The Greatest a little more upbeat and give it a more full-bodied sound. It was surprising to hear so much going on in a Cat Power song, reminding me of when I threw on Elliot Smith's Basement on a Hill and heard "Coast to Coast." A full band backing someone we're used to hearing alone, strumming away at their guitar, can be daunting, but Marshall reassures us nothing has changed. Her haunting songwriting and strong, velvety voice are still the forefront of her music, and none of her talent gets lost in the sound of the new musicians on board.

Although her style has progressed and we see a lot of new additions to the Cat Power mix, she hasn't swayed from what we know her best for. Lost love, missing your love, depression, death and (did I mention losing your love?) come up in her intelligent and honest songs, but the morbid accompaniment is gone. This makes for a slightly unusual mood, since there are horns and banjos and whistles that have you bopping your head to fairly melancholic vocals. The Greatest may be suffering a bit of genre-confusion, but it's still shows Marshall's experimentation with different styles and growth as an artist. Moving more toward the soulful, bluegrass style of music her voice sounds most suited to sing, she's proven she isn't going to make soundtracks to breakups and crying sessions forever.

CD Review: Sepultura - Dante XXI

nospam@example.com (Cindy Steinle) — Tue, 18 Apr 2006 14:11:37 -0500

Ok I admit it. I miss Max. I have always been into the vocals in music more than anything else. The words speak to me. I have failed on the bass and guitar, and let's just say I am a tad intimidated by the drum kit in the basement. But it's safe to say Derrick Green has grown on me with this CD. He has finally found his way in the land of Sepultura. Igor Cavalera on drums, Andreas Kisser on guitars and Paulo Xisto on bass round out the original trio of the group.

This CD has something that I love about the older Slayer CDs as well. It plays almost like one straight song. A long, hardcore, heavy song. And also perfectly seamless. A song to get the aggressions of the day out with. A song that makes me want to throw down and hit the pit. Yes, some girls really did like to hit the pit and work out those pent up angers. But I digress.

This CD is such a throw back to the Old Skool metal that I love so dearly. Hard, heavy with ripping guitars and heart stopping double bass. Strength and force come through each song. This is the best album the band has released since Roots back in '96 or even perhaps Chaos AD in '93. The others were merely a growing period for the band. They have found the missing pieces of the puzzle and are verging on being a force to be reckoned with again in the thrash world.

Favorite songs:
"Convicted In Life" (this will be the first video off the album)
"Ostia"
"Still Flame"

A release like this album early in the year has me eagerly anticipating the rest of the year. One very nice touch was the tribute to the late great Darrel "Dimebag" Abbot. Two years is too long already for us to be without this god of a man, but it is a nice touch to remember him. It also reminds me that metal is not just music, it's a family and a way of life.

CD Preview: Ministry - Rio Grande Blood

nospam@example.com (Jeff Barringer) — Tue, 11 Apr 2006 13:13:57 -0500

Staunch conservative republicans should read no further. Sometimes it takes something special to bring out an artist's best works. For Ministry, it appears that special something is having a Bush in the White House.

Cuts from their forthcoming CD Rio Grande Blood are available on their website. Darker, heavier and faster than earlier disks such as "The Mind Is A Terrible Thing To Taste" or "Psalm 69," this disc is more raw and brash, not quite as hooky. Certainly the politcal rhetoric is ramped.

Ministry is always shoved into the "industrial" genre along with artists such as Nine Inch Nails, and it is really not the right fit. Ministry is a mix of speed metal and thrash punk all its own.

This disc will make it into my collection soon after its release in May. Jello Biafra makes an appearance. Ministry will be touring this summer with the Revolting Cocks and Pitbull Daycare. For CD release and tour info and to listen to tracks, go to http://www.ministrymusic.org/.

CD Review: P!nk - I'm Not Dead

nospam@example.com (Christie Keith) — Sun, 09 Apr 2006 21:48:00 -0500

P!nk was packaged as just another pop princess on her first album Can't Take Me Home, got disgusted with the way she was being marketed, and went out and got one of my heroes and hers, 4 Non Blondes' Linda Perry, to slap everyone silly on her sophomore album, M!ssundaztood. Her third album, Try This, sold badly and she herself has spoken negatively about it, but there are some great songs there - "Trouble," "God is a DJ," "Catch Me While I'm Sleeping."

But her fourth album, I'm Not Dead, is going to blow everything else she ever did right out of the water. If this isn't P!nk's year, I'll eat this blog. And if that means my indie/alt street cred gets flushed down the toilet, I really don't care. If this foul-mouthed, smart, badass gets even one teenaged girl to ditch the "itty bitty doggies and the teeny weeny tees" and take karate or something, then it's worth it. If I had a daughter I'd not only want her to have P!nk as a role model, I wouldn't mind one little bit if she actually grew up to BE P!nk.

"Stupid Girls," the first single and video from the album, is something I'd like to have piped into the bedroom of every girl in America, although I don't actually have to arrange that, as they seem to be listening to it on their own. "Dear Mr. President" is unabashedly melodic, lyrical, and political - and not for those who like George Dubya, with its shout-out to Cindy Sheehan and backup harmonies from the Indigo Girls; I loved it.

The other single/video release, "U+Ur Hand," harkens back to the subversive dance floor P!nk of M!ssundaztood:

Keep your drink
Just give me the money
It's just U + Ur hand tonight...
You're high fivin' and talkin' shit
But you're going home alone tonight - aren't ya?

Pure rock-pop: "Who Knew," the anthemic "Long Way to Happy," the heartbreaker "Nobody Knows," "I'm Not Dead."

I'm also trying to wrap my brain around the number of people on Amazon who reviewed this album negatively because of the lyrics to the rock/dancey "'Cuz I Can" and the R&Bish "I Got Money Now." I think the schools of America need to teach Sarcasm 101 or something.

I didn't love every single song on I'm Not Dead. I could have lived without "The One That Got Away," P!nk's homage to Janis Joplin. The lyrics are pretty witty, but didn't Melissa Etheridge corner the market on being the reincarnation of Janis already? And I'm maybe too old for "Conversations With My 13-Year-Old Self," but that probably won't dimish its impact on P!nk's main audience, girls far closer to those hormonal and tragic days than I.

Long story short: I'm Not Dead is tight, raw, mean, warm, sexy, and smart. Just like P!nk.

PS: For the two people out there who admit to liking dance music, I also have the remixes of "Stupid Girls," one of the very small number of songs I like enough to pay ten bucks for three remixes of. Noize Trip Remix is better IMO than the album version, and about the same three-minute length. The Junior Vasquez & Dynamix Club Remix could be less synthy and more percussive, but I love what they did with her vocal, and it may win the award for "most times the word 'fuck' appears in a song not about sex in the history of dance music." (Oh shit, did I say "dance music"? Is that allowed on this site?) I was kind of cool on the D-Bop at Crash Mix at first, but it heats up a lot in the middle, so I did too. It's not on iTunes, at least not yet, so you'll have to buy the whole CD; start saving your allowance. Long story short: For dance music and serious P!nk fans only, but we'll love it.

CD Review: Morrissey - Ringleader of the Tormentors

nospam@example.com (Christie Keith) — Fri, 07 Apr 2006 13:56:05 -0500

Pigs fly. Hell freezes over. Morrissey gets laid.

That unexpected new chapter in the saga of Mr. Never Loved No One Ever was enough to get me to listen to Ringleader of the Tormentors, despite having disliked every post-Smiths album Morrissey ever released, and having cooled on even some of the stuff I used to like when I was following the Smiths all around Europe just about the time Hatful of Hollow came out. (I helped translate "William, It Was Really Nothing" into Italian. Such are the things we waste time on when we're young and obsessed.)

I heard the news of this transformative development in the life of the world's unhappiest man on a music blog I read, and thought..... surely not. Surely when I actually listen to the song it will all turn out to be either some metaphoric excursion into poetic excess (from Morrissey? imagine that!) or some kind of sarcastic joke. But no. It was pretty much just what it seemed to be: The boy got some. And he was actually happy about it.

I wish I could tell you the album had such a happy outcome. Although the Moz fans are rhapsodizing all over iTunes, to my mind there isn't that much going on with it. I do like the single, "You Have Killed Me," and "Dear God, Please Help Me," the song about getting laid, is not bad; it's just that overall, Ringleader is nothing but the usual droney, boring story from our Stephen, only totally over-produced... I guess I should have suspected something like that, given he posed with a violin on the cover, but there is ORCHESTRATION on this thing.

And here we all thought love could fix anything. Guess we were wrong.

CD Review: Matisyhau - Youth

nospam@example.com (Jeff Barringer) — Tue, 04 Apr 2006 16:58:49 -0500

What can you say about an artist who combines reggae, hip-hop and traditional hasidic religous values? Oy vey!

Brooklyn, NY native Matisyahu exploded onto the reggae/hip hop scene in 2005 with his "Live at Stubbs" disc, and this year we get a taste of his studio work with Youth.

Youth is an amalgam of styles, with the sonic influences of Marley and Tosh, but with the freshness and verve of hip-hop that helps bring reggae into the 21st century. Like Marley, Matisyahu's music is politically charged message music, with a distinct religous bent. This disk will make you want to twist a blunt, sway back and forth, and check the flight schedules to Jamaica. Highlights of the disk include "Youth," a reggae anthem about making the right choices, and "Fire of Heaven/Altar of Earth," a lush reggae celebration of god's gifts and a call for appreciation. Keep your eyes out for the "Best Buy" version of the disk as it includes a neat remix of "King Without a Crown" by Mike. D. of the Beastie Boys.

Is Matisyahu the future of reggae? Could be. If so, it will require a change in hats.

Favorite Songs:
What I'm Fighting For
Jerusalem

CD Review: Seether - Karma and Effect

nospam@example.com (Jeff Barringer) — Tue, 04 Apr 2006 12:05:41 -0500

South African band Seether's second full length North American release Karma and Effect is a solid album with a number of stand-out songs, including "The Gift" and "I'm the One." Buzzsaw guitars, Shaun Morgan's strong, angry voice, and a uniquely identifiable, gritty sound - there's not a song on this album I don't like.

One can certainly hear Kurt Cobain's influence on tracks like "Remedy" and "Plastic Man," but Morgan's voice is smoother and warmer and it works better on slower and richer tracks such as "Never Leave" and "Tongue."

Often compared to Creed, Seether's sound is less accessible to the masses, its ballads not quite so sticky sweet or "perfect." This band rocks hard and has an energy and exitement that seems to drive each song. I hope they can continue to keep this going in further releases. The less corporate and
over-production this band receives the better. They have just the right amount of pointy sharp edges.

Favorite Songs:
Burrito
Truth