Infer - Sede Vacante Aeternum

Released: 2010, Metal SWamp
Rating: 3.5/5
Reviewer: JP

At times the lines between some of the more extreme metal sub-genres can get blurred. Accomplished listeners of extreme metal can distinguish the differences quite easily, moreso than casual fans, however bands like Infer make it increasingly difficult to define a band. Musical definitions are not always critical but are a useful stepping-stone.

The Slovakian quartet, Infer, do make it difficult to easily pigeonhole their sound because they effectively blend Death, Thrash and Black all into what I consider a fairly unique style. Even before listening to the album a glance at the booklet shows a guy in an old-school death Metal shirt (Asphyx), a guy in an old-school thrash Metal shirt (Sodom) and two guys in an old school Black Metal shirt (Marduk & Bathory). At times these genres have existed separately and certain ‘scenes’ and fans have had difficulty intermingling. I’m not suggesting that Infer are the first to mix these styles but they have presented a very decent album. Back to the booklet, it’s a nice dark package, lyrics, photos and lots of stylized religious imagery. Speaking of lyrics the band labels themselves ‘anti-human’ and you can tell just by the song-titles they aren’t fans of organized religion!

Musically, the band offers a nice blend of the three styles. There are some Death Metal grooves, some fast tremolo picking stuff, solo more melodic soloing at points, it’s an odd blend that works well. The songs are most fast but the Death Metal riffing comes through on the slower parts. Top it off with some fairly harsh vocals and you have a winning combination, taking the best elements of many forms. The band cap it all off with a decent Burzum cover as well. SEDE VACANTE AETERNUM, the band’s third effort is an inspired effort.

Images Of Eden - Rebuilding The Ruins

Released: 2011, Nightmare Records
Rating: 3.5/5
Reviewer: JP

Images of Eden are back with their third album and I must say it is an improvement on the past album, SUNLIGHT OF THE SPIRIT. Not that SUNLIGHT was poor by any means but this New York quintet have brought a little more to the table this time around. They have been around for a little over ten years now and this Power-prog group still fit right at home on Nightmare Records. Cool cover art too.

REBUILDING THE RUINS a monster album at 73 minutes, just loaded with great stuff. Musically the band finds a very nice cross between prog and classic metal. It’s not too heavy or over-blown. The songs have a progressive style but are still embraceable as a song. You’ll hear lots of things on this album, some minor orchestral stuff, horns, piano, acoustic stuff all spread across a wide range of tempos and paces. The production is warm and inviting.

Gordon Tittsworth has a dynamic and interesting voice and can sing in the middle and lower ranges. He evens hits some higher notes on quieter parts but generally stays in the mid-range. He sounds a bit like John Bush at times. He’s not afraid to use a mellower delivery to counter-point some of the crunchier guitar parts. The lyrics are about average, slightly surreal (right in line with classic prog) with lots of lines about (paraphrased) 'dreaming on the edge of eternity' and so on.

There is a bit of a classic Dream Theater, mid-era Fates Warning feel to these songs. It’s not the sorta over the top power prog that Italy is known for, not the uber-technical, psycho-jazz, math-core stuff, just classic Prog with hints of the 70’s and 80’s archetypes. There are some really nice solos like on the cut, Native To His Land’ that are elegant and fit the boundaries of the song.

I think REBUILDING THE RUINS will be the album that brings them some greater recognition. At times the songs seem a bit safe, lacking some intensity but there is enough driving guitar and faster drumming to provide balance. An all-round solid performance.

Havok - Time Is Up

Released: 2011, Candlelight Records
Rating: 3.5/5
Reviewer: JP

Of the three thrash albums I reviewed this month (Attackhead, Tuck From Hell and Havok) Havok is the most musically proficient and fastest of the bunch. This is the second full-length studio for these dudes from Denver, Colorado. They had a couple of demos, an EP, an indie album and then Candlelight picked them up. It’s a bit of an odd fit as Candlelight tends to be a bit darker, progressive and avante-garde record label but they have a great ear for talent and are starting to dabble in thrash.

Havok enlisted James Murphy for production duties and this album sounds amazing! The guitars are razor-sharp and everything is loud and upfront. TIME IS UP also sports a classic thrash-style cover of a skeletal judge-dude bringing down the thrash hammer of justice! Again the thrash world owes a debt to Ed Repka because this cover is very similar in style.

TIME IS UP is a very fast and frantic thrash album. Lots and lots of speed but they find that really sharp-edge between being super-tight and having the whole thing come off the rails. Originality is not really the main goal but delivery and execution of a classic thrash sound is. I imagine some people who are already growing tired of the retro-thrash revolution may not appreciate what is being presented by Havok, but I do. I’ll take a well-executed example of a style, performed with intensity and passion over originality any day. The scream at the 2:40(ish) mark of the track DOA is a dead ringer for those of Tom Araya. It’s so close it might even be the legendary vocalist on a guest scream! Regardless, a good scream is a good scream!

Keeping this review, short and sweet (like the album at 10 cuts, 40 minutes) Havok is firmly lumped into the thrash resurgence and in 10 years of the dozens of bands in the wave we will see if HAVOK make it. I predict they will and if they don't, I'll always have this record to enjoy.

Haken - Aquarius

Released: 2010, Sensory
Rating: 4.0/5
Reviewer: JP

The first thing I thought when I listened to AQUARIUS was…’weird’. That doesn’t necessarily mean ‘bad’, just weird as in unexpected. From the very beginning I wasn’t expecting the twists and turns and myriad styles that come out of nowhere. Let’s back up a bit. Haken is a Prog Metal sextet from London, England. Loaded with talent they got snapped up by Sensory after one demo. Aquarius is the full-length debut and it’s stunning.

On the surface, Sensory do a great job with a very decent package, featuring some ominous cover art (one might even be fooled into thinking the band was a Death Metal band) with a shadowy figure on a stormy shoreline, holding a dead mermaid. The layout and design is reminiscent of Hugh Syme’s stuff. Lyrically the album follows (naturally with a title like Aquarius) a water theme.

Over 70 minutes long (a mere seven songs!) the album never drags. I was surprised how short it felt as the songs drag you into their undertow. Sonically AQUARIUS is a perfect blend of Metal and Prog. The weird part comes in unexpected bursts, even from the opening seconds, the band shifts gears and adds what could be only described as eccentric circus tinged themes. Halfway the opening tracks you get a bizarre cross of keyboard vs. guitar battles, electric jazz-noodlings (almost pure jazz in parts) add some acoustic piano, mix in something that sounds like a xylophone, sprinkle growl vocals in places, and you have a really, really intriguing and unique sound. That’s just the first song, ‘The Point Of No Return’! It’s a good title for the first song on the first album because after that display, there is no going back! However, the music is not just weird for the sake of showing off, the guitars don’t left behind and the musical flights of fancy very often circle back to the traditional song. The whole album is packed with twists and turns but never making it too much to loose the listener or induce feelings of boredom.

This could easily stand among the greats; Threshold, Dead Soul Tribe, Pain Of Salvation and of course Dream Theater. Innovative, progressive and dynamic Haken is a welcome new addition to Prog Metal elite.

Georgian Skull - Mother Armageddon Healing Apocalypse

Released: 2008, Scarlet
Rating: 4.0/5
Reviewer: JP

I’m glad Scarlet Records decided to reissue this album because I believe for many it got missed the first time around in 2008. These central Canadian dudes certainly deserve the recognition this time. Georgian Skull rose from the ashes of another local (Ontario) band and the lads put out this overlooked gem of a record.

MOTHER ARMAGEDDON, HEALING APOCALYPSE is a heavy horse-pill of a record. Dark, heavy and dense these guys are drenched in the spirit (and spirits) of heaviness. Grabbing bits and pieces from the long history of the 70’s Sabath lineage, Georgian Skull keep that very tradition alive. They bring bits of Doom, Stoner, and Sludge to the table they blend it all up into a potent brew. They even bring some little hints of Death on cuts like ‘Doom Lord Pusher’ with the occasional really gruff vocals and bursts of speed, think old Obituary.

The guitar tone is monster-thick, big slabs of simple riffs slapped upon the Metal BBQ and seared to perfection. Al Bones (who also moonlights in The Mighty Nimbus) roars, barks and growls his way across the 52-minute album, bringing shades of Dorian and Danzig to the party.

MOTHER ARMAGEDDON, HEALING APOCALYPSE is a crushing and punishing debut, loaded with intense groove, hypnotizing heaviness and metal attitude. An odd signing of Scarlet but a wise move to help these guys have another crack at it and if this debut is any indication they will quickly join the ranks of the elite.

Felony - Helltown Hotel

Released: 2009, Eonian Records
Rating: 3.5/5
Reviewer: JP

There is a new, young upstart label on the block and they are called Eonian Records. This US based label is specializing in melodic late 80’s, early 90’s American Melodic Metal and Hard Rock. They have put out a batch of great albums and over the next three months (March-May, 2011) we are going to look at nine of their most recent releases. This month (March, 2011) we will take a look at the bands Charlotte, Dear Diary and Felony.

The Indianaopolis quintet, Felony were latecomers to the US Melodic Metal scene getting started in 1989. Well, better late than never but geography and coming late to the party might have been a couple of the reasons why these guys never got signed to a major. It’s a shame because they are a very decent act. HELLTOWN HOTEL, named for the house where the band used to live and party, is a collection of the bands two main independent EP’s from 1990 and 1993 and a live cut and a couple of demos. Eonian has put together a great package with essay, liner notes, photos and the whole bit. The sound is adequate for independent recording but pretty thin at times.

The band have what it takes, the looks, the sound a very compelling blend of everything. Vocalist Tommy Lee (not that T. Lee) reminds me a bit of Vince Neil without being a clone so that’s OK. The first four songs from the debut EP are the strongest, there is more energy, more fun. Do you recall the band Roughouse? It sounds a bit like them. There is a noticeable gap of three years and stylistic evolution between the two EP’s. The second EP from 1993 is slower, has a little less grit, swagger or sneer. There is also a bit more maturity and sophistication in the song-writing so there is a trade off. The second half is also a bit heavier and darker and moves away from the Motley Crue influence.

To my ears the standout cuts are ‘Yank That Chain’, leadoff cut ‘Cat Daddy’ and the title track. 'Days Of Disease' and 'Another Hero' is surprisingly heavy for them. The rare cuts are just nice bonuses. There is no discernable reason why these guys didn’t get signed, like many other latecomers such as Sister Whiskey, Blackfish or Disturbance, so now is your chance to check them out.

Join us again in April for reviews of more Eonian artists, Legacy, Sgt. Roxx and Shake City.

Eastern Front - Blood On Snow

Released: 2011, Candlelight
Rating: 3.5/5
Reviewer: JP

War, (WWI and WWII more specifically) has been a constant well-spring of inspiration for bands of many genres and styles, from Sabaton to Bolt Thrower and now Eastern Front. Focusing a bit more on the later stages of WWII and the German/Russian lines, this British five-piece have unleashed an eight song, 50 minute conceptual piece.

Eastern Front reminds me lyrically, visually and thematically of Canadians Operation:Wintermist. The similarities end at that point as Eastern Front have a bit more of a riffy Death Metal sound inter-laced into the punishing Black Metal. BLOOD ON SNOW is fairly standard Black Metal but they do incorporate some atmospheric and symphonic elements into the mix adding some variety to the punishment. For example the cut ‘Motherland’ has a delicate acoustic guitar in the intro to one of the slower paced songs, slower being a relative term. Track six, ‘Devenadtzaz KIlometrov Ot Moskvy’ is more of an atmospheric piece with sound effects and symphonic tones, than any real metal per se. It’s a nice interlude and there are many little sound effects that bring the album to life as well. The keyboards are used sparingly and are not as heavy handed as Dimmu or Cradle might employ.

The production, guitar tone, pacing and performances are all quite good. Andy LaRocque was behind the helm and it shows. It’s more accessible than some Black Metal because there is a sense of song-craft as well. I hear a bit of old Bathory at points, maybe some Moonspell, and a nod to the Norweigan sound naturally. The vocals are a mix of some spoken word, the typical shriek/hiss delivery and a gruffer Death Metal sound as well. BLOOD ON SNOW is a dynamic and interesting album. It may annoy some BM purists due to the large number of little things mixed in that could (in the eyes of some) detract from the heaviness and the mission of sonic annihilation, but I enjoy that range of musical influences. It’s a promising debut.

Dread - The Forsaken Unbound

Released: 2010, Nightmare Records
Rating: 3.0/5
Reviewer: JP

It took me a while to wrap my head around this record. That’s usually a good thing when a band is not instantly identifiable. Regardless, UNBOUND is a very decent Metal record. Dread The Forsaken have the distinction of being one of the few dozen Metal bands from Guatemala. They have enough of what it takes that Nightmare Records picked them up last year for a debut album.

This young quartet write and record a nice blend of power and progressive metal. The album is a little on the short side with cuts across 33 minutes but it’s always good to leave them wanting more. I really like the cover art, it’s a playground/graveyard combination a bit haunting really.

Sonically I hear bits of Zakk-era, Savatage or Circle II Circle in UNBOUND. That’s a major plus. There are hints of acoustic piano, some acoustic electric interplay and dynamic and interesting song structures. The heaviness doesn’t get behind as the guitars are crunchy and full. The songs have a little bit more rock ‘n’ roll swagger than the other two aforementioned acts. The vocals of Gordon are also slightly reminiscent of Zakk a bit of edge, a bit of smoothness and just enough power. He also sings in Images Of Eden.

There are some more modern hints that I’m not as thrilled with some of the vocal cadence have a bit too much rap influence especially on songs like the title track UNBOUND veering into Biohazard/ Pro-Pain territory. Aside from that very minor complaint, this is a solid effort. There is enough energy, enthusiasm and originality that you will want to check them out.

Dotma - Sleep Paralyses

Released: 2011, Scarlet Records
Rating: 3.5/5
Reviewer: JP

I never cease to be amazed by the massive influence that Nightwish single-handedly had on Metal. Even 15 years after the appearance of Nightwish, the Opera-goth sound of classic (or neo-classic as some prefer) symphonic Metal laced with strong soprano female vocals, is still going strong, as band after band enter the battlefield trying to carve out a niche in a crowded but strong sub-set. Dotma have entered the fray with their debut album SLEEP PARALYSES.

Dotma characterize many of the excellent features that fans have come to associate with this style. They are a quintet from Finland and they sit nicely on Scarlet Records who support this stuff like no other label. They have a commanding vocal presence in the form of Johanna Lesonen whose delivery reminds me of Sabine of Edenbridge and of course Tarja of Nightwish. Her work is on occasion juxtaposed by the somber timbre of Vladimir Lumi, creating a familiar ‘Phantom of The Opera’ type of vocal delivery. She sounds good and has a very sweet voice, even on the slower cuts like the beginning of ‘Indian Fall’. It’s a beautiful ballad. I wouldn’t be shocked if it was the second single.

Sonically everything is very clear; it’s loud, bright a good brisk production. Musically there is quite a wide range of instrumentation employed. There are many keyboards, lots of symphonic neo-classical flourishes, strings, flute, some acoustic guitar, operatic choirs and so forth. Fortunately the guitars and drums never get left behind, the guitars are ever-present, up-front crunchy and proud. There are lots of very decent solos that blend nicely into the surrounding song, meaning they are not overstated. Overall the band is very epic and the sounds soundtrack-like, which to my ears is welcome.

As mentioned in my introduction, I’m amazed but very pleased that bands have continued to be inspired to write, play and perform in this style because I really enjoy this specific sound. Your interest in Dotma will be determined by your tolerance and/or enjoyment of this sub-genre and the dozens of bands doing much the same style. Personally, I find SLEEP PARALYSES is another very fine addition to the ever-growing legion of bands of this ilk.

Desultory - Counting Our Scars

Released: 2010, Pulverised Records
Rating: 3.5/5
Reviewer: JP

One of the early Swedish Death Metal bands that made it into the wider sphere of North American consciousness thanks to a deal with Metal Blade. After a pair of great records, one misstep with SWALLOW THE SNAKE (which isn’t as bad as everyone says) and they disappeared off the map. Well, not really off the map They changed styles and name (to Zebulon) did a couple more records but have now reunited as Desultory to have another shot at glory.

Now with Pulverised Records, Desultory knew they had to deliver and COUNTING OUR SCARS does just that. Some bands can reunite and the hype and nostalgia is enough to sustain a reunion, but these guys were never quite at that level. They needed a strong record as they were (almost) starting from scratch 15 years later and they did deliver.

The classic, buzz-saw guitar tone, of which they were an early part of establishing 20 years ago, is fully intact as this 9-tracker hits the Death Metal highlights. The bands on full-throttle as they rip and roar through a great introduction (or reintroduction to us older fans) to their signature sound. It’s like they never really went away.

Travis Smith provides some really cool album artwork, a bit atypical for him but it’s a strong image nonetheless, and their second (classic) logo is back as well. It’s the attention to detail that helps in these situations, compel the old fans, attract the new fans. The production is very good as well, loud and proud guitars thick and upfront with the aforementioned tone that brings a smile to the face of most Swedish Death Metal fans. The songs are mid-tempo to fast, steamrolling along with the riffs being catchy in the context of relatively straight-forward Death Metal songs. Morberg sounds good barking out a harsh yet intelligible vocal performance.

It must be hard for a band like Desultory to have tried (and some would say fail) to expand their musical horizons and vision but sometimes ya gotta give the people what they want. COUNTING OUR SCARS is an apt and fitting title. They have been through the wars and have come out scarred but stronger and we the fans are better for it.

Deicide - To Hell With God

Released: 2011, Century Media
Rating: 4.0/5
Reviewer: JP

The first thing that popped into my head when I read the title of the new Deicide album TO HELL WITH GOD was, “Is Glenn even aware of the Stryper album with the title, TO HELL WITH THE DEVIL?” My gut feeling Benton doesn’t know about the Stryper album, but I wouldn’t be surprised if he did know and choose his album title in relation because he is clever enough to make it work.

So here we are with Deicide’s landmark 10th album. I don’t care what genre you are in, ten albums is a milestone by any standard. What could I possibly say about Deicide that hasn’t been already said? You’ve heard it all before…Legendary, notorious front-man, pioneers, 80’s Florida, terrorists, suicide pact, lame albums, line up trouble, label trouble, big come-back, super-group, killer albums, Glenn for President, evil, death, satan, blah, blah, blah…oh yeah and the branded upside-down cross in the forehead. Maybe Glenn should hire me to ghost-write his autobiography!

Somehow in my infinite lameness, I missed TIL DEATH TO US PART which is odd because I’ve supported Deicide from the beginning. I have (or have heard) every album except the previous one, so I don’t have a frame of reference if it is better or worse, although the legions are divided on the quality last one as is usually the case. Onto the matter at hand, TO HELL WITH GOD is pretty frickin’ awesome.

New label (again) and the same line-up again and the consistency and quality shows. Once again the band applies the ‘leave them wanting more’ philosophy with the standard ten tracks at just over half an hour. Cool album cover art this time as well. The production is really good, I don’t think I’ve ever heard a poor production on a Deicide album.

For whatever reason I just can’t get past Santolla being the guitarist. I associated him with the melodic act Millenium for over a decade and then that real cool solo album he did, but now he is the elite Death Metal guy. Weird. Regardless of his pedigree, he rips, he shreds and he brings the firepower to the album. There are lots of great solos on the album. I especially enjoyed the mini solo on the opening of ‘Angels Of Hell’. Vocally Benton is still pissed off about everything. I think if he and Paul Speckman ever did a duet project the planet would implode under the sheer weight of the combined hate. Guttural, low and brutal he does another fine performance.

Deicide continue to set the standard for the style, the sound and the intensity for classic Death Metal. TO HELL WITH GOD is a welcome addition to their long and revered catalogue.

Dear Diary - Dear Diary

Released: 2010, Eonian Records
Rating: 2.5/5
Reviewer: JP

There is a new, young upstart label on the block and they are called Eonian Records. This US based label is specializing in melodic late 80’s, early 90’s American Melodic Metal and Hard Rock. They have put out a batch of great albums and over the next three months (March-May, 2011) we are going to look at nine of their most recent releases. This month (March, 2011) we will take a look at the bands Charlotte, Dear Diary and Felony.

Sometimes a bands name can make a difference in a make or break situation (Getting signed or being bought at a record store) and Dear Diary might be one of those times. It’s a weaker name and the album cover art while good is ambivalent. It looks like the cover of a number of Italian Progressive Power Metal bands, which doesn’t really reflect the music inside. The self-titled album from 1991 or so is one of the few packages from Eonain that is lacking is the presentation department. Not much info is included, just a few black and white photos.

It’s a straight-ahead album, 10 tracks, 45 minutes of average melodic hard rock. These five dues from Chicago followed a familiar route of various gigs, demos, band member changes before settling in and recording the debut.

Dear Diary are a bit more mature and sophisticated than some of the other bands of the era. The lyrics aren’t quite as juvenile (which are still fun) but they took a slightly higher road. The band has a wider range of influences than just sleazy good times rock ‘n’ roll. My favorite track is ‘Tanqueray Tina’ or perhaps ‘Momma Said’ which show a bit more energy than the other tunes. The pace on trhe whole album is pretty slow.

The performances are commendable but seem to lack a bit of fire. I imagine these tunes would translate well in a packed sweaty bar but on disc some of them fall a bit short of the mark. DEAR DIARY seems to have fallen between the cracks of uber-melodic AOR and street based glam thrash rock. They try to balance the two but neither clicks. The result is a bit uninspired. The songs aren’t bad but a strong producer pushing the guys might have had a better result.

With most of the Eonian bands I wonder why they didn’t get signed to a major but with Dear Diary I can hear why they didn’t quite make the big leagues. It was a very competitive era and while they do the job this is one of the bands that left me expecting more.

Join us again in April for reviews of more Eonian artists, Legacy, Sgt. Roxx and Shake City.

Coldspell - Out From The Cold

Released: 2011, Escape
Rating: 3.5/5
Reviewer: JP

The local weather when I listened to this album the last few times has been a bitter coldspell here in Canada. Quite appropriate methinks. Escape is such a class label. Everything they do is just classy, Melodic Metal and Coldspell is no exception.

Album number two for the Swedish five-piece and right away the smooth sounds inside remind me of Ten, Gotthard, Treat, Bonfire, Pretty Maids and many more of that ilk. Coldspell don’t have to lyrically crude, resort to tricks or shock, they can just rely on rock solid performances delivery quality songs.

OUT FROM THE COLD has an hour worth of a dozen songs wrapped in an eye-catching cover reminiscent of the recent Whitesnake album covers. The production is excellent on this record, it sounds big and has lots of echo on the vocals for a stadium effect. It’s a big rock sound that caught my ear. Opener Heroes could have easily fit on one of later Europe albums. There are keyboards on this album used very well. Sometimes he keyboards sound like a 70’s Deep Purple thing and at times they have a more digital 80’s feel. Either way the keys add some flair without overshadowing the guitars.

Of course the vocals are a big highlight with the golden pipes of Niklas Swedentorp leading the catchy and melodic choruses complete with big gang vocals especially on standout tracks such as ‘Time’ and ‘Heading For Tomorrow’. I dropped quite a musical reference points in this review but they are all apt comparisons. This is an essentially purchase for all experienced Melodic Metal fans and for those of you who are interested in what the scene is up to these days, this is an excellent example.

Cold Snap - Perfection

Released: 2011, MIG Music
Rating: 2.5/5
Reviewer: JP

This band (and album) are fucked up. I mean that in a sincere and good way. Judging the album based solely on the album cover art, depicting a hand with a severed finger, I just assumed (very erroneously) that it would be some sort of Death Metal. Not even close.

Cold Snap are very weird. Again that’s a compliment. The only other band I could even really begin to relate this to as a point of reference is Braindance and maybe as a long-shot, the obscure band T-Ride from the early 90’s. There is no real genre or style that can describe this band. Every song is schizophrenic. The band mix in symphonic sounds, acoustic guitar, industrial, some groove metal, rap-like vocal cadences, and just tons of weird noise. I’m hearing prog stuff, I’m hearing Type O Negative, Biohazard, Pro-Pain, Nine Inch Nails, Rammstein, Suicidal Tendencies, Primus, maybe Skindred, and generous doses of Prong, it’s a lot to embrace and absorb. I’m serious, PERFECTION is a really eclectic mix of so man styles and sounds it’s fast and slow, heavy and mellow all at the same time. A didgeridoo? Ya gotta be kidding me! Nothing is off limits.

The album sounds killer as Tue Madsen is behind the helm for the 50 minutes of musical madness. These five Croatian dudes are totally pro, totally convincing and totally out there. It’s loud, modern and abrasive and shares many of the modern qualities of ‘modern’ metal that I don’t like, namely breakdowns, lack of soloing, sweet and sour vocals, lack of drive and focus but somehow I can tolerate these features in these bizarre songs.

For very brave and ambitious fans of experimental heavy metal music check out Cold Snap and you may just find perfection. I think this could be one of the most genius albums of the year but my little atrophied, metal-fried brain can’t handle it, it’s too far outside the box. The open-minded music fan in me loves it so the rating gets split down the middle with the benefit of the doubt going to the band for being musically adventurous.

Charlotte - Medusa Groove

Released: 2010, Eonian Records
Rating: 3.0/5
Reviewer: JP

There is a new, young upstart label on the block and they are called Eonian Records. This US based label is specializing in melodic late 80’s, early 90’s American Melodic Metal and Hard Rock. They have put out a batch of great albums and over the next three months (March-May, 2011) we are going to look at nine of their most recent releases. This month (March, 2011) we will take a look at the bands Charlotte, Dear Diary and Felony. Please feel free to check out the other reviews in this series.

Charlotte was one of many, many contenders for the brass ring in the late 80’s in Los Angeles. MEDUSA GROOVE is essentially a collection of tunes recorded in various studios in and around Hollywood, and L.A. Despite the songs being recorded in a number of different places the sound is remarkably consistent. These guys were pretty big in their hometown but for whatever reason never quite made it. The music was not one of those reasons because MEDUSA GROOVE is packed with a dozen hard rockin’ tunes that could have been radio hits on any given day.

One thing Eonian is doing is providing some top quality packaging and this is no exception. The booklet includes lots of photos, an essay about the bands history, the credits etc. All in all there are a dozen songs that will rock ya for 45minutes. The band had a little bit of a southern, bluesy feel rather than a straight-ahead glam act. I’m reminded of Sven Gali, Cry Wolf, Every Mother’s Nightmare, Tora Tora, Sweet F.A. and bands of that ilk. The songs are not frantic but rather have a bit of laid-back sleazy strut to them. They can really crank it up on tunes like ‘Roadhouse Of Love’ cowbell and all or they can demonstrate some really above average ballad capabilities on tracks like ‘Changes’. I’m not talking big, bright power ballads but certainly more smooth and heart-felt lyrically delivery. Overall the songs are in the mid-tempo range and not too frantic, but more understated.

The individual performances are all excellent and vocalist Eric Gantz sounds a bit like a journeyman, sincere with good lyrics. He reminds a bit of Steve Shareaux (Kik Tracee) without the twang but that’s probably just in my head. If you enjoy and miss the classic Melodic Metal sound of the late 80’s, you’ll enjoy Charlotte.

Join us again in April for reviews of more Eonian artists, Legacy, Sgt. Roxx and Shake City.

Tales Of A Ratt: Things You Shouldn't Know

Blotzer, Bobby & Clayton, Jim
Released: 2010, Blotzer Brothers Publishing
Rating: 4.0/5
Reviewer: JP

I’ve read many of the ‘rock star’ autobiographies, most of them in fact, and is really eye-opening. Not necessarily for the shock value of a book like the THE DIRT or the depressing tone of autobiographies by Mustaine or Ozzy, but for it’s open and honest portrayal of the life of one of many rockstars.

Bobby Blotzer is the drummer for Ratt and he leads us on his life’s journey from his simple beginnings in Pittsburg in ’58 (Born in a mining town in ’58!) all the way up to 2010. This independent publication is a sizeable 375 pages with lots of black and white photos, candid and otherwise. His writing style is a bit crude, but it’s conversational, entertaining and at times witty. It’s not going to win any literary wards but it’s fun and readable.

Blotzer’s tale is one of triumph and tragedy, sometimes self-induced and sometimes not, and is a very entertaining read. He describes in detail, his family, his career, his various wives and girlfriends and his friends. Bobby is a music fan, he loves The Beatles, The Stones, Michael Jackson, Aerosmith and many more and often uses musical moments to help recollect his personal history, where he was when John Lennon was shot, or what he was doing when Michael Jackson died, these kinds of things. You can tell he is a music fan as by his own admission of one of his bad habits of getting drunk and playing music very loudly at 4:00am much to the displeasure of his various wives over the years.

At times he comes across as this big, dumb, loveable puppy-dog, bouncing along with little regard for the feelings of others, the rules or even consequences as evidenced by his various brushes with the law. He has a love for life that is enviable and beyond the reach of most of us. However, like most dogs he seems sincere, loyal and hardworking. His ego is fully intact as well! Blotz seems to have been the financial brains behind the Ratt machine, moreso than many realize.

One of the features he talks about very often in the book is money. That may turn some people off but in this case it adds something to this bio that many other bios avoid…namely money issues. I’ve read lots of bios that never talk about money, how much was made and/or lost, but Bobby tells all. It’s refreshing and eye-opening. He discussed in candid detail lawsuits, merchandise, expenses, bills, salaries, mortgages, lawyers fees all that stuff that generally gets avoided. He doesn’t gloss over the fact that back in the day they did blow through a ton of money having fun buying boats, houses and cars but he is also honest enough to admit that when times were tough he would be living in a one bedroom apartment or cleaning carpets for a living. One thing you have to say, that when times were tough, Blotzer worked very hard, opening and owning a number of businesses over the years to support his family when the Ratt thing was a little meager.

For the pure music fan there are many, many celebrity rockstar stories, such as shooting at sharks off the side of a boat with Jack Russell (Great White), arguing in a bar with Don Dokken about his ex-wife, baby-sitting a drunk Jani Lane (Warrant) in Texas and many more. None of it is mean-spirited or malicious. There are lots of interesting things I didn’t know such as Mike Vescara was the producer/engineer on Blotzer’s ill-fated solo album or tales about Blotzer’s early touring history in Germany in the very early 80’s with Vic Vergat and the truth about Robbin Crosby’s final sad days.

TALES OF A RATT is one of the more sincere, honest and open rockstar autobiographies I’ve read. That doesn’t necessarily mean that I believe that everything is gospel truth. As the saying goes, There are three sides to every story. The book gets bogged down near the end 2003-2009 or so as many of the stories are less about Ratt and more about his variety of (allegedly) crazy ex-wives, fiancés and girl-friends. He seems to get sued a lot! One of my most common complaints about these types of stories is that they tend to glorify the golden years and skimp on info about the recent history. Blotzer avoids this common pitfall and his engaging narrative brings us to speed on Ratt all the way up to 2010, even if details are a little thin on the writing and recording of INFESTATION. Judging by the world-wide critical acclaim for that album, the timing is perfect for you to get the inside story by picking up a copy of TALES OF A RATT.

Attackhead: Voices In The Dark - Second Attack

Released: 2011, Twisted Hillbilly
Rating: 2.5/5
Reviewer: JP

VOICES IN THE DARK is essentially a reissue of the bands independent debut from a couple of years back. New cover art, a slightly modified title, a bit of a lineup shuffle and Attackhead is having a second attempt at the brass ring. To the bands credit they did re-record the thing and add a couple of new tunes. The sound seems a little thin so assuming the re-recorded version is an improvement I wonder what the first version sounded like. Still you have to admire the bands commitment to keep going.

Attackhead are from Southern California and play thrash. Straight up. No frills. That can be perceived as a positive and a negative. On the plus side, thrash is generally a good thing. On the downside the songs on VOICES IN THE DARK are not that strong. The energy is there but the band seems to be going through the motions a bit. I don’t want to slag this album but it’s a bit uninspired.

The vocals in are a bit like Baloff’s but don’t have the same bite. The songs are fast but never really cut loose or get into shred territory. The drumming is conventional and acceptable. The guitars are decent but not amazing. VOICES IN THE DARK is an average album from an average underground band. There is nothing really wrong with this record but nothing that truly stands out, nothing that would set them ahead of the pack or even be able to have them complete with the massive, crowded and competitive world of retro-thrash. For thrash die-hards, collectors and completists only.

Capper, Andy & Sifire, Gabi - Heavy Metal In Baghdad - The Story Of Acrassicauda (Book Review)

Released: 2009,
Rating: 4.0/5
Reviewer: JP



Preface. This is Part I of a two-part review (Read Part II here).

This is a very interesting book, one sure to go down in the annals of metal history. In case you are not familiar with the story I’ll give you a quick recap. Back in 2003 or so some young dudes living in Baghdad decided to form a Heavy Metal band called Acrassicauda, which means ‘Black Scorpion’. Because of the political climate in Iraq, creating a Metal band was quite an unusual move and the story caught the eye of a journalist writing for Vice magazine. The magazine article appeared in January of 2004. The band established a relationship with the magazine and the story eventually evolved into a three-part TV series that aired on VBS in 2007. The editors felt there was enough original material to warrant a full-length feature film. The footage was re-cut, edited and released at the Toronto Film Festival in September of 2007. The story kept growing and eventually it was released on DVD in 2008 with bonus footage and eventually the book came out in 2009. This story became a bit of a Frankenstein’s monster and the band became minor celebrities in the eyes of the international media despite having virtually no recorded output of any kind other than two demos. At one point one of the members expressed annoyance at the media for asking questions about their personal circumstances and nothing about the music!

The book essentially reaps the story of the band through a series of interviews spanning 36 hours conducted by Caper in 2008. It’s a nice looking book, just over 287 pages with lots and lots of black and white photos. HEAVY METAL IN BAGHDAD is not a book in the traditional sense, but rather a large scale collection of interviews with many people involved with the band from journalists, ex-members, immigration people, the movie producer and of course the band. The story itself covers the first 200 pages and then added on the end like a ‘bonus’ feature is the transcription of the film. Since I own the DVD I didn’t really see the need to read the screenplay but I suppose it could be interesting from a technical point of view.

The story of the band is the key point of interest although not really from a purely Heavy Metal perspective. The story follows the band from some early childhood recollections and up into the early days of 2003 when they formed the band. The war broke out in and the band eventually scattered in order to survive. They ended up in Syria and eventually reunited in Turkey and eventually arrived as refugees in the United States. The band never really recorded anything except a demo and they played perhaps a dozen concerts in their entire career. In terms of originality and output the band didn’t really accomplish much in their first six years. However, that’s not really the point. The story of their struggle to survive a hostile environment playing western music is the compelling part of the tale. The fact that they are a Metal band is secondary, they could have been a country band or a jazz band for that matter. The fact that they ARE Metal makes it that much cooler. If the band was playing another form of music I wouldn’t have bothered watching the movie or reading the book. It’s like a little success story for the power of Metal, I doubt other forms of music would have provided such dedication and willpower to overcome the odds. Most other bands would have simply given up.

The heart of the tale is the friendship and the drive to play Metal that helped the band endure some extremely arduous times and hardships that most (probably all!) western musicians cannot really comprehend, such as having your practice space being hit by a Scud missile or receiving death threats because you have long hair and wear a Black T-shirt. It’s a compelling tale that is inspiring and helps many of us realize how truly lucky we are to be able to be free to listen to, enjoy and create Metal without fear of violent retribution or vicious oppression. HEAVY METAL IN BAGHDAD nicely encapsulates the history of the band from creation to oppression and eventually to freedom. It is a great companion piece to the DVD. Please feel free to click here to read my review of the DVD.

Alvi, Suroosh & Moretti, Eddy - Heavy Metal In Baghdad (DVD Review)

Released: 2007, Vice Films

Rating: 4.0/5

Preface. This is Part II of a two-part review (Read Part I here)

This is a very interesting DVD, one sure to go down in the annals of metal history. In case you are not familiar with the story I’ll give you a quick recap. Back in 2003 or so some young dudes living in Baghdad decided to form a Heavy Metal band called Acrassicauda, which stands for ‘Black Scorpion’. Because of the political climate in Iraq, creating a Metal band was quite an unusual move and the story caught the eye of a journalist writing for Vice magazine. The magazine article appeared in January of 2004. The band established a relationship with the magazine and the story eventually evolved into a three-part TV series that aired on VBS in 2007. The editors felt there was enough original material to warrant a full-length feature film. The footage was re-cut, edited and released at the Toronto Film Festival in September of 2007. The story kept growing and eventually it was released on DVD in 2008 with bonus footage and eventually the book came out in 2009.

One of many, many Heavy Metal themed documentaries this one has a far more political overtone and is less about the music but more about documenting a band and their struggle to survive. The film itself clocks in at about and hour and a half and there are some very decent bonus features including a 45 minute follow up about the band, 30 minutes of bonus footage (Interviews, live clips) and as a very nice touch an 8-page, full colour booklet that has an interview with the film makers and a reproduction of the original magazine article from 2004 that started it all. Well done and well presented.

The movie is a fairly standard documentary style, standard editing, no special effects naturally and a linear style. It’s not a talking head documentary by any means, it is certainly has frontline action at concerts, at the bands home, on the road. The filmmakers intimate style really makes you feel like you were there, which is at times frightening. There was no need to use film technique or planned dialogue to generate tension, it came through very realistically. The film was at times as much about the challenges the film-makers had even trying to get to meet the band in Iraq in an urban war zone clocking in 200 killings per day. Even the band thought the film-makers were crazy to try to come to Iraq for the story! The film makers wisely avoid politicizing the scenario choosing not to comment on the war and the reasons behind it, but stay focused on the task at hand.
HEAVY METAL IN BAGHDAD is a fascinating insight into the lives of people trying to do ordinary things (ie, play music, shoot a film) in an environment where those ‘ordinary’ things are truly extraordinary endeavours. It’s a great documentary for film fans and Metal fans alike, leaving a lasting impression about the tenacity and dedication of the band (and film crew!), as well as showing western viewers how lucky we are to enjoy the freedoms we have.

I don’t want to politicize the film or put my personal interpretation into it, however as a journalist who has talked to countless young bands at the beginning of their careers trying to ‘make it’, (and hearing their stories, complaints and struggles) I’d suggest that almost all of them don’t realize how lucky they are or how easy they have it compared to Acrassicauda. I feel this film would make many struggling young musicians appreciate the resources they have and the freedom to use them. HEAVY METAL IN BAGHDAD is one of the best metal documentaries to date and it is a great companion piece to the book. Please feel free to click here to read my review of the book.