RANDY RHOADS whose knack for melodic song writing and stunning neo-classical lead guitar style revolutionized metal in 1980s, died tragically thirty years ago today. Rhoads (December 6, 1956 – March 19, 1982) died in a plane crash while on tour with OZZY OSBOURNE, but he has left an indelible mark on generations of musicians to follow.
Rhoads who had been an early member of QUIET RIOT shot to fame when he auditioned for the guitar spot in OZZY OSBOURNE’s band THE BILZZARD OF OZZ. The combination of the soft spoken, but immensely talented Rhoads and Ozzy who felt he had to prove himself to the world after his dismissal from BLACK SABBATH was potent and changed the face of music. Rhoads is always remembered as a terrific lead guitarist and was often compared to the best players of his day like EDDIE VAN HALEN. However, equally important as Randy’s impact as a soloist was his legacy as a songwriter, his use of classical modes and his widespread use of major scales in rock and metal that had predominantly been full of brooding minor keys and old-style pentatonic blues riffs up until that point. He also helped innovate an popularize several styles and looks of guitars with his polka-dot Jackson Flying V’s. Although he is best remembered for songs like OZZY hits “Crazy Train”, “Mr. Crowley” “Suicide Solution”, “Over The Mountain” and “Flying High Again” most of his output, however brief is excellent and worthy of repeat listens.
Popular guitar players who have been influenced by Rhoads such as the late DIMEBAG DARRELL, ZAKK WYLDE, Phil Demmel of MACHINE HEAD and a host of metal lead players from the 80s and 90s used to and still do sing his praises. Although his music is among some of the most popular in the genre, you can still hear examples of his reach in many modern bands like ARCH ENEMY, REVOCATION, ANIMALS AS LEADERS, MASTODON, OPETH, BETWEEN THE BURIED AND ME, JOB FOR A COWBOY, THE AGONIST, CHILDREN OF BODOM, WARBRINGER, ICEDEARTH, DECAPITATED, ALL SHALL PERISH and THE FACELESS among many, many others.
One of the reasons metal is one of the most vital forms of music is that the permutations of sub-genres is never ending. The seed of a new style often begins as a kernel of an idea in one kid’s mind, sitting in his room wood-shedding. From there bands form around incorporating new approaches to existing ideas and influences to craft new music. Such is the case with WESTERN MASSACRE and their delivery which is described as “death groove”. The brutality of CANNIBAL CORPSE and JUNGLE ROT mixed with the mood and attitude of PANTERA, LAMB OF GOD or SEPULTURA is what we found on their full length Freedom Through Violence.
From the first notes of “Steel Casket” one thing is clear, these guys can bring the heaviness. Harsh guttural vocals fill your ears with dread while down-tuned riffs pummel your brain. Not only does this song have great sense of rhythm, but has a melo-death influence that many of the bands coming out of the Massachusetts scene tend to have. The band is as unrelenting musically as they are catchy, as proven by the hints PANTERA-esque southern licks that pop up here and there. Guitarists Kyle Leary and Chad Hoag shred all day long and will give the guitar geeks much to talk about. The second track “Brazilian Carnival” brings more of the same wrought iron chords and savage beats. Drummer Jeff Greene does a nice job behind the kit of blending his syncopated, off-time hits and fills with his impressive double bass work. For a band to make this match of styles work and be tight, the drummer has to hold it down and Greene does so at all times. Vocalist Matt Lentner seems like he’s gonna tear his own throat out on occasion, channeling Satan with is crazy high screams. The end of the song has a mosh part/outro solo/last riff motif is one that many bands would envy writing. “Facelift” starts off with more of the tough-guy mosh parts, but then adds this unique textural guitar theme that blew me away. From there you get a straight ahead face melter worthy of most modern metal bands. Once again you have two guys on guitar praying to the alter of DIMEBAG DARRELL at times with inventive playing, and slick ear candy. “Roadhouse” sounds like the bastard child of LoG and a beastly deathcore band, complete with sick blast-beats and scream along chorus. To change things up a bit “Blood and Stone” opens with a solid thrash riff, before transforming all HULK-like into a brutal deathcore song. Even bassist Nate Larsen gets to step out of his supporting role and throw down some tasty riffs. Next comes their eponymous song, full of galloping riffs and blind raging fury. Other top tracks on the album include “Defector” and the final song which is the epic title track. By cleverly writing original songs with this much brutality and flavor, this is a band we will be hearing from for a long time. You can buy their album from their website here.
February 10th this year marked the twentieth anniversary of PANTERA’s landmark album Vulgar Display of Power. In celebration Rhino has released an expanded version of VDOP with a slew of bonus materials in an CD/DVD package. The music on this album helped the band cement their standing in the world of metal as an undeniable force to be reckoned with and gods. In many ways this album changed them as a band and set the course for the remainder of their storied career.
Vulgar was the bands sixth album, but only their second to gain a wide release since the bands’ signing to a major label affiliate (ATCO) and the change in style from the glam/power metal influenced years of their youth. Cowboys From Hell was original, thrashy and killer with great songs and totally set them apart from what was going on in metal at the time. If you recall “Grunge” (which I loathe to even use the term) was becoming popular, glam metal was killed off for the most part, alternative became mainstream and hip-hop was becoming a lot of pop rap. Metal was still very strong in the early 1990s even if there were less bands flying the flag that high. Thrash metal had become more mainstream, or perhaps the bands went mainstream first with METALLICA leading the way. Vulgar came along and was the antidote to everything else that was happening for a generation of metal heads. On the back of the success of this release the band spear-headed a changing of the guard that would happen a few years later, at least in America.
Musically the album is perfect from top to bottom. The band stripped down the excess of their older work and streamlined their style. Attempts at VAN HALEN boogie rock were traded in for hardcore/ crossover influenced tempos and riffs. Taking one element of thrash metal and making an entire style around it (power-groove), the band raised the bar for writing and personality among all their peers of the day. Phillip Anselmo swapped his ROB HALFORD scream for a defiant roar, while still keeping it tuneful. Many people still think of “Walk” synonymously with the name of the band, every song is a masterpiece. “This Love” and “Mouth For War” got richly deserved attention for their awesomeness and videos, but it is in other songs that the backbone of the album was built. Tracks like “A New Level”, “Fucking Hostile”, “Rise” and “By Demons Be Driven” are nearly equal in writing and performance to anything the band ever did. DIMEBAG DARRELL’s riffs and leads were rarely more muscular or musical in his career. Even the production, the tightness of the drum sounds, fullness of the guitars and the heavy, but clear tone of bass was expertly rendered by the band and producer Terry Date.
The new release has the original album, the previously unreleased song “Piss“, some unreleased concert footage and music videos. With the 2004 murder of DIME, it’s possible that this album burns a little bit brighter for some who remember the bands humble beginnings. Either way, this is an essential record that still holds up today.
Sometimes a band can be new to the public but, be blessed with a familiar sound or style. One such band is DAITRIBE, hailing from Chicago, IL. The band is led by guitarist Tristan “1690” Grigsby who besides being an accomplished shredder is best known from his appearances as part of the great PANTERA Home Videos (or DVD’s now) from the 1990s. In addition to appearing on several tributes to his fallen friend DIMEBAG DARRELL, Grigsby has put together a cool band and written a batch of tunes that call to mind the great power groove and thrash influenced metal of the decade before last. Another PANTERA association is the album was mixed by the bands’ famed producer/engineer and guitar tech Sterling Winfield.
The album opens up with “Betray”, a manic down tuned thrasher. The beats and riffs are really heavy and compliment the demented screaming of vocalist Rich Collins. When the breakdown comes up, a brief but tasty solo section comes in for Grigsby to work his magic. The last third of the song slows down the pace to an AIC like groove that I really liked. “Control” ups the ante considerably and is an aggro workout with chunky riffs and more harrowed vocal wailing. Collins sounds to me a lot like old-school Pete Dolving of THE HAUNTED, just straddling the line between metal and hardcore vocals. The chorus is pretty decent and will have people singing a long live. Grigsby let’s another lead fly and has a really neo-classical flare at times. There is a definite nod to DIMEBAG in his style, especially his use of double tracking leads. “Loss By Distance” starts off with some ethereal sound effects, but then delves in to mid-90s FEAR FACTORY style machine gun riffs and tight drumming. Grigsby’s brother Michael handles the job behind the kit and does a fine job. The drumming on this track is among the best on the album. The band does a very good job of balancing older influences, but keeping up with modern metal sensibilities like LAMB OF GOD or UNEARTH would do. “My Eyes” has kind of a modern, heavy rock/arena metal sound to it and could be a surprise hit for the band. Neat grooves and some singing by Collins make for a catchy, solid tune. Bassist Ricky Riccardo lays down some cool mellow lines that help the track along. “Sanctuary” starts off like a gentle ballad, but then has an anthem like feeling not unlike JUDAS PRIEST or IRON MAIDEN. The single “I Hate Me” is another ripping jam. The band does a good job with pedal to the metal, straight-ahead licks with a bit of flare to them, but doesn’t throw in too many unexpected twists and turns. The chorus has yet another scream-along part that would be fun in a live setting. “Crime Legacy” is an interesting cut which rages most of the way until a chill breakdown switches things up. Other top tracks include “False Hopes” and “Liar Messiahs”. You can get the record directly from the band here.
Randy Rhoads whose knack for melodic song writing and stunning neo-classical lead guitar style revolutionized metal in 1980′s died tragically thirty years ago today. Rhoads (December 6, 1956 – March 19, 1982) died in a plane crash while on tour with OZZY OSBOURNE, but he has left an indelible mark on generations of musicians to follow.
Rhoads who had been an early member of QUIET RIOT shot to fame when he auditioned for the guitar spot in OZZY OSBOURNE’s band THE BILZZARD OF OZZ. The combination of the soft spoken, but immensely talented Rhoads and Ozzy who felt he had to prove himself to the world after his dismissal from BLACK SABBATH was potent and changed the face of music. Rhoads is always remembered as a terrific lead guitarist and was often compared to the best players of his day like EDDIE VAN HALEN. However, equally important as Randy’s impact as a soloist was his legacy as a songwriter, his use of classical modes and his widespread use of major scales in rock and metal that had predominantly been full of brooding minor keys and old-style pentatonic blues riffs up until that point. He also helped innovate an popularize several styles and looks of guitars with his polka-dot Jackson Flying V’s. Although he is best remembered for songs like OZZY hits “Crazy Train”, “Mr. Crowley” “Suicide Solution”, “Over The Mountain” and “Flying High Again” most of his output, however brief is excellent and worthy of repeat listens.
Turn this record up loud for full enjoyment!
Popular guitar players who have been influenced by Rhoads such as the late DIMEBAG DARRELL, ZAKK WYLDE, Phil Demmel of MACHINE HEAD and a host of metal lead players from the 80′s and 90′s used to and still do sing his praises. Although his music is among some of the most popular in the genre, you can still hear examples of his reach in many modern bands like ARCH ENEMY, REVOCATION, ANIMALS AS LEADERS, MASTODON, OPETH, BETWEEN THE BURIED AND ME, JOB FOR A COWBOY, THE AGONIST, CHILDREN OF BODOM, WARBRINGER, ICED EARTH, DECAPITATED, ALL SHALL PERISH and THE FACELESS among many, many others.
Iron Man by Tony Iommi with T.J. Lammers (Da Capo Press)
Few other names in all of metal have the same importance as the name IOMMI. As the architect and soul of the sounds of BLACK SABBATH Tony Iommi practically invented the sound of metal music. This fact isn’t really up for debate. Iommi has seen it all, done it all and managed to still be standing tall after more than forty years in a career that is the stuff of legend. The toll of the journey and the mostly positive outcome is reflected in the books title Iron Man: My Journey Through HEAVEN AND HELL with BLACK SABBATH. As the book recounts, often in deep detail the back story of some of the most crucial times in not just metal history, but music history too.
Told in the laid-back manner you would expect, Iommi recounts the history of his early life in Birmingham UK, the formation of BLACK SABBATH and other tales. In spite of his (and everybody’s) copious drug use he has some surprising recall about events that have happened. Some of the stories are famous and well known and others not so much. Iommi does not look at the world through his purple-lensed glasses or another other color for that matter. He often paints himself in an unflattering light when he feels he deserves it and reflects back in time with brutal honesty. The 1970′s are definitely recalled as more wild than you have ever heard or dreamed. Perhaps like no one has yet to do in a book, Iommi recounts the entire history of BLACK SABBATH: all of the ups, the down and the in-betweens. He takes you to the low points of OZZY leaving SABBATH, coming back and what led to his eventual firing. Then he goes into great depth and insight about RONNIE JAMES DIO and his importance of reinvigorating the band and the brand. I learned things about DIO I never knew, which was great. All in all IOMMI recounts his friendships through stories involving LED ZEPPELIN, EMERSON LAKE AND PALMER, DEEP PURPLE, RICK WAKEMAN of YES, EDDIE VAN HALEN (whom is still a personal friend of his) JUDAS PRIEST, FRANK ZAPPA, GLENN HUGHES and many other classic bands. Covering the more recent years he discusses his IOMMI record, charity work and all of the current rank and file of metal stars who have befriended him and he appreciates them as well. Besides revealing his feelings about things like OZZFEST and the 1990′s SABBATH reunions with Ozzy he goes especially deep about the reformation of the DIO lineup, HEAVEN AND HELL; the highs of making new music and tours and the eventual illness and death of DIO which was heart breaking. He also talks about other fallen friends of his like COZY POWELL, DIMEBAG DARRELL and PETER STEELE as well.
Perhaps most surprising is IOMMI’s frankness when discussing his personal life. Ever the epitome of the buttoned up, classy and restrained British gentleman, he is not shy about talking about very intimate events of his life. He discussed his excessive drug use (although he claims he always felt responsible not to do more than the other in SABBATH), his workaholic nature that cost him his early marriages and his relationships with his children. Great detail was given about the extent of his recent hand injury that could have ended his career. He calls his current wife Maria (formerly Sjöholm, of DRAIN S.T.H.), the love of his life. It’s good to see Tony in a happy place in life as he looks back and he considers the future, including the possibility of anther BLACK SABBATH reunion to be wide open. A must have for fans and a great read for others interested in the history of rock and metal.
Lonn Friend has forgotten more about rock and metal than you or I can ever know. His gift is knowing that he’d rather be a conduit for sharing that knowledge and experiences rather than reveling in it himself for personal gain. This is but one of the many themes of his second book Sweet Demotion: How an Almost Famous Rock Journalist Lost Everything and Found Himself (Almost). The book weaves tales of Lonn’s life as the self proclaimed “Fly On the Wall” with a view inside the life of musicians matched with a passion and a sense of history few others can boast. As the Editor and Chief of the highly influential RIP Magazine in the 1980s and 1990s he gave fans an intimate view into the lives of rock royalty as well as unveiled cutting edge bands to the masses. Peeling back the curtain he opened panels and saw how the machinery of the business worked and knows who is real and who is fake, but always had the class to respect the difference. He navigated the rough waters of music journalism in a sea of sharks with a mellow cool that made artists trust him and open up their arms and hearts. Few people can take credit (partial) for resurrecting AEROSMITH from the dead, making GUNS N’ ROSES a household name and (for better or worse) helping break METALLICA out of the underground to name just a few instances of his fingerprints all over the sacred DNA of modern rock music. He has dined with kings of the world like JIMMY PAGE, recalled fallen heroes and hung out in the back alleys and furthest recesses of the minds of these artists. Many remember the venerable reporter from his “Friend At Large” segments on the original Headbangers Ball MTV show among his many rock doc appearances. In addition to his books and radio work (KNAC in LA), Lonn has also been the go-to scribe of band biographies, tomes by rock gods and box set liner notes many times over.
His first book, Life On Planet Rock, was more of the chronological history through his life’s work. Lonn experienced an emotional and professional nadir in the course of jumping into to the trench warfare of the music business. It almost killed his spirit and certainly hurt his soul. In Sweet Demotion Lonn has come through the valley on the other side and not only catches us up with the more recent times in his life, but flashes forward, backwards and sideways through time and space to tell his story and the story of rock. These stories are the signposts in the saga of his life, both musical and non-musical that dot the road map of his journey. His quest to for personal enlightenment is colored by all of his many experiences and through it all his ability to derive the context at every turn (or in hindsight) will surprise you. It is not always strictly about the music, but like another character it always comes back as some reference or a form of synchrony. He has been to the top of the mountaintop, but he is human enough to know he now that he couldn’t see forever. He has had lows as well, such as hocking most of his prized memorabilia collection just to survive at times. Lonn weaves all of these memories into the narrative like meeting ELTON JOHN in Las Vegas or sharing some private thoughts with PETER GABRIEL and other encounters. Lonn shows us that nothing is truly by chance and everything has a reason and a purpose for the most part. You can work in this business and have some incredible times, but you also need to maintain your humanity. Meditations on the JFK assassination, THE BEATLES, the counter-culture he grew up in, the Sunset Strip hair-metal times in LA in the 80s, the changing of the metal guard and 90s grunge, the struggles of modern times all blend with other topics near and dear to him like metaphysics, numerology and the chemtrails conspiracy. Although the book is not strictly based on metal, Lonn’s access to bands like METALLICA, MEGADETH, PANTERA, ANTHRAX, SLAYER, MÖTLEY CRÜE, OZZY as well as a host of other names in our sphere make this a compelling must read for those anecdotes alone. He waxes on the life and death of both DIMEBAG DARRELL and RONNIE JAMES DIO with the appropriate amount of contextual resonance. Yes, it is terrible that Ronnie and Dime were taken from us, but so crucial that they lived in the first place. Lonn actually gets “it” where many others just miss the point. Rock and metal is our living history and Lonn is the curator of the exhibition in the grand hall. Many luminaries sing his praises, but he is still not as famous as he should be or as well known as he’d like to be. Still, few carry the weight of music history and pay respect like he does. To be a fan and a lover of music is to be filled with eternal questions, sometimes questions that have no answer. I believe it is Mr. Friend’s hope that the reader seeking the answers will learn something about their own journey toward meaning by reading about his. You can buy the book directly from him at his website here.
Metal Army caught up with Dave McClain of MACHINE HEAD at this year’s ROCKSTAR ENERGY DRINK MAYHEM FESTIVAL for a brief interview. We chatted about the tour, their upcoming new record Unto The Locust, choosing a set list and drumming. What follows is an excerpt of our interview.
MACHINE HEAD played this summer's ROCKSTAR ENERGY DRINK MAYHEM FESTIVAL and destroyed!.
MAA: How is the tour going so far?
DM: It’s great! We are about to start eight days on The Revolver Stage. We’ve been doing the main stage. This year they started doing it differently. Before they would flip flop the bands, like when MASTODON did it a few years ago, they would start while other bands we’re still going on the second stage stage. Now it’s really different. When we go on it’s just us and and it’s been packed. It’s been really good and we’re winning people over. Now we’re over at the second stage, which is where the action is with the pits and the dirt. It’s the heat and everything, it’s gonna be fun!
MAA: I can’t imagine MACHINE HEAD has to win anybody over.
DM: Over here we do! The DISTURBED and GODSMACK fans, they don’t come for this. You know what I mean? They come in at 5 or 6 PM. By the second or third song they were on their feet and it’s a killer feeling.
MAA: Machine Head is playing comparatively few songs in their set due to time constraints. How do you choose a set list under those circumstances?
DM: Oh it was so hard. We’re actually concentrating on the last three records, including the new one. It seems like we can’t write a song that is under six minutes now. We’re playing “Halo” and that is ten minutes. It’s so hard. We were doing a five song set and Robb (Flynn) and was talking for a total of six minutes, like a minute and a half before each song just to get the crowd going. So we were like maybe before “Aesthetics of Hate” you just yell “DIMEBAG!” and the crowd goes crazy, instead of giving a speech. So it’s tough, but we’ve got a good set list. It’s got a good flow to it.
Dave McClain: holding it down live!
MAA: I understand you have been playing the lead off single, “Locust” live. How has the response to it been?
DM: You know it’s been good. It’s been out for a little while on Sirius XM radio. People are digging it. People seem to know the song now. That was one of the purposes of doing this tour was getting people warmed up for our album before it comes out. We’ll see how it goes today at the side stage. (laughs)
MAA: Describe the new album and how does it compare to The Blackening and Through the Ashes of Empires?
DM: It’s kind of a progression, the way The Blackening was to Through theAshes. This one is not a repeat of what we did. That whole record and touring for The Blackening was like a five year chunk of our lives. And so much good stuff came out of it. Shit that was like dream stuff like METLLICA tours, and Grammy stuff, sold out tours, best album awards. So much good stuff that it was like one of those moments in time that you hope happens to you. When we finally got off the road from it we were gonna make a documentary of it all, but we decided to shut the door and move on. We got in and started writing stuff and we really had no idea what we were gonna do. I brought a bunch of riffs to Robb and Robb had a bunch of stuff and Phil (Demmel) has some too. And we just started jamming like we do and hashing stuff out. “Locust” is probably middle of the road on record. Maybe the most middle of the road song we’ve ever done. There is stuff that is super brutal stuff and there is also some stuff that is really, just dark songs. There are a few songs like that: good structures and really dark and moody too. We’re proud and super happy with it, as proud as we were of The Blackening. I’m super excited for people to hear this. People are gonna judge us based on whatever. If people are sick of us by now, that’s gonna happen. But we are super proud of it we feel like we can’t wait for it to come out.
MAA: Have you changed your drum gear much since making the new album?
DM: I did! On this record I added another little tom. My set up before was two 22s, a snare, 10, 12, 16 and 18 (toms). The week after we got back from the last Blackening tour and I went and set my drums up. I do what I have always done since I was a kid which is play along to albums like JUDAS PRIEST stuff and RUSH stuff. And I’m playing along to RUSH and rocking some Neal Peart shit, but I really needed another little tom to get it right. So I got a little 8 inch tom and once we started writing I brought it out. And one day we were jamming and I did this roll and Robb goes “Oh my god! That sounds amazing!” which was cool. You never know if people are gonna like things, but he gave the green light to it, although I was already loving it and would’ve put up a fight about it. (laughs) I went with Yamaha three years ago and they made me a new kit right before we went in the studio. It’s fucking awesome. The same kit we did the album with is the same kit I’m using on this tour. We had a bunch of different kits there, but this is the one I loved. It sounds crushing and it’s great.
MAA: Do you have an piece of gear you can’t live without?
DM: It would have to be my snare. The snare is the heart of the kit. I finally found a killer snare. When I hit it, it’s just great! If you have a shitty snare it is really noticeable.
McClain played the same kit on tour he recorded the new album with.
MAA: For the love of all that is good and unholy, please tell me that MACHINE HEAD is going to finally do a headline tour of America in 2012?
DM: (laughs) We’re looking at the first quarter of 2012 to do a real headline run. It was hard for us the last time. Through the Ashes started happening, but once The Blackening came out we got so many opportunities by super big bands to take us out on the road or co-headline. Like the METALLICA thing, you can’t say no to it, it’s like “Fuuuuuck!”. We wanted to do a headline set so bad, but it just didn’t work out. This time for sure we’re really concentrating on doing that first next year.
MAA: Any advice to aspiring metal drummers on how to build up some awesome chops?
DM: Play slower at first. Learn things slow. Dudes these days, everybody these days want to play so fast like double-bass drums a millions miles an hour. I’m like, dude really? Maybe it’s me and I sound old, but when I hear fast double-bass through the whole thing, I’m so desensitized by it. Like remember when you heard “Angel of Death” for the first time, how fucking sick that was? You could almost hear him struggling to play it. Now when you hear the fast double bass, everything is so perfect. There are a lot of great drummers out there and the talent level is so high, it’s through the roof right now. But I’d say learn how to play with a metronome so you keep time. The groove is the main thing. Learning how to play to time. You can do it on your own, you don’t need to do it in a band. Because so many drummers get so jacked on adrenaline, you go crazy and start speeding up. Metronome!
MAA: Thanks for your time Dave!
DM: No problem man, thanks!
(Special thanks to Dave McClain, Roadrunner Records and Curtis Dunlap Photography)
This artwork made me go what the f$% is that when I first saw it. It is by Rob "Mid" Middleton
Famous author Oscar Wilde once remarked that “Ambition is the last refuge of failure.” I often find myself reminded of this quote (an all other things Wilde) when thinking of bands with sky high expectations. As humans we foist unrealistic demands on each other, only to be crushed and left angry later. This is no different for artists as well (Wilde was likely addressing them directly). Sometimes groups live up to the lofty bar we wish them to reach and sometimes they die trying. Lucky for LANDMINE MARATHON death is off the table when it concerns their career or their terrific new album Gallows. Not only dies it live up to the hype, it will cement their status act as one of the best groups in modern metal.
Right from the first second of the album when a whammy-bar horse squeal in the style of DIMEBAG DARRELL/EDDIE VAN HALEN announces the opening track “Three Snakes Leaves”, they are not playing around. A death and blackened thrash metal workout of a song follows and I couldn’t help but head bang along to the furious beat. As always Grace Perry’s insane death metal snarl buoys the track. Her voice is razor sharp to match her lyrics and delivery. Andy York, the newest member of the group just beats the piss out of his drums with blazing double kick-work and super fills. Halfway through the song dueling guitar solos of Ryan Butler and Dylan Thomas (I was just talking about writers a minute ago, right?) are melodic, tight and full of fire. Butler produced the album which speaks even more volumes about his talent. With no let up in their sights, “Cutting Flesh and Bone” is another slab of outrageous riffitude and histrionic screaming. Perry’s voice is very consistent and while she doesn’t display a huge variation in her movements, she is crisp and deep with her growls at all times. The coda of the song has a bit of a Chris Adler/LAMB OF GOD feel to that I rather like. “Knife From My Sleeve” starts with a chilling death march beat and an equally deadly yowl from Perry. I can’t say enough times how she has topped all of her previous work on this record. Slow and hypnotic at the start, only the harmonizing of the guitar leads provides any hint of light in the dampened, grim mood. Then the song is set off with the whip crack beat and back to the furious tempos. Then in the perfect throwback to old-school death metal (think OBITUARY, MALEVOLENT CREATION and LM heroes BOLT THROWER) we return to the doom riffs of the intro for guitar hero worship time before fast forwarding to a blast beat tornado of an ending. “Liver and Lungs” is also chock full of speedy chord changes and aggression. Firing on all cylinders seems to be the speed the band shines brightest, so why not keep going to the well? I say do it! Perry takes on a higher pitch scream at length for the first time on the record here and then downshifts back to the guttural bellows for contrast. The breakdown riff is pure SLAYER circa 1985, which I personally would never complain about. “Dead Horses” might be the top track on this album after “Knife…”. They just kill it in every facet of the song that is possible. York might really have been the missing link for the band, judging from his unconscious performance. I can’t wait to see him live. Every single cut has something ear-catching and impressive. The riffs are rough enough for the tough-guy mosh ninjas, but tech enough for the nerds yet still true enough for purists to like them. “Cloaked in Red” is another song bowing at the altar of SLAYER by way of modern European blackened death metal. Further sonic assault and battery comes by way of “Beaten and Left Blind”. Another killer breakdown is sure to signal the point in their show after which soft kids can pick their front teeth off the floor. I would also be remiss to mention this song has by my count the fifth or sixth awesome guitar solo. Yep, you have received confirmation that lead guitar is still cool and not just for the neo-thrash kids. The last track “Morbidity” is a fitting title for the closing out an album like this. More classic sounding motifs crush your head in their vise-like grip of awesomeness. One grip I have is the brevity of the album, at a touch under thirty minutes. That and I’d like to hear the bass work from Matt Martinez higher up in the mix. Still, it’s nice to see this band live up to and catapult over the bright shine of attention’s spotlight.
LANDMINE MARATHON: meeting and defeating high expectations.
Unless you have been living under a rock or been in a coma like Captain America was for the last 70 years, one of the stories of 2011 has been the fallout from Mike Portnoy’s messy departure from DREAM THEATER. Still being played out in the media after splitting nearly a year ago, there has been no shortage of drama. We watched the very public dismay of Portnoy unfold as DREAM THEATER has opted to continue on without him, eventually settling on Mike Mangini as his replacement. As his former band prepares to release their next record soon, Mike has licked his wounds and released the first material from his new band ADRENALINE MOB in the form of a self released EP (Dear Tunecore, you totally suck ass!). The band is a super-group of name players who will have to live up to their legendary reputations even more in light of these circumstances. The potential for greatness is definitely there, but the band has a ways to go to get there.
The first song is a driving, blues based active rock/power-groove type of song named “Psychosane”. When I heard the main riff for the first time I immediately thought of PUYA, but the band is going for a BLACK LABEL SOCIETY/PANTERA/EXHORDER type of vibe. Lead singer Russell Allen of SYMPHONY X (who also produced) even channels Phil Anselmo and Kyle Thomas to an extent throughout most of the album and the results are mixed. Allen is a naturally great singer, but his attempts to butch it up here left me a little flat. The track itself is solid with a great guitar solo from the gifted Mike Orlando (SONIC STOMP). As you’d expect from any Portnoy recording the drums are powerful and have his patented slick fills and rolls. The second song “Believe Me” is a little tighter. Another boogie rock stomper, Allen uses his more trademark dynamic vocalizing and power to great effect this time. Orlando just shreds his face off on another couple of harmonized solos in the vein of DIMEBAG DARRELL. Orlando is one of the premier axe-men in the game today and this band could be a launching pad to even bigger things for him. He has preposterous dexterity, sick lead skills and a lyrical style in the tradition of all the gods of guitar. In addition to some terrific Portnoy double-kick work, bassist Paul DiLeo drops in some fine walking bass lines and fills. There is no questioning the talent of this group which also includes guitarist Rich Ward (STUCK MOJO/FOZZY). Lyrically and melodically it is the strongest track here also. “Hit The Wall” is the most realized song and has rock and thrash overtones. The fast driving beat is prime territory for the legendary drummer to get his metal ya-yas out. Allen kills the vocals here with an excellent performance displaying the full extent of his talents. After raging on overdrive for ¾ of the track, the song breaks down into a DOWN style sludge jam and it sounds pretty impressive. “Down To The Floor” continues the kitchen sink riff approach. There are some interesting spacey sound effects going on during the verse that will hook your ear. The major-key change in the chorus is a classic rock staple that screams early 1980′s to be sure. Another short Orlando lead calls to mind EDDIE VAN HALEN at his youngest and best. As the band has done live, the album closes with a cover of “The Mob Rules” as a tribute to RONNIE JAMES DIO. Allen certainly does a heartwarming DIO impression and the cover is note for note perfect. I suspect most of the originals are even more killer sounding in a live setting. I hope more time spent with the whole band writing together will make the full length album in 2012 worth the wait.
