Posts Tagged ‘neo-thrash’
Monday, March 25th, 2013
Fast Loud Death (Nuclear Blast Records)
When the listener puts on LOST SOCIETY’s debut album, Fast Loud Death, they hear a band that sounds like they`ve spent a few years on the scene. Maybe it’s a couple of 20-something guys who decided it was their turn to be the thrash scene’s most promising band. In reality, the band members’ ages range from 17 to 19. The band was signed by Nuclear Blast Records at the end of last year following a successful playing at a Global Battle of the Bands. It was at that moment that LOST SOCIETY’s music began to creep out of Finland and into other parts of the world.
The album as a whole is fast paced and full of non-stop action. It has just about everything a listener hopes to find in a modern thrash metal album. The cover itself is classic thrash art. Even though they may not be of age in some parts of the world, they can party just as heard as thrash revival titans MUNICIPAL WASTE. No songs even hit the five-minute mark; their longest track is just over four minutes while their shortest is barely a full minute.
“N.W.L.” is a powerful start to the album. “I’m coming at you” growls front man SAMY ELBANNA. The band is letting the listener know they’ve arrived and they’re here to stay. Hints of METALLICA can be heard on the track when it comes to their guitar sound, but they make it all their own.
“Diary of a Thrashman” is an obvious homage to OZZY OSBOURNE’s defining Diary of a Madman, a kind of status that the band may obtain in their future. There aren’t a whole lot of vocals or lyrics on the track; it’s mostly just pure thrashing. It might be the track where they most closely resemble MUNICIPAL WASTE. The main lyric is “I’m gonna get a drink now.” It’s the kind of song you’d expect to hear on The Art of Partying.
“Fatal Anoxia” starts off by Elbanna letting out a short TOM ARAYA sounding yell a la “Angel of Death”. That’s about the extent of the SLAYER resemblance though. The rest is the band members screaming the title at a furious pace that has not let up since the album started. They then culminate with the sound of heavy guitar work and crushing percussion noises fading out. It leaves the listener prepared for what may come with their next album. This is the kind of album that can be played on repeat until that time. After this promising start, LOST SOCIETY is sure to develop a more distinct sound and leave the forefathers of thrash behind.
 LOST SOCIETY: A bold debut release! GRADE: A-
By: Melissa Campbell
Tags: Fast Loud Death, LOST SOCIETY, Metallica, municipal waste, neo-thrash, nuclear blast records, NWOATM, ozzy osbourne, SAMY ELBANNA, shred, slayer, thrash, Tom Araya
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Wednesday, February 27th, 2013
The Democracy Center, Cambridge MA
 It’s good-natured small gigs like these that make one remember how alike Punks and Thrashers (and to a point, all Metalheads) are when you get them together. Think on it: Both wear black a lot, both are societal outcasts with atypical haircuts, they both wear patches and ripped clothing, etc. To say nothing of the music itself. Thrash Metal is essentially IRON MAIDEN and JUDAS PRIEST fans mainlining punk rhythms and throwing the resulting brew into a pressure cooker to ferment and sweeten. And now onto the show review before I turn this into an essay on how Thrash and Hardcore fans should hang out more.
Opening this festival of the damned was METH VALLEY, a gang of talented local thrashers fronted by some crazy guy I’ve seen at mad shows, MDF included. Thrash is a hard genre to innovate in without turning it into something else by accident, so these longhairs played it safe and by the book, albeit without inducing yawns. If you like RAZORMAZE, check ‘em.
Next up were Boston Hardcore guys DRAIZE, alternating between the slow and punishing and the fast and punishing extremes with equal skill. Everyone’s favourite bespectacled baldie decided to go at this gig barefoot, which is a ballsy as fuck move considering how much punks usually love to wear boots or something. Nary a toe was injured, luckily, as the walls churned with heat, leather, and fist while the dance floor surged with pent-up anger and good times.
 DRAIZE. Boston. Hardcore. Emphasis on the core. Oh how I missed my poetic verve.
It’s not very often one gets to see DRAIZE, much less hear them, since a certain amount of mystery prevents them from posting tracks online, despite the many available avenues with which a band may do so today. If you don’t know the songs, you don’t know them, and you never will unless you buy their stuff, so there’s that. It’s all good and dark, and makes you want to kill, so it hardly matters in the end, as long as you don’t act a fool. Highlights of the set: A huge fat guy herkie-ing like nobody’s business, and getting full-body lifted and placed back down by a guy half my height while I was in the middle of a graceless two-step.
 IRON REAGAN. Not your momma’s Punk/Metal super group!
IRON REAGAN, featuring TONY FORESTA from MUNICIPAL WASTE and some other guys because fuck it, it’s Tony Foresta and that basically makes it MUNICIPAL WASTE by proxy, followed to bring some groovin’ Thrash served in a radioactive barrel. Or something. This being their first tour as a band, it’s amazing how quickly they’ve all settled into the whole live dealie. Granted, they are seasoned musicians, and probably all hang out, but my word, you’d think they’ve been doing this as IRON REAGAN for years already. Tony’s charismatic control of the crowd’s friendly violent fun, the vicious axe attack of fellow ‘Waster LANDPHIL, bass duties gregariously filled by a certain guy named Paul, and drum noise made by DARKEST HOUR’s own RYAN PARRISH (editor’s note, Ryan quit DH last year). You’ve got yourself a crew that’s ready to rock, and has a CRO-MAGS cover to lay on you troglodytic fucks. It’s pretty rad. The circle pit isn’t a frequent sight at the D.C., so get educated and run around.
Headlining were local heroes RAMMING SPEED, who have been bestowed the honour of being a possible gay porno title by The A.V. Club for their year-in review of band names. I’m sure they gained about 54 new fans as a result.
 RAMMING SPEED, Thrash with a purpose. Unintentional jokey name. Or is it? Imagine you took the Party Hard attitude of ANDREW W.K. but turned party rock into party thrash, with a good helping of pizza and perhaps carrots, and proclamations of ’SHANE EMBURY being the Brad Pitt of grindcore’. It’s true, go listen. While RAMMING SPEED do everything they do in good fun, there’s some serious talent bubbling under the comedic skin. Major shreddage, vocals that vary from Thrash shouts to Death Growls and even some well-done highs, drumming that can go from standard speed-metal to extreme blasting, and not to mention the fact that they can keep up with themselves and not fuck up. It’s a recipe that’s best drunk in large quantities and with friends around.
 RAMMING SPEED’s new album “Doomed To Destroy, Destined To Die” drops on Prosthetic Records later this spring! You know, this marks a rare occurrence; I’ve reviewed a show the day after it happened. Golly, I’m making my comeback. This is the year of the gutter rat, and I’m doing well everywhere except mothafuckin’ school. Kill pigs, have fun.
By Sean “That Black Metal Dude” Genovese
Tags: 'SHANE EMBURY is the Brad Pitt of grindcore', ANDREW W.K., Cambridge MA, circle pits, CRO-MAGS covers, crossover, Darkest Hour, DRAIZE, hardcore, IRON REAGAN, LANDPHIL, local heroes RAMMING SPEED, metal, metal versus punk cultures, METH VALLEY, municipal waste, neo-thrash, party hard- thrash harder, Prosthetic Records, punk, Ramming Speed, reviews by “That Black Metal Dude”, Ryan Parrish, super-groups, the dance moves of punkers, The Democracy Center, tony foresta
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Wednesday, February 20th, 2013
Heroes of Origin ( Massacre Records)
STEVE “ZETRO” SOUZA is a back with a new band, HATRIOT, and they are hungry. For all you quite possibly don’t know who “ZETRO” is, he was the original singer of TESTAMENT (when they were known as THE LEGACY) and an important former member of EXODUS too. This isn’t EXODUS however, it’s a no holes barred straight ahead group. Heroes of Origin is very modern thrash album with an old-school attitude. There’s a lot of young talent on here and if you didn’t know, you couldn’t tell. It definitely feels like a California bay area band. “Suicide Run” does what a good opening track is supposed to do, not hold back. The song has a great attack, some ripping solos and even some blasting drums pounding at you. The production work handled byZETRO’S Shove Head Kill Machine cohort JUAN URTEAGA (MACHINE HEAD, TESTAMENT) makes this album come alive, the mix is one of the best he’s done. When ever you can hear bass easily, it’s a great thing.
Steve sounds timeless, sharp and angry as ever. I think this probably his best over all performance since TENET. Guitarists KOSTO V. and MIGUEL ESPARZA sound like they’ve been playing together forever. “Murder American Style” and “The Violent Times of My Dark Passenger” shows off some their twin harmonies that are peppered though out this album. As a parent myself, it must be a pretty amazing feeling to be able to play in a band with your own offspring. The second generation thrashers that comprise the rhythm section, CODY (bass) and NICK SOUZA (drums) are solid. I don’t think they would be on here if they weren’t up to it and “Blood Stained Wings” prove they belong.
This album is full of great solos and killer musicianship. There is no filler to be found. “And Your Children be Damned” has a a kick ass scream midw-ay through that’s catchy as hell. Sure, just because of who is involved in the band, they will draw comparisons to EXODUS. But believe me, HATRIOT stands firmly on their own and doesn’t rest on the ZETRO legacy. I hear good things ahead for this band.
 Thrash legend STEVE “ZETRO” SOUZA rides again with HATRIOT.
GRADE: B+
by Omar “Ojayy” Cordy
Tags: Bay Area Thrash, EXODUS, HATRIOT, machine head, neo-thrash, Steve “Zetro” Souza, TAGS: JUAN URTEAGA, testament
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Tuesday, February 5th, 2013
Beneath the Surface (Century Media)
ALPHA TIGER is one of Century Media Records’ newest bands and have released a quality album for their first release as a signed band to a major metal label. Their origins are in Germany where other great metal bands have come from including HELLOWEEN and RAMMSTEIN. They may soon find themselves accompanying those two bands in the ranks of outstanding German metal.
As soon as “The Alliance” comes on, one can tell STEPHAN DIETRICH is going to become known as one of the stand out voices in newer metal. It’s a strange mix of RUSH’s GEDDY LEE and early IRON MAIDEN vocalist PAUL DI’ANNO.
The band has a mix of thrash and hair metal to their sound. Their instruments are played in thrash style while the vocals and lyrics account for the hair metal half. The band even manages to include some ballad parts into the album. Because of these factors, they tend to sound slightly dated but this is not necessarily bad; it’s a fun throwback to the ‘80s. In fact, one can visualize the cheesy music videos that would accompany such tunes. This is especially the case with “Along the Rising Sun”. However, they must be careful to not have all of their songs become too similar.
Although some songs are lengthy, they don’t tend to feel that way. “From Outer Space” is the track off the album that can be deemed most fun. It shows that the band does not mind being silly sometimes. It is also the first single and will be the first music video. “Eden Lies in Ruins” offers an interesting story that almost DIO like. “We Came from the Gutter” is one of the strongest tracks on the album. It may have worked better as an opener rather than a closer.
The style in which the album cover for Beneath the Surface is done matches the content well. There is something real and sinister about it although it is cartoony enough that there is some lightness to it. The portrayal of laughing business people and burning money reflects a lot about modern day concerns. Having their reflections as skeletons is reminiscent of the classic heavy metal art seen in the 80s.
Beneath the Surface is a promising start for ALPHA TIGER’s career. However, they still have some work to do in terms of separating themselves from the rest of the pack. It is an album worth picking up for fans of classic heavy metal looking for a throwback sound.
 ALPHA TIGER: Not afraid to show their silly side when they rock out! GRADE: B
by Melissa Campbell
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Tags: 80s inspired album artwork, ALPHA TIGER, Beneath the Surface, Century Media Records, Dio, Geddy Lee, German metal bands, hair metal, Helloween, Iron Maiden, light-hearted lyrics, neo-thrash, NWOBHM, PAUL DI’ANNO, rammstein, Rush, silliness, thrash, throwback sounding bands, vocalist STEPHAN DIETRICH
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Sunday, June 10th, 2012
Point of No Return EP (Candlelight)
Denver bred young-thrashers HAVOK are back on the attack with a new EP release. Following up last years’ solid Time Is Up album, the band has been tireless road dogs in 2012. This EP will be one more way to bring some new HAVOK madness to the masses as they roll from town to town.
Opening up with one of two originals “Point of No Return” picks up where the best of Time Is Up left us, excited to hear some new guys interpret the classic 80s thrash style. What HAVOK does that few of their peers in the neo-thrash scene do is keep a sense of modernness and maturity. These means while the band shows their love of the genre that inspires them, it is not mere wrote copying. They are creating original, modern thrash with cool stylistic touches. Bolstered by some co-production work from JAMES MURPHY (DEATH/TESTAMENT), the fun factor is still switched to high with sick drumming, shredding solos and killer gang vocals. Like any good band rocking this style, guitarists David Sanchez and Reece Scruggs really bring the fire, especially Scruggs and his lead playing. “Cradle To The Grave” begins with an incredible beat by drummer Pete Webber that kicks the creativity up another notch. Some urgent riffs crash your ears before Sanchez kicks in with his vocals. Rather than ape the style of so many great thrash singers he goes his own way with an approach that is aggressive, not too growly and cool. The ending riff of the song is massive and would be great mosh pit fodder live. Closing out the EP are two excellent covers. “Arise” by SEPULTURA is a classic and the band kills it. It is a few notches faster than the original speed, but it sounds good. Equally strong is their take on SLAYER’s “Postmortem/Raining Blood”. Credit again to Sanchez for keeping his own voice throughout the tracks and not trying to imitate the great vocals of MAX CAVALERA and TOM ARAYA respectively. This EP is like a gift to the loyal fans and sure to bring in a few new ones. I’m looking forward to seeing these guys on the SHOCKWAVE tour this summer.
GRADE: B+
by Keith (Keefy) Chachkes
Tags: arise, bassist Blue Spinazola, Candlelight, cover songs, DYSENTERY, Genitales from the Porno Potty, havok, James Murphy, Max Cavalera, neo-thrash, nfljerseys, odd-time signatures, reviews by Keefy, Sepultura, slayer, sport, thrash
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Wednesday, April 18th, 2012
Metal Army caught up with MUNICIPAL WASTE front man Tony Foresta recently. We chatted about his bands’ just released album The Fatal Feast: Waste In Space (Nuclear Blast) , how the album came together, how the band approaches song writing and their various influences.
MAA: Please tell us about the making of the Fatal Feast?
TF: The idea has been knocking around since the first album. It was actually a song that was going to be on Waste Em All. We knocked it around. And then it ended up getting pushed back and got forgotten about for a few years. We have always wanted to to a “space” album. I don’t know why we have wanted to do that, but it seemed like a good idea at the time. This one is our venture into space. Any band that usually puts out five albums usually puts out a space album. It’s just something you do. This is our contribution to that.
MAA: Is the album a concept album?
TF: Um, not really. The sound and the style, it’s the same typical WASTE style. There isn’t any hidden, deep message really. Sorry. I don’t know if I’ll ever get a chance to do that, but it’s your typical WASTE record. (laughs)
 Tony Foresta leads MUNICIPAL WASTE during their recent tour with GWAR.
MAA: Would you say after five albums the band has making music down to a science?
TF: There is definitely a style there. Nothing really goes said or anything. But you know if somebody one busts out a riff and you hear it and say “that sounds like a MUNICIPAL WASTE song”. If not and then it doesn’t if it doesn’t fit. We’re really picky. We actually wrote about four songs that got left off the record because they just didn’t fit. We didn’t even bring those into the studio. I guess there is a style definitely. If you listen to the band and are familiar with the music you would know. You can tell that it exists. We have definitely axed songs that didn’t sound like MUNICIPAL WASTE.
 Ryan Waste knows what's up!
MAA: Can you talk about some of the guest appearances on the new album?
TF: I was really stocked to get Tim Berry. I’m from Richmond and I’m a huge AVAIL fan. The stuff that got me going to shows was that band. Some of my first shows ever, my first hardcore punk shows were AVAIL shows. I was really nervous to ask him. I finally worked up the balls to ask him. But he was really cool and said “Hell Yeah!”. Yeah, he’s a friend of the band. It’s not like we didn’t know him. He lives in the same neighborhood as Ryan. He was like “You guys remind me of THE ACCUSED, man!” which was fucking great because I love that band. And of course John Connolly (NUCLEAR ASSAULT). He’s on the song “The Fatal Feast”. It’s cool that we are getting known well enough now where we feel like we can approach these bands and ask them to be on our record. It’s cool that they were excited to be on our album! It’s awesome!
MAA: Any non punk or metal influences?
TF: The band or group that really got into playing music and really got me into performing and stuff was THE BEASTIE BOYS. When I was growing up I was just really obsessed with the BEASTIE BOYS. Two of my talent shows growing up, one in middle school and one in high school school I did BEASTIE BOYS impersonations with two of my friends. I used to dress up the like them rap over their songs. I really loved them. I loved that there was this band that could rap, but they were really funny and had a good time and they didn’t give a shit what anyone thought. I always admired that about them. I still love them.
 Phil" Landphil" Hall gives good bass.
MAA: Do you feel MUNICIPAL WASTE are the leaders of neo-thrash as a style.
TF: You know I hear that all the time. Whenever I read something about us and when I hear it when people talk to me. It’s cool. But when all this shit came around, this revival thing, we were writing our third record. We were almost done writing The Art of Partying. When Hazardous dropped there were a million bands doing what we do .It’s really cool, I guess but we don’t think about it. We don’t think about it. I just wanted to be a thrash band. I would like someone to listen to my band twenty years from now and be thought of as a great thrash/punk band. Like SUICIDAL TENDENCIES or something. I don’t pay attention about the “new wave” of this or that. I just want to write good songs and tour my ass off.
MAA: Is ST a big influence on you? They were for me.
TF: Oh totally! They are one of the coolest bands we ever toured with too. No rock star bull shit there, man. They were so amazing and so good to us. I had never toured with a band that big that treated us so well. They were so good to us and treated us with open arms it was unbelievable. They were like “Come on our bus! Come hang out! Tell us what you need, whatever it is you got it!” They were so hospitable and kind to us, it was amazing. They were the best tours we’ve ever done. We toured with them three times actually. I’d go out with them in a heart beat. Any day of the week.
MAA: Who is the most underrated old school-thrash or crossover band?
TF: You know I hate to say it, but don’t you think NUCLEAR ASSAULT is really a little underrated? I mean, they’re known. Everybody knows who they are, but I feel like they are soooo great. They are such a good band. I really feel like they never got the credit they deserved. There’s a lot of bands like that. I think KILL YOUR IDOLS is always kind of underrated, also never got the credit they deserved. They have some huge fans. They are not a thrash band or anything, but still. Normally I can rattle off a million of these. Bands like ASSASIN and TANKARD. Not a lot of people know about the,. I always feel like more people should know about TANKARD. They are kind of under the radar. And one of the bands that put out the one of the best hardcore albums, like fast thrashy hardcore is this band THE SPERMBIRDS from Germany. It’s crazy how many people don’t know about that band. They are really a hardcore punk band, but one of the greatest bands ever. I think Something To Prove is one of the greatest hardcore albums ever written.
MAA: TANKARD could really be like the grandfathers of MUNICIPAL WASTE!
TF: I agree! 100% man! I will give credit where credit is due. Me and Ryan used to always talk about that. We listen to TANKARD and GANG GREEN and shit like that. Just punk, fun, drinking music that is fast and aggressive!
MAA: If you could host dinner at your house with anybody living or dead, who would you invite?
TF: I would say my grandfather for one, because he died when I was really young and he was awesome. Old relatives and dead friends are always on the list, that’s kind of a given. I’ve met Kerry King before, but I’d love to hang out with Tom Araya, I’ve never hung out with him. I’d love to eat with with Anthony Bourdain, because there would be some good ass food. I’d really like to sit down with Bob Odenkirk and David Cross, because I am such a huge Mr. Show fan. (laughs) I love that shit. That would be really cool to hang out with those guys. Louis CK because we were just talking about him. Bob and David would be really cool. And I’d invite George Bush Jr. so I could poison his food, since the guy ruined our country. (laughs hysterically) That’s about it!
MAA: It’s been really good to talk to you Tony. See you at the GWAR show!
TF: Thank you very much!
(Special Thanks to Nuclear Blast Records and Tony Foresta.)
by Keith (Keefy) Chachkes
Tags: Anthony Bourdain, ASSASIN, AVAIL, crossover, Dave Witte, GANG GREEN, hardcore punk, JOHN CONNELLY, metal interviews by Keefy, Mr. Show, municipal waste, neo-thrash, nuclear blast records, Phil "Landphil" Hall, Photos by Echoes In The Well, punk, Ryan Waste, suicidal tendencies, Tankard, THE BEASTIE BOYS, The Fatal Feast: Waste In Space, THE SPERMBIRDS, thrash, Tim Berry, tony foresta
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Tuesday, April 10th, 2012
Fire and Damnation (Metal Blade Records)
Thrash metal has more mainstream popularity as a whole than anytime in my memory. Not that this is a good thing mind you. I am happy for the ever growing spate of neo-thrash bands spreading the god damn word. At the same time many of the classic bands are still thriving in one way shape or form which can only help educate the masses and separate the wheat from the chaff. With the flood gates open wide a lot of older bands are returning from long slumbers to to rise again. One such band is second-tier German thrash band EXUMER who had an solid debut in 1985 with Possessed By Fire and followed it up with a few more releases before calling it a day. Many recall the bands’ distinct album cover artwork as seen in the book Heavy Metal Thunder as much as their music. Other than playing Wacken in 2001, they had been largely quiet from 1988 to 2009. Now back with their Waldemar Sorychta (GRIP INC., THERION, SODOM, MOONSPELL) produced new album, they are hoping to recapture their former glory.
The title track peels the lid of the record and has the trademark 1980′s thrash sound. A cool semi-tribal beat opens the track and the main riff kicks in with a lot of crunch and style. Vocalist Mem V. Stein (SUN DESCENDS/HUMONGOUS FUNGUS/OF RYTES) leads the charge with his stripped down delivery. Somewhere between TOM ARAYA’s angry scream and a hardcore guys yell, Stein is a no nonsense type of guy with a straight up style. He serves the music well and is easy to follow along with on some memorable shout-a-long choruses throughout the album. Founding guitarist Ray Mensh writes a lot of cool, stock thrash riffs that definitely deliver the goods. The guitar sound overall on the album is modern enough to hang with some of the better bands of today and the music keeps it interesting too. “Vermin of The Sky” has a great main lick and some cool lyrics. It also has the best guitar solo of the album, although it’s pretty brief. “The Weakest Limb’ is a one of the strongest songs found on Fire and Damnation. Syncopated double bass drumming and neat layered guitar tones give the song a nice intro, before the main course of thrash is served. Like most of the album, the EXUMER sound bangs its head in the direction of Bay Area Thrash. Sometimes the different parts of songs feel naturally familiar when you hear an EXODUS-type section come in. It works musically, but is not always the most original material either. “A New Morality” is another crusher and will definitely get the circle pits going if played in a live setting. Drummer Matthias Kassner is strong here with some nice accents and fills. The chorus of the song has a slick thematic motif in it, before the riffs knife back in. “Walking The Fire” and “Fallen Saint” have the feel of updated classics rather than new songs, which is a compliment. Mem’s vocals are delivered the toughest on “Fallen Saint” too. The rest of the album follows suit with other solid tracks being “Devil Chaser” and “Tribal Furies”. Fans of thrash, especially purists will enjoy this offering.
 EXUMER in 2012. GRADE: B
by Keith (Keefy) Chachkes
Tags: Bay Area Thrash, drummer Matthias Kassner, EXODUS, EXUMER, Fire and Damnation, german thrash, guitarist Ray Mensh, hardcore, HUMONGOUS FUNGUS, metal blade records, metal reviews by Keefy, neo-thrash, OF RYTES, old school metal, Possessed By Fire, producer Waldemar Sorychta, SUN DESCENDS, Thrash Metal, Tom Araya, vocalist Mem V. Stein, Wacken Open Air
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Tuesday, April 3rd, 2012
The Electric Age (eOne)
Few original thrash metal bands can claim they have been as consistent as OVERKILL. While many groups of the early days of the genre disbanded or lost their way musically, these East Coast mashers have stayed the course. The vast majority of their back catalog is full of anthemic, catchy music that works on record or especially In the live setting. Rather than repeat themselves or cling to some kind of past glory, the band continues to evolve slightly record to record and still writes great songs. This proved to be the case for their last album Ironbound and is also true of their new album The Electric Age.
Opening with “Come And Get It” the band does what they do every album, provide a kick-ass table setter of a song to begin with. With it’s classic 80s tempo and sharp riffing, the song is angry, violent fun. Singer Bobby “Blitz” Ellsworth sounds ageless with his snarling, high range. The middle section of the song has a cool vocal sing–a–long chant that is downright otherworldly. If you didn’t know it was an OVERKILL record you might mistake this part for a progressive rock album or even a revamped BLACK SABBATH cover. Fear not though, it is full on metal. “Electric Rattlesnake” is another barn-burner with all of the typical themes you expect from the band. There is even a moody breakdown section in a throwback to some of their early 1990s albums. Even though I found the lyrics slightly cheesy, the gang vocals are great and you can see this track going over big at a concert. Having the same lineup since 2005 is really reaping some rewards today. Their collective writing has rarely been this representative of the total capabilities of the band. “Wish You Were Dead” is another fast killer song with a lot of back bone. Guitarists Dave Linsk and Derek “The Skull” Tailer crush with their licks and riffs. Since they have similar sounding tones (except for when Linsk solos) it is cool to hear the players come together in unison after jamming different parts. So heavy it’s not fair. The next track “Black Daze” is a real standout cut. It has a stomping power-groove feel that will put a smile on any mad headbangers’ face. The tough beats are accented by the sharp changing chords and again Blitz just kills with his snarky, powerful lines. This might very well be his finest hour as a singer. A track like this also really makes you appreciate the rhythm section of DD Verni and Ron Lipnicki. Verni, along with Blitz founded the band and has a hand in most of the writing of the tracks. He has a great punchy tone and plays some inventive lines under the chaos. Lipnicki is a solid drummer with an economical style and not focused too much on flashy. He has the requisite chops to do the songs justice and reminds me a lot of MEGADETH’s Shawn Drover. “Save Yourself” ratchets the speed element back to 11. The song is under four minutes, but feels like two. Another great vocal tour de force from Blitz and the rest of the band is the highlight here along with one of the nastiest solos Linsk has ever played. I don;t think he ever went about the 12th fret of his guitar once either. “Drop The Hammer” starts of with some impressive beats from Lipnicki, before the main tempo kicks in. This song definitely has “circle-pit” written all over it. Another cool breakdown (not that kind) has a great, old school thematic twin guitar-solo not unlike IRON MAIDEN. OVERKILL is that rare band that can mine its own style, break some new ground and yet still pay tribute to their heroes. “21st Century Man” veers into political commentary with the usual vitriol you have come to expect from them. Top notch licks and a head-nodding, marching beat top things off. “Old Wounds, New Scars” might be the best track on the whole album. Only Bobby Blitz can pull off a line like “Got a lotta mouth for a Jersey white boy” and have it not sound corny. Musically the song excellent with everything you want out of a modern thrash song. “All Over But The Shouting” also rules the roost. There are many neo-thrash bands half the age of this band that couldn’t write a song this good. They ought to take notes and bow down at the alter of “Chaly”, their mascot. The first minute or so of final track “Good Night” is a pensive lullaby, almost in the form of a madrigal from classical music. Gently plucked guitars turn back in to another thrash/punk master piece in the style of the bands’ more fun tracks. This album sounds like it came out in 1989 or 1990, but somehow fresh and not dated putting the band in the rare company of EXODUS and TESTAMENT among their peers. The band may be over thirty years old now, but this reviewer suspects we have many more years of great OVERKILL albums to look forward to.
 This shirt says it all, doesn't it? GRADE: A
by Keith (Keefy) Chachkes
Tags: "get your own fucking logo" t-shirt, bassist DD Verni, Black Sabbath, Chaly, circle-pit, Dave Linsk, Derek "The Skull" Tailer, drummer Ron Lipnicki, East Coast metal, eOne, EXODUS, gang vocals, great singing, guitar solos, headbanging like crazy, Iron Maiden, ironbound, Megadeth, metal reviews by Keefy, mosh, neo-thrash, old school, Overkill, sarcastic lyrics, screaming, Shawn Drover, shred, sing-a-long, Singer Bobby “Blitz” Ellsworth, testament, The Electric Age, thrash, Thrash Metal, thrash revival, thrash/punk
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Tuesday, March 27th, 2012
Long Live Heavy Metal (Century Media)
Of all of the old-school metal revivalists 3 INCHES OF BLOOD might have the most credibility of anyone. Emerging half a decade ago from Vancouver, BC the band hung their hat on a mix of New Wave of British Heavy Metal stalwarts like JUDAS PRIEST and IRON MAIDEN with an added kick of Bay Area Thrash. This potent mix, plus a no nonsense approach to writing and intense live performances have earned the band a strong following. However, they are a bit hard to rate for me. On one hand they write fun, cheesy and occasionally great power metal songs. They are really entertaining to a certain segment of metal fans. On the other hand they are never going to be thought of as a band that sounds better than a collection of great sounding influences. Still, there is a power in knowing what your band is and is not. You will certainly be hearing a lot from them in 2012 as they are participating in The Metal Alliance Tour this spring.
Right from the first notes of “Metal Woman” the music is just as epic as you would expect. The band excels at writing anthemic odes to all of metals’ splendor and greatness with the same zeal AMON AMARTH writes about Vikings or CANNIBAL CORPSE writes about serial murderers. Devil horn worthy riffs open the track before gurgling bass and drums beat out an insane rhythm to mosh two. When singer Cam Pipes unleashes his first wailing scream it is godly sounding. With the timbre of a ROB HALFORD and the passion of a RONNIE JAMES DIO, Pipes delivers the goods with style. The track is a tribute of metal women fans everywhere and is already a crowd pleaser live as you would imagine. Second track “My Sword Will Not Sleep” is equally rocking and has some killer riffs. Some of the bands chugging chords and intense beats call to mind early METALLICA or OVERKILL at times. The band does a nice job of changing keys and licks early and often to keep things interesting. There is a bit of a return to the growling vocals from guitarist Justin Hagberg too on a few tracks. The ending jam in double-time is killer sounding and really exciting. “Leather Lord” is another top track with impossibly high singing from Pipes. The breakdown of this tune is a modern take on MAIDEN with bombastic emotions and great musicianship. Hagberg and his axeman in crime Shane Clark craft great licks and leads with tons of classic sounding harmony lines. After the mellow instrumental “Chief and the Blade” comes “Dark Messenger” which might be the best song on this album. It has everything you want from the band and more. Unintentionally “Look Out” reminded me of HENRY ROLLINS’ comic send up of the late Mr. DIO, but in a sweet way. The middle keyboard/guitar solo part is right out of 1975, but it works. “4000 Torches” has more cool guitar jammage to enjoy. Drummer Ash Pearson and new bassist Byron Stroud (STRAPPING YOUNG LAD/ex-FEAR FACTORY/CITY OF FIRE) hold it down rock solid so the guitarists and Mr. Pipes can wail over every song. Stroud joined up recently and his addition makes sense since he also manages the group. Other standout tracks are “Leave It On The Ice” and the impressive “Men Of Fortune”. If you love songs that are all about the story of metal, you will love this band.
 3 INCHES OF BLOOD waves the flag of true metal. GRADE: B
by Keith (Keefy) Chachkes
Tags: 3 Inches of Blood, bassist Byron Stroud, Bay Area Thrash, Century Media, double-bass, drummer Ash Pearson, early METALLICA, guitarist Shane Clark, guitarist/vox Justin Hagberg, harmony lead guitars, high pitched singing, Iron Maiden, Judas Priest, Long Live Heavy Metal, metal purists, metal reviews by Keefy, neo-thrash, New Wave of British Heavy Metal, old-school metal revivalists, Overkill, power metal NWOBHM, rob halford, ronnie james dio, shred, singer Cam Pipes, solos, The Metal Alliance Tour II, true metal
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Monday, October 17th, 2011
I went down to Hartford to see the UPROAR Feestival at the Comcast Theater. Honestly I half expected a mixed bag of a few real metal bands and a majority of radio friendly active rock bands capped off by AVENGED SEVENFOLD, who I really like. Recognizing that I am not UPROAR’s key demographic (by a long shot) I went into the day without too many high expectations. That being said the turnout was impressive for a hot day in early September. While smaller in scale than Mayhem Festival or even past Ozzfests were, this scrappy little tour had a good crowd, having some fine bands, a good fairway of diverse vendors and an amazing crew of staff (both venue and tour personnel). The fact that this day was the tenth anniversary of the 9/11 attacks would weigh heavily on all the artists on this day and as it turns out, the crowd as well.
 ART OF DYING was an early surprise.... Since I was busy handling some early day interviews I missed most of HELL OR HIGHWATER, the new band from Brandon Sallor of ATREYU fame. Just last summer I saw them at the 2010 Mayhem Fest and 2011 has seen Sallor move on fully. I really didn’t catch much of the music, but it sounded like a more straight up pop rock experience than his previous metalcore flavored band. People seemed to be into it and they seemed to know the songs which was cool. The first band I caught a full set of was ART OF DYING. These guys surprised me. Apart from their debut video “Die Trying” I really didn’t know the band at all. Even though they are definitely interested in radio friendly rock anthems, they wrote solid songs, have enough heaviness to pass muster and are excellent performers. Singer Jonny Hetherington does his best AXL ROSE/STEVEN TYLER/JOSHUA TODD whiskey swilling front man act and has the pipes and the bravado to back that up. The entire band is pretty solid, notably guitarist Greg Bradley. In addition to the opener “Straight Across My Mind” and the single, their set was pretty much what you would expect from this type of band. Several rock songs, a ballad (‘get your lighters out’) and back to rocking again was their format and it worked. Oh the entire band sings backing harmonies too, which also impressed me. I know they have gotten some push because they are on DISTURBED’s vanity label and their bassist has a cousin in THREE DAYS GRACE, but I feel like these guys are at the end of the day, a solid band. If classic rock inspired modern bands are your thing, these guys are a good bet for a fun show.
 "HARTFORD! Let me see those hands!" BLACK TIDE was up next and there was a considerable buzz in the venue for the band. Although their new album Post Mortem (DGC/Interscope) has divided their older and newer fans, they are a still great live act. They owned the second stage like it was the main stage with dramatic style and some killer platforms to perform on. Opening up with the neo-thrash anthem “Warriors of Time” they definitely tore the lid off the place. Everybody young and old participated in the massive sing-a-long parts and it was a lot of fun. Front man Gabe Garcia and Austin Diaz split the impressive lead guitars and shared several excellent harmony sols as well. The song is so cool and catchy you wonder why they had the urge to switch up their style at all. Gabe has developed into a strong singer and he easily carries a lot of songs on his back. Second cut “Bury Me” is another uptempo rocking song full of riffs, licks and good gang vocals. Steven Spence has become almost the co-star of the band with his powerful drumming, dynamic performance and great backing vocals. Their new single “That Fire” was next and although I wasn’t crazy about the change of pace, the crowd ate it up leading me to believe the band knows what it is doing by sticking a rudder in calmer seas. They finished up strong with their closer “Walking Dead Man” which again features some excellent playing and shredding solos by Gabe. It will be interesting to watch the continued development of the band and which road they end up on. My vote is for them to stay on the heavier side of things, that is for sure.
 BLACK TIDE puts on a great show live.
SEVENDUST was up next and I was really excited to see them again. They always put out consistent albums and terrific live shows. In a true and just world SEVENDUST would be one of the headline acts on this day and not under some of the other bands on the bill. The side stage area was totally full now as they awaited the last band of this part of the day. They came out to their intro music and took their places in a fairly customary style and the crowd seemed really thrilled. Starting off with “Splinter” from the excellent Cold Day Memory (Atlantic) they got the crowd immediately jumping and their trademark high-energy was already there. The song leads off with a guitar lick, almost a harmonized melo-death style theme before the good old 7D crunching riffs and beats come in. The band has been through a lot and they defintiely appreciated the wave of love from Hartford. Singer Lajon Witherspoon pretty much runs the game from his spot center stage. He definitely commands the masses with his out-sized voice and personality. The band has really made their career on the ability to turn out an awesome live spectacle with just voices, instruments, heart and soul. The second track “Praise” is the big radio song from earlier in their career and also went over big. I’d prefer the band play some of the older material, but after over a decade and a half I know the band has a challenge with what to play night after night. Continuing to keep the energy up high the band next played “’Forever” with its grinding riffs and spastic beats. Both Clint Lowery and John Connolly sing and play guitar, contributing to the bands wall of sound approach. The chorus of the song and power groove beats are huge and a lot of fun. Morgan Rose is one of the finer performers in all of metal, playing his ass off behind the kit and singing lead 20-25% of the time in the band. More screaming courtesy of Morgan came on “Pieces”. Lajon talked about what it means to have the fans in their corner and gave shout outs to some Hells Angels in the crowd as well as talking about 9/11 too. He was clearly choked up the rest of their set, but he managed to keep it together for a few more songs. They finished up really strong with “The End is Coming” and “Face To Face” and they went out on a high note with fans chanting for an encore that never came. At least Morgan jumped into the crowd from the stage, about six feet across to the pit area and crowd-surfed on the way out.
 An emotional LaJon Witherspoon connects with the crowd. Set List:
Splinter
Praise
Forever
Pieces
The End Is Coming
Face To Face
As I made my way over to the main stage in the amphitheater ESCAPE THE FATE was finishing their set. Sort of a cross between screamo and deathcore, they would be a good fit for THE DEVIL WEARS PRADA set. They certainly had their own heads in the place and were another band I heard and was wondering if they were really very popular and I just don’t know it, me coming over from more raging waters. After their set there was a Miss Uproar contest that I think went over the heads of some of the younger crowd. It was MC’d by the ART OF DYING guys who were pretty funny at hassling and choosing the girls.
 BULLET FOR MY VALENTINE puts the metal in metalcore.
Next up was BULLET FOR MY VALENTINE from Wales, UK whom I saw last a few years ago. Even though they are on the commercial end of the metalcore spectrum, they have great taste in thrash bands to idolize and guitar skills for days. They are always enjoyable live and do a great job of getting the crow to go off. I thought it was interesting that they had quite an elaborate stage set up for the second band on the main stage. It kind of reminded me of METALLICA’s Master of Puppets set a little bit and I think the nod was on purpose. Nice to see that the tour really holds production values up high considering the times we are in. When the bands theme music started to play it was like a wave of people down in front were awakened and started moshing before the band ever started to play. The came on stage beginning with “Your Betrayal” they were on fire! Lead screamer Matt Tuck has a very commanding stage presence and led the band through a mainly hits orientated set lit. Tuck and Michael Paget do a nice job of trading licks and leads all set long. “Pleasure and Pain” is a solid follow up and the crowd seemed to be into it despite the band having only toured the USA a few times. Songs like “Waking the Demon” and “The Last Fight” are more what I have in mind with a boat load of thrash riffs, screamed verses and catchy chorus parts. The rhythm section of Jason Johnson on bass and Michael Thomas on drums is solid and both guys are fine performers. After a guitar solo piece by Paget the band played their best and most popular track, “Scream, Aim, Fire”. Since this was the song the band is known for, everybody in the amphitheater really got into the sing- a-long end of things. After a few more tracks to jam out on, the band was done as fast as they arrived. I really thought they had done a good job of leaving a lasting impression on the fans.
Set List:
Your Betrayal
Pleasure and Pain
Waking The Demon
The Last Fight
Guitar Solo
Scream, Aim, Fire
Tears Don’t Fall
Begging For Mercy
I have never really been into either SEETHER or THREE DAYS GRACE and neither did anything to change my mind tonight. I will say SEETHER stunned me with both their remarkable stage show (effects and design) and the fact that they were a lot heavier than I remembered. The few songs I know by them I have probably heard in bars or a party once. They were not spectacular to me, but if I was like ten years old when NIRVANA broke big in 1991, I would totally heart these guys a lot. By comparison THREE DAYS GRACE was awful. I can’t believe a) these guys have been around this long and b) people in the venue were losing their minds to these dudes like they were the second coming of ZEPPELIN or SABBATH. Wow, the youth of today needs a musical colonic irrigation in a bad way, stat!
After walking around the venue for a while and trying to cleanse my mind and ears before the rest of the show, the changeover began for AVENGED SEVENFOLD’s gear. Before they hit the stage however, there was a cool ceremony to honor the men and women of this country. In honor of 9/11 the band along with UPROAR festival founders and local rock station WCCC helped raise $11,000 to go to the National Fallen Fire Fighters Foundation and The National Law Enforcement Officers Memorial Fund. Both groups were presented with checks while and an color guard saluted them and held a moment of silence for fallen heroes. All this took place with the backdrop of a giant American flag behind them. I’m not one for overt displays of patriotism, but it was hard not to be moved by this classy show of support. It was a pretty solemn moment in the middle of a good time, but an important one to make on this day of all days.
 Give thanks..... and never forget.
After a large curtain was hoisted to cover the front of the stage the final preparations were made for the band. As the opening strains of “Nightmare” played the curtain fell and the band hit the stage. Bombs exploded and fire spouted as the massive stage set was unveiled. It was almost too surreal to take in. With skulls everywhere, skull risers for the band to jump on and off of, a skull drum enclosure towards the back and of course a giant “Devilbat” that shot out fire and loomed large over everything it was a sight to behold. People often don’t believe me when I tell them that A7X has ascended to the class of an IRON MAIDEN or a METALLICA when it comes to a visual live performance. Trust me, they have. Meanwhile the band itself was also on fire playing the kick off song of their show. They were always tight live, but have been especially so since the loss of Jimmy “The Rev” Sullivan, perhaps to continue repping his legacy. “Nightmare” is almost like a greatest bits type of track, with everything and the kitchen sink tossed in as far as what this band is capable of. Singer M. Shadows stalked the stage and sounded great. Both guitarists Synyster Gates and Zacky Vengeance traded licks and solos equally well although Syn does the majority of the leads. Filling in for the ubiquitous by his absence Sullivan is Arin Ilejay (CONFIDE) who did a yeoman job all night long. The band held a fan poll to choose the set lists prior to the tour so hearing an oldie like “Chapter Four” wasn’t a total surprise. Still, it was pretty awesome since it is one of the tracks the band built their legacy on. Since the band slowly went away from their original screamy-metalcore sound to a more rock and heavy metal formula, they have played less of those original songs at times. Nice to hear them make a bit of a comeback now. “Welcome to The Family” followed next and was another strong track. Shadows does a great job of holding down is parts with a snarling rasp. ”Almost Easy” is another song with guitar porno moments in it and even if you are not a fan of the band, you have to give them credit for writing such catchy and heavy tunes. The middle of the set list was a bit sappy and sentimental with songs like “Seize The Day”, ”Afterlife” (dedicated to the Rev) and M.I.A. for which Shadows dedicated to the troops still fighting wars overseas: the fallen, ones lost and the ones who made it back home.
 M. Shadows and Synyster Gates welcome you to the family.
As the set and the long day into night started to come to a close, the band again surprised me with tracks like “God Hates Us” and “A Little Piece of Heaven”. Not surprises in the traditional sense mind you, but in the context of this set list it was good to hear the band feel free to include any song they have done. This is another step in the maturation process for them and its good to hear/see. Closing out on the aggro tip they finished up strong with a raucous run through of “Bat Country” and their standard closer “Unholy Confessions”.
 Zacky Vengeance shreds, sings back up.
Set List:
Nightmare
Chapter Four
Welcome to the Family
Almost Easy
Seize the Day
Afterlife
M.I.A.
God Hates Us
A Little Piece of Heaven
Bat Country
Unholy Confessions
Words and photos by Keith (Keefy) Chachkes
Tags: 2011 Rockstar Energy Drink UPROAR Tour, active rock, ART OF DYING, avenged sevenfold, BLACK TIDE, bullet for my valentine, Escape the Fate, hard rock, Keefy, mainstream music, metalcore, neo-thrash, Sevendust, wannabe grunge
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