Fans eagerly waited for the TURISAS show to begin on Feb. 7th but Father Time had other plans. The band ended up getting stuck in New York earlier that morning due to a bus trailer breakdown. This resulted in delays for the show but both the opening bands and the fans still managed to have a great time.
Boston natives and symphonic folk metal players WILDERUN started it all off. They set the tone for the whole show with their drinking and partying songs. It was clear they were having a lot of fun with it and the audience was reflecting it back to them. They were also kind enough to let the other bands use their drum set.
STOLEN BABIES don’t care if you think them odd. Their talent speaks for themselves.
Avant-garde band STOLEN BABIES took the stage soon afterwards. They did not exactly match the kind of music that was being played by the other bands, but they were definitely the most interesting. Besides TURISAS, they had the most unique looking group with singer DOMINIQUE PERSI wearing clown inspired makeup. Even if they music isn’t your cup of tea, you can’t help but be entertained by their act. They were able to play a great set despite some sound troubles.
This album was underrated in 2012. Go get it!
Soon after STOLEN BABIES, it was announce that TURISAS and FIREWIND had made it to the venue. However, fans were subjected to a long wait since it was decided that the meet and greet would happen before the show continued. This led to a number of disgruntled fans. When FIREWIND finally took to the stage about an hour later, all the energy came back. Anyone who wasn’t a fan before quickly became one. It was cool to see what guitarist GUS G does when he’s not playing with OZZY OSBOURNE. The audience was also wowed by BOB KATSIONIS’s ability to play both the guitar and the keyboard, often in the same song.
Set List:
Wall of Sound
Head Up High
Destination Forever
Few Against Many
World on Fire
The Fire and the Fury
Mercenary Man
Falling To Pieces
Late to the gig, but ready for blood!
Finally, the band everyone quite literally waited all night for, TURISAS took to the stage. After waiting for so long, the audience erupted into shouts and applause. All the members stood in their spaces while an intro played, then erupted into “The March of the Varagian Guard”. Fan favorites such as “To Holmgard and Beyond”, “One More”, “Stand Up and Fight”, and “Battle Metal” were played. Everyone was having the time of their life shouting and jumping along to it. They almost didn’t mind the fact that TURISAS had to play a shorter set. MATHIAS NYGARD apologized for the inconvenience and promised that they would return one day to play a proper set.
The show got out about midnight and audience members rushed to their cars to get home before the big snowstorm hit. No one could stop talking about how great a show it was despite the number of delays. All are now awaiting TURISAS’s return to take over Worcester once more.
It’s debate time again at Metal Army. We figured you were all burned out by the election and enough time has passed by now, so we could bring you all a worthwhile topic: Women in metal. We are always interested in analyzing social paradigms (I know, a heady concept for metal heads). I’ve always felt there was a wide contrast between how many powerful and talented women there are in the metal community and how they are treated and portrayed by that same community. Since I am not a woman, I consulted three of Metal Army’s best writers (of any gender) in Melissa Campbell, Rachel Hacker and Lynn Jordan. They each have a unique perspective to share on the subject. We have also included some concert photos of our favorite women in metal, doing what they do, so read on…..
KRYSTA CAMERON, EX-IWRESTLEDABEARONCE
Melissa Campbell: Overcoming obstacles to love metal
Ever since I became a fan of metal, I knew that I some were going to look down on me for being a girl. There have been plenty of moments where I’ve been laughed at by male metal listeners or told by them that I can’t listen to “their” music. Thankfully I’ve found plenty of guys who don’t care what gender I am. Those more negative experiences with metal guys have not caused me to harbor any bad feelings towards guys either. I idolize men like RONNIE JAMES DIO as much as women like AMY LEE.
LYRIS HUNG of HUNG
MLNY PARSONZ of ROYAL THUNDER
Another problem I encountered in the past was not being allowed to go to metal shows. My father forbade it because he believed all those terrible stereotypes related to shows where males were in high attendance compared to females (i.e. rapes, getting hurt in pits, being kidnapped). Even though I promised to have my sister with me at all times, he was quite uncomfortable granting me permission. In his eyes, we as women were not capable of handling ourselves alongside “those types” of men.
KIMBERLY FREEMAN of ONE EYED DOLL
However, in 2010, my mother bought me and my sister tickets to go to Rockstar Energy Drink Mayhem Festival. My father was not too happy about it and claimed he was unaware we had been planning to attend. He started to trust us more when we returned alive and we are now able to go to shows with relatively low complaints from him.
JILL JANUS of HUNTRESS
All that being said, gender discrimination in the genre has gone down in recent years thanks to the rise of female fronted (or completely female) bands. A few decades ago women were mainly viewed as sexual objects in the metal community. To those whose main goal was to just be a groupie and have fun that was alright. Other females who wanted to be taken seriously as musicians often had trouble with it (i.e. LITA FORD). The best contribution I can make (since I don’t want to be a musician) is to continue going to/writing about gigs and representing the female community.
Rachel Hacker: The Made-up Stigma
I read Jezebel every damn day of my life. Maybe if i stopped reading it, I’d get a boyfriend.
Nah.
So. Women. Consistently considered the lesser sex throughout history. Always being chastised for what we can’t do compared to men. Men are the “invisible demographic,” making them the standard for comparison on woman. However, comparing both of them side by side on every issue is absurd. This is essentially the classic apples-to-oranges argument, but this time we’re comparing penises and vaginas.
FARIDA LEMOUCHI of THE DEVIL’S BLOOD
In the ever commercialized musical world of “Call Me Maybe”, there is an equally commercialized world of hard rock and heavy metal. Through seeing the 1996 stock photo of MARILYN MANSON in the local newspaper, or that GUNS N’ ROSES poster your dad secretly displays in the Man Cave, almost everyone has an image of what metal is “about.” The standard for what men wear and do as a rock artist was set in the 60s, while many women were still taking care of families to develop a true voice in metal and hard rock.
RAE AMITAY of MARES OF THRACE/THRAWSUNBLAT/WOODS OF YPRES
SUSAN WENDELKEN of DORMITORY EFFECT
It’s only been in the past few decades that women aren’t put down on account of not having a family by age 30. Women don’t feel pressured to rush through getting married anymore, and we have some pretty damn good years of vitality in our 20s or older. The hoards of young women, with non-sagging breasts and sharp minds, are ready to do something different than clean diapers. Why not make play some metal and look hot doing it?
CARLA HARVEY and HEIDI SHEPHERD of BUTCHER BABIES
Some women and men find the “hot chicks in metal” to be degrading and embarrassing. Who’s embarrassed? Not me. The sex industry is huge, which means there are obviously people buying the porn that women and men make. Separating our sex and our music isn’t going to change much, considering most of the world is desensitized, anyways. Individuals who believe women should “cover up” are also playing the “chivalry card.” This ideal is essentially is built upon that women are “delicate flowers who can’t do anything on their own.”
Bullshit.
Women in metal are still being treated as if they can’t make their own decisions. “Oh, you’re topless, you must not be intelligent enough to know what you’re doing, let me help you.” It was only 100 years ago that masturbation was a mental illness, or that women still had sex while partially or fully clothed. So why are we still trying to cover up women- figuratively and literally?
SOM PLUIJMERS, ex-CEREBRAL BORE
If you’ve got a good rack and wanna show it, go for it. And while some tiny corner of the internet blogs about your lack of modesty, you’re too busy driving to the bank to care. Unfortunately, most of the bands with the “hot chicks in metal” don’t have music I actually like, but there will never be a moment where I feel like telling another women to cover up. The fashion standard for women in hard rock and metal should be the woman’s choice, not someone else’s choice. Therefore, if men are “apples” and women are “oranges,” the way they handle metal shouldn’t even be compared beyond the thought that “it exists.” The last thing we need is someone else like Mitt Romney.
TRACY MYZERI GONZALEZ of EYES LIKE CYANIDE
AMANDA DANIELS of ENABLER
Lynn Jordan: Women in the Metal Scene
PAUL STANLEY of KISS was once asked his opinion about a female hard rock performer. His response? “You need balls to rock ‘n’ roll”. MARC STORACE of KROKUS was doing record reviews for a magazine, and when one for a female performer came up he said,”…she should be doing better things. Like giving me head.”
I read both of these quotes many years ago. As you can see, I haven’t forgotten them; they remain etched in my brain.
ARCH ENEMY, led by ANGELA GOSSOW
I have to admit that when I first started playing bass, my inspirations were mostly male. There were women I loved that were famous with the heavier music that I admired that were writing their own songs, putting out great records and putting on incredible shows. As talented and gutsy as these women were, many male music fans still had a hard time giving them props. How dare these women get onstage and think they have what it takes?
How dare they?
But despite that, to this day no female Metal artist or all-female band has garnered the gushing recognition or respect that their male contemporaries receive as a matter of course. Why not?
STEVIE FLOYD of DARK CASTLE/TAURUS
I believe that for men to acknowledge and respect the female presence as Metal musicians is to give power to women that they don’t want them to have. Heavy Metal is a testosterone-fueled monster with images of blood, war, cars, devil worship, drinking, fucking, death, etc. None of these things are considered feminine. Men do these things. Women were intended to hang in the sidelines to worship, clean up, pay the bill, swallow, look pretty and smile while providing various services (comfort, food, shelter or sex-related) to these battle-scarred warriors of musical carnage. Many men don’t like women to be sweat-streaked, angry and storming a stage. Many men don’t like it when women speak their mind. Others don’t like a cursing, spit-fire bitch not taking their shit. Some men get defensive when a woman does something they think is exclusively theirs. And they certainly don’t like it when a woman can do something as well as they do, and does not need their approval to proceed as they please. So the very genre that prides itself on speaking its mind, empowering its listeners and letting its aggression out really doesn’t want their women to be a part of its voice.
SIGRID SHEIE of HAMMERS OF MISFORTUNE
There is also that double-standard of image vs. talent. If a female musician is beautiful, even if she is gifted, she had to have used her looks to get ahead. If she isn’t that attractive, but is talented, she is dismissed because some dude doesn’t want to “pee in her butt”. It’s a bitter pill and a tough choice for female musicians to make. Do you tone down the sex for respect and get shorted in attention and sales, or do you ramp up the sex, get the attention, alienate some female fans and get less respect from the male ones? It’s a tough call. Male musicians do not have this dilemma. They either are good or they aren’t.
OTEP SHAMAYA of OTEP
As 2012 comes to a close, I do not see this changing much. Metal has popular bands with women in them, We have noted bands with women in them, such as ARCH ENEMY, IN THIS MOMENT, OTEP, LACUNA COIL, THE AGONIST, NASHVILLE PUSSY, FIREBALL MINISTRY, SISTER SIN, ALL THAT REMAINS, STRAIGHT LINE STITCH, a slew of female-fronted Goth and Symphonic Metal bands, and (on the lighter side), EVANESCENCE and HALESTORM. With all the females that can play Metal well, the mystery remains as to why it never coalesces into a one kick-ass band, and when they do…it’s a cover band playing songs originally made popular by men. We still can’t have our own voice from the stage, but we do get the annual “Hottest Chicks in Metal” pictorial. That’s another tough choice – to pose or not pose for band promotion (if you’re deemed “hot” enough to make the cut)? Is one reduced to something less than an equal once you’ve shown your ass?
G THÉRÈSE LANZ of MARES OF THRACE
MEG CASTELLANOS of TOTIMOSHI
JEANNE SAGAN of ALL THAT REMAINS
All that said, let us be the women behind the men, and we soar without barrier. OZZY would be dead, or at least strung-out, broke and on Skid Row, if it wasn’t for SHARON OSBORNE. Love her or hate her (I happen to think she’s awesome) without her, OZZY would have been a footnote in BLACK SABBATH‘s history and Ozzfest would never have happened. MELISSA CROSS has been the vocal coach for male Metal screamers in SLAYER, LAMB OF GOD, MACHINE HEAD, among many others. SUSAN SILVER was a manager who brought us SOUNDGARDEN and ALICE IN CHAINS. DEBBIE ABONO managed such extreme bands POSSESSED, EXODUS, VIO-LENCE, FORBIDDEN and OBITUARY. “METAL” MARIA FERRERO was mentioned in many a Thrash band ‘thank you’ list as a promotional force back in the day, which she continues now as the founder of ADRENALINE PR. MARSHA ZAZULA, is co-founder of Megaforce Records with her husband Jon, and they have signed METALLICA, ANTHRAX, TESTAMENT and more. Many bands have started out with their girlfriends or wives acting as managers, promoters and helping to book shows. Many Hair Metal bands have admitted that if it weren’t for the ladies that gave them a place to sleep, something to eat, encouragement and support, they would not have made it – literally and figuratively. Maybe the day will come when males of the Metal scene will truly appreciate the depth of strength women bring on AND off the stage. The more we succeed as a unified supportive front, the more Metal music succeeds overall, and the more powerful we all become.
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.
With the announcement of the beginning of the end of the institution of heavy metal that is the name JUDAS PRIEST means a barrage of special releases, box sets and non-stop (for the time being) tours. The question that the new release The Chosen Few begs is does “the PRIEST” really need another best-of collection? The answer is yes! Allowing some of their peers, including legends in their own right such as OZZY, LEMMY, ALICE COOPER, Lars and James from METALLICA, GEEZER BUTLER, SLASH, KERRY KING, DAVID COVERDALE as well as some more recent heroes of rock and metal was a clever move. To cull these tracks together to comprise at greatest hits collection is fresh and more than a novelty idea. It actually reinforces the legacy of this music and puts these old gems somewhat under a new light based on who is doing the selecting.
The tracks are arranged in chronological order of when they came out and highlight many of the bands most expressive tracks. Beginning with my personal favorite JP song, their cover of “Diamonds and Rust’ as chosen by Joe Elliott, the concept of the collection is clear from the beginning. The goal is to not only honor the band, but to also draw a thread of influence back to the artists that chose the track. Elliott is notable since in their early days DEF LEPPARD was widely considered “the next JUDAS PRIEST” by many until sugary pop songs and slick production derailed their more metal leanings. Next up was “Dissident Aggressor” as selected by shred king STEVE VAI. The track is certainly known for its striking riffs and soloing and makes sense that Vai would endorse it. The early tracks falling all in succession really tell the story of how influential PRIEST really was for their time. When you hear “Exciter” as chosen by ACCEPT you can understand how every part of the track really shifted the paradigm musically from mere rock music to the NWOBHM style. It makes sense that Lars Ulrich would choose “Beyond the Realms of Death” since as a teen in Denmark he saw the early lineup of the band many times. Unabashed fanatic KERRY KING chose “Delivering The Goods”. SLAYER has covered the band many times themselves. Tracks like “The Ripper” as chosen by OZZY or “Rapid Fire” as chosen by VINNY PAUL of PANTERA and HELLYEAH fame proves the lasting, generational appeal of the band. Of the more modern artists who selected the tracks like RANDY BLYTHE, ZAKK WYLDE and COREY TAYLOR, it was SLASH who set himself apart with particular distinction. He put it best when he said his “all-time favorite record is Screaming For Vengeance. It was and still is, one of the best metal records ever produced and the title track is in my humble opinion, still ahead of its time.” I couldn’t agree more. Obviously loyal collectors will want this CD, but I also think this would make a great introduction to the band for the novice fan as well.
AJ Fosik created the distinctive cover of the album, instead of longtime collaborator Paul Romano.
In what will be one of the most talked about and debated over albums released this year, MASTODON’s highly anticipated follow up to 2009′s Crack The Skye is about to launch. Let’s recap the last few years shall we? Broke out of the underground? Check! Wait that was three albums ago. Made and unexpected prog metal masterpiece? Check. Wait, that was two albums ago. Hmmm. Pissed off some of their core die hard fans in the process? Check and checkmate! Unless you fear change more than Garth Algar from Wayne’s World, you have been with the program since the beginning. CTS was the album of the year in 2009 and I didn’t see the problem with the band becoming embraced by an entire new legion of fans. It didn’t seem to change them too much to me, or at least not more than they would have changed naturally. The band still rules and has been doing some amazing things afforded them by success like movie soundtracks, massive tours with METALLICA and ALICE IN CHAINS, all while still retaining their basic weirdness. People can argue over if any of this matters or not, but the band doesn’t seem too worried about any backlash over their new album, The Hunter. In fact they don’t seem terribly concerned with anyone’s opinion and upon a few listens I think they have gone out and (almost) topped themselves again.
So you wanna be a rock superstar... and live large?
Drawing inspiration not just from their recent proggier leanings, but from song styles heard on albums like Leviathan and Blood Mountain as well the band gives credence to the idea that they have always been adventurous musically. Kicking off righteously is one of the singles, “Black Tongue”. Immediately noticeable is the return of Brann Dailor’s signature aggro beats and poly rhythmic fills that were missing on Crack the Skye. The song is equal parts prog and the bands’ signature modern metal. It may not be the toughest track ever, but it is not soft at all either. More like a continuation of the last album or it’s brilliant predecessor. Great guitar work and even greater vocals are featured here as well. I didn’t think Troy Sanders would even try to top his vocal performance after the last album, but he totally has. The other popular new song is the uber catchy “Curl of the Burl”. Somewhat akin to a more uptempo, “Oblivion” the band gets its 1970′s space rock ya-yas out in full effect here. The vocal trade-offs between Sanders and Brent Hinds continue to work in spades and both sing in a comfortable mid-range rather than the acrobatics attempted last time out. The album really starts to take form with the third track “Blasteroids”. A hyper-kinetic song with a bristling bass line, harmonized vocals and wonderful layered guitar lines, the song is a winner. It also brings back some of the dangerous avant-garde and screechy sounding vocals by Hinds that really add character. Too bad it’s two and a half minutes and a bit short. At this point it will hit the listener that this album is even more out the box than CTS in some respects. No over-arching concept (although the title is an allusion to Hinds’ brother who passed away unexpectedly during the recording of the album) and no elemental references either. Just great music. “Stargasm” is the song that most likely could have been on the last album. It is a trippy jaunt of space rock (ergo the name), psychedelic guitar swirls and haunting vocals. The frantic verses have a familiar feel and some of Bill Kelliher’s (PRIMATE) textural guitar work asserts itself too. The repeated refrain “you’re on fire” is really gripping. A quick examination of some of the lyrics, show once again this is band is a triple threat at all times and the total package of artistic ideals. Sanders also plays some terrific bass here as well. “Octopus Has No Friends” has more dominating drums from Dailor and more weirdness than you can shake a stick at. “All The Heavy Lifting” is another killer song and is pretty heavy too. Not in the old school, early albums way, but in a new ‘we are brave enough to be heavy and melodic way’ that will delight some and aggravate others. Sanders again kills with his soulful singing and the middle part is pure RUSH and EMERSON LAKE and PALMER inspired greatness. The title track has gentile guitar plucking and atmospheric moods for a spell. It is an opportunity for Hinds to weave his doleful voice into a beautiful tribute to his brother. The guitar solo is one of his best ever and you wonder how album after album he can keep topping himself in this department. There is even a BEATLES, Abbey Road lyrical reference too! “Dry Bone Valley” is like a 70s rock and proto metal workout with thundering tempos and riffs. “Thickening” is the song I believe Dailor was talking about when he made the references to LED ZEPPELIN over the summer. The song definitely sports a late-era ZEP vibe right down to the singing, guitar army soloing and tambourine/hi-hat work on the drums. “Creature Lives” is my favorite song on the album and not just for the nods to PINK FLOYD in the opening minute. Dailor has been increasing his profile as a singer and dominates the track with great vocals and drumming. Like a trippy BEATLES outtake sung by a young OZZY, Dailor carries the blissed out track to a new level of cool. Then just to show you they didn’t totally lose their minds, “Spectrelight” is just a brutal cut in line with the bands best work. Guest vocals from Scott Kelley (NEUROSIS) rock out as always (what is that like four straight albums he’s on? Make the guy a full member already!). This is the song they would play for their detractors if they gave two shits. “Bedazzled Fingernails” is a spazzy rocker that you can almost imagine PETER GABRIEL singing on it. And there are laser beam noises, Moog Taurus bass pedals (yes!) and what could be a theremin. The final track of the album “The Sparrow” also has the sweeping prog thing going for it again, more shoegaze style vocals from Dailor and Sanders and also has a hint of the epic CTS weight in it emotionally. I even hear a bit of main theme of The Wall in the riffs and the solo. The bonus version of the album contains two leftover tracks already heard from in “The Ruiner” and “Deathbound”. The band has reached a plateau where they have made the once unthinkable, comfortable. As if to prove it to fans and themselves, the band has managed to push their style even further out while retaining who they are and not being married to a central theme for once. Not their best album, but certainly worthy of the same kind of respect as their entire catalog. Take that haters!
“When the going gets tough, the tough get weird” ~ Hunter S. Thompson.
At this point, it should come as no surprise to anyone that each new Kemado release seems to arrive built in with that unmistakable stench of trend and filthy hipster, and Moab’s Ab Ovo is no exception.
Destined to be a favorite amongst media darlings and know-nothings repping ‘classic rock power’ or ‘stoner groove weed wizard magic,’ Ab Ovo is characterized from frankly powerless and honestly annoying vocals which are clearly trying to mimic 1970s Ozzy, but end up sounding more like 1990s Geddy Lee. Yeah…it’s as bad as it sounds.
Riff-wise, Moab seem intent on riding that ever-rising tide of stoner/psych revival acts, yet there’s nothing legitimately enthralling about how the trio executes their riffs or composes their songs. It’s as if you were to strip away every ounce of passion from Black Sabbath’s early catalog, and replace it with a hefty, burdening sense of self-awareness. It’s only the music that suffers, with Ab Ovo meandering all over itself with no real direction or aim, other than to simply ‘exist’ as so much consumptive product.
Originality isn’t exactly a necessary component when it comes to riff-obsessed, proto-metal or heavy psych madness, but Moab can’t even get plagiarism right here on Ab Ovo.
I don’t like power metal… at all… but I do like FIREWIND. I actually think the last FIREWIND album is better than GUS G’s output with OZZY and the two prior releases (‘Allegiance’ and ‘The Premonition’) were truly epic and fun records to listen to. Now, the news has come today that FIREWIND has completed writing on ten new songs for their new album. It is still unknown when the band will enter the studio, as GUS G is constantly traveling the world with OZZY but we expect to see the band enter the studio before the end of the year in order to set up a mid-2012 release!
For now, weigh in on your thoughts on FIREWIND and check out the video for “Mercenary Man”.
So what do you do if you’re Greek guitarist and Nightrage mainman Marios Iliopoulos and you’re trying to win back fans who grew tired of your band after some of the ‘big name’ members jumped ship? Well, hire them back, that’s what.
This is (sort of) where Nightrage 2011 are existing here on Insidious, the project’s fifth album proper. Founded by Iliopoulos after the demise of his melodic death outfit Exhumation, the band’s back-to-back blockbuster releases Sweet Vengeance and Descent Into Chaos featured such immense talent as Ozzy/Firewind axeman Gus G., Evergrey vocalist/guitarist Tom S. Englund, Dark Tranquillity’s Mikael Staane and inimitable-ok, make that very imitable-Tomas ‘Tompa’ Lindberg from At the Gates.
The band has suffered a revolving door line up status since this time, however, and the stress placed upon Iliopoulos-which, in all honesty, was probably self-induced, given the apparent ‘difficult’ nature of the man as a bandleader-showed on subsequent Nightrage efforts, all of which displayed a comparatively unimpressive songwriting sheen when set against those earlier, more exciting albums.
Insidious seeks to reclaim this feeling a bit by reenlisting Lindberg, Englund Gus G. and his Firewind bandmate Apollo Papathanasio on a number of tracks, with the end result being something marginally better than both 2009′s Wearing a Martyr’s Crown or 2007′s A New Disease Is Born. The real question, however, is whether or not this is due to these guest appearances, or because Iliopoulos and his band of hired guns have actually crafted an album worthy enough to live up to the hype and memories of earlier days.
While the answer is best placed somewhere in the middle-since Iliopoulos has always been an extremely talented axeman, with a dogged dedication to delivering untainted melodic death metal, as ‘Swedish-styled’ as possible-the honest truth is that we probably wouldn’t be speaking as much about Insidious as we are if it weren’t for these guest slots. Each time Gus G. shreds out a lick or Papathanasio, Lindberg and Englund open their mouths, it’s pure metal gold. Elsewhere? Well, it’s tremendously solid, yet nothing we haven’t heard from Nightrage countless times before, with significantly better results.
Lead screamer Antony Hämäläinen is probably the most surprising success story of Nightrage these days, standing toe-to-toe with Lindberg’s guest howl with enough convincing power of his own, although Hamalainen lacks the Swede’s perfected charisma as extreme melo-thrash’s go-to frontman. Other than this, however, it’s business as usual for Nightrage; keeping it real for Swede-o-philes since the Millennium.
Directed by Mike Fleiss and Mike Piscatelli (Schweet Productions)
I had the opportunity to attend The Tenth Annual Tribeca Film Festivalthis week to see the debut of the film GOD BLESS OZZY OSBOURNE. For those fans not into film having a movie shown at the festival is very prestigious, let alone premiere here. Many films, including GBOO will be sold to major studios and distributorships based on the response to the film. The premiere screening was attended by the Osbourne family, a huge crowd of fans, media outlets and music industry types. The press screening was the next day, followed by an interesting Q&A session which I was able to take part of. The movie is unlike any rock documentary I have ever seen and I believe it will really resonate with his many fans as well as the casual observer.
Image used with permission of Tribeca Film Festival.
The tale of the tragic hero has been told over and over in stories. Often an iconic, charismatic figure comes along and makes a powerful contribution to society, only to be undone by a fatal flaw. Rarely in life to we see this figure able to rebound and win in the end. Many of myths and legends have been told and retold about Ozzy so many times that the facts get lost and truth about these events disappeared. Until now. Jack Osbourne, through his company Schweet Productions (formerly Jack-O Productions), along with his producing partners and the directors were able to present the over-arching story of Ozzy’s life that has never been told. As the ominous opening line of the film states “The directors of the film followed Ozzy around for over two years…..nearly everyone survived.”
Image used with permission of Tribeca Film Festival
Told from an intensely personal point of view where many details of John Michael Osbourne’s life are picked apart and analyzed under a microscope throughout the the films’ entirety. Many of the scenes are inter-cut with tour and concert footage and life on the road from several years ago (Zack Wylde was still in the band). Starting from his humble beginnings in abject poverty in post-World War II Aston, Birmingham UK, the film sets the scene with his childhood, a teenage stint in jail and his fateful meeting that led to the formation of BLACK SABBATH. This early back story of his struggles with school, drinking and crime (he said he might have had a life of crime, but “wasn’t any good at it”) and a healthy disregard for authority colors the context of his later actions. After forming the seminal metal band he shot to fame, particularly after the second album Paranoid, sending the band careening off into the stratosphere with a crazy lifestyle to match the dark subject matter of the songs.
The major turning point of the movie is when the topic turns to examine Ozzy’s first marriage and home life in the 1970′s. Described as an erratic and absentee father by his children, he was often gone from his home for long periods of time. First wife Thelma, daughter Jessica and son Louis suffered when he was around due to his partying lifestyle. Even into his solo career Ozzy’s problems continued to wreak havoc on his family’s lives as they dealt with the fallout. Later on when Ozzy and Sharon had married and had their own family, his behavior worsened. This directly affected them exponentially in relation to his success and all of the excesses that came with it. In addition to disappearances and wild behavior, Ozzy was on occasion extremely violent too. Many people don’t understand the psychology of addiction and it’s not as simple as saying no, not wanting to use or being confronted with the risk of losing everything. This film takes a brave look at this topic. These problems compound over the years and the price remains steep for loved ones. Ozzy’s family managed to stick by him in spite of the huge emotional cost to themselves. Sharon Osbourne’s interview segments are painful at times, but she couches everything with a sarcastic gallows humor that is pure Sharon. Even now Ozzy couldn’t recall the birth date of his first child Jessica, which details how serious the specter of addiction can be.
One of the most striking things about the film is how brutal and unflinching everyone is about the facts, most of all Ozzy himself. Many of the stories are unflattering and awful and other bio pictures would have glossed over the truth in fawning, feckless tribute. Co-directors Mike Piscitelli and Mike Fleiss (producer of the Hostel movies and the recent Texas Chainsaw Massacre re-make series) do a great job of catching Ozzy and his family in very intimate moments. It never feels like an interrogation, but the questions are often probing and unbiased all the way through. There are some humorous moments that lighten things up from time to time, but his life is seen for the most part with a harsh lens. This is also the first time we have had a chance to meet and hear from children Jessica, Louis and Aimee who all open up for the first time on camera, as well as Jack and Kelly who also share like never before. Piscitelli in particular was able to get Ozzy to become so candid about himself that he was nicknamed the “Nazi therapist”!
Image used with permission of Tribeca Film Festival.
Ozzy managed to bottom out for the umpteenth time (he has attempted to get sober 40-50 times an attended at least 10 rehabs in his life by his count). Following the popular, but contentious The Osbourne’s television show when Jack finally got clean and sober, it inspired his father to once and for make an honest attempt at sobriety and try to consider the damage his actions caused. Amazingly it has stuck for five years now. His relationship with his family, including his children from both marriages, three sisters and a brother are all repaired and have never been better.
Ultimately this is an uplifting story of wild success, excess, failure, loss and eventual redemption. Addiction plus celebrity often equals death. Ozzy has come through to the other side, unlike many of his peers. He is still here and quite grateful to share his story. As he said of himself at the press conference his story is one of “survival”.
At the press conference following the screening I asked Ozzy if he ever worried if his many exploits and antics in the past would ever outshine his musical legacy. He said “No. Because I can’t change the past, but I can try to make a better future for me and my family.”
(Special thanks to the TFF staff , the makers of GBOO and the team at BWR Public Relations for all of their help.)
Many rock and heavy metal fans know Eddie Trunk today from his television shows on VH1 Classic and from SiriusXM radio shows. However, most people don’t know that the knowledgeable and affable personality was a key figure in helping make heavy music popular in America. He has mined his career and his memories with his newly released compendium of bands he feels are indispensable.
Before Eddie Trunk became the host of That Metal Showhe had a career in radio and the music business, promoting underground bands on his radio shows and later as an integral member of Megaforce/Atlantic Records. It was there that he helped launch the careers of ANTHRAX, OVERKILL, RAVEN, KING’S X and MANOWAR. He also helped start and rejuvenate the solo career of ACE FREHLEY of KISS and promoted countless bands of the classic hard rock, glam rock, New Wave of British Heavy metal and thrash genres. Later on he appeared on the short lived, but amazing Q104.3 Pure Rock and Metal station in New York in the mid 90′s and that catapulted him to further success in radio that ultimately led to him hosting several nationally syndicated and satellite rock shows currently. His website is actually a good source of news and insights into the industry. Not only is he an in-demand MC for metal and rock shows, he organized the classic NY Steel show after 9/11 and was also the host of RONNIE JAMES DIO’s funeral.
Trunk is extremely thorough with the biography of each group, listing classic lineups and albums and often making keen observations about their impact on music. All of the entries are lovingly written with the seriousness of a journalist and the heart of fanboy in some cases. He makes no bones about justifying his many opinions and he tries to always back them up with strong facts. Most of the major bands from the seventies, eighties and nineties are covered in full detail such as BLACK SABBATH, LED ZEPPELIN, THIN LIZZY, JUDAS PRIEST, ALICE COOPER, KISS, IRON MAIDEN, MOTORHEAD, VAN HALEN, AC/DC, RUSH, WHITESNAKE, OZZY, METALLICA, MEGADEATH, SLAYER, ANTHRAX, PANTERA, GUNS `N ROSES, MOTELY CRUE, POISON, BON JOVI and more. I recognize typing this that some of those names are no brainers that anyone would have and some of those names have never appeared before on Metal Army America at all! Critics bash some of the favorites he champions like his man-crush on UFO (historically important to some, others tire of hearing about them). He also didn’t play favorites with OVERKILL whom he is friends with personally, but only has a token entry. In addition the book is full of great lists, and trivia answers that are great conversation starters for your metal friends. There is also the phenomenal photography of bands and memorabilia by Ron Akiyama that is worth the price of the book alone. None other than the Metal God ROB HALFORD wrote the forward for the book and sang Eddie’s praises as a colleague and a friend.
If you are looking for modern era bands or any current underground genres you’ll need to go elsewhere as the newest band that came out and is featured is BLACK LABEL SOCIETY (whose entry to me is a bit suspect over some others). As Eddie often says about his TV and radio shows he loves many modern bands, but there are enough people covering other genres and the younger generation so he doesn’t need to. In fairness to him Eddie’s strength is he knows his territory, blankets it really well and scores points for not trying to be something he isn’t. If you have a friend, kid brother or sister discovering heavy music for the first time now, or your parents love rock and metal from 1968 to 2000 this is book would be the perfect gift for them.
