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.
Randy Rhoads put down a legacy that is eternal in the history of metal.
RANDY RHOADS whose knack for melodic song writing and stunning neo-classical lead guitar style revolutionized metal in 1980s, died tragically thirty years ago today. Rhoads (December 6, 1956 – March 19, 1982) died in a plane crash while on tour with OZZY OSBOURNE, but he has left an indelible mark on generations of musicians to follow.
Rhoads who had been an early member of QUIET RIOT shot to fame when he auditioned for the guitar spot in OZZY OSBOURNE’s band THE BILZZARD OF OZZ. The combination of the soft spoken, but immensely talented Rhoads and Ozzy who felt he had to prove himself to the world after his dismissal from BLACK SABBATH was potent and changed the face of music. Rhoads is always remembered as a terrific lead guitarist and was often compared to the best players of his day like EDDIE VAN HALEN. However, equally important as Randy’s impact as a soloist was his legacy as a songwriter, his use of classical modes and his widespread use of major scales in rock and metal that had predominantly been full of brooding minor keys and old-style pentatonic blues riffs up until that point. He also helped innovate an popularize several styles and looks of guitars with his polka-dot Jackson Flying V’s. Although he is best remembered for songs like OZZY hits “Crazy Train”, “Mr. Crowley” “Suicide Solution”, “Over The Mountain” and “Flying High Again” most of his output, however brief is excellent and worthy of repeat listens.
Popular guitar players who have been influenced by Rhoads such as the late DIMEBAG DARRELL, ZAKK WYLDE, Phil Demmel of MACHINE HEAD and a host of metal lead players from the 80s and 90s used to and still do sing his praises. Although his music is among some of the most popular in the genre, you can still hear examples of his reach in many modern bands like ARCH ENEMY, REVOCATION, ANIMALS AS LEADERS, MASTODON, OPETH, BETWEEN THE BURIED AND ME, JOB FOR A COWBOY, THE AGONIST, CHILDREN OF BODOM, WARBRINGER, ICEDEARTH, DECAPITATED, ALL SHALL PERISH and THE FACELESS among many, many others.
One of the coolest bands to the hit the metal scene are Canadian throwback thrashers STRIKER. Their old-school sound and their amazing chops have really opened up ears and eyes in the “Great White North”, and soon the rest of the world will take notice. Lead singer Dan Cleary caught up with Metal Army via email to discuss the success of the band, influences, playing with heroes and, of course, drinking beer!
One of the more underrated albums this past year.
MA: What has been the response to the new album Armed to The Teeth (Napalm Records)?
DC: So far everyone seems to dig it. We have had a lot of great reviews and lots of awesome feedback from fans. We actually finished recording it a year ago around this time so we are itching to get some new material out there.
MA: You guys have been compared by the Canadian music press to the likes of TESTAMENT and ANNIHILATOR among others. What other bands are some of the not so obvious influences on the sound of the band?
DC: Haha I guess the not so obvious influences would be some hair metal bands like RATT, and WHITESNAKE. Not exactly something you hear in our music right away but it’s there. We love that shit! Our influences are kind of all over the place too so there is probably some more weird shit in there we don’t even realize got on the album.
STRIKER
MA: Do you mind being lumped in with the new thrash revival bands?
DC: Nah not really, although I don’t know if I would call us a thrash band, we are kind of a collection of metal genres stuffed into one band, but people definitely label us a “retro” which sounds fucking dumb but I suppose it’s true.
MA: My favorite track on the album is “Land of the Lost”. What is the meaning behind the story of that song?
DC: A long lost land of dinosaurs and monsters. It’s about that haha, or the idea of that. Or maybe the “Land Of The Lost” is about our generations loss of direction in the world…..or maybe it’s just about dinosaurs.
MA: You guys opened up for ANVIL recently. What was that experience like?
DC: It was cool, they put on a good show, everyone got really rowdy it was a good time! I didn’t get a chance to really talk to the guys myself but the other guys did, they seem pretty chill, just having fun playing tunes. We actually recently got the opportunity to open up for METALLICA here in Edmonton as well. Bit of a different size venue to say the least!
MA: What is on tap for STRIKER as far as touring the rest of this year?
DC: At the moment we are looking into booking a tour sometime around February next year in Europe. Unfortunately we didn’t get a chance to get over there this fall/winter, but we will be heading back there soon!
MA: If there is one thing sorely lacking in all of metal right now, what do you think that is?
DC: I’m not sure really. A lot of albums lack charm these days, I don’t know what that would be exactly, I think that because it’s so easy and cheap to record albums it’s harder to sift through and find really great albums. There are a lot of really good albums coming out, but it’s harder to find really great ones.
Cheers!
MA: You guys are well know to be heavy beer drinkers What is your favorite beer, the best Canadian beer and the most metal beer to drink in your opinion?
DC: Erdinger is our favorite. For Canadian beer we have to rep our home town brewery Alley Kat. The most metal beer to drink? Shit probably TNT beer.
TITANS EVE brings their brand of thrash metal to the masses this summer!
Canadian thrash metallers TITANS EVE are dropping their new album later this week and Metal Army America is bringing you an exclusive album stream! Life Apocalypse is being released by the band and they are going on the road supporting the mighty ANVIL on a tour beginning later this month. You can hear the track “The Abyss” below and pre-order their album here. They are even giving away a free shirt with the pre-order so jump on this deal and thrash it up!
TITANS EVE: On tour with ANVIL:
July 30, 2012 – The Exchange – Regina, SK w/ ANVIL + guests
July 31, 2012 – The Odeon- Saskatoon, SK w/ ANVIL, Untimely Demise, Lavagoat, Agony Spawn, Caym
August 1, 2012 – The Scott Block – Red Deer, AB w/ ANVIL, Day One
August 2, 2012 – The Pawn Shop – Edmonton, AB w/ ANVIL + guests
August 3, 2012 – The Distillery – Calgary, AB w/ ANVIL + guests
August 4, 2012 – The Sapphire Lounge – Kelowna, BC w/ ANVIL
August 5, 2012 – The Rickshaw Theatre – Vancouver, BC w/ ANVIL, Skullhammer, Dead Asylum
In a perfect world DYING FETUS would be a much bigger band than they are. Granted they didn’t pick a moniker when they were starting out based on commercial viability. Still, I used to get mad years ago when I would meet some fellow metal heads and they didn’t know this band to be one of the leaders of all of death metal. In the years that have passed since then DYING FETUS has continued to stay consistent and make great music, despite having to watch other bands rise in popularity, headline festivals and sell more records. Not that the band gives two shits about that either. They just do what they do year after year: they make some of the best, most brutal music on the planet.
I first heard “Invert The Idols” on the bands’ spring tour and it blew me away with it’s sick musician ship and speed. Consider this is one of the best bands in the genre and fast what they do naturally, and that prior statements gets some context. Right off the bat the production sounds miles better than their last album, which sounded pretty good. The drums sit in the pocket with all the sick vocals while guitar and bass sound evenly balanced and clear. Many death metal bands prefer crude production, but I have always appreciate that the FETUS guys are musicians who care about the how their albums sound. The opening sweep picking riff will take the wind out of you while you try to process it. The song is blisteringly fast and over in a blink at just over two minutes. Similarly “Subject to a Beating” is another mind-blowing blast-beat laden romp. This time both John Gallagher and Sean Beasley share the vocal leads and compliment each other like never before. They both veer back and forth between the growled indecipherable vocals and then clearer, understandable ones. Mostly, they use their voices as extra instruments like many vocalists in the style. Some of the riffs on the album pack in all types of scales and licks performed with a precision not usually possible at these inhuman speeds. Prog is not a word I tend to think of when discussing this band, but there are definite proggy moments on this album. As a trio they have never backed down from being great players. “Second Skin” is another fast crusher that has elements of music beyond standard death metal styles. This album has some excellent groove parts on it too, which the band hasn’t over-used like just about every other band. “From Womb to Waste” begins with what is surely the sample of 2012: “It’s not my fault I’m pregnant and I love drugs. Who cares? Fuck the baby. Let it die!”. The grinding beat of the song and the mean riffs give it a sinister, eerie effect. Drummer Trey Williams has been at the forefront of death drummers for ages, but doesn’t often get mentioned in the year end lists. He is tight at any tempo and whether it is using choice fills on slow beats or insanely fast parts, he is as strong on record as he is live. “Dissidence” sounds awesome with its manic opening and both vocalists unleashing a howling scream. The song is more like a classic FETUS cut, when they were a little more hardcore influenced (don’t you dare call it deathcore). I love the head-nodding beat and the straight up chord changes too. “In the Trenches” is similar to start out with a straight a head chug. Gallagher puts together one of the best guitar performances of any album this year. “Devout Atrocity” again makes with the acrobatic riffs and scales. The fact that Beasley not only can keep up, but holds his own in the bass department is admirable. There is a neat stomp-groove part that recalls both OBITUARY and BOLT THROWER at one point, both key influences on the band. Gallagher opens “Revisionist Past” with a sick lead guitar solo before the preposterous tempo kicks in and the song becomes a gnarly blur. I can’t wait to see the YouTube videos popping up for bands trying to play this one! The final song is “The Blood Of Power” and is a fitting end to such a great album. The song has bits of everything that makes them great, including more stellar axe work. Underrated no more, DYING FETUS has ascended the mantle of the greats of death metal, whether the average fan knows it or not.
If you are still sleeping on DYING FETUS, just kill yourself.
Metal Army America caught up with Dave Davidson and Phil Dubois-Coyne of REVOCATION outside of The Worcester Palladium, right before playing on the main stage of The Worcester Deathfest. They are out on the road supporting SIX FEET UNDER on the “18 Nights of Blood Tour” and still supporting their excellent 2011 release Chaos of Forms (Relapse). Keeping their tongues planted firmly in cheek, they made a lot of jokes and attempted to trip each other up several times. We talked about the band, life on the road, The Worcester Palladium and also had a lot of laughs.
After bursting on the scene a few years back, TESSERACT is a band that continues to impress me. You can call them “djent” or call them prog metal, but I just call them a really promising band. Although fans were initially split over vocalist Dan Tompkins’ departure, Elliott Coleman has more than stepped in and stepped up based on those who have caught the band on the road or late. To further cement the new-lineup, the band released a new version of their popular track “Eden” from the One album named “Eden 2.0” last fall on YouTube. Now following that up with a mostly acoustic EP Perspective, the group is proving to be as fearless as the are talented.
The EP kicks off with “Perfection” which is awash in lonesome piano and other synth ear-candy. Coleman’s delicate, amazing tenor carries the melody of the track. Slowly the song builds in rhythm and melody later surging with emotions. The bands choices musically are intricate and cool while Coleman’s legato vocal acrobatics soar over the din. There is a brief guitar solo setting up the climax of the song that has ethereal quality to it. The second cut is a somewhat unplugged re-imagining of “April” from One. In addition to Coleman’s delivery and the keyboards, Amos Williams’ pulsing bass lines almost steal the show on this song, and the entire EP. In this environment musically, his funky walking lines can’t be overshadowed by thick, over-driven guitar chords. Drummer Jay Postones again vaults his name into the conversation of best drummers in the scene with his thoughtful, tricky stick work. The next track “Origin” is a somewhat chill take on it’s predecessor as part of the “Concealing Fate” suite that launched the band to notoriety. The bass and drums are no less crushing as the original version, but the guitars have new life breathed into them by the shifting dynamics. Acle Kahney and James Montieth really bring out the subtleties in the track with their guitar playing. This also shows that the 7 and 8 string slingers have more to offer than just metallic riffs and down picked, finger staining chords. You have to give them props, since most bands known for their guitar sound would never do a project like this in the first place. The most surprising track on the EP is the JEFF BUCKLEY cover “Dream Brother”. The track is from Buckley’s last album Grace and oddly enough is out just in time for the fifteen anniversary of his tragic death on May 29th. This version is stirring and although Buckley is not an obvious choice for this type of band, it does show a lot of maturity and soul to actually do it. The fully electric “Eden 2.0” rounds out the album and is full of their patented 7-string guitar orchestrations. Killer! I personally think of Coleman as a slightly different flavor than his predecessor, and he certainly has the goods to be a superstar front man/singer. This release ought to tide the bands’ many fans and guitar geeks over until the next full length album comes out.
It has been a long and winding road for SHADOWS FALL over the course of seventeen years as a band. Alternately they have been up and coming in the underground, a next level breakout band, critics darlings and relegated to the middle of the pack by people who supposedly know what is cool. The fact is the band has always been supremely talented, as much as any metal band can be. Depending on how they channel their energies, that is the music you get on a given album. Armed with new music, a new label (Razor & Tie) and a fresh start in many other ways, the band has turned in one of the heaviest albums of their career and certainly their best since 2004′s The War Within.
Kicking things off with the frenetic riffing of “The Unknown”, the template for the rest of the album is set. Guitarists Matt Bachand and Jon Donais bring the lightening fingers as they have done on every SF album. There are many shred guitar orgy moments for the geeks and right off the bat the music seems to be more “thrash” sounding than previous records. Like some of the the lyrical themes found on this song and elsewhere, there is a real world sense of real world danger and urgency punctuating everything. Although the track has the signature big, melodic (metalcore) chorus they are known for, it is Brian Fair’s brutal hardcore and death growl influenced vocals that carry the track. Brian immediately sounds energized and harsher than he has in ages. “Divide and Conquer” is another strong track with an amazing sing-a-long breakdown made for the live show. Drummer Jason Bittner explodes with his usual precision hits, punishing blast-beats and tight double bass work. This song alone goes from thrash, to punk, to hardcore to death metal beats in just a few minutes. “Weight of the World” is another great rocking cut flowing from thrash to power groove. Between Donais and Fair their melodic work is tremendous and only serves to make the heavy parts more heavy. Of course Donais rips out solo after solo on this album, reasserting himself as one of the premier shredders. “Nothing Remains” is one of the most fun songs on the album. A real stomping head banger like TESTAMENT or VIO-LENCE used to make in 1980s. The huge refrain has a soaring melody that is hot as hell. The title track comes next and is one of the most special songs ever written by the band. It’s no wonder they chose to name the album after it. A slow grinder with hints of death and even black metal in it, the track just crushes. Offsetting some of the more melodic fare on the record is Bachand, who chips in some severe backing growls along with Fair’s gruff performance making for a really full vocal sound. “Save Your Soul” returns to the up beat thrash/punk tempos and more of Brian’s positive hard core lyrics. “Blind Faith” is another curve ball. The cut borders on metallic balladry, but it is very heavy and catchy too. It certainly is softer than the rest of the album, but has some great harmonized guitar work. Other top tracks include “Walk The Edge” and the sick closing number “The Wasteland”, which I’d also love to hear performed live. If I have on gripe about the album, it is some of the tracks are a little same sounding, but overall this is the bands’ finest hour in a long time.
Sometimes a band can be new to the public but, be blessed with a familiar sound or style. One such band is DAITRIBE, hailing from Chicago, IL. The band is led by guitarist Tristan “1690” Grigsby who besides being an accomplished shredder is best known from his appearances as part of the great PANTERA Home Videos (or DVD’s now) from the 1990s. In addition to appearing on several tributes to his fallen friend DIMEBAG DARRELL, Grigsby has put together a cool band and written a batch of tunes that call to mind the great power groove and thrash influenced metal of the decade before last. Another PANTERA association is the album was mixed by the bands’ famed producer/engineer and guitar tech Sterling Winfield.
The album opens up with “Betray”, a manic down tuned thrasher. The beats and riffs are really heavy and compliment the demented screaming of vocalist Rich Collins. When the breakdown comes up, a brief but tasty solo section comes in for Grigsby to work his magic. The last third of the song slows down the pace to an AIC like groove that I really liked. “Control” ups the ante considerably and is an aggro workout with chunky riffs and more harrowed vocal wailing. Collins sounds to me a lot like old-school Pete Dolving of THE HAUNTED, just straddling the line between metal and hardcore vocals. The chorus is pretty decent and will have people singing a long live. Grigsby let’s another lead fly and has a really neo-classical flare at times. There is a definite nod to DIMEBAG in his style, especially his use of double tracking leads. “Loss By Distance” starts off with some ethereal sound effects, but then delves in to mid-90s FEAR FACTORY style machine gun riffs and tight drumming. Grigsby’s brother Michael handles the job behind the kit and does a fine job. The drumming on this track is among the best on the album. The band does a very good job of balancing older influences, but keeping up with modern metal sensibilities like LAMB OF GOD or UNEARTH would do. “My Eyes” has kind of a modern, heavy rock/arena metal sound to it and could be a surprise hit for the band. Neat grooves and some singing by Collins make for a catchy, solid tune. Bassist Ricky Riccardo lays down some cool mellow lines that help the track along. “Sanctuary” starts off like a gentle ballad, but then has an anthem like feeling not unlike JUDAS PRIEST or IRON MAIDEN. The single “I Hate Me” is another ripping jam. The band does a good job with pedal to the metal, straight-ahead licks with a bit of flare to them, but doesn’t throw in too many unexpected twists and turns. The chorus has yet another scream-along part that would be fun in a live setting. “Crime Legacy” is an interesting cut which rages most of the way until a chill breakdown switches things up. Other top tracks include “False Hopes” and “Liar Messiahs”. You can get the record directly from the band here.
It’s been said the age of the guitar hero was dead twenty years ago. The 1980′s gave rock and especially metal many great shredders. That era spawned a legion of guitar-centric albums which showcased mind and string warping techniques, but was often lacking in the songwriting category. The 1990s changed some of that. Metal had its later heroes like DIMEBAG “DARRELL” ABBOTT (RIP), MARTY FRIEDMAN and JEFF LOOMIS among many others to carry the torch. As a member of NEVERMORE, LOOMIS wrote his own name in the book of guitar awesomeness, next to all the greats. His first solo album, Zero Order Phase was excellent and featured many top tier guitar talents as guests. Since leaving his old band almost a year ago, he has been preparing his second solo foray. Intended to be the next chapter in his legacy, he surely delivers on that promise and then some.
The ethereal soundscape that begins “Mercurial” gives way to a supreme thrash metal workout. Jeff is known for crushing riffs and there are plenty here. Of course the lead playing is tight as usual. Loomis is joined by old friend Marty Friedman who hasn’t lost any of his silky touch, in spite of his time away from metal. The song goes from thrash, to some interesting pastoral parts and back to epic rocking out again. There is even some cool church bells ringing between solos for effect. “The Ultimatum” is another grim sounding jam with preposterous amounts of noodle-y soloing. Joining Jeff is TONY MACALPINE, who once more trades fierce lead lines and matching him lick for lick. It’s not enough anymore to just write a musical track that is a vehicle to solo over, modern fans demand more. These songs are in a word, terrific. The production deserves some worthy praise too. Helmed by Aaron Smith (7 HORNS 7 EYES) and mastered by Jens Bogren (OPETH, AMON AMARTH), the crisp sound of the album allows everyone to shine, not just the star. “Escape Velocity” is another sick number. Break-neck speed metal mixed with sinewy, soulful leads give way to crazy blast-beats. This is instrumental modern music at its best. Providing the drums is DIRK VERBEUREN (SOILWORK/SCARVE/ABORTED/BENT SEA) who seems to be on everyone’s album in 2012. Keeping pace with Dirk and everybody else is bass prodigy Shane Lentz who adds his own flair to the low end. “Tragedy and Harmony” provides no let up in aggression. It does add some sweet counter-point melodies in the verses and the first appearance of Christine Rhodes on lead vocals. Her powerful alto voice punches through the roar of the din nicely. Her double-tracked harmonies also sound great. The next track “Requiem For the Living” is gonna have kids losing their minds and injuring their fingers trying to play the opening :30 seconds of this cut with its out of control scales. Joining him on the track is his former band mate, Attila Vörös. The two of them soloing together are just ridiculous. Upping the cool ante considerably is the appearance of CHRIS POLAND (MEGADETH/OHM) on “Continuum Drift”. This track is the first “guitar album” type of song full of warm sounding tones and dramatic peaks and valleys. The treat of the entire album comes in the form of “Surrender.” Joined by black metal legend IHSAHN (EMPEROR), the track sounds immense. IHSAHN, who is a much emulated guitarist in his own right, handles the lead vocals only here. He unleashes the full range of his styles and emotions with a performance few others in the world could give. The track is brutal and well written with many, many intricate changes. The only way to follow that up is with some moody mellowness and “Chosen Time” fits just right. Between bluesy inflections by Loomis and Rhodes’ gentle flow, it is a sweet listen. The acoustic shred of “Rapture” gives us a further respite from heaviness. Short and tasteful, the track is very emotional and shows versatility. Finally, “Sibylline Origin” gives us another bruiser with a deft power groove beat and some urgent playing. The deluxe version of the album has some bonus tracks featuring Rhoades on vocals again. There have been some great guitar albums in the last few years, but this one tops them all.
Jeff Loomis lords over all other modern shredders.
