DISCIPLE "Love Letter Kill Shot"

(c) 2019 Tooth & Nail Records

1. Cuff The Criminal
2. Reanimate
3. Wake Up
4. Panic Room (Featuring Andrew Schwab)
5. Play To Win
6. Fire Away
7. Misery
8. Chemical Wisdom
9. Never Too Late
10. Touch Of Pain
11. Walk With Me
12. Best Thing Ever

Kevin Young--Lead Vocals

Josiah Prince--Lead Guitars, Bass, Backing Vocals

Andrew Stanton--Guitars

Joey West--Drums, Backing Vocals

For the past three releases (Attack, Long Live The Rebels and the Vultures EP), Disciple had been going the fully independent route, utilizing crowd funding and massive on-line campaigns to get their music to the people.  For their latest offereing, Love Letter Kill Shot, Disciple has gone the more traditional label route, signing to one of the biggest Christian rock labels out there, Tooth & Nail.  I had heard some grumbling from fans, as many feared Disciple would be forced to alter their sound to fit the vision of the people at Tooth & Nail, and the release of the first two singles, "Cuff The Criminal" and "Reanimate" probably did little to allay anone's fears.  However, I am here to tell you that those fears are very quickly laid to rest.  If anything, Disciple has come out harder and heavier than they have in some time.  Love Letter Kill Shot is a perfect blending of the more radio-friendly hard rock of Attack and ...Rebels, while incorporating the more aggressive, heavier sounds of Horshoes & Hand Grenades, Southern Hospitality, or even older material such as By God.

Now, I understand people being a little skittsh about the previously mentioned singles if they were expecting songs in the vein of "Erase", "Long Live The Rebels" or "Dear X", because "Cuff The Criminal" and "Reanimate", which are the opening two tracks of the new record, certainly don't fit those molds.  "Cuff The Criminal" is an experimental, progressive hard rocker complete with effects on the vocals and a stop-start rhythm that probably threw the radio rockers for a loop.  And then "Reanimate" came out and punched those same fans square in the mouth, leaving that metallic, bloody taste behind, as this is truly one of the heaviest tracks Disciple has put out in more than a decade.  Ferocious guitars, crushing drums, harshly snarled vocals, and more speed than anything since "The Name", from Attack.  And if you were fortunate enough to hear these two tracks in the live setting (which my family was), then you had an even better understanding of just how different these tracks were from so much of their extensive catalog.  But if you really listened, it was evident that at the core, this is still very much Disciple.

Once you get past those two tracks, Love Letter Kill Shot starts to feel a little more familiar...at least briefly.  "Wake Up" is a modern hard rock track that feels like it could have slid onto ...Rebels with very little difficulty or modification.  But then, just when the listener is finding their comfort zone, they are slammed into the "Panic Room", which is a contender for song of the year in my book!  "Panic Room" starts off with a quirky interview between a psychiatrist and his patient, in which the woman tells her doctor she can hear voices in her head.  From there, the guitars absolutely explode in a fast and furious intro, then as suddenly back clear off to a more subdued, rhythmic track, complete with fingersnaps, for Young to layer the verses over.  And then, just before the chorus, Young admits to the listener "sometimes I scare myself"...and then BOOM!  Sheer aggression in vocal form blast forth in the form of Andrew Schwab of Project 86 as he bellows forth "I try to lock these thoughts inside a tomb, But it ends up being my panic room!  When the demons start digging up skeletons, The ghosts leave me with nowhere to run!", while Stanton and Prince absolutely shred their guitars.  A second creepy verse, a second chorus explosion, then a false ending with a blistering guitar solo threatens to blow my speakers!  At this point, a haunted house piano is added to the verse section, as Young adds even more creepiness to his vocals, before returning to his "sometimes I scare myself" pre-chorus, this time sounding like it is screamed through a wall of static, and then a final torture session with Schwab burns the song to the ground.  Simply amazing stuff from start to finish, and I simply can't make it past this song without hitting repeat at least once...usually two or three times.

"Play To Win" sounds a bit more in line with recent Disciple, except the guitar solo is more aggressive than most of the things they have done over the past three releases, and Young likely had to take a break in recording after this one, as I assume his vocal chords may have been shredded.  

"Fire Away" is also going to be more comfortable for a lot of people musically, although the subject matter may not be.  Incorporating the album title, the song talks about God's Word being His "love letter" to his people, and the truth and honesty of those words are the "kill shot" that is "tearing through my soul 'til there's nothing left" as Young implores God to "let Your love be the weapon" that brings him to his knees.  Lyrically, this track could be something of a companion to "Dear X", although this track is far more aggressive than that massive hit.

Another of my personal favorites is the next track, "Misery", as it speaks so much to the world we live in today, as the second verse expounds upon the epidemic problems of today's social media world with "would you pay any attention to me, Without the drama of hashtags, so depressed...".  The chorus then declares, "I don't want help, I don't wanna get better/All I want is your sympathy./Can't stop myself, can't keep it together/'Cuz I'm in love with misery".  A hard-hitting social commentary, to be sure, and set to a great, fist-pumping rock anthem that is sure to be a live hit.

The hidden gem of the record for me is the album's closer, "Best Thing Ever".  While lyrically simplistic, I love the way the song is delivered, with Young chanting out to Christ, "You are the best...thing...that has ever happened to me!  The best...thing...that has happened!".  A nice, uptempo modern rocker that could possibly find itself into a more modern and progressive praise playlist, this is the perfect closer for one of the absolute best records in the now 12 album catalog of Disciple.

Lyrically, as always, Disciple is scripturally sound and socially in tune, with Biblical references for the vast majority of the songs' lyrics included in the full lyrics sheet.  "Panic Room" screams about anxiety issues and our desire to control everything, "Reanimate" is an interesting twist on the idea of Christ being the physical manifestation of sin for us, and "Chemical Wisdom" tackles issues of chemical dependency, both self-induced and prescribed.  "Never Too Late" talks about the opportunity to turn our lives over to God and "start again" because "it's never too late, if you're breathing!", and the lone ballad-esque moment of "Walk With Me" is a song of friendship with Christ.  

Musically, the band continues to get tighter and tighter, with the comfort level among the men, who all contributed to the writing of Love Letter Kill Shot, seemingly never stronger.  Josiah Prince gets a couple of chances to step up to the microphone here, which work out well, and the twin guitar attack continues to explore new levels of aggression, experimentation, and harmony.  West is a beast on the drums, something that can be further appreciated in the live setting, as he absolutely tears things up.  But, as is always the case with Disciple, regardless of the lineup surrounding him, it is the passion of Kevin Young's vocals that are the driving force.  His vocals are so expressive, whether he is singing, screaming, quasi-rapping, or in some cases doing little more than talking to the listener.  Young just instantly draws you in, and never more than in the live setting, where he seems to make eye contact with the fans no matter where they are located, making his messages all that much more personal.  Add in the fact that long-time producer Travis Wyrick (with assistance from Prince) is almost as much a part of the band as any other member, and Disciple is a sonic force of massive proportions, virtually unequaled in my mind, in the Christian or secular musical world.

If listeners are seeking only what they have heard before, then Love Letter Kill Shot is going to be uncomfortable, and perhaps even scary at times.  But for those fans that have longed for the band to completely unleash themselves musically, lyrically, and thematically, Love Letter Kill Shot may be the album they have long been searching for.  Time will tell where the record stands for me in terms of top albums by Disciple, but for now, it is definitely at...or extremely near...the top of the heap.  As much as I have loved everything this version of Disciple has released, and as great as older albums like Horshoes & Hand Grenades, O God Save Us All, and the self-titled release were, Love Letter Kill Shot is on a different level for me.  

It's going to take an amazing record to bump this disc out of my player, to remove it from the status of "favorite Disciple record", or to knock it from the perch of Album of the Year for me.

  

Rating:  So, so crankable and near to perfect for me.  This CD hasn't left my changer since I got it, and I don't see that changing soon!  Crank it up to a 8.5!

Back To Reviews Index

SILKED AND STAIINED "Goes Up To Eleven"

(c) 2019 LionsPride Music

1. How Many Miles To Heaven
2. Come Closer
3. Woman, You're The Devil
4. Take Me
5. Sweet People
6. Forevermore
7. That Feeling
8. No Way
9. Locked & Loaded
10. Lost The World
11. Reach Out The Sky

Harris Mos--Lead Vocals

Tony Gavalas--Guitars, Backing Vocals

Tommy Fotiadis--Bass

Orpheus Lazz--Drums, Backing Vocals

Greece's Silked & Stained was the surprise band of 2017 for me, and the most read review of 2018...heck, the most read review of all time...here at Glitter2Gutter was the review of their debut album, Love On The Road!  A very good melodic hard rock record, Love On The Road quickly bolstered the band to some rather impressive heights in Europe, and even garnered them a smattering of recognition here in the States (although no melodic rock bands really get that much attention on the national level here in the US these days).  Heck, the album sold so well in Europe that the first pressing actually sold out within six months, according to their press release.  Every thing seemed to be trending in an upward direction for the band.  But then, lead singer Bill Tsaklidis left the band for personal reasons, and I found myself wondering how this surprise band was going to handle the loss.  

It turns out, I didn't really need to be concerned, as the band quickly recruited Harris Mos to fill the vocalist void, and Silked & Stained has already returned with a brand new album, Goes Up To Eleven, due out on Halloween of 2019.

Almost immediately after putting the new album in to play, it is noticable that the sound on Goes Up To Eleven has a bigger, fuller sound than their debut effort.  Don't mistake that for me saying that the band sounds slick and polished now, because that is not the case, and the band still retains a rawness and edginess that I truly enjoy.  But to deny the production is smoother and more refined would be a lie.  Also gone from this new record is the excessive use of keyboards that threatened to do some serious damage to a couple of tracks on the debut.  Yes, there are still keys here, but nothing that takes center stage or detracts from the power of Gavalas' guitar, which is one of the key elements that makes this band go.

The album kicks off in a big way with "How Many Miles To Heaven", which intros with an acoustic guitar line that sounds VERY much like "We All Die Young" from Steel Dragon, before soon morphing into a big, heavy riff, a la Whitesnake, and then transforming into and excellent 80s-styled rocker.  As I stated above, everything here sounds bigger, and this track showcases that right off the bat; the drums are of the big arena variety here, and Galavas absolutely goes off on an extended guitar solo after the second chorus run.  Heck, even the brief keyboard drop-ins are big, sounding very much like the intro to "Tom Sawyer" by Rush.   New vocalist, Mos, sounds very confident and very at home on this track...and throughout the record...utilizing a slightly lower, more bluesy style than that of his predecessor, which works to great effect.  There are no rafter-scraping wails or ear-piercing screams here, but that was never the style of Silked And Stained anyway.  Mos' voice is definitely on full display right from the get-go, and I have no doubts that he will be able to handle the older material from the band as both singers are in that lower tenor range.  Still, even after just this one track, I find myself thinking I'm going to really enjoy what Mos brings to the band.  Before we wrap up, that "We All Die Young" riff returns as the song begins its closing run, and it become immediately apparent that Silked & Stained has not missed a beat here.

Next up is "Come Closer", which is one of the few tracks here that still really incorporates a true keyboard presence, and even then it is mostly limited to the track's intro and then as a supporting instrument in the chorus sections.  Probably the most commercial sounding track on the record, "Come Closer" has a definite 80s melodic hard rock feel to it, with big harmony vocals and a smooth guitar tone that hearkens back to so many of those great summer driving songs of my youth.  Again, Mos' voice fits the mood and tone of the track perfectly, and Galavas tears his way through a particularly tasty solo which blends flashes of speed with some soulful, melodic string-bending.  I'm not a huge fan of the hard fade close to the track, as I think a big, sweeping guitar outro would have served the song well, but this is a minor point made mostly as a fan of multiple guitar runs in any given song.  

The album's lead single, "Woman You're The Devil" is up next, and the band kicks things into another gear for this song.  Grittier, edgier than the polished "Come Closer", this is a prime example of what I think Silked And Stained does best.  As is the case with many English-as-a-second-language bands, the lyrics here are a bit muddled in places (read along with the lyrics video below and you will understand what I am talking about), but the gist of the track is easy to pick up on, and the lyrics certainly aren't distracting.  There is a strong bass presence in this track, and once again, the drum work from Lazz is top-notch.  But as is typical with Silked And Stained, it is the guitars of Galavas that really propel this hard rocking track to another level.  It's hard to give the guy too much credit, as I think he is one of the truly great guitar players that most people have not heard yet.  Make it a point to really focus on his skill as you give the following video a run through.

"Take Me" starts off with a big drum intro before some jangly guitar work from Galavas draws the song forward, leading into Mos' smoky, bluesy vocals on the first verse.  I love the groove of this track as it builds to its first chorus run, as the bass is given a definite voice here.   The chorus is a catchy, poppy sing along that I am betting will become a staple of the live show.  A burst of speed catches fire in Galavas solo before a final run through the chorus punctuates this quick rocker that just eclipses the three minute mark.  Short, sweet, and to the point, "Take Me" is an earworm for sure, and one that I find getting stuck in my brain pretty much every time I run through the record.

"Sweet People" changes things up considerably, and I have to be honest in saying that this is the track on the album that I had the most difficulty deciding how I felt about it.  In ways, it reminds me a lot of an 80s/early 90s U2 track, from the female backing vocals to the production style and the songwriting approach to the quasi-spiritual feel of the lyrics.  Despite my initial misgivings, I find myself liking the song quite a bit, and I will not be surprised if this track becomes a big hit with the band's female fan base, especially in the live setting.  It's a nearly perfect track to transition from a hard rocker to a ballad (or vice versa), and there isn't really anything to dislike about the song, even if it is a bit hard to categorize.  Galavas has a pretty cool guitar solo here, and this song is definitely square in the middle of Mos' wheelhouse, vocally.  You may have to give this song a few chances, but I think most people will admit, even if it is begrudgingly, that they like this song in one way or another...even if they can't put a finger on exactly why.

"Forevermore" is the first ballad of the record, and it is solid.  A piano is utilized throughout the track, giving it a nice 80s power ballad feel, complete with the big, sweeping guitar crecendo after the first verse and leading into the big, layered chorus.  There is a definite Kix "Don't Close Your Eyes" feel to the rhythm guitars and the tempo of the track, but it is certainly not a rip off.  The backing vocals are really nicely done here, and the guitar solo has that big MTV power ballad sound.  Mos is given the chance to really shine here and he doesn't disappoint as he delivers a powerful performance without drifting into the sappy, saccharine territory of so many "baby, please don't go" ballads of yesteryear.  While I don't find myself yearning for the power ballad the way I might have back in the day (I said MIGHT HAVE), when one is well done, it does a good job of breaking up the tempo of an album that is otherwise basically heavy mid-tempo to high-speed rock.  "Forevermore" is one such song.

"That Feeling" is one of the best songs on this record, as it does a good job of capturing the feel and flair of the best of 80s hard melodic rock, with the guitar tone and songwriting style reminiscent of early Dokken.  I'm not saying Galavas is Lynch, and Mos is not Don in his prime,  but they also don't pretend to be something they are not.  As such, Galavas and Mos both hold their own very nicely here, with the rhythm section also handling their duties perfectly, supporting the frantic flash of the guitar solo and the power of the lead vocals expertly.  This is a great song, and while I could do without the seemingly pointless "f*bomb" in the chorus, I think it is this type of song where Silked And Stained is at their best.  Good, good stuff here!

"No Way" is another up-tempo rocker...complete with a cowbell intro...that features some nice rhythm guitar work and solid drumming, but honestly, this is the first song I would point to as being "filler" material.  Mos' is a bit snarlier here than on the rest of the record, and it sounds a bit out of place.  The chorus is pretty simplistic, and I am instantly reminded of the way Klaus Mein would sometimes kind of drag out words in the chorus of a song, especially early in the Scorpions' career when he wasn't as comfortable with his English.  Galavas has another solid solo, but even that isn't enough to push this track past "good, but not noteworthy" status.  Definitely not something I would bother to hit the skip button for, but not something I'm likely going to hit repeat for, either.

I really wish the band would have gone straight from "That Feeling" right into "Locked & Loaded", as this is another example of some of the best songwriting and musicianship that Silked And Stained has put onto a record.  Again, a definite throwback to the glorious melodic hard rock of the mid-80s, this is another Dokken-esque track that finds itself in a fight with "That Feeling" and "How Many Miles To Heaven" for song of the album.  I really dig the hard rhythm guitars that intro the best Galavas solo on the record, and while the chorus is again fairly simple, it is simple in a way that is also nostalgic and very reminiscent of some big 80s rock gems.  There is also some nice bass soloing at the back end of the guitar solo as a moody, almost haunting vocal bridge propels the song back into the pre-chorus and chorus sections.  This is just a really good song and...you know what?  I'm going to call it.  This is the best song on the record.  I really dig this track.

Rather than give in to the temptaiton to close things out with a ballad or some mid-tempo romp, Silked And Stained close out Goes Up To Eleven with a really good rocker with Mos' letting his vocals soar a bit in places on "Reach Out For The Sky".  Again, the "f*bomb" is dropped into the pre-chorus for no apparent reason (do Europeans throw that word around as casually as American rappers?), and the barked "REACH...FOR...THE...SKY!" sounds a bit forced...and, okay, I could have done without the brief Hammond sounding keyboard section after the guitar solo...but overall the song is a strong closer and leaves the listener with something pretty tasty rolling around in their head when the record ends.

If Goes Up To Eleven is an indication of where Silked And Stained is heading with their sound from now forward, I can guarantee I will be seeking out their albums for as long as they want to keep putting them out.  Showing a healthy respect for the great melodic hard rock of the past, but also being mindful of who they are and what they want to do going forward, Silked And Stained has made a fan of me with two consecutive really good records.  In the end, Goes Up To Eleven is a fine follow-up to the band's big debut, and in many ways it exceeds everything that was done before.  From improved songwriting to a bigger, fuller sound, to better production, Goes Up To Eleven is a nice step forward for a band that has to be considered one of the class acts of the new wave of melodic hard rock bands in Europe, and Galavas cements himself as one of the truly great...if under-recognized...guitar talents to cross my review desk in recent years.

Rating:  Definite crankage here!  Goes Up To Eleven goes up to 8.5 for me!

Back To Reviews Index

RAZORBATS "White Trash Radio" Single

(c) 2019 Rob Mules Records

1.  White Trash Radio

Paulie Vercouteren--Lead Vocals

Kjetil Wevling--Guitars

Asle Tangen--Guitars

Martin Hervig--Bass

Torris Illievski--Drums

Everybody's favorite Norwegian dirty rockers (well, at least MY favorite Norwegian dirty rockers), Razorbats, return with a new single, "White Trash Radio".  Following very much in the footsteps of the band's superb discography, "White Trash Radio" combines retro-rock elements from the 70s with doses of punk and sleaze to create some of my favorite music of the past decade.  Seriously.  I love what Razorbats do, and "White Trash Radio" is an excellent addition to their growing catalog.  

A classic rock guitar lick and a shrill whistly intro the song, with rapid fire drums building to the first verse.  This song is pure ear candy, with a catchy hook, some nice, fuzzy distortion on the rhythm guitars, and a stong, 70s-inspired guitar solo, complete with a cleaner-yet-still-powerful sound.  The production is perfect for the style, raw and edgy rather than the over-processed slickness of so much music today.  But for me, so much of the real magic of Razorbats is in the honest-and-humorous songwriting, and "White Trash Radio" is no exception.  The chorus is typical tongue-in-cheek humor from Razorbats.  The song, itself, is a reference to the fake front we put out on social media, showing ourselves as much better than the "white trash" that we know most of us are on the inside.  Following the humorous pre-chorus of "Fake it to the top!" Vercouteren sings on the chorus: 

"I don't know about you, But I'm White Trash, Are you White Trash, too?  

Just sing along if you're White Trash, I'm just like you!"

Lead singer Vercouteren continues to establish himself as the voice of the band, which was no small task for anyone who heard the band's first full-length release, Band Camp.  His lower-range vocals are spot-on throughout the song here, and I find myself actually preferring his approach to that of original vocalist, Even.  Vercouteren slips a bit of snarl into his vocals when necessary, but is easily understandable at all times, and he never sounds strained or off key.  While only Wevling remains from that first line-up, the band heard on "White Trash Radio" is my favorite incarnation of the group and 4 of the 5 have been working together since their sophomore release, II.  Torris Illievski is the new drummer for the band, filling the seat behind the kit in excellent fashion, showing off some nice double bass work in addition to the tight rhythms he drives throughout this track.  The twin guitars of Wevling and Tangen only get stronger with each release, and bassist Hervig, who even gets a few solo seconds to be heard coming out of the guitar solo, is rock-solid as ever.   

Blazing along with plenty of 90s pop-punk speed during the intro and chorus sections, and backing off slightly during the verses to give the vocals a chance to expand, "White Trash Radio" is sassy and cheeky, filled with a fun, in-your-face attitude that Razorbats seemingly have cornered the market on.  I am so looking forward to a new full release from these guys, and Wevling has told me that the band is working with more self-production  and engineering and that a new album is hopefully on the way soon.  Until then, enjoy the brand new video, which was released just today, October 25, and was produced by the band, with Wevling directing!  Fun, fun stuff!  

Rating:  I don't rate singles, per se, but I will tell you that if you have enjoyed what Razorbats have done in the past, there is absolutely nothing to not love here!  Track the new single down on their Soundcloud page.

Back To Reviews Index

I'M STILL HERE! (THE GREAT FLOOD OF 2019)

No, Glitter2Gutter is not dead...we were just under water!  Less than 48 hours after my last review, my home town received about 3.5 inches of rain in a 45 minute period.  That, coupled with an unusually wet June and July, led to some fairly serious flooding, and I awoke to five and a half inches of water in my basement/man-cave, where my music collection and office were located.  I lost my computer, my sound system, and roughly 20-30% of my personal music collection, along with thousands of dollars worth of damage to carpeting, drywall, furniture, and other items. 

It was a mess...

Last weekend, I was able to finally get all of the flooring replaced, and the walls will be going back up shortly.  Hopefully, my office will be back to normal within a month or so, but until then, reviews and interviews will be very sporadic...BUT PLEASE KEEP CHECKING IN!  Honestly, I was surprised by the people who emailed me or messaged me to ask what had happened and why G2G was no longer updating, and not only readers, but several artists as well, which was cool.  It's nice to know that people enjoy what you do.

So...enough blathering about the past, as there is nothing I can do about it.  Just know that G2G is still around, and I will be working on getting things back to normal as soon as possible.

For artists and labels still looking to have their music (and books) reviewed, or to set up interviews, you can still contact me for information at:  arttieTHE1manparty@yahoo.com

Thanks for the well-wishes and concern! 

Rock on!
Arttie

FICTION SYXX "The Alternate Me"

(c) 2019 Melodic Rock Records

1. My Darkest Hour
2. Monster In The Mist
3. Angel Of Mine
4. The Alternate Me
5. Wind Reminds Me
6. Carry The Light
7. Foolish Pride
8. Better Part Of Me
9. Tall Dark Secrets
10. Suite Madam Blue
11. Tragic Magic
12. The Wizard

Mark Allen Lanoue--Lead Vocals, Lead Guitars (2, 5, 6, 8, 9), Acoustic Guitars (10, 12) 

JK Northrup--Lead Guitars (1, 3, 4, 7, 10), Slide Guitars, Backing Vocals, Production

Eric Ragno--Keyboards

Larry Hart--Bass

Rory Faciane--Drums

Fiction Syxx returns with The Alternate Me, the follow-up to Tall Dark Secrets, one of 2017's biggest records here at Glitter2Gutter.  Retaining 4/5 of the line-up from that amazing first record, with only bassist Larry Hart (King Kobra/Montrose) being new to the group, the band explodes out of the speakers sounding every bit as energized and electric as they did on that debut effort.  Whether speaking of the powerhouse vocals of Mark Allen Lanoue, or the guitar wizardry of Northrup (Lanoue is no slouch in this department, either, for that matter), there is a musical magic in Fiction Syxx that is simply not found in so many of the melodic rock/metal bands that find their way across my desk and into my CD player on a regular basis.  Perhaps it is the addition of the uber-talented Ragno on keyboards, or the extreme lock-step tightness of the rhythm section of Hart and Faciane, or perhaps it is just the way each of these guys hit on all cylinders together that makes them so special.  Regardless of the recipe, the resulting record is one that has to be heard in 2019!

Blending an obvious love for 70's prog rock and hard rock with modern AOR and melodic rock, Fiction Syxx is an animal unto themselves as far as I can tell.  There really isn't anyone doing what these guys do, at least that I have come across.  From the moment the opening guitar lines of "My Darkest Hour" come sweeping in, it is clear the band is determined to up their game from their great debut.  Lanoue's vocals are even more powerful than they were on the debut, and it is difficult to overstate the greatness of Northrup's fret work.  Fingers are definitely flying on this track, as well as the follow-up, "Monster In The Mist", which combines a great retro vocal style, especially on the backing section, with a more modern melodic rock approach to the guitars.  I especially like Hart's bass work here, as it is given room to be heard in several places on the song.

"Angel Of Mine" leaves the classic rock sound behind for the time being, and steps firmly into the melodic rock arena to great success.  Perhaps not as complex as some of the other tracks here, "Angel Of Mine" has a melodic charm, nonetheless, that is driven by Lanoue's emotive voice.  Ragno's keyboards are expertly utilized in a supporting role here, while the guitars from Lanoue are powerful but not overly dominant.  If any instrument is given special treatment here, it is likely Faciane's drums, with some fancy footwork being required to pull off some of the rhythms he flashes, particularly near the end of the song.  Good, good stuff.

The 70's prog approach returns on the big, bombastic title track, which boasts hints of Kansas, Styx, and Uriah Heep, especially when Ragno interjects his keys into the big solo run that follows the second chorus. Northrup rips off another scorching, extended lead run here, mixing things up with Ragno's keys, and it all works to great effect, as does the catchy, sing along chorus.  Definitely a contender for my favorite track here.  Love this.

"Wind Reminds Me" backs off from the note density of much of the first half of the album, reminding me a bit of Styx's classic "Come Sail Away" in its approach and tempo.  A smooth rocker with plenty of room for Lanoue's vocals to expand, it's Hart's bass that seems to really stand up and grab my attention whenever I give this song a listen.  I'm not sure why, but the older I get, the more I notice the bass work in songs, and Hart definitely delivers on this album.  The guitar work is much more laid back here than on pretty much any other track on the record, although there is still some fairly furious riffing from Lanoue near the end of the solo section before the guitars give way to the percussion work of Faciane.

"Better Part Of Me" deserves some love and attention, as once again Hart's bass work is exceptionally strong, and Faciane's percussion is really given the chance to shine during the verse sections where the majority of the musical work is carried by an understated rhythm guitar and Ragno's keyboards.  I love the fact that this is treated as a band, and not just a project, and that every member gets the chance to contribute and be heard.  This is another place where I think Fiction Syxx outclasses so many of their contemporaries.

"Tall, Dark Secrets" is another contender for song of the album (and it likely wins), as it has such an epic feel to it.  What should have been the title track to the debut album of the same name, "Tall, Dark Secrets" is melodic rock bliss, combining Zeppelin-esque riffing with big, string bending solo work, and an eerie keyboard presence throughout the track.  Lanoue is just spectacular here, his tenor soaring to powerful heights without giving in to the temptation to become over-wrought or self-important.  He never feels like he is saying, "Hey!  Check out these pipes!"  Rather, the sweep of his vocals always blends perfectly with the overall scope of the song he is working in, and "Tall, Dark Secrets" is, for me, the pinnacle of that work here (although is take on a Styx classic will give this song a run for its money...but more on that in a bit).

One other original song that I feel has to be pointed to specifically is "Tragic Magic", which perfectly spans the two cover songs the band chose to include here.  When both covers are taken from the works of 1970's prog legends such as Styx and Uriah Heep, linking them together could be a monumental task if a band wants to keep their album from sounding disjointed.  Enter "Tragic Magic".  An uptempo rocker with a solid dose of 70's fuzz added to the rhythm guitars, "Tragic Magic" is the puzzle piece that fills in the middle section of the really strong second half of The Alternate Me.  Punchy bass?  Check.  Rollicking guitar leads?  Yep.  Some cool slide guitar?  Got that, t00.  Big, sweeping lead vocals?  Covered.  A big, proggy keyboard run?  Definitely here!  Rapid fire drums?  "Tragic Magic" has all of these things, all wrapped up in a song that not only sounds, but also feels like it comes from the same time period as the two songs it bridges together.

As mentioned, the band tackles a couple of classic cover tunes here, and both really shine.  Fiction Syxx's treatment of "Suite Madam Blue" by Styx is excellent, with Lanoue really holding his own on the vocals here, and I dare say I prefer his vocal take to that of Dennis DeYoung (pardon the sacrilege Styx fans).  Likewise, Northrup's massive solo here is an absolute stunner, as are the keys from Ragno, who is absolutely in his element on a classic rock track such as this.  Even Hart's handling of the bass lines here is given plenty of voice in the track (the mix here is spot-on perfection, in my opinion), and Faciane's drums are solid and serve to support all of the greatness heaped upon them.  Despite the fact that this is a cover, it is easily one of my top three songs on the album, which is generally NOT the case with cover songs.  I would think that if the members of Styx were to hear this track, they would have to smile and nod at the brilliant handling of this epic classic.

The other cover here is Uriah Heep's "The Wizard", which is again handled marvelously.  The acoustic guitar intro is perfect, and the leads here are excellent, as well.  In fact, once again, the cover here is practically flawless, with the production again giving it a truly retro feel, but with a crispness and clarity not generally found in 1972.  While not the biggest song on Heep's Demons And Wizards album (that would be "Easy Livin'"), this song fits the scope and feel of The Alternate Me perfectly and is a great conclusion to a truly great album.

I don't own a physical copy of this album, so I cannot speak to the booklet information, but I can say the cover art is pretty cool, and generally, Melodic Rock Records does a really good job with their packaging, so I have a hard time thinking their handling of this record would be anything but top line.

Everything that was great about Fiction Syxx's debut is even better on this record...bigger, faster guitars, more powerful rhythm section work, a more pronounced bass presence, and even bigger backing vocals...to go along with excellent songwriting and production.  Elements of Styx, Asia, Kansas, Uriah Heep, Deep Purple, and even bits of Led Zeppelin are scattered across a sonic landscape that also blends modern melodic rock into a style and sound that I still find myself marveling at after literally dozens of listens.  I truly hope that Fiction Syxx continues on, and hope that somewhere down the line we will get the chance to see the band in a live setting.  I think that would be something to behold!

Rating:  As great as Tall Dark Secrets was, The Alternate Me cranks just a bit harder!  A definite 9 for me!

Back To Reviews Index

Concert Review-- DISCIPLE (Destiny Foursquare Church, Rapid City, SD, /24/19)

Normally, I don't drive hundreds of miles to see a concert, especially when there is only one band playing.  But, this Disciple show in Rapid City, SD was the impetus behind a family vacation (yes, we also saw Mt. Rushmore, Crazy Horse Memorial, the Cosmos, Custer State Park, etc., etc.), as not only do I love this band, but both of my sons are Disciple...err...disciples(?), as well.

As I stated before, there was no opening band for this show, which found the band on a long stretch across the United States, heading west to California before trekking south to Texas.  Not having an opening act is a bit of a risk for any band, because of a couple of things.  First, you minimize the draw of the show, because sometimes people will come to see the opening acts...maybe they know the band or are already fans of those early bands...and then they stay for the headliner's show, as well.  Without an opener, that draw is gone.  Secondly, with no opener, the success or failure of the show is placed squarely on that one band, and if things go badly, people can potentially leave with a bad taste in their mouth toward that band.  Fortunately, Disciple has established themselves as one of the main forces in the Christian hard rock world (behind only Skillet and perhaps Thousand Foot Krutch and Red, at least to listeners outside the Christian sphere), so the draw was a decent one, especially considering the show was on a Wednesday.  At one point I had done a headcount and tallied 89 people in attendance, but I am pretty sure that number exceeded 100 by the time the show started.  And, as far as having a bad show?  I had attended three previous Disciple shows over the past 5 years, and every single one was solid.  This show made it four-for-four, as the band was in top form both in sound and performance.

The band kicked off their show at about 7:15, with long-time members Joey West (drums) and Josiah Prince (guitar) taking the stage first, followed by the band's touring guitar player (I don't know his name), and finally the exuberant frontman, Disciple's founder and sole-original member, Kevin Young.  I am not sure if there is an off-stage bass player, or if the bass lines are pre-recorded/triggered by the sound man, but I can say with 100% certainty that the vocals were live, as were the guitars and drums.  This has become a big issue of late, with so many bands being accused (and accusing each other) of lip-syncing and using pre-recorded tracks.  Yes, there were some effects tracks used here, such as the cello introduction to "Dear X", but I never felt that I was being robbed of a live performance, as it is simply not feasible for most bands to travel with multiple non-member performers, and the use of these effects in no way negatively affected the show for me.

Once the show kicked off, the majority of the crowd immediately went to the front of the stage area, with my wife and sons joining me at the very front of the crowd, right in front of the stage, about ten feet left-of-center.  It was straight into the music for the band, as they launched into consecutive full-throttle rockers, "Rise Up" from 2005's self-titled album followed by "The Name" from 2014's Attack, the album where the current line-up came together.  "Secret Weapon" from the latest album, Long Live The Rebels, followed, with "Invisible" somewhat slowing things for a moment, before "First Love", also from LLtR concluded the "first movement", if you will, of the show.  By this time, the crowd was definitely fully into the show, as was the band, who put on their

full-scale show for the appreciative crowd.  If you have never attended a Disciple show, you are really missing something, as Kevin Young is an absolute ball of non-stop motion and energy, as he is all over the stage, jumping onto and off of the various boxes set up on stage, and putting everything he has into his vocals, as well.

At this point, Kevin took a couple of minutes to catch his breath and to talk to the crowd about the band's soon-to-be-released new album, Love Letter Kill Shot, which will be the fourth collaboration from the current version of the band, which is sometimes referred to as to as Disciple 3.0.  To give the fans a taste of what they can expect, the band launched into two new tracks, "Cuff The Criminal" and "Reanimate".  "Cuff The Criminal" features some electronic elements, but still rocks very hard, while "Reanimate" definitely falls more on the metallic end of the Disciple music spectrum.  I would imagine both will find significant success on Christian rock radio, but I find it too bad that the stations such as Sirius/XM Octane will likely ignore these tracks (and continue to ignore this band), as they are likely considered to be too Christian for their listener base.  Check out the videos below for BOTH new songs in the live setting (not from the show I attended), as well as the promo video for "Cuff The Criminal"....

          

By the way, the first lines of the verses are performed by Prince on lead vocals before Young comes in on the second half.  In concert, this song is a big audience participation number, with Young inciting everyone to jump around during the chorus section, followed by a group sing along on the big "whoa-oh-oh" section, which was a big hit with those in attendance.  My family had a lot of fun bouncing around and chanting along, and it was especially entertaining to see my seven year-old's shoes light up with every jump!  

From there, the band returned to more familiar waters, with two of the band's biggest hits, "God Is With Us" and "Erase", both from Long Live The Rebels, leading the show into it's midpoint and Young's traditional sermon.

For those who have never attended a Disciple show, Young regularly spends about 15 minutes speaking to the crowd, usually mixing in stories from his youth to help illustrate his point, which is based in Scripture.  On this particular occasion, Young spoke about society's need to win at all costs and our need to seek approval and reward for everything we do in life.  He talked about his band's successes and failures, all culminating in receiving a Dove Award (think Christian Grammy) that now sits on a shelf in Young's home, essentially meaningless and more or less forgotten.  Young became very emotional at one point as he talked about his youth, about not fitting in as a child and teen, and about eventually being befriended by the most popular student in school because that student had the courage to care about someone outside of his circle (they remain best friends today, according to Young).  The crowd was obviously moved by Young's willingness to bare his own emotional scars, which led the rest of the band back on stage to kick off the band's biggest track, the 2010 Christian Rock Number One song, "Dear X", which is also my oldest son's favorite song.  It was awesome to

see him get into the song so much, and the picture I managed to take during the track was, in my opinion, the best shot of the entire show, as it showcases a smiling Young next to the song's title as West hammers away at his kit.

"Game On" followed, with a three song medley of early Disciple scorchers being melded into what the band refers to as their "heavy medley".  Portions of videos to the songs are spliced together to show the band in their younger stages, particularly focusing on Young and his change in appearance and style over the years.  For those of us who have been following the band for more than a decade, this was a pretty cool treat, but I have a feeling much of the crowd had no idea where these songs came from.  The band continued in a heavier vein with the post-hardcore infused track, "Scars Remain", closing out the "regular" show.

After several chants of "one more song", the band returned to the stage, starting off with "After The World", a largely acoustic track that gave Young a chance to showcase that he is so much more than just a screamer.  The energy was cranked back up to ten for the final two songs of the evening, both from Attack, as Young broke out the band's signature flag for "Dead Militia", and then closed the evening with another massive fan scream-along track, "Radical".  All in all, the show ran for roughly an hour and fifty minutes, which is impressive for any band performing without a support act.

The band cooled down for a few minutes, before Young, Prince, and West returned to the church sanctuary and took their places behind a table and talked with fans while taking photos and signing autographs.  Prince stated that he wasn't feeling amazingly well, but he was still extremely friendly and cordial with everyone, as were West and Young.  All three men took note of the Kansas City Royals shirt and hat I was wearing (and pretty much ALWAYS wear), stating that they knew that KC had just swept their beloved Atlanta Braves team, and we chatted baseball briefly as they signed my sons' CDs and took a group picture with my 11 year old, which was likely the highlight of the entire vacation for him!

I was impressed with the show from start to finish, and even more so after talking to Prince, who was obviously struggling a bit with his voice.  This was the band's fifth show in six days, but you would never know it, as the energy level was high throughout the evening.  I was especially grateful for the band taking the time to chat with their fans, as they still had to load up and head off to another show the following night, but they never rushed anyone they were talking with.  I also want to say thanks to Destiny Foursquare Church and whomever helped to finance the concert, as amazingly, this was a FREE show to all attendees.  Truly a blessing for those who may not have been financially able to attend otherwise.

As to the venue, Destiny Foursquare Church has a very large sanctuary area and an excellent stage set-up which should appeal to other bands who may be travelling through the area.  The acoustics were very good, with no echo issues, which has been the case with shows I have attended in churches and smaller venues in the past.  The band was able to set up a merchandise area near the entrance to the church, which was easy to navigate, and the volunteers were all very pleasant to work with.  The merchandise selection was a bit thin, especially in the t-shirt department, but hopefully that is because Disciple is selling out of everything on a regular basis!  Both boys still managed to find shirts they didn't already have, and anyone who purchased a t-shirt also received a free copy of Long Live The Rebels on CD, likely so that inventory is cleared out in preparation for the arrival of Love Letter Kill Shot  

This was a great experience in an intimate environment that allowed for a lot of interaction between the band and concert goers.  This was my youngest's first time seeing Disciple, and the third time for my oldest, and both are ready to see the band again any time they roll even remotely through our area!

Keep up with Disciple's tour schedule HERE.

Reviews Index
Home

THE GRAVE DENIAL "The Grave Denial EP"

(c) 2019 Independent Release

1. Fake
2. Breath Of Death
3. Take The Pain
4. God Awaits

Steven Rester--Vocals
Ryan Carver--All Guitars
Jacob Hannah--Drums

"Never give up, Never surrender!"  Those are the words of Tim Allen's character on one of my favorite sci-fi comedies, Galaxy Quest!  It springs to mind because that had to be the philosophy of The Grave Denial, a new modern metal band based out of Nashville...and Phoenix...as in Tennessee and Arizona!  Following a relocation of one of the members, as well as a decision to change the band's name, which could cause confusion among the band's followers, it would be easy to throw in the towel for a lot of bands.  But, thanks to the digital world, putting a band together, and keeping it together despite large geographical separation is not the problem that it once was.  So, for The Grave Denial, the separation of members led to a perseverance and focus on the end goal, which was the creation of this new 4-track EP.

Formerly known as EverCross, The Grave Denial plays a heavy brand of modern hard rock/metal which they deem "metal with a message"!  Bands such as Demon Hunter, Fight The Fury, and As We Ascend would be fair comparisons to the sound of The Grave Denial, while the band also claims Metallica, Iron Maiden, Trivium, and Parkway Drive as personal influences.  In my opinion, the closest the guys come to sounding like any of these bands is As We Ascend, and that is with good reason, as Jake Jones, vocalist and guitarist for that band, produced this EP.  That is not to say that the band comes off as AwA clones, because they do not, with Rester generally employing a far gruffer vocal style than Jones, and the heft of three of the four tracks falls more in line with Demon Hunter or Fight The Fury than anything As We Ascend has done thus far.

The EP opens with the lead single, and my personal favorite track, the most "radio-friendly" song here, in "Fake".  Currently climbing the Christian Rock charts and receiving strong airplay from Christian rock stations, "Fake" deserves to be heard by a much larger, less exclusive audience, as it ranks right up there with just about anything Octane is currently playing on SiriusXM satellite radio.  Some programmed elements open the track before Rester's vocals jump in along with the rest of the band.  For the majority of the track, Rester sings in a clean style, which is very reminiscent of the approach used by Jones on As We Ascend's debut effort. A song about putting on a false front in order to deceive others, this crunchy number has a crushingly heavy chorus section, starting with Rester's building roar of "You're....so....FAKE"!  The rest of the chorus is equally biting with its condemnation of the song's subject matter, as Rester more smoothly sings about, "All the faces you create/ All the lies make your escape, /Honey dripping from your lips/ Burning bridges, sinking ships...".  The guitars are hard-edged and aggressive, and the drum patterns fall outside the typical, varying from ther cadence and approach that is so common on most hard radio rock these days.

From here, things only get heavier.  "Breath of Death" has some classic guitar elements to it, with big power chords at the beginning, but things change rapidly when Rester comes roaring in on the verse sections in a decidedly more modern vocal approach.  Then, during the pre-chorus and chorus portions, Rester's lower-range vocals have an almost Gothic feel to the way they are sung over Hannah's double bass rhythms.  There is a tempo change coming out of the second chorus, with some straight-forward metal rhythm guitar riffing and a nice metal solo from Carver, before some effects-enhanced drums lead Rester back into the fray for one more run through the pre-chorus section, and a power chord fades the song out.  A pretty cool combination of styles and approaches all mixed together in one song, showcasing the band's diversity and influences.

"Take The Pain", with its chug-chug-chugga-chug rhythm guitars and punchy drums is extremely catchy, especially with the chant along chorus and a really cool guitar solo from Carver.  There are some production effects added to certain parts of Rester's vocals, but they only serve to enhance what he is already doing with his harsh screams.  Don't think something ridiculous like AutoTune here, rather think of how a computer might digitize and fade out the end of a scream.  When done with minimal repetition, it is a cool effect, and The Grave Denial nails its application perfectly here.

"God Awaits" closes things out, and once again, a cool, catchy chorus is a huge part of the draw of this song.  Sang rather than shouted or screamed, the chorus really stands out from the rest of the song, which is a choice combination of guitar riffs, barked vocals from Rester, and rapid fire drum fills and syncopated rhythms leading into and out of the chorus from Hannah.  There's also a cool vocal bridge before each chorus, with Rester screaming out "Fear", "Death", "Hope" and "Pray" while a lower, more spoken return follows each word.  Pretty cool stuff.  Carver lays out a fairly extended, melodic solo before the layered vocals of the chorus take their final few runs through the song.  A great way to close out an all-too-short EP from a band I am definitely going to keep an eye and ear on! 

As one would expect with Jones as the engineer and producer, the sound here is top notch and professional despite no label backing.  The guitars are crisp, the vocals sharp, and the drums have a full, hard-hitting sound, with nice separation throughout the EP.  Getting Jones on board was quite the coup for the band, and I have been told they hope to have him work with the band on their full-length album when it is ready to go.

As great as the music is, what impresses me equally is the mission of the men involved in The Grave Denial.  Fully willing to back up their Christian stance, the guys have all declared themselves to "be there" for their listeners whenever necessary, and have gone so far as to set up an on-line chat on their website, and even published their own personal phone numbers for people to be able to reach them if they need someone to talk to.  Now THAT is dedication and putting your money where your mouth is!  If you feel you need to talk to them, or if you want to tell them how much you love their music or their ministry, you can find more information at www.TheGraveDenial.com .

Hopefully, we will see actual CD copies available at some point, but for now, you can get your digital EP at CD Baby.

Rating:  An excellent, crankable debut!  Blast this one at 8!

Back To Reviews Index

ELI DYKSTRA ROCKS! "Time"

(c) 2019 Independent Release

1. The Beginning Of Time
2. Invincible
3. Revolution
4. The Leader
5. Time 
6. Dissed
7. Nameless
8. Flashback
9. That Lady
10. The End Of Time
11. Serial (Acoustic)
12. Flashback (My Demo at 12 Years Old)

Eli Dykstra--Everything

If you search through the list of reviews on this site, you will find there are not a ton of instrumental albums in the archives.  And, honestly, that's a bit odd, because I actually really like guitar instrumental records, especially those of the shred variety.  Its just that its fairly hard to find any really good shred records that come across my desk.  I get an odd instrumental disc every now and then, but usually they are so whacked-out and experimental I am automatically turned off.  But when Ron Keel mentioned to me that I needed to keep an eye out for a 17 year old guitar whiz...from Iowa, of all places...who plays the outro solo on "Rock N Roll Guitar" on the Ron Keel Band's effort, Fight Like A Band.  It was from this brief introduction to his skill that I was intent upon finding more of this young man's music.

Time is the latest release from the gifted guitarist, who wrote, played, recorded, and produced everything on the album.  Blending modern hard rock rhythm guitars with incredibly rich and deep melodic leads, Dykstra reminds me of a modern Marty Friedman, whom I felt released one of the most powerful shred albums of the 80s with Dragon's Kiss, and who, along with Jason Becker, released two absolutely essential metal records as Cacophony, with Speed Metal Symphony and Go Off!.  The sheer note density of a track like "That Lady", which finds Dykstra absolutely blistering his way through an extended lead run, is reminiscent of the great shred records in Shrapnel Records' halcyon days.

Time is cleverly kicked off by "The Beginning Of Time", which is a short, mood-setting piece that wraps in just over a minute.  The drums are pretty solid, if not overly spectacular, but the juxtaposition between the hard charging rhythm guitars and the smooth flow of the melodic leads are what the listener should be tuning in for, because once Mr. Dykstra starts on this record, he never lets up, right through the appropriate ending track, "The End Of Time".

It is difficult to pick favorite tracks here, as each one has its own personality and mood.  That being said, I have to say that I am particularly drawn to three cuts.  "Dissed" has a big, epic feeling, especially with the opening keys slowly building anticipation before an angry, aggressive rhythm guitar rips through the serenity of those keys.  A few hard-charging riffs later, a melancholy lead guitar line rings across the soundscape, creating a melodic counterpoint to the angst of the rhythm guitats.  Great stuff.

Another favorite track is another aggressive rocker, "Revolution".  Much like its title would suggest, there is an angry tone running throughout the track, especially when the rhythm guitar crunch their way onto the scene, yet the lead guitar work is, much like in "Dissed", nearly the polar opposite, carrying a much more melodic tone, with areas where the notes seem to hang in the air forever as Dykstra coaxes the life from his strings, while at other times there is such a flurry of fretwork that it seems nearly impossible the way Dykstra's fingers blur through the notes.  The drums here are spot-on, in my opinion, and the bass work serves to further bolster the aggression of the rhythm guitars.  Awesome, awesome song.

The third song I chose to really highlight is one which Dykstra recently released a video for..."The Leader".  As with everything this guy does, Dykstra did the video entirely by himself, and this also happens to be the first video he has ever made.  If you look closely, you will notice that Dykstra is playing a 7-string guitar in this video, which is not overly common in the style of instrumental albums I come across, so I was curious as to if there would be a significant difference in tone or quality of sound.  All I can say is extra string or not, Dykstra absolutely delivers on this track, both on lead and rhythm guitar.  In fact, one of the things I really love about this song is that at about the 2:09 mark in the song, the rhythm guitars become the focal point of the track, while the lead guitars are shifted more to the background, rather than the usual leads-out-front style.  To me, this gives the song a different feel than many of the others here, and adds a sense of urgency to the leads, as if they are screaming to be heard, only to be drowned out by the angry shouting of the rhythm lines!  Give the video a look and see if you agree...

I know I said I was only going to run through three "favorites", but "That Lady", which is the epic of the record at 6:26 in length, also deserves special recognition, as it really allows Dykstra to showcase the full range of his skill.  Moody in places, aggressive in others, with areas of blistering speed and, alternately, laid back finger strumming on a the bedrock guitar line for the majority of the song...and even a gentle piano section near the beginning of the track....all blend together into a truly beautiful song that honestly leaves me in awe of this young man's talent on apparently any instrument he chooses to play.

Oh, and what the heck...a special shout out goes to "The End Of Time", also, as rather than simply playing it safe and dropping in a simple outro to mirror "The Beginning Of Time", Dykstra closes the album proper with more aggressive rhythm riffing and several big, melodic lead runs that are both intensely fast in places and gorgeously drawn out in others.

There are two bonus tracks added to this album after "The End Of Time" wraps up the album-proper.  "Serial" is perhaps mislabeled as being an acoustic effort, as while the rhythm guitars are acoustic, there is a fully-plugged in lead guitar that rocks full-on as hard as the majority of the record, with string-scorching fret runs and exquisitely emotive passages, as well.  And while not the best overall track on the record, the inclusion of Dykstra's first demo...from WHEN HE WAS 12!!!...is an absolute stunner to hear.  "Flashback" appears in both this demo form and in a newly updated, fully produced version on the album proper, and it shows the growth the musician has gone through, to be sure.  However, the speed with which the younger Dykstra played, as well as how cleanly he played at such a young age, is something that a lot of more seasoned players would do well to take note of.  I'm assuming this was a self-composed track, as well, and while the programmed drums are simplistic and the production is fairly thin, especially when compared with the excellent sound on the rest of the record, this 2:40 riff explosion deserved to be heard by others and I am glad that it is included here.

The packaging is simple, as it is just a slip case, and what you see in the picture above is what you get, as the only thing on the back is the track listing and the copyright info, as well as the simple notation, "All music written, recorded and produced by Eli Dykstra Rocks!".  Apparently, the only thing Dykstra didn't do was take his own cover photo, which was credited to Shawn Hudgins on the back.

Shredheads, I apologize, as I know nothing about his equipment other than the previously mentioned fact that he plays a 7-string LTD guitar in the video (which has the EXACT OPPOSITE color scheme of the 6 string he is holding on the album cover, which I personally missed until Dykstra pointed it out to me!), and he endorses that he uses Curt Mangan strings and EMG Pickups.  Perhaps at some point I can get an interview with Dykstra to get more information to those of you who are as much into playing as you are into listening.

Rating:  A stunning effort from start to finish, crank this brilliant work to a 9!

Back To Reviews Index

SEVENTH DAY SLUMBER "Closer To Chaos"

(c) 2019 RockFest Records

1. Alive Again
2. Cold Kiss Embrace
3. Burning An Empire
4. Drama
5. Light It Up
6. Man Down
7. The Letter
8. Still Breathing
9. Sober
10. Your Eyes

Joseph Rojas--Lead Vocals, Guitars

Jeremy Holderfield--Lead Guitars

Ken Reed--Bass

Blaise Rojas--Drums

I've been on board with Seventh Day Slumber for several years now, going back to when I first heard the band in a live setting (I was there to see another band, truth be told) as they were on tour to support their then-new release, We Are The Broken.  Since that time, I have managed to track down just about every single release the band has put out, and I have found varying degrees of enjoyment with each release.  From the post-grunge beginnings found on Picking Up The Pieces to the modern radio rock success of the previously mentioned We Are The Broken, the Redline EP, and the band's last studio effort, Found, the band has managed to continue to grow bit by bit, subtly altering and updating their sound, while never losing track of who they are...and definitely never compromising on their message.  And, while the band has had numerous Billboard #1 and Top Ten hits, two number one albums, and more than 500,000 albums sold, I always felt the band was still searching for that album that was going to truly define who Seventh Day Slumber is and what the 7DS sound really is.

With Closer To Chaos, I believe they have found that album!

The songwriting on this record is simply a step, maybe even a step and a half, ahead of anything the band has put forward up to this point.  And, with the list of accomplishments I rattled off for you above, that really says something!  But there is a cohesiveness to the writing here, as well as a maturity, that wasn't always present before.  Where every previous album had about three...maybe four...great songs and one or two filler tracks, surrounded by nice but not necessarily noteworthy tracks, Closer To Chaos tightens things up significantly!  Nowhere to be found are the filler tracks, and nothing here is forgettable at all.  With writing contributions from both Joseph and Blaise Rojas, as well as Josiah Prince (Disciple) on three songs, the band carves a melodic-yet-modern path through the rock landscape with each and every track here.

Just because the album is full of great songs, that doesn't mean there aren't a handful that really grab my attention.  Take, for example, the album's first track and lead single, "Alive Again".  After a brief build, the rhythm guitars and punchy drums jump straight to the front of this mid-tempo hard rocker about wanting to be able to be the real you and to put your best foot forward, not having to put on a fake smile and just make it through the day.  Holderfield's guitars carry an aggressive edge with a stop-start-stop-start chugging approach that is executed perfectly here as it drives the track forward.  It's also nice to hear Ken Reed's bass so even in the mix, as the bass seems to either get buried, or totally BLASTED in the mix on a lot of rock records now, but here, we get the perfect blend of present but not predominant from the bass.  Joseph's vocals are powerful here, particularly on the bridge section, and I am constantly in awe of how easily he slides across certain sections of this track (and many others), coming across like he is having a conversation with you with his delivery style.  I love it!

"Burning An Empire" is an extremely powerful song and a commentary on how our society devalues itself.  The second verse, especially, really punches the listener in the gut as Joseph eloquently lays out the abortion debate from the viewpoint of the pro-choice crowd...

"We are the ones who decide/Who lives and who dies/We let the unborn pay the price...
Its all just murder for hire/So you can fill your desires/As we go on with our own lives.
What will it take to see the mess you've made?
We're Burning an Empire...."

The whispered vocal bridge is every bit as powerful here, as well...

"There's evil in your eyes/Your blood-stained hands don't lie.
You're rotting deep inside/Rotting deep inside..."

Its a truly haunting statement about what society values and what it discards, and it is a song that I can never get through without hitting repeat at least once.  This song is definitely in the mix for best track on the album.  Musically, its equally great, and while SiriusXM will ignore it, this track could (and should) share the airwaves without anyone batting an eye until they got to the lyrics.  An awesome, awesome song!

Speaking of songs that get repeated, the powerful "Man Down" ranks as one of the very best tracks this band has ever put onto a record.  Starting (and ending) with the sounds of war, the song soon leads the listener to the realization that the sounds are the soundtrack to a nightmare being had by a soldier with PTSD.  A truly powerful message about the men and women who continue to live and relive the hellish experiences of war, even when they return home, "Man Down" should be picked up by any number of military and police organizations that work with survivors.  Co-written by Blaise Rojas, "Man Down" is quite likely my favorite track on an album filled with excellence.  The guitar tones are as haunting as the subject matter, and the chorus rings in my head for hours after hearing the song...literally.  It gets stuck and I can't get it out...

"Man down/We've got a Man Down!
Crying for help/But I can't make a sound,
Trapped inside/My own mind!
Losing control/Of all my emotions
Is there a cure/For the wounds that I've opened?
I'm bleeding out/We've got a Man Down!"

Big drums, a powerful bass presence, and those haunting guitars all combine to make an incredibly powerful song that, again, should be all over the airwaves!  Request it, hashtag it to Octane or your favorite terrestrial station, do whatever you can to get this important song out there!

The follow-up track, "The Letter", delivers an equally powerful message about the issues of cutting, self-harm, and suicide, issues I work with on a regular basis in my real job.  The gut-level honesty that 7DS approaches these songs with is what makes them so powerful in my mind, and this track sounds like it was likely written as a compilation of hundreds of letters and conversations with hurting fans throughout the years.  There's some nice modern production elements dropped into the mix leading into a tasty little guitar solo, and again the drums and bass just punish the bottom end of this track.  Good, hard-hitting stuff, both musically and lyrically.

"Sober" is another cold slap of reality as it tackles the issue of addiction and the use of chemicals to mask pain and depression.  As a teacher who works with juvenile offenders, this song really hit me hard, as it is the soundtrack of so many of my students' lives when they are dealing with parents who are substance abusers.  But it was these lines, lines of hope, that really cause my eyes to sting...

"I wanna medicate/But I gotta sit through the pain.
To tell the truth/I almost picked the bottle up again.
I made a promise to my kids
Daddy's never going back, no matter how hard it gets!"

The chorus, however, is such a pleading look at pain and self-medication that it hurts to listen to.  Musically, the guitars take on an angry, crunchy tone, with some electronic elements buried way in the back just to lend support and fill in the rare instances when the drums and guitars take a quick breath!

The record's closer, "Your Eyes", is an excellent, hard-hitting rocker that closes out this excellent album in perfect fashion.  Crunchy guitars, rumbling bass, big drums, a supporting keyboard line, and some great backing vocals (big WHOA's!) on the chorus section all combine on this track about self-worth and seeing oneself the way that Christ sees us.  For me, this is the perfect track to close the record...and then restart Closer To Chaos all over again!

This is an excellent record from start to finish, and I didn't even get to touch on all the great tracks like "Drama", with it's big hook and catchy chorus, or the gritty, chunky "Cold Kiss Embrace", a song about moving away from toxic relationships and toward being healthy and happy with oneself!  There simply isn't room to give each track here the written love it deserves!

Band founder, lead vocalist, and rhythm guitarist, Joseph Rojas is in especially fine vocal form here.  I don't think he has ever sounded better, to be honest.  Always smooth, always melodic, there is a depth and power here that was not always present on albums past, at least not all the way through.  But on Closer To Chaos, Rojas is one-hundred percent in full control of his range, his emotional depth, and his vocal presentation.  This sounds to me like an album where the band worked at finding exactly the right vocal take on every track to get the sound they were after, and it pays big dividends here.

It's also worth noting the growth in Blaise Rojas' playing.  He has definitely matured as a musician, with his drum patterns and fills becoming more and more interesting, bringing an energy and life to the songs now, whereas on previous efforts he was more in "maintain the beat mode" in places.  And while that has worked (to a degree) for any number of drummers in the rock industry throughout the years, it is always a treat to hear a drummer not just rely on the same-old-same-old and to grow and challenge themselves, and the listener, with new ideas, new tempos, new fills, etc.  With his sound married to the impressive work of long-time bassist Ken Reed, the rhythm section has a fullness on the bottom end that few bands in the modern arena have managed to capture on a record that has crossed my desk.

Produced by the band's longtime, and seriously underrated, guitarist, Jeremy Holderfield, with co-production nods given to Disciple's guitarist, Josiah Prince, the sound here is crisp, aggressive, and beautifully mixed, without the muddiness that seems to really make a mess of a lot of the modern rock that has come out recently.  There are touches of production elements thrown into the mix, but overall, Closer To Chaos is about the band, not the studio, and the conservative use of production gimmicks should be applauded here, as my experience has always been that Seventh Day Slumber doesn't need them.  Having experienced the band live multiple times now, I can tell you they put on a great show, and with  Closer To Chaos, they may have some hard decisions to make for this next tour's set list, as there are a lot of new songs that need to be heard in the live setting, to go along with "We Are The Broken", "Bring It On" and "Oceans From The Rain"!

If you catch them live, post their set list in the comments section; I'd LOVE to find out what they are playing now!

Rating:  While there have been other really good Seventh Day Slumber records, this is easily the most crankworthy!  Crank this to an 8.5!

Back To Reviews Index 

WHITESNAKE "Flesh & Blood"

(c) 2019 Frontiers Records

1. Good To See You Again
2. Gonna Be Alright
3. Shut Up, Kiss Me
4. Hey You (You Make Me Rock)
5. Always Forever
6. When I Think Of You (Color Me Blue)
7. Trouble Is Your Middle Name
8. Flesh & Blood
9. Well I Never
10. Heart Of Stone
11. Get Up
12. After All
13. Sands Of Time

David Coverdale--Vocals

Reb Beach--Guitars

Joel Hoekstra--Guitars

Michael Devin--Bass

Tommy Aldridge--Drums

Michele Luppi--Keyboards

Believe it or not, it's been 8 years since Whitesnake released the very strong Forevermore, which found its way into 2011's Top 11 of the year.  It has also been just over three years since the band released the relatively disappointing The Purple Album, which was...well...it wasn't good, and even more, it was unnecessary.  And whereas Forevermore felt like an album from a band that had a new fire lit in its belly, The Purple Album felt a lot like a band running on fumes.  So when I heard that Coverdale and Company were firing up the Whitesnake machine for one more run, I have to admit I was rather guarded in my feelings about it.  Which version of the band would we get?  And, more to the point, could the band even attempt to recapture what they had back in 2011...let alone what they had back in 1987?

The answer lays somewhere in the middle, in my opinion.  There are some massive arena rockers that would likely have dominated radio and concert venues were this 1987, with "Hey You (You Make Me Rock)" being chief among them.  With a huge, chant-along chorus, thundering drums, and some catchy guitar licks from Beach and Hoekstra, this type of track was what made Whitesnake the huge band they were in that time frame.  Coverdale sounds great here; a bit aged, vocally, but still powerful overall, and the band feels energized and excited.  The solo here is top flight fret running from Beach, and Devin's bass is a welcome presence throughout the track.  It's not hard at all to imagine fists thrusting into the air with every big "Hey...You...", nor is it difficult to envision a hundred Tawny Kitaen wannabes bumping and grinding in the front row.  

"Gonna Be Alright" is another straight-outta-the-80s rocker that just sounds like Whitesnake.  Seriously, by the time the track is just 20 seconds old there is zero doubt that this is Whitesnake.  The subtle hints of keyboards, the catchy guitar hook, the purely-Coverdale lyrics, the laid-back-yet-ultra cool guitar solo....all the ingredients of the soundtrack of 1987-1989 Whitesnake.  In fact, if you had 1987 Coverdale vocals and production on this song instead of 2019 Coverdale vocals and production, it would slide nearly perfectly onto either Whitesnake or Slip Of The Tongue.  To put it simply... This.Is.Whitesnake.

Likewise, 80s radio-rockers like the opening "Good To See You Again" (What?  Me?  David Coverdale is glad to see ME again?!), and lead single "Shut Up And Kiss Me" (see video below) have a sound and feel that are undeniably from the 80s, even if "Shut Up..." feels a bit more Y&T than classic Whitesnake, at least to me.  You have to forgive Mr. Coverdale for borrowing from his past as he brings back the infamous white Jaguar...and even his jacket...from the now classic "Here I Go Again" video, but I have to admit it is pretty much embarrassing to watch these new "video vixens" doing their best Kitaen as they writhe around on the hood of the car.  Come on, David!  These girls could be your grandchildren, for crying out loud!  The song is catchy and the band definitely looks like they are having a good time, with the interplay between Hoekstra and Beach particularly strong here.  

 

Indeed, it is the harder, heavier numbers where the band is at their best here, with the tasty-if-lyrically-cliched "Trouble Is Your Middle Name" being one of my favorites here, with some exceptionally strong guitar work.  "Get Up" is another great rocker, sounding a lot like the material the band was working with on the Slip Of The Tongue album in 1989, with Aldridge's drums sounding particularly snappy here, with more classic solo runs from Beach and Hoekstra.  Where the band works best, however, is on the slithering "Well I Never", which sounds as if it could have been written for their classic, self-titled release.  The bass line absolutely throbs its way throughout the track, and the guitars slink and slide their way through seemingly every open space on the track.  Aldridge's drum sound here is huge and arena shaking, with this rhythm and patterns, particularly as they build up to, and then support, the guitar solo being some of the best on the record.  Coverdale works his magic on this track, as well, making even the simplest of choruses feel bigger than it actually is.  This type of song is classic radio-era Whitesnake and likely exactly what most fans are looking for from this record.

The sultry "Heart Of Stone" is an excellent contribution here, also, carrying a tempo relatively similar to "Crying In The Rain", using that bluesy bump-and-grind rhythm that finds its way into so many great Whitesnake songs.  Teasingly close to a ballad, but too ballsy and too heavy to really fall into last slow dance at the prom territory, this is another example of what Whitesnake does, and has always done, so well.  The guitars are especially soulful here, and the trade-off between the bass and the drums works exceptionally well.  I'm also a big fan of what the band does on album-closer, "Sands Of Time" with it's big, nearly "Kashmir" guitar hook, as I have always felt this type of song was the strong suit of the band (think "Still Of The Night" and "Judgement Day" as excellent examples), incorporating that hard bluesy swagger of Zeppelin with the bottom-heavy crunch Whitesnake always utilized in their best moments, and those scorching, searing guitar solos that seemed to run throughout these big songs, regardless of who was manning the axe at the time.

 

There are a couple of misses for me, however, which is probably to be expected when an album is stretched to 13 tracks.  The acoustic "After All" really does nothing for me, with its layered backing vocals and sappy sentiment, and it ends up sounding to me like something the bridesmaids and flower girls might walk down the aisle to.  And there's just something about "When I Think Of You (Color Me Blue)" that just doesn't sit well with me.  It sounds too much like a recycled song to my ears, with nothing particularly catchy about it.  It's not a horrible song, its just not memorable at all.

The production is generally pretty good, although I'm surprised more effort wasn't given to pumping up Coverdale's vocals just a tad.  40 plus years of singing, screaming, wailing, crooning, etc., have thinned things out a bit for Mr. Coverdale, even if his hair doesn't appear to have thinned at all!  Even so, there is an undeniable charm to the fact that Coverdale apparently accepts his voice for what it is now, so perhaps Frontiers did the best thing they could do in this case, which was to do nothing.  The separation of instruments is very good here, and I don't detect any issues with muddiness at all.  In fact, if anything, some songs feel a bit tinny when I listen to them in my home, but when I put them in my Tahoe's CD player, these problems seem to disappear, so I'm guessing some subtle EQ adjustments at home would clean this right up.

There are a couple of bonus tracks, as well as some remixes on the CD/DVD version of this release, so completists will likely want to track that version down.  Me, I never watch the DVDs, so I don't see myself hunting that one down.  I'll likely just buy the bonus tracks somewhere and burn myself a new version of Flesh & Blood without "After All" and with the bonus cuts thrown in.  I'm also not much of a remix/radio edit guy, so those types of tracks are generally lost on me.

So, in the end, how does Flesh & Blood fare in stacking up to classic-era Whitesnake, or even the excellent-but-overlooked Good To Be Bad/Forevermore-era Whitesnake?  I think this is a strong record, overall, and it is leaps and bounds better than The Purple Album, and I personally think it is a stronger album, overall, than Slip Of The Tongue.  Maybe not quite to the Forevermore level for me, but darn close, I found myself really enjoying this record, despite my original concerns.

Rating:  Crank this to an 8.

Back To Reviews Index