DEVOID "Lonely Eye Movement"

 

(c) 2021 Frontiers Records

1. Lonely Eye Movement
2. Man Without Fear
3. Impostor
4. Destination Heaven
5. Waiting For The Storm
6. In The Absence of Holiness
7. Mirror Maze
8. Hands Of Salvation
9. Stroboscope Life
10. Martial Hearts
11. Wood And Wind

Carsten "Lizard" Schultz--Lead Vocals

Shad Mae--Guitars

Gwen Kerjan--Guitars

Jorris Guilbard--Keys

Geoffrey "Shob" Neau--Bass

Benjamin Lesous--Drums

Additional Musicians

Jonas Klintstrom Larsen--Saxophone

Fabrizzio Sgattoni--Additional Guitar solo on "Man Without Fear" and "Impostor"

Max Van Esch--Additional Guitar solo on "Waiting For The Storm" and "Destination Heaven"

Christian Muenzner--Additional Guitar on "Absence of Holiness"

Four years ago, I heard an album that I declared to be "the most crankable melodic metal album I have heard in some time".  I was honestly left somewhat slack-jawed, as it had been a long, long time since a melodic prog metal record had grabbed me the way Cup Of Tears from Devoid did.  To this day, even after changing vehicles, Cup Of Tears is one of a small handful of albums that is always with me when I commute or travel.  I love that record that much!  So, when Shad Mae told me that he was working on a new Devoid record, I was obviously filled with excitement, but also a bit of trepidation, especially after I learned that the band had been signed to Frontiers Records.  Not because I have an issue with Frontiers, but more because I was worried the label might try to impose some sort of style or sound on the band, whereas Cup Of Tears was released as an indie project on Melodic Rock Records, with Shad having complete control of the sound.  Additionally, there are a couple of lineup changes here, as the entire rhythm section is changed with Neau and Lesous coming on board on bass and drums, respectively, and a second guitarist being added to the mix with Kerjan.  Would the magic and chemistry of that first record be diminished?  

And, of course, there's always that dreaded "Sophomore Slump"...can the second record EVER live up to the original?

Turns out, I had absolutely nothing to be concerned about, as Devoid has released yet another stunning album of top shelf melodic prog metal, with touches of power metal and hard rock thrown into the mix!

The album kicks off with the title track, "Lonely Eye Movement", and almost from the get-go, my ears feel like they are in their happy place!  Frantic-yet-melodic guitars rush in in a flurry, with some intricate piano work off-setting the riff frenzy that is only enhanced by the rapid-fire drum work from newcomer, Lesous.  Wow...there is a LOT going on right from the start, and the raspy powerhouse that is Lizard Schultz hasn't even sparked to life yet!  To me, Schultz is an absolutely one-of-a-kind talent that has a "gun for hire" kind of reputation (he's performed with a LOT of bands) that I am always surprised was never locked down as "the guy" by someone, and his performance on the previous Devoid album cemented his upper-echelon status for me.  And now, just one song into Devoid, Mk. II, nothing has changed, as he manages to be smooth, yet with an edge, as he drives through the album's namesake tune.  The piano break at the 2:30 mark reminds you that this is not purely a metal album, but an album of movements and textures and layers, and the album is off to a rip-roaring start!  Check out the video for this lead single below...

"Man Without Fear" (the theme song to a new Daredevil series?  No comic nerds, here?  Okay....) intros with a synthesizer that is soon buried by a screaming guitar and frantic fret runs, before everything becomes momentarily still, allowing the focus to be placed solely on Schultz as the first verse kicks off.  Have no fear, however, as the guitars return to work in short order, as does the rumbling bass from Neau, as the song builds to a powerful chorus section that really lets Schultz air things out, especially on the second and third times through.  The first guitar solo here is more about feel and fluidity than on string-scorching speed, and the keyboards add different textures to the song here as it leads into a short vocal bridge.  From this point, the speed picks up on Mae's next solo, a more aggressive attack that fans of the first album are probably accustomed to.  

"Impostor" builds upon the big, atmospheric, choir-like synthesizer that leads the song into existence, adding Lesous' thundering drums and the twin guitars of Mae and Kerjan on this seemingly mid-tempo melodic rocker.  I say "seemingly" because there is all sorts of aggression and speed and metallic intent dwelling just beneath the surface here, with machinegun-like bursts from Lesous and some seriously aggressive, metallic sonics in places here, including an absolutely blazing guitar solo, that doesn't do anything to belie the epicness of the song overall.  This is a big song that may require multiple listens to truly appreciate everything that is going on...because there is a LOT going on.  Definitely a track that vies for top-billing here.

"Destination Heaven" mixes things up, with an Eastern-sounding intro with a much slower tempo than anything else up to this point, but that changes up quickly as Mae's fingers start to fly on a big solo run before the first verse even kicks off.  And Mae isn't alone in his solo efforts on this track, as Max Van Esch also throws down with a massive axe attack on this song that features not one, not two, but three different guitar solos, along with even more impressive kit work from Lesous, who may be becoming a real hero on the drums for me.  It's not that he's the fastest drummer on Earth (although speed is NOT an issue), it's the little things he does to fill in gaps, to alter tempo ever so slightly, or to catch the listener's attention in a passage that may otherwise sound relatively routine.  Of course Schultz dominates here, alternating between a full bore wail and a lower-registered rasp, and everything is clicking perfectly and the Devoid machine is charging ahead with precision performance at this point.

Things change a bit, stylistically, with "Waiting For The Storm", which is a bit moodier than the previous tracks.  The second longest track on the record at more than six minutes in length, "Waiting For The Storm" is also the album's first venture into slower territory, although we aren't listening to a ballad by any means.  The track enters with a wash of keyboards, followed by much slower-tempo guitars and drums than anything up to this point, building in power through the verse sections to get to the big chorus, where once again Schultz is given room to soar across some excellent layered backing vocals.  At around the four minute mark, Devoid really throws a curveball to the listener, as a rich tenor saxophone solo drops in, adding a completely different flavor and mood to the tune.  Personally, I have always loved the use of the sax in the right songs ("Promised Land" by Queensryche, anyone?), and this is definitely the "right" song!  This is a big, big song already, and the addition of out-of-the-box instrumentation only serves to show the depth of the songwriting and the confidence of the band in the material they are working with.  A lot of bands might have chosen to play things safe with a big label debut; I'm glad Devoid isn't a lot of bands!

"In The Absence Of Holiness" jolts the listener with yet another quirk, this time with a syncopated drum rhythm that totally changes the feel of the track right from the outset.  Slower during the verse sections and built up just a bit tempo-wise in the chorus breaks, the pace of this track is all over the place (in a good way), and it is amazing to me just how fast a drum pattern can be in a song that is otherwise not really all that fast.  Ditto the blistering fret-burner of a solo from Mae; how fast can your fingers fly in a song that many would consider the "slow point" on the record?  Again, this isn't some kind of power ballad, but it definitely isn't speed metal, either, and keeping track of the tempo changes from instrument to instrument would likely require a chart and musical calculus I don't feel comfortable performing.  "In The Absence..." is a completely different animal than pretty much everything else on Lonely Eye Movement, and even after repeated listens, I can't always predict where the speed-ups and slow-downs are going to hit.  Good stuff!

"Mirror Maze" picks up the pace from its predecessor, with even more virtuoso-styled playing from Mae and Kerjan.  For me, however, the use of a completely foreign percussion element here adds an entirely different layer of uniqueness to this track.  The first time I heard it, I was scouring the internet (seriously...I can be that big of a nerd at times) to find out what instrument I was hearing, as it sounded like hollow wooden blocks, the type you sometimes hear on music from remote islands, was being implemented in this otherwise modern melodic metal tune.  Finally, just the other day, I messaged Shad to enlighten me as to what was being played.  He put my brain to rest when he told me the sound was actually synthesized, but in no way does that fact damper the impression the sounds add to the music here.  I love the experimentation and the ability to move beyond the scope of what is considered "metal", even in a prog metal atmosphere.

"Hands Of Salvation" continues with the more aggressive work and follows up "Mirror Maze" spectacularly.  Pretty straight forward in its sonic assault, the rhythm guitars claw their way through the track and Lesous utilizes a galloping style in numerous places here to push the band's sonic agenda here.  The solo from Mae is absolutely blazing along...and then BAM!...a completely out of nowhere piano interlude drops in at nowhere near the pace of the rest of the track, only to be absorbed back into the rest of the song as the tempo builds back to its original level, with the guitars screaming to life then fading, leaving only Schultz to hold out the last few beats of the chorus by himself at the end of the track.

"Stroboscope Life" hits hard right from the start with the guitars and drums, with the verse sections especially aggressive, before the keys are filtered into the chorus sections and the tempo backs off a click or two.  Once again, some really solid layering is done to the backing vocals, which I always love to hear, and some metallic riffing is done to really kick off Mae's next fret flurry, with a run that changes tone and style no fewer than three times in the span of the solo.  The music fades beneath the repeated runs through the chorus at the end, and Schultz stands alone at the close as he runs through "another flash of light..." one last time.  

"Martial Hearts" feels like a bit of everything this album has been building to, taking various elements of speed, melody, harmony, and rhythm, and intertwining everything.  A big, epic keyboard intro, powerful verse sections supported by those taut, aggressive rhythm guitars and machinegun drums, and a catchy, hooky chorus all snag the listener's ear, only to be dragged this way and that by the various guitar acrobatics that Mae unleashes.  Schultz is equally impressive, utilizing multiple different approaches on his vocals, adding grit here, subtracting volume there, building up and then backing off.  Clocking in at more than 7 minutes, "Martial Hearts" is broken into two cleanly separated sections, with the interlude at the 4:30 mark washing into nothing but a single, static layer of keys holding the same note for a stretch of several seconds.  It feels as if the song may be allowed to fade out after a time, but slowly the band rebuilds everything it had seemingly allowed to come crumbling down, a new sonic landscape of guitars and drums and keys growing and growing out of that interlude of nothingness.  For more than two minutes the song builds to a crescendo, with new layers of instrumentation being added, new guitar lines ringing in, and then the song is allowed to finally fade, bringing the album proper to an uplifting end. 

The album closes with "Wood And Wind", an acoustic jazz instrumental that features more saxophone than many of "true metalheads" have likely heard on an entire album, let alone on a song, as outside of the acoustic guitar, that sax is really all there is.  Written for Shad's daughter, "Wood And Wind" won't add a ton to the album for a lot of people, again, especially not the "true" crowd, but for those of us who simply appreciate great musical talent, it is a fun, fascinating listen.  To me, it adds further proof as to the songwriting abilities and musical talents of this incredible band. 

The production is spectacular to my ears, with a clear separation of guitars and really, really good sound being culled from the drums.  I love the tones used throughout the record on all of the instruments, and I am impressed with how Schultz's vocals are handled, as he is never buried, nor does he bury anything else.  The flow of the record is pretty much perfect to my ears, with the variance between song lengths and styles keeping things interesting and unpredictable.

How you receive this record is going to depend largely on how you approach music in general.  If you are looking for horns-in-the-air metal anthems, or big-haired power ballads, neither is going to be found here.  No death vocals to offset the clean vocals, no breakdowns, and no radio hits are going to be found on Lonely Eye Movement.  What you will find, however, is one of the most compelling, interesting, sonically intricate melodic metal albums of the last few years, with long, string-bending solos and flourishes of speed countered by sections of power and expression, both musical and lyrical.  Heavy doses of aggression are backed by equal doses of melody, and massive, hook-laden songs that stick in your brain for hours on end, not because of a repetitive chorus being chanted over and over, but because the songs speak to you in a way most music doesn't.  At least that has been my experience in absorbing this latest effort from Devoid, and I truly feel it will be yours, as well.

Devoid proves they are no fluke with Lonely Eye Movement, adding new elements to the already spectacular platform created by the band on Cup Of Tears.  Continued emphasis on superior songwriting, Mae's exceptional guitar work...now bolstered by his accomplice, Kerjan...and Schultz's top-notch vocals all contribute to an amazing follow-up.  No "sophomore slump" here, Lonely Eye Movement is guaranteed to hit the G2G Top 21 of 2021!

Rating:  Crank this to an incredible 10!

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WAR OF AGES "Rhema"

 

(c) 2021 Facedown Records

1. Sleight Of Hand
2. Pyrite
3. Unspoken
4. No Altars

Leroy Hamp--Vocals

Steve Brown--Guitars

Jack Daniels--Guitars

Elisha Mullins--Bass

Kalem Luebchow--Drums

Sixteen minutes and change.  That is all you have to brace yourself for the (mostly) full-on metalcore onslaught that is War Of Ages new EP, Rhema.  16:02, is the length of the entire EP, to be precise.  That is not very long.  You can almost get your oil changed in the same amount of time...which, come to think of it, would be a great way to spend the time!  The point is that War Of Ages has just these four songs and 16 minutes to melt your face and pummel your body with crushing riffs, thundering drums, and harshly barked metalcore vocals.

And they do exactly that!

If you are a follower of the metalcore scene, in general, or the Christian metalcore scene, specifically, you likely have already heard half of this EP, as both "No Altars" and "Sleight Of Hand" have been previously released as singles.  "No Altars" which debuted in June of 2021, may be my favorite War Of Ages track ever, with its absolutely crushing twin guitar attack and Luebchow's massive drum sound all combining with Hamps signature vocals to deliver an absolutely scorching, yet somehow still melodic, slab of metalcore that fans of the band have likely been salivating over for several months now.  This is one potent track, both musically and lyrically, with Hamp barking in the first verse: 

"My God will set fire to your altars!  

Pray to your gods while burning in your disbeliefs!  

You'll be the first to admit that you've abandoned...

All hope in your fight for integrity!"

Before the melodic pre-chorus sings:

"Oh, God, eternal

Reach down, You see all that I am.

You know my heart is yearning.

All else will fade away."

And then roaring through the chorus...

"Fall to your knees!

Bow down to the one true King!"

 

"Sleight Of Hand" is a bit more chaotic at the outset than "No Altars", with discordant guitars crashing their way through a brief intro before the machine gun burst of the drums bursts the song into its true form and Hamp comes out ferociously snarling at his angriest!  "Sleight Of Hand" of course, still maintains the melodic sensibility that War Of Ages is known to weave throughout the brutality of their songs, and an early guitar solo, along with the layered singing portions of the song, serve to set what War Of Ages does apart from so many others in the field.  Equally as crushing and intricate as "No Altars", "Sleight Of Hand" is another WoA track that has wormed its way to the very top of my faves list in a rapid ascension.  Truly great stuff here.

The other two tracks here are, as of yet, unreleased.  "Pyrite" is another all-out-angry crushfest, with some of the most interesting drum patterns on the EP, and an absolutely frantic-yet-melodic guitar line running through the pre-chorus sections.  Make no mistake, the jackhammer rhythm guitars and absolutely devastating drums (do I detect some blast beats in one brief section?!) set a tempo that threatens to launch the track right out of your speaker....until a sudden tempo and stylistic shift turn the song completely on its ear for about 40 seconds as a gorgeous, soulful guitar solo threads its way through the darkness that Hamp's throaty death growls delivers.  There is a LOT going on here, and I suspect fans of As I Lay Dying are going to find themselves hitting repeat, well, repeatedly on this one.

"Unspoken" sets the listener back on his/her heels immediately with the bluesy, jazzy style of guitars that intro the song.  Not kidding, I thought that somehow the preview tracks I was sent got mislabeled somehow by my computer, as those first 15 to 20 seconds are completely out of left field.  However, once the melodic clean vocals hit with a hint of what is to come on the chorus, my brain rights itself and is instantly sucked into this more mid-tempo metal assault.  Tempo-wise, this track treads very similar ground to what Fit For A King has done on its last couple of albums, although I have to say the solo guitar work here...along with Luebchow's absolutely insane drum work...set War Of Ages apart from their metalcore counterparts.

How this band has not become more well-known is beyond me.  Hamp and Brown have been hammering away at your eardrums and skulls as War Of Ages for nearly two decades now, and every release has been a blistering, sonic assault on the senses.  With the addition of Daniels in 2013, the band stepped things up even further, and with a full line-up that has been in place for four years, there is a chemistry that is undeniable on the last two albums and now this new EP.  Will Rhema be the step that launches the band into the realms of the metalcore elite?  There are 16 minutes and two seconds of melodic metalcore fury and aggression on Rhema that say it may just be the ticket.  If not, stay tuned, as I have no doubt that War Of Ages has even more to crush you with in the near future!

Available digitally, on a limited edition vinyl, and CD, snag Rhema today at     www.warofagesmetal.com and maybe schedule an oil change during which you can absorb the melodic ferocity of this EP!

Rating:  Short, to be sure, but blisteringly crankable!  Spin this up to an 8, with two or three more songs likely pushing this into 9, or higher, territory!  Get it now, metalcore fans!

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VICTORY "Gods Of Tomorrow"

 

(c) 2021 AFM Records

1. Love Hate
2. Gods Of Tomorrow
3. Cut To The Bone
4. Dying In Your Arms
5. Hold On To Me
6. Into The Light
7. Mad
8. Unconditional Love
9. My Own Desire
10. On Fire
11. Rising Force
12. In Rock We Trust
13. Leave You Alone

Gianni Pontillo--Lead Vocals

Herman Frank--Guitars

Mike Pesin--Guitars

Malte Frederik Burkert--Bass

Michael Stein--Drums

As a teen, I was constantly seeking out bands that my friends had never heard, obsessed with amassing a musical catalog that was unparalleled in my small section of the universe.  We are talking about the 1980's, when there were new labels popping up left and right, and new bands showing up all over the place, providing me an endless supply of unheard of hard rock and metal bands.  Then, because of an ad in the back of one of the various metal magazines I read at the time, I made friends with a couple of guys in Europe...through the mail of all things...and I was suddenly awash in even more bands...FOREIGN metal bands that no one here knew of...as we established a pretty intense trading network.  

Among the piles of cassettes I received was an album called Don't Get Mad...Get Even! by a German band called Victory.  I thought it was pretty cool, made even more cool by the fact that the founder of the band was originally in Accept, who I had taken a pretty quick liking to, as well.  I wasn't as fond of the US radio single, "The Check's In The Mail" as a lot of people seemed to be, but I liked a lot of the album.  Then Culture Killed The Native came out in '89 (I missed 1987's Hungry Hearts until several years later) and I was hooked in a big way, especially by the vocals of the new lead singer, Fernando Garcia!  To this day, I still pull that CD out and crank "On The Loose", "Don't Tell No Lies", and "Never Satisfied" when I'm hitting my home gym.  Temples Of Gold, You Bought It--You Name It, and Voiceprint all followed, and while I enjoyed each of these albums, none of them caught my ear the way Culture... did.  The band broke up in 1997, only to reunite in 2002 with a basically the original line-up, which meant no Garcia, and the couple of albums Victory released in the 2000's did pretty much nothing for me.  Their last album was 2011's Don't Talk Science, which I found to be a pretty serious disappointment, after which the band announced they were riding off into the sunset.    

Now, a full decade since that "last album", Victory resurfaces once again with a brand new line-up and a new album, Gods Of Tomorrow. With Frank the only remaining member, I was very curious as to the sound of the new version of Victory, and as to whether the songs were going to be better than the rather boring material that had appeared on those final few records.  

Immediately, it is evident that the new line-up has infused some life into this once great band! "Love Hate" kicks things off with some distant-sounding guitars and percussion elements, slowly building and becoming more prominent, until the song-proper kicks off with a biting guitar riff and huge, thundering drums.  New vocalist, Gianni Pontillo, snarls his way into the mix and I am intrigued.  He is definitely not as rangy as Garcia, but there are definitely some similarities which lead me to believe Pontillo can probably pull off the band's catalog pretty well in a live setting.  His husky, gruff delivery fits the music extremely well on this aggressive track that reeks of the straight-up metal sound of the mid-to-late-80s (don't think hair metal...think early Ratt, Accept, Priest, Leatherwolf, Keel, etc.).  The solo is powerful and sharp, and I have to admit to being very taken by the drums from Stein, which have a really big sound and are delivered in tight, aggressive patterns.  One track in, and I am sold on this new Victory!

The album's title track is up next, and the band does not let up one bit.  In fact, "Gods Of Tomorrow" is even harder, faster, and crunchier than the lead-in track, and the solo here is exceptional!  After several listens, Pontillo's voice really sounds to me like a combination of Garcia and Les Carlson of Bloodgood fame, with that aggressive snarl firmly in place, a pretty solid range, and enough character that he doesn't sound like a cookie-cutter frontman.  I was pretty skeptical, to be honest, as the guys brought in on the last few Victory albums really didn't do much for me (although, to be fair, the songs really weren't there, in my opinion).  The twin guitars give this track (and the album) a complete, full sound, and Burkert's bass really gets a chance to be heard here, which is a bonus.  I dig this track a lot, and  I could listen to an album of this type of high-intensity classic metal pretty much any time!

"Cut To The Bone" continues in that classic 80s metal vein, although there is more of a hard rock element here, as the guitars aren't quite as aggressive as on the first two tracks.  Don't fret, my friends, as this is still a really good track, with the Carlson vocal comparison for Pontillo really coming across strong on this track as the vocalist keeps his range a bit more in the middle-lower end.  Still a great song with another blistering guitar solo that makes me really wonder if Frank was struggling with a burnout that a decade away from recording as Victory has really helped him recover from.  Not my favorite track on the record, but still a great song to my ears.  

Things slow down for the first time with "Dying In Your Arms", and this is where I am completely sold on this record (and we're only 1/3 of the way through).  Not quite a ballad, but definitely slower in tempo, "Dying In Your Arms" is a huge song with a killer riff, a big, power solo that will have lighters thrust into the air almost immediately, and some of the best vocals on the record.  This song would have been all over 1987 radio and MTV, right next to Whitesnake and bands of similar heft and melodic sensibilities.  Again, more hard rock than actual metal, this is a great song, regardless of the decade, and is one that I hit repeat on numerous times.  

"Hold On To Me" ups the tempo once again, and those hard-charging twin guitars kick things back into gear.  Some big backing "whoa-oh-ohs" support the bridge between the verses and the chorus, and Pontillo uses a bit more range here...not glass-shattering, but climbing his range...while still retaining that snarl that works so well for him and this style of music.  By this point, this iteration of Victory has established a comfort zone that fluctuates between punchy hard rock (such as this track) and classic metal, and they deliver in a big way.  This is a total sing along song that will have fans chanting along almost instantly with fists and horns thrust in the air.   Big, big arena rocker here with a solid, heavy bottom end and a catchy rhythm.

The more metallic edge returns for a couple of songs with "Into The Light" and "Mad". While both utilize a heavier, more "metal" approach, "Mad" is the heavier of the two despite being more mid-tempo than "Into The Light".  "Mad" comes churning out...well...rather angrily, with crunchy guitar riffs and plodding drums, and the seething intensity doesn't let up throughout the song's entirety.  Even Pontillo's vocals take on a bit of a darker tone, carrying that Les Carlson vibe I mentioned before, and "Mad" sounds a lot like something Bloodgood would have done on their last effort, which is a great thing!  The chorus has some great backing vocals and has a big, sweeping feel, which serves to set off the verse sections exceedingly well.

From here on out, it is pretty much anthem after anthem, all of them ranging from really good to excellent!  "Unconditional Love", despite its name, is a searing rocker with one of the fastest tempos on the entire album.  Charging straight ahead from the get-go, this track definitely has that classic Victory feel to it, and the tempo shift in the pre-chorus section screams of something that would have slipped easily onto Culture Killed The Native or Temples Of Gold.  "My Own Desire" holds that same high-intensity drive, as well, with some smoking guitar licks helping to intro the track as the rhythm guitar grinds across the punchy drums.  These two track back-to-back are an excellent representation of what Gods Of Tomorrow is all about!

The rest of the album holds its own with everything that came before, which I will admit I was concerned about with 13 tracks.  Generally speaking, if a band is able to keep my attention past 10, its a really solid record.  That there are no tracks I would give the axe on Gods... says something to me!  "On Fire" blazes forth with yet another screaming guitar solo and fist-in-the-air chant-along chorus that I truly hope the band interjects into any live set they have in the coming years.  I really dig this track!  "In Rock We Trust" (not a Y&T song) packs a punch in a big way with its snarling verses and big, shout along chorus, all bolstered by yet another scorching guitar solo.  Album closer, "Leave You Alone" is also one of the absolute best here, with a cool bass line pulsating throughout the track, and Pontillo spending much of the track in the lower fringes of his range on this story song that drips with 80s nostalgia, teasing you with the edgier, more metallic guitar tones but staying comfortably in the hard rock vein with the multi-layered chorus and the show-stealing guitar solo that may be the absolute best on an album chock full of string-benders!

The songs here are all structured for maximum listening pleasure, it would seem, built around memorable choruses, some absolutely stellar guitar work, and a big arena anthem feel to just about everything here.  The production is also excellent, and I really enjoy the sound obtained with the drums here and the amount of presence given to the bass is appreciated throughout.  I am typically pretty happy with the sonics on AFM Records releases, and Gods Of Tomorrow is not an exception.  Definitely better than anything the band has put out in the post-Garcia years, and possibly my favorite Victory record since Temples Of Gold, Gods Of Tomorrow is due out in late November and is an album that should be on every metalhead's Christmas list for 2021!

Rating:  A very crankable return for Victory!  Crank this to 8!

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FICTION SYXX "Ghost Of My Father's Past"

 

(c) 2021 Independent Release

1. Bleed For The Truth
2. Caught Up In The Moment
3. Whispers In  The Dark
4. My Father's Ghost
5. History Comes Tumbling
6. Innocence
7. This Place Called Life
8. Waiting, Wondering
9. Beyond The Shadows
10. Children Of The Sea (Black Sabbath cover)

Mark Allen Lanoue--Vocals, Guitars

JK Northrup--Guitars, Backing Vocals

Eric Ragno--Keys, Piano, Organ

Larry Hart--Bass

Rory Faciane--Drums

When I first heard that Fiction Syxx was set to release their third album in as many years, I was all sorts of excited!  Had the band done what so many others did (or at least attempted to do) during the Covid shut-down, and gotten themselves busy creating new music?  Then I started asking myself if the project would feel rushed as the band felt some kind of pressure to do something with all of the forced downtime so many of us have faced over these past several dark months.  Would the album be all brooding and cold?  Would it come out like some others I have heard, completely overworked, over produced, over...over-EVERYTHING...as the band had so much time to write and re-write and re-edit everything it came out sounding cold and mechanical and sterile?

Turns out, the down time had given my own mind too much time to worry about such things, as Fiction Syxx has unleashed an album for the ages with their newest offering, Ghost Of My Father's Past!

Right from the outset, Fiction Syxx is in top form, with "Bleed For The Truth" bursting forth with the kind of melodic power that has been their calling card ever since Tall, Dark Secrets was unleashed in 2019.  Their sophomore effort, The Alternate Me, upped the ante a bit, adding a bit more punch to their already powerful approach to melodic prog, and "Bleed For The Truth" steps right back up to where the band left off and smacks a home run!  Sweeping guitars from both Lanoue and underrated wizard, JK Northrup, attack your senses almost immediately, but its the power of Lanoue's voice that seems to haunt me when I am listening to this album, even more so than on previous Fiction Syxx records.  Hart is in full-force here, as well, as his bass is solidly present in the mix, as are Faciane's drums.  And while it is a well-documented fact that I think too much keyboard can kill just about any song or album, the expert work from Eric Ragno may be the overly-cliche glue that holds this project together.  All of these elements come together right from the start of Ghost..., which had me instantly hooked.

"Caught Up In The Moment" finds me being exactly that, as this rocker enchants the listener almost instantly!  The Eastern-styled guitar tones (or is it an electric sitar?) are always catchy to my ear, but the performance here is not utilized in the typical way.  Don't imagine a full-blown Zeppelin approach here, as that is not the goal.  Rather, the band uses this unique sound to set the lead guitar apart from the chugging riff of the track and to set up Lanoue's sonic attack as he vocally glides across the atypical guitar bed and powers the song along.  A more traditional sounding, yet oh-so blistering solo run scorches through the midst of this hard-hitting rocker, and two tracks in, it is apparent that Fiction Syxx is operating on a new level, which is saying a lot considering the rare air they had been working in on past albums!  Not willing to settle for what they have done in the past, Fiction Syxx has challenged themselves to take another musical step, and they are obviously challenging listeners to come along for the ride, as the first two songs make it nearly impossible to not wonder what is coming next.

Lead single, "Whispers In The Dark" comes haunting its way in before tribal-sounding drums kick things up a bit and the harmonic guitars spring to life.  Ragno proves he is a master of subtle support on tracks such as this one, as his keyboards offer so much additional life to a track such as this without becoming overly-dominant and distorting the sound of a track such as this one.  This song is pure melodic hard rock ear candy, mid-tempo in pace and blissfully proggy in all the right spots.  Lanoue really allows his voice to soar throughout the track, and Northrup's chilling string bending solo, followed by Lanoue's speedier, crunchier fret run...just...wow.  The chorus is beautifully structured so that you feel the bass and drums pulsing beneath, rather than just being buried.  I truly love this song.  Check it out and see if you agree...

 "History Comes Tumbling" continues the power-prog mastery, and the mournful wail of the lead guitars throughout is chilling to hear.  I love the extended guitar solo on this track, and the bass work from Hart is not lost on the listener as it really helps to drive the song and lay that foundation that these soaring, searing guitars layer themselves upon.  Once again, Lanoue proves himself more than capable of handling just about any approach within his range, and the man is a melodic machine in my opinion.  I could listen to Mark sing the phone book, I think.

"Innocence" slows things down to ballad territory for the first time, and Fiction Syxx tackle the track with absolute mastery.  Lanoue varies his vocal delivery here, utilizing a softer approach on some of the verse sections, while also allowing his voice to really take flight on the chorus sections.  Again, Ragno is the master of the backing sounds on keys here, and the song completely sucks you in after just a single listen.  And the real magic of this song?  The writing!  Seriously, there is some thought-provoking stuff going on here... 

"Look into the eyes of the children, and lose yourself within their Innocence.  

Remember that you were once just like them. 

Now blinded by yourself, Society.  

Where it's all about me..."  

Wow!  Nobody writes like that anymore!  Without beating anyone over the head and telling them HOW to think, "Innocence" implores people to just...well...to just THINK!

"This Place Called Life" comes out nasty and gritty from the word jump, with a dirtier tone to the guitars and some darker supporting sounds from Ragno's keys throbbing through the verse sections.  Doomy, almost Dio-Sabbath-esque here (more on that in a bit), this is a tasty slice of musicality, with the band showcasing an ability to walk on the darker side of prog.  Lanoue adjusts his delivery to fit the track, but never does he drift off into a sullen, sulking approach.  Instead, I imagine a glint in his eye and a sneer on his lips as he powers through the choruses here.  Then, seemingly from nowhere, a brilliant flash of light bursts forth from the darkness in the form of an absolute eruption of a guitar solo, and "This Place Called Life" finds itself fighting for song of the album honors!  Love it, love it, love it!  

If "Waiting, Wondering" doesn't have you thinking Dream Theater to at least some extent, I'm not sure we are listening to the same song.  Also borrowing a bit from classic prog masters, Kansas, "Waiting, Wondering" is one of those songs that just seems to draw you in and wrap you in a sonic embrace, completely absorbing you with its melodic mastery.  Lanoue absolutely kills it here, and the keys from Ragno are spot-on superb!  Normally, the ballads on an album aren't really my thing; oh, sure, I've had my lighter in the air at concerts, but I'm typically a harder, heavier song kinda guy.  However, when a song as chock-full of emotion as "Waiting, Wondering" comes on, I definitely take notice!  A brilliant song, to be sure!

Beyond The Shadows" follows "Waiting, Wondering" up in truly stellar fashion, bumping up the tempo to mid-tempo territory, but definitely increasing the musical intensity.  The guitars are absolutely gorgeous here...seriously, someone needs to find out how these guys are wringing this much melodic soul out of their six strings and let the rest of the world know!  The solo is just achingly beautiful as Northrup runs the frets, and Lanoue is once again completely at the top of his game on this track (and the album in its entirety).  

"Children Of The Sea" closes things out, and if I am being 100% honest, I was pretty worried about this track.  I mean...Dio-era Sabbath?!  It takes massive balls...and humongous talent...to even think about tackling what is considered by many to be a melodic metal masterpiece.  It turns out my fears were for naught, as Lanoue avoids the guaranteed death sentence of trying to ape RJD, and instead delves into the lower ends of his spectacular range to pull off perhaps the vocal performance of the record!  Yes, there are hints of Dio's snarl here and there, but Mark is Mark to the fullest here, and it is amazing.  The Hammond from Ragno is perfection, and the combination of both acoustic and electric guitars absolutely shines.  Heck, even the percussion is spot-on throughout this true metal classic, and I find myself feeling a bit silly for ever questioning how the band might power through this track.  An absolutely perfect end to a dang-near perfect record!

The production throughout the album is crystal clear, and the separation of the guitars is exquisite, with Lanoue and Northrup both getting a strong voice from their respective instrument.  Huge kudos to Northrup who has shown himself to be a true production wizard through the years, and who possibly outdoes himself here.  This is how a melodic prog metal album should sound, plain and simple.  All you other bands of this ilk...take note.

I'm not really sure what happened, nor is it any of my business, but from what I have been told, the album is no longer available through Melodic Rock Records and can only be obtained directly from the band now by clicking HERE.  Regardless of what hoops you need to jump through, make it a priority of yours to hunt down Ghost Of My Father's Past.  You will NOT be disappointed in any way!

Rating:  Supremely crankable!  I'm giving this one the rare 10 and challenging anyone to try to knock this record from Album of the Year status here at G2G!

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THE PROTEST "Death Stare"

(c) 2021 Rockfest Records

1. Paper Tiger
2. Greater
3. Show Up To The Showdown
4. Voices
5. Hell To Hold You
6. The Mountain

Josh Bramlett--Lead Vocals, Guitars

Adam Sadler--Lead Guitars

TJ Colwell--Rhythm Guitars

Jarob Bramlett--Drums, Percussion

Indiana's The Protest come roaring back with an EP of new material that follows up the band's 2018 Rockfest Records debut, Legacy.  This new release features six new tracks (two have already been released as singles), with five of the six being up-tempo rockers, with the sixth being something of a ballad, although don't expect slow dancing and big-haired power balladry here.

The band picks up right where they left off on Legacy with the ferocious "Paper Tiger", which comes off every bit as heavy and aggressive as the previous album's title track.  Some buzzing guitars intro the track (followed by a tiger's roar), with Jarob dropping a big drum rhythm that sets the song off on a mid-tempo-but-crushingly-heavy track that chugs toward Josh snarling and barking his way through the first verse.  On this song about letting go of the fears that hold us back, Josh does everything in his power to abuse his vocal cords, especially on the seething chorus as he exclaims...

"You're just a paper, paper tiger!  

Nothing more than a silver-tongued liar!"   

The chorus is packed full of backing shouts and chants, none of which are credited here, but there is a lot of energy packed into this 3 minute...ahem...rockfest!  A solid breakdown is also incorporated in this fun, punchy kick off for Death Stare.

"Greater" has already surged its way up the charts for many Christian rock stations (and some forward-thinking modern rock stations, as well), and is definitely one of my two or three favorite tracks from the band at this point.  Programmed elements lead the churning guitars and drums into the mix, with Josh utilizing a much more controlled vocal style here as he explains to the listener why The Protest does what it does, despite the long hours on the road and the lack of acceptance among their secular peers.

"I don't do it for the money,

Don't do it for the fame,

As long as someone listens, don't care who knows my name.

I don't do it for the glory

Don't do it for the game,

I do it all to make them see that this all for something Greater than me!"

A truly powerful message about self-sacrifice, not only for doing what you love to do, but also doing it for the One who loves you!  The video is a solid performance piece, as well...check it out...

The EP's current single, "Show Up To The Showdown" is up next, and the band takes a bit of a different tack here, utilizing a sparser sound in the verse sections, followed by a big fist-in-the-air chanting chorus, complete with gang-shouted "heys" scattered throughout.  Jarob's drums have a huge presence throughout this track, as does an uncredited bass line on this thick rocker about standing up to the challenges put in your path.  The band recorded a really fun video for this track as well, which can be seen below...

From here, the band launches into another high energy rocker, this one a bit more uptempo and more straight forward than some of the others, with "Voices" tackling depression, negative thoughts, and self-doubt that creep into our minds from time to time.  The longest track on the EP, "Voices" still clocks in at just over four minutes, and is just straight-forward, guitar-driven hard rock from start to finish.  Some excellent guitar work from Colwell flashes through the track, and once again, an uncredited plaer lays down a rumbling bass line that really establishes a solid structure for the rest of the guitars to grind across the top of.  Once again, Josh spends more time singing than roaring here, especially on the verse sections, while he does get a bit more aggressive on the chorus.  There's a very cool vocal bridge that showcases the angrier side of his vocals, when he starts off in a controlled-but-snarled whisper that builds to a full-on scream as he intones...

"I've got this sickness,

It eats me to the bone...

I'll never make it if I try to do it all alone!

I've got this sickness,

It's poisoning my mind...

I'm climbing out of this and now I'm taking back my LIFE!!!"

A tough, tough chug-chug breakdown follows before the band revisits the chorus again.  A really, really good song that I find myself returning to a lot.

"Hell To Hold You" is the ballad of the EP, but again, don't think Homecoming slow dance material here.  A thick, bouncing bass line really drives the verses, with Jarob's drums keeping pace, before the guitars jump into the pre-chorus and chorus sections, with some big "whoa-oh-ohs" accompanying the chorus lyrics...

"Never knew I needed You 'til now...

A part of me was missing.

There's nothing that can keep me from You now.

As long as I'm still breathing, 

My heart is in Your hands.

I'm alive again...

No matter what we've been through

I'd fight hell to hold you."

While the first section of the chorus seems fairly obvious, I find myself asking if that that last part Christ making a statement to the singer.  Hmmmm.....  Some programmed strings are subtly woven into the mix, with them being the most obvious as the song fades out at the end.  This song really surprised me, honestly, but I like the band taking the chance and throwing the curveball when the rest of the record was nothing but heat (sorry...baseball references are what I do...).

"The Mountain" is an absolutely quirky rocker that I can't help but love.  I would imagine it will be very difficult to pull off live due to a lot of programmed stops and starts with the guitars, but Jarob's drums are an absolute treat to hear on this track as they bounce and prance throughout the song.  There's a big arena rock feel to the track when the guitars punch you in the gut, but those sparse moments in between are what really gives this plucky song its true feel...at least for me.  This song has a lot of Skillet styling to my ear, but it is fresh and definitely not some sort of rip-off track.  This is still purely The Protest, throwing back to some of their earlier, pre-Rockfest Records material.  I will be massively disappointed if this song isn't released as a single, as I absolutely love what the guys pull off here and they sound like they had a blast doing it.

Not even 21 minutes in length, the EP should seem much shorter than it does.  However, the high quality of the songwriting and the top-notch performances keep you so engaged you really don't realize how wrapped up you become in each and every track and, at least to me, the EP doesn't feel as short as it actually is.  Maybe that is due in part to the high amount of energy the band pours into each track, wiping you out as you listen!  Very, very well done overall!

I do have a complaint, but it isn't lodged so much at the band as it is at Rockfest Records.  Let me preface this by saying I love Rockfest Records, I buy all of their releases, and I am in awe of their line-up of artists.  That being said, I have to admit to being upset about the way this EP was handled, for a couple of reasons.  First, it is packaged about as simply as anything I have ever received from anyone, with no lyrics, no credits, no thank-yous, and no band info.  Nothing.  It is a simple cardboard slipcase with the cover art on one side and the track listing on the other.  Period.  And, yeah, I could live with that, if I wasn't charged more than $11 for FORCED Priority shipping (there was no First Class option) for this practically weightless CD (there is no jewel case or digipack, so seriously...this thing weighs next to nothing).  That means I paid nearly $20 for a six song EP that isn't signed or anything.  Normally, Rockfest does an amazing job with the packages they put together, and yes, there was a big package with a shirt and trading cards and other things, but the people who only want the CD shouldn't be charged a ton on shipping to make up the cost of the bigger packages.  Trust me when I say this CD did NOT cost $11.50 (or whatever the exact cost was) to ship, even with the bubble mailers factored in.  Hopefully the goal here is not to drive even more people to digital purchasing because I will always be a CD-first guy.

Regardless of that issue (which I really hope was a clerical error), Death Stare is well worth tracking down and is an incredible effort on the part of The Protest!  I have thoroughly enjoyed it since I received it, and if I have spun it fewer than 30 times in the past two weeks or so, I'd be shocked.  If this was a hold-over project as the band works on their next full release, I can't wait to hear what they have in store for us next!

Rating:  Definitely crankable!  Crank Death Stare to a powerful 9, even at only six songs!  It really is that good!

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THE FIFTH "The Fifth EP"

 

(c) 2021 Weapon Records/Vanity Music

1. Shake Little Sister
2. Calm Before The Storm
3. Home
4. Coming To Get You
5. Roll The Bones

Roy Cathey--Lead Vocals

Justin Womble--Guitars

Jake Tripp--Bass

Gary "Zeus" Smith--Drums

If you are going to reinvent yourself, you just as well strip it ALL THE WAY DOWN and build things back up again.  This is the situation acclaimed vocalist, Roy Cathey, found himself in with his band, The Fifth, as he rounded up an entirely new group of musicians to put together his vision for the band.  The result is The Fifth, a fittingly five-song long EP of hard rock that hearkens back to the more traditional melodic sounds of Cathey's old band, Cold Sweat.

Kicking off with the lead single, "Shake Little Sister", it is apparent this EP features a leaner, meaner, hungrier sounding band than its previous incarnation.  A straight-forward, dirty guitar line intros this foot-stomping rocker before Cathey's signature wail hits and kicks things into high gear.  Following a second run through the chorus, the song teases a breakdown of sorts, but in all reality it is just staging for Womble to rip through a fret-searing solo that honestly took me by surprise.  Some gang shouts of "SHAKE!" add to the back end of a couple of chorus runs, which ups the fun factor, and this EP is off and running!  

"Calm Before The Storm" has a thick bass line that opens things up, along with some cool tom playing from Smith, as Womble's guitars ring in the background, giving the feel of something Godsmack might toy with (think "Voodoo" for a comparison point), but with the accompanying acoustic guitars enhancing the verse sections, and Cathey's powerhouse vocals (supported by some really cool harmony vocals in various spots) this is definitely more akin to later-era Skid Row (when Bas was still on board and the band was still good).  Once again, Womble proves himself more than capable on guitars, handling the supporting leads as well as a really cool solo section before we're treated to another run through the chorus.  The drums take on more of a marching cadence as the song exits, and Womble utilizes some cool blues guitar licks to take things home.  Probably my favorite song here, "Calm Before The Storm" has so many things to love that I find myself hitting repeat a time or two before moving on.

"Home" has everything that would have made a big power ballad hit back in the very early 90s except for big, slick production.   There isn't a ton to say about this song other than Cathey handles the song like the true melodic giant that he really is, from the soaring verse sections to the powerful choruses, which again feature some really strong harmonies on the big "ahhs" and "ohhs".  Womble handles the guitars expertly once again, with a spot-on guitar god solo that could have graced the lighters-in-the-air moments for numerous hair band albums between 1988 and 1992, and the rhythm section keeps things moving forward where so many ballads seem to bog down...both in yesteryear and today.  There are even some programmed strings to enhance the last run through the chorus, but honestly, these were pretty much unnecessary in my book.  As I said at the outset, this song only lacks the saccharine sheen of the MTV era, but to me, that's a good thing, and this is a really powerful song that I have to imagine will be a cell-phone waver in the live setting.

"Coming To Get You" has another down-n-dirty rhythm right from the outset, with Cathey digging deep into his range to bring out an extra dose of soulfulness.  This is a song that right away reminded me of something that Red Sea, Badlands, Die Happy, or any of those truly soulful bluesy hard rock bands of the 80s and 90s would rattle your soul with.  This is good, good stuff here and unlike anything that anyone else is really playing today.  Sure, Inglorious and Greta Van Fleet are playing that retro 70s hard rock style (as are a dozen others now), but this is deeper, heavier stuff, like old Deep Purple but with, in my opinion, far superior vocals.  This stuff is really in Cathey's wheelhouse, to my ear.  Yeah, he can rip off a scream and power through a rafter-raising wail, but this throaty, bluesy stuff is something I would love to hear him explore even more.  Big, thick riffs and a classic guitar round out another track that vies for best on the record.

"Roll The Bones" is a dirty rocker, plain and simple, again in that straight ahead, grit and grind style that is missing from so much rock n roll these days.  Once again we hear the band throw back to a bluesy romp, albeit more uptempo than the mid-tempo swagger of "Coming To Get You", and Womple bends his strings through yet another sweet-but-too-short solo that really has all the style and substance of the best "not-on-MTV-or-Top-40-radio" hard rock of the 80s.  Cathey's snarling on the "roll the bones" portion of the chorus makes me smile every time, because I can just hear the sneer and and see the glint in his eye as he half-growls his way through the lines.  An excellent way to wrap up a far-too-short introduction to the new...and in my estimation, improved...version of The Fifth.

The production on this EP is raw and lean, giving the music a much more "live" feeling, not sounding processed at all.  Some will like this, some will claim it sounds "garage" or "retro".  All I know is that it is refreshing to hear a band perform on its own merits and not based upon studio tricks and ProTools editing.  Does The Fifth reinvent anything here?  Nope, but let's be honest: it's Roy Cathey's vocals that are going to bring most people to this party, and it's the surprising talent of Womble that is going to have people doing more than just hanging on every power note that Cathey delivers.  This is really good melodic hard rock that showcases one of the truly underappreciated vocalists of the past 30 or so years sticking mostly to a classic sound but with hints of an updated feel to the song structures.  Again, this is way too short, as the EP hits at just about exactly 20 minutes, but it is a great way for Cathey to get his new band launched and ready to roll when concerts hit full swing once again.  If you get the chance to check out these North Carolina rockers, I would strongly suggest you do so, as I found myself very impressed with what they put together here.

Rating:  So good to hear Roy in his element, once again.  Crank this one to 8, with the brevity of the release the only real issue I have with it.

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DEFIANT "The Rent In Hell Is Free"

 

(c) 2021 Curtain Call Records

1. Crusades
2. Knuckleduster
3. Vamptress
4. The Day After
5. Unmarked Grave
6. Viva La Revolution
7. Free For A Price

Albert Halterman--Lead Vocals, Guitars

Joe Defiant--Guitars

Paul Barlowski--Bass

Paul Cochran--Drums

Additional Musicians

Ace Von Johnson--Guitars on "Viva La Revolution"

Jim Taylor--Vocals on "Unmarked Grave"

Richard Reilly--Vocals on "Viva La Revolution"

Hailing from Pennsylvania, Defiant have released their second EP, The Rent In Hell Is Free, blending a scathing metallic approach with some undeniable punk influences that keep the album churning from start to finish.  I wasn't really sure what to expect when I saw that Ace Von Johnson of LA Guns/Faster Pussycat notoriety was on board as a guest musician, but what I got was definitely not Hollywood sleaze!  Instead, what the listener is treated to is more of a traditional metal style, with some punk leanings, featuring harsh (but not growling) vocals, punishing rhythms, and solid song structures.  This is apparent right from the get-go, as the band lays out their own take on a history lesson in "Crusades".  A somewhat up-tempo, angry romp, "Crusades" is a prime example of where this band is coming from stylistically, with Halterman's snarled vocals grating across an aggressive rhythm guitar and hard-hitting drums.  The lead guitar work here is more along the traditional metal approach and not the guitar god axe wizardry of the hair metal crowd, and it fits the style perfectly.  This approach is echoed on the other end of the EP, as well, with lead single and video, "Free For A Price", which combines a catchy lead hook that is repeated in each verse section and more of Halterman's aggro-vocals.  Check out the video below for an excellent idea of what to expect from Defiant.

Other strong performances on the EP can be found in "Knuckleduster", which despite its White Zombie-sounding title, is just punch-you-in-the-face mid-tempo aggression layered over a punishing drum line and churning rhythm guitars.  "Viva La Revolution" is a punked-up affair, and it makes sense that Ace Von Johnson would lend his guitar talents to this track, as it is definitely more his style with a sleazy guitar solo.  I'm not positive, but I think the co-lead vocals are handled by Richard Reilly of The Victims/The Bo Deadlys, and his vocals stand as a stark contrast to the coarse snarls and barks offered up by Halterman.

I also want to draw attention to the doomy dirge, "Unmarked Grave", which showcases a completely different side of the band.  While not my favorite track, and one that could really benefit from a bigger production budget, "Unmarked Grave" shows a band that is not afraid to roll the dice and experiment with different styles and sounds.  The verses are extremely stark and somber, with guest vocals from Jim Taylor (Henne) handling the cleaner lines before the band launches itself headlong into the chorus breaks, with Halterman again taking over the mic.  There are some cool sounds wrung from the lead guitars here, especially on the solo break coming out of the second chorus and before the vocal bridge.  

The moody instrumental track, "The Day After" is also pretty interesting and worth checking out, with Barlowski's bass work getting a chance to really stand out.  Short, but placed perfectly as the lead in to "Unmarked Grave", this track gives the listener a chance to catch their breath before "Viva..." and "Free..." mosh things out at the end of the EP.

Keep an eye out for the band on tour, as they have lined up opening slots for such names as Puddle Of Mudd and Messer in the near future, as well as getting themselves on some metal festivals like Metal In The Mountain, all of which are coming up in the month of August.  Check out their Facebook page for more information about tour dates.

Overall, much more "metal" than I was expecting, with the punk stylings being more of a support structure for this EP outside of the sleazy punk romp of "Viva La Revolution".  I'm not sure how much room there is on any type of radio for a band of this style of metallic aggression, but if Defiant can manage to wedge themselves in somewhere, they are surely going to try to bust things open.  Definitely an underground force to be reckoned with for fans of punch-you-in-the-mouth, old school heavy metal mixed with touches of doom and punk.

Rating:  Crank this to a 7!

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MANAFEST "Blackout EP"

 

(c) 2021 Independent Release

1. Blackout
2.  Blackout Instrumental
3. Light It Up
4. Light It Up Instrumental
5. Save You (featuring RedLight King)
6. Save You Instrumental

Canadian Christian rap-rocker, Manafest, is back with this surprise little EP, Blackout.  I call it a surprise, but I probably shouldn't, as Manafest is continually releasing new singles, regardless of if he has a current album out, and Blackout is simply a digital collective release of his last two singles and the new title track.  Both "Save You" and "Light It Up" have been released over the past six or seven months as singles, and both have charted well on Christian rock charts.  "Save You" is the current single, currently residing in the Top 10 at ChristianRock.Net and TheBlast.FM, and features supporting vocals from RedLight King on one verse and in the chorus sections.  This is the "heaviest" of the three songs here, with some solid guitar riffing with a good deal of crunch and a nice, dark tone.  "Light It Up" is a lot more electronic in its approach as it uses some effects and synth work as the bed for the verse sections and an electric drum throughout the track although there is a gritty guitar line to open the track which loops back through the track a few times to help support the choruses.  Nothing earth-shattering or overly original...in fact it's a bit repetitive for me, but it is catchy enough and obviously struck a chord with both Christian rock radio and his fans.    

The new track here, "Blackout", leans heavier on the rapping of Manafest than the other tracks, but it still incorporates an edgy, crunchy guitar presence during a really strong chorus section, while some acoustic guitars are heard to ring in throughout the slower-paced track.  This song about the horrors of drug/alcohol addiction is a very well-written song that I think will catch on with Manafest's fan base in a big way, and I would anticipate it charting very well, as is pretty much the norm for Manafest.  While I like all three tracks here, "Blackout" is the choice cut for me at this point.

The other three "songs" here are simply the instrumental tracks for the three featured tracks, and I honestly listened to them once and then deleted them, as they are not something I would ever listen to again.  I do know that a lot of younger fans are really into instrumental tracks for various reasons, especially those that are really into creating social media mixes and clips, but that isn't this guy.  I just put the three full songs in a mix with a couple of other free-floating singles Manafest has released over the past year or two and burned it for my sons.  

That last sentence, of course, leads me to my one true issue with this EP:  it is digital only.  Now, perhaps all three tracks will appear on a full-length CD later on this year, which wouldn't be surprising since that kind of thing happens all the time.  But if you want the tracks now, the only way to get them is digitally.  Of course, the good thing for a lot of people is you can get the three full songs AND the three instrumental tracks for under $4 from Manafest's webstore.  You can snag your own copy HERE

I'll admit to being a fan of Manafest, even though he isn't going to be the cup of tea of everyone here.  No worries as you can simply move on if you are not interested.  If you are interested, know that if you have been a fan of the artist's more rock-oriented material from the past couple of releases, This Is Not The End and Stones, you are likely going to find yourself liking the three new songs on Blackout, assuming you haven't already heard at least one or two of them.

Rating:  Again, not a real fan of rating EPs, especially when half of the tracks are just instrumental mixes, but there is nothing to keep you from cranking the three full songs included on Blackout.  Really give the title track a chance if you decided to download this digital EP.

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RHAPSODY OF FIRE "I'll Be Your Hero" EP

 

(c) 2021 AFM Records

1. I'll Be Your Hero
2. Where Dragons Fly
3. Rain of Fury (Live)
4. The Courage To Forgive (Live)
5. The Wind, The Rain and The Moon
6. Senza Un Addio
7. Sin Un Adios
8. La Force de Me Battre

Giacomo Voli--Lead Vocals

Alex Staropoli--Keyboards

Roby De Micheli--Guitars

Alessandro Sala--Bass

Manu Lotter--Drums

Ah, epic symphonic power metal!  Either you love it or you wonder "why in the heck do they put so much effort into just one song?"   Me, I tend to be in the first category, although there is an obvious division of talent between GREAT symphonic power metal and groups who try hard but come up short.  Fortunately, I have always found Rhapsody of Fire to be in the GREAT category, and I have actually followed the band since their 2000 album, Dawn Of Victory, when they were simply known as Rhapsody.  Since their start, the band has released a dozen studio albums, has (amicably) broken off into two versions of the band (one being original guitarist and founding member, Luca Turilli's, version, the other being original keyboardist/composer, Alex Staropoli's, version), and has performed in numerous countries on multiple continents, performing their pioneering brand of symphonic heavy metal to hundreds of thousands of fans.

With I'll Be Your Hero, Staropoli's version of Rhapsody Of Fire continues the thee-part saga they started with 2019's The Eighth Mountain, which was the first studio recording to feature new lead vocalist Voli and drummer Lotter.  On this EP, the band continues to prove that they are the true masters of this style of over-the-top metal, combining blistering speed with symphonic progression and operatic vocals, with layers of backing vocals, strings, and keyboards rounding out impressively powerful compositions that find Staropoli in excellent fashion!  For many, there was great doubt about the continuation of Rhapsody of Fire without Turilli, but for my money, The Eighth Mountain was an excellent record and possibly their best since my all-time favorite from the band, 2002's Power of the Dragonflame, or certainly since 2004's Symphony of Enchanted Lands II!  For fans of power metal, that is saying a lot, I realize, but I felt Rhapsody of Fire was perhaps getting too progressive and leaving behind some of the true power that the early records had.  With what I am hearing on this EP, that should not be a problem in the future of the band!  The lead single, and EP title track, "I'll Be Your Hero" kicks off with Voli's excellent voice opening things up, singing "One day, I'll be your hero" with multiple layers of backing vocals, before he unleashes an ear-piercing scream and the band is off and running!  Staropoli's keyboards weave an interesting tapestry of musical textures upon which the fierce rhythm guitars from de Micheli and the galloping drums from Lotter thunder.  The bass is a solid presence throughout the track, and de Micheli proves he is no slouch in the soloing department, as well, as he delivers a scorching string-bender that is the perfect blend of speed and power.  But for me, this EP was as much about finding out whether Voli could continue in the fine fashion he had established with The Eighth Mountain, or if he was merely a flash in the pan.  Granted, it is only one (new) song, but that song is nearly perfect and Voli's delivery is spot on.  To say I am more than intrigued for the new full-length album is an understatement!

As for the rest of this EP, there is a lot to take in.  "Where Dragon's Fly" is a re-recording of a track that was previously only available as a Japanese bonus track, and fans who have been longing to own the song can now do so.  Musically, it doesn't really fit in with "I'll Be Your Hero", but it was never intended to.  What you have here is a folkish ballad with flute and some Middle Eastern-sounding string work enhanced by big, powerful chorus sections, all brought together in a way that is not unlike something Blind Guardian has done in the past.  Additionally, it showcases what Voli can do with a song that some may already be familiar with, and to say he was impressive would be an understatement.

Likewise, Voli's handling of the two live tracks here is equally impressive.  In fact, the two live tracks here...both taken from The Eighth Mountain...may be the highlight of this EP, to be honest, as these tracks really showcase just how well the band is able to pull off their musical adventures in the live setting.  The production on both is darn near perfect, and if forced, I'd say I probably prefer "Rain of Fury" with Lotter's INSANE drum work leaving me nearly slack-jawed, but "The Courage To Forgive" is also excellent and almost note-perfect, and its big, powerful chorus really comes across in this live format.

The last track...well, the last FOUR tracks...also come from The Eighth Mountain, as all four are versions of the same song, "The Wind, The Rain, and The Moon".  The song is a great one, don't get me wrong, and I can see why it was included as it again showcases Voli's powerful delivery.  But, do we need to hear the same song in Spanish, Italian, and French...as well as English?  Some might say it's me being an American, but I honestly don't see the need here.  I mean, we have over 20 minutes of the same song here!  Yeesh!  However, I am sure fans in countries that speak those languages, and especially in the band's home country of Italy, these versions may be far more appreciated than they are by me, and I do have a skip button if necessary.  I think the disc space may have been better utilized with another B-side re-recording or bonus track, or possibly another live track or two.

Your appreciation of this EP and the song it is built upon is going to be largely dependent upon your appreciation for the style.  If you are already a Rhapsody Of Fire fan, or a fan of epic power metal like Helloween, Blind Guardian, and perhaps Stratovarius or Sonata Arctica, you are most likely going to be highly excited by what is offered here, especially since, as I mentioned, a lot of the speed and power that was starting to wane a bit in the twenty-teen years seems to be returning.  If, however, you are more into the classic power metal genre, Rhapsody Of Fire is probably a bit over the top for you and may prove too much for you to really grasp.  And that's okay.  The band and genre is not for everyone.  But for those who love the big epic tales, the sweeping sagas, and the metal soundtrack that Rhapsody Of Fire and their ilk provide, I would imagine I'll Be Your Hero will be blasting in the background as you cast your 20-sided dice or shuffle your Magic: The Gathering deck!  (Whoa...did I just geek out there for a second or what?!)

Rating:  Crankable, to be sure!  I give it an 8!

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NIGHT RANGER "Live In Michigan 1984: King Biscuit Flower Hour"

 

(c) 2019 Alive The Live (Japan)

1. Intro/Touch Of Madness
2. Rumor's In The Air
3. Eddie's Comin' Out Tonight
4. Call My Name
5. When You Close Your Eyes
6. Passion Play
7. Sister Christian
8. Sing Me Away
9. Night Ranger
10. Night Ranger (Reprise)/Don't Tell Me You Love Me
11. Band Intros/(You Can Still) Rock In America

Jack Blades--Lead Vocals, Bass

Brad Gillis--Lead Guitars, Backing Vocals

Jeff Watson--Guitars, Backing Vocals

Alan Fitzgerald--Keyboards

Kelly Keagy--Lead Vocals, Drums

It is truly hard for me to believe that Night Ranger is more than 40 years old, and that their first album, Dawn Patrol, will hit that four decades mark next year!  Being a fan of the band for as long as I can remember, Night Ranger has long been one of those bands that I always sought to keep a complete discography of.  However, it wasn't until the Covid Summer of 2020 that I discovered there was at least one live album missing from my collection--their King Biscuit Flower Hour release from 1984.

As a kid, I used to listen to these King Biscuit Flower Hour shows on a rock station I could tune in on my parents' stereo, and I knew that Night Ranger had performed on the show but I was unaware of any high quality recordings of the show.  I knew there were bootlegs of this show out there, but apparently a Japanese label known as Alive The Live has obtained the rights to properly release a lot of these King Biscuit Flower Hour releases, complete with artwork and liner notes, so I jumped at the chance to snag it.

Keeping in mind that this recording is nearly 40 years old (the notes say the show was from August 8, 1984), this is an EXCELLENT live recording of Night Ranger when they were really starting to take off on their own.  Recorded at Northern Michigan University in Marquette, MI while on the Midnight Madness Tour, this set really showcases a hungry young band that is really hitting their stride.  Think about where Night Ranger was at this time, musically:  "(You Can Still) Rock In America" had proven the band wasn't a fluke on their first record, "Sister Christian" was a massive hit, and "When You Close Your Eyes" was about to break big, as well, and the band was playing to very large audiences as headliners by this time.  The band is exceptionally tight, Gillis and Watson absolutely tear things up on guitars, and Blades...well, he sounds like Jack Blades, whom I regard as one of the truly great, classic voices of 80s hard rock.  Keagy sounds great, also, and I am struck by how powerful the backing vocals are on throughout this recording, as this was back in the days of, you know, actually performing your backing vocals!      

The track listing here is a lot of fun, especially the non-singles that were chosen for inclusion here, as many of them are songs that don't see much in the way of live play now.  Of course, when a band is more than a dozen albums into their career, the hits become more important to the live shows than the album cuts, so its fun to hear "Call My Name" from Dawn Patrol, or "Passion Play", with it's extended guitar solo from Jeff Watson, or even "Eddie's Comin' Out Tonight", which used to get quite a bit of live love, but has been dropped in recent years, especially on shorter set shows.  Blades does some playing around with the lyrical phrasing to "Sister Christian", which will throw the home karaoke crowd off, but to me, these kinds of things only serve to add to the charm of a live recording.  There is also a brief feedback issue at the beginning of that song, and it sounds to me like Jack may have studio-dubbed the song's intro at a later point, as when he is finally able to get through introducing the song, the audience sound is completely gone for a moment.  Still, this is a small issue, and takes nothing away from the enjoyment of this rare show.

For the most part, there is very little gapping between the tracks here, although there is an obvious fade after "Eddie's Comin' Out Tonight" and a VERY sharp intro to "Call My Name" which leads me to believe there was some stage banter edited out to keep the show short enough to air.  There is also what sounds to be an edit in the encore between the introduction of the band and the lead-in to "(You Can Still) Rock In America", but again, this is likely insignificant to just about anyone who didn't spend years in radio, editing, and production classes, and again was probably done due to program time restrictions.  Of course, the extended drum solo from Keagy on "Night Ranger" could have been a timing issue, as well, but I'm glad that was left alone as these are the concert experience items that always kept my attention as a teen and even today.  Sure I want to hear the hits, but I also want to hear and see something that is NOT on the CD I can crank up at any given time at home.  This CD does a really good job with the flow to keep this sounding as live as possible, and the minor interruptions are mostly negligible.  

I have been told that this is, perhaps, still considered a bootleg, as there is some question as to the legality of Alive The Live and their releases, but they have done a nice job here with the overall package.  Considering Night Ranger and King Biscuit both reportedly had a lot of their old material destroyed in separate fires several years ago, I'll snap up a package like this anytime I can if the quality is solid.  Live In Michigan 1984: King Biscuit Flower Hour goes beyond being "solid" and well into "excellent" live recording territory and is well-worth picking up if you are into live shows.

Rating:  Highly crankable, bootleg or not.  Crank this to an 8!

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HOT LAUNDRY "Shake, Slide, Twist EP"

 

(c) 2021 Die Laughing Records/Golden Robot Records

1. Shake
2. What Would I Do
3. Satisfied
4. Glitter And Gold

Janette Lopez--Lead Vocals

Ileath Bridges--Backing Vocals

Gena Serey--Backing Vocals

Grady Hord--Guitars, Backing Vocals

Neil Young--Bass

Thor DSR--Drums

And now for something COMPLETELY different...ladies and gentlemen, I give you....HOT LAUNDRY!

Don't be mislead by the EP's cover and think that this is some kind of parody artwork, because it is not.  Hot Laundry is unlike anything you have likely heard in a very, very long time, as they mix surf rock, Motown girl bands, 60s guitar rock, and the early punk stylings of MC5 into something fresh and fun and altogether different from anything else I have come across in years!  

If you have never seen old 1960s girl group videos from back in the day, you always had the lead singer flanked by two or three other girls who were backing singers and dancers, with the band somewhere off stage.  The Ronettes, the Crystals, the Shirelles, and of course, Diana Ross and the Supremes, were among the most popular, although readers of Glitter2Gutter may be most familiar with these ladies. The Shangri Las...

Of course, when Twisted Sister covered that song, it nearly killed their career...

But, I digress....

The whole point of that little musical nostalgia trip was to set up this short visual of just what Hot Laundry is all about, with their little teaser promo for Shake, Slide, Twist...

After watching that, you may be thinking, "okay, so what's the joke here?"  But the thing is, there is no joke!   This is exactly who Hot Laundry is!!!  What you just saw is exactly what the band is about, and exactly what you get with Shake, Slide, Twist!

The EP kicks of with "Shake", and as soon as the surf rock guitars kick in...with an added helping of distortion...it is immediately apparent this is not going to be your normal musical ride!  Add in the snarling attitude of Janette Lopez's vocals (along with her Motown-inspired backing vocalists/dancers) and you have something truly unique to behold, both visually and musically.  Top all of it off with a healthy dose of snide, tongue-in-cheek sexual innuendo as Lopez sings:

"Everybody wants to be a Bad Ass Bitch 

You know what I want, I wanna scratch my itch.... 

Come on!  Put your sugar in my bowl!"

What self-respecting sleaze fan isn't going to love a couple of lyrical lines like that?!  The guitars are edgy and rock hard, with a GREAT 60s acid-rock solo after the second chorus run, and the drums are sharp and snappy with an absolutely killer tone.  As hard as it was for me to believe when I first tracked through this song, I found myself actually digging what this group was doing...and hitting repeat!  Check out the lyrics video below...

"What Would I Do?" continues the 60s rock fun, albeit in a much punchier, more amped-up style than bands utilized 60 years ago.  Lots of Rolling Stones-influenced boogie rock with that girl group sensibility...and the ability to rhyme "nitty gritty" with "get down on itty"...fill this swagger-filled romp that really allows Lopez to utilize her slightly nasal sneer of a voice to its full effect.  A trippy guitar solo is also dropped on the listener before the last couple of runs through the chorus on this Happy Days meets a mosh pit track, and it should be 100% apparent by now that this is not a fluke at all; this is who Hot Laundry is.

"Satisfied" is filled with more of the same, with the sparkling backing vocals from Ileath and Gena given a bit of extra attention, as is the bass work from Neil Young (no, not THAT Neil Young), and we get another period-perfect guitar solo from Hord who really proves himself to be a skilled axeman on this EP.  Still, its the sass and overall vocal prowess of Lopez that is on display here, combining an Aretha Franklin power with a Mick Jagger strut as the rest of the band rocks its way through another solid dose of 60s inspired guitar rock.  

Some fun handclaps open "Glitter And Gold" (they pop up several times throughout the track), and the dance-worthy, funkified groove comes busting forward on the EP's closer.  Tell me, do you "wanna dance with the devil"?  Because if you do, apparently he's a friend of Hot Laundry's...or at least a friend of Janette Lopez...and according to the song, your options are getting down and boogie-ing with the Prince of Darkness or going to Heaven.  You choose!  Even if you choose Heaven here, there's no denying this track is a hell of a lot of fun, as is the entirety of Shake, Slide, Twist.  

So, do I like it?  Is it good?  Will YOU like it?  Well..."yes", "yes", and "maybe", in that order.  Look, if you are pigeon-holed into glam or sleaze or thrash or whatever, then don't bother with Hot Laundry because you are not going to get it, you're not going to like it, and you are going to think I am completely off my rocker.  But, if like me, you appreciate hard-edged music from various eras and genres, then I think there is a very good chance you are going to have a lot of fun with Hot Laundry. I have to say that I would LOVE to see these ladies live, as I'm betting they put on a heck of a show!  Additionally, I have to also say that I am likely going to be tracking down their back catalog, as I want to hear what else Hot Laundry has to offer!  This is something special, even if it comes at you out of left field...via San Francisco...

Rating:  A really, really fun listen that is worth cranking to 8, especially if you are willing to get outside your comfort zone!

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