View from the Road | Interview with Rev of Underride

by Alex Barbieri
Staff Writer –

Underride is a modern sounding hard rock band from Seattle with a decidedly anarchic ‘80s-style attitude and outlook. Rev, Underride’s lead singer and ringleader, recently spoke to Hardrock Haven about the band’s new album, Distorted Nation, their current tour of the Midwest, and a lot more. Hardrock Haven readers, meet Rev.

HRH: Rev, thanks for talking to Hardrock Haven. For those not yet familiar with Underride, tell us a bit about the band’s sound, style, attitude and overall philosophy.

REV: It’s straight up hard rock! We call it “Camaro Rock.” People like to tell us that it goes best when driven down the highway at a high rate of speed. Fans party to the songs, or work out to it because it’s high energy rock that charges them up! It’s like drinking an eight-ball of Starbucks espresso!

HRH: Underride’s new album, Distorted Nation, sounds heavy yet melodic with a crystal-clear production. Where did you record it, and who was behind the boards? Any interesting stories from the writing and recording sessions?

REV: Ha! I recorded and mixed the whole damn thing myself on an old PC and Pro Tools LE in our crappy little rat-infested rehearsal space. I have a Mackie 1604 board, which is an entry level mixer for garage bands. A few Shure 57 microphones, and away we go!

I really do appreciate the kind words and we’re happy with the production too, but I can’t take all the credit. It’s really the band. These are top-notch musicians, and these guys know how to play their instruments. Good players and good songs really make it much easier on the engineering side.

HRH: Underride is currently on a winter tour of the Midwest. Who booked the tour and are you guys freezing to death out there? Seriously, how are the shows going? Tell us about the Midwest fans and gigs so far.

REV: It’s fucking freezing out here, Mr. Bigglesworth! Shut the front door … we just left Fargo, ND and it was -19 degrees! Now we’re in Iowa in an ice storm watching cars and trucks spin off the freeway into each other.

The shows are great man! We have a brand new tee-shirt that has our album inside it. It’s called a Downloadble Album Tee (DAT). You buy the shirt and the record for $20 and it streams the record on your phone instantly. Fans are freaking out for this! We are selling 10 times the amount of swag then we usually do. That’s what I said … 10 times! Our fans support us because we have the coolest tees on the whole planet. Check ‘em out at www.R-EVOLUTIONTEES.com.

HRH: Underride has opened for a number of national acts? Who in particular have been some of your favorites and why?

REV: Man Made Machine out of Arizona was killah. Those boys brought it every night! We also did Duff McKagen’s Loaded and CAVO—both really good bands and cool people.

HRH: What would be your dream tour and bill? Playing with what bands?

REV: I would wanna be middle slot with Motorhead and Lady Gaga. Probably across the pond in Europe.

HRH: As a singer, you have a great sense of melody, harmony and vibrato. Who are some of your biggest vocal influences?

REV: Joe Cocker, Al Green, Lou Gramm, Chris Cornell, Sammy Hagar, Jim Morrison, Billie Holiday, Robert Plant, Bono … man I could go on, but that should give you an idea of what turns me on. Again, thanks for the kind words. Singing doesn’t come easy to me. I practice a lot and I’m still learning every day.

HRH: Did you grow up in Seattle, and how do you think that influenced your style and attitude, if at all?

REV: The Seattle music scene did influence part of it. Seattle-based rock is honest and in your face. Like Gruntruck, for example … no gimmicks, just good songs with great sounding guitars and pounding drums. We played with them too, and I was over-the-top-stoked.

HRH: Back in 2008, you described yourself as a “loud-mouthed party mother fucker, running at 100 mph all the time.” Are you still that way, or have you mellowed at all over the past four years? And if so, why?

REV: Mellowed out? Are you kidding me? I’m only getting started. Our show has expanded with full motion lights and hard-driving rock songs that drive people crazy. The shows are better than ever and the energy is enough to get you high!

HRH: What bands and albums are you currently listening to? Any pick hits we should know about?

REV: The new Man Made Machine record, Become, gets played in the van pretty much every day, along with Burn Halo’s Up From The Ashes. Check out the songs “Bad Motherfucker” by Man Made Machine and “Tear It Down” from Burn Halo. I’m an old 18 Visions fan too, so I gotta throw that one in there.

HRH: Is there anything else you want to say to your fans and the Hardrock Haven readers around the world?

REV: Me and the boys really appreciate our families, crew and fans for supporting us around the world. If we haven’t been to your town yet, we will be there soon. Thanks to all the peeps who come to hang with us at shows and please support indie artists like UNDERRIDE by purchasing our music from an authorized UNDERRIDE distributer like iTunes and the like. Visit us online and tell us what YOU think of our songs. See you all at The Rock Show!

HRH: Rev, thanks again for hanging with Hardrock Haven and all the best to you and Underride in 2012.

Visit the official Underride website:
http://www.underride.net/

Watch Underride’s new video for “Paparrazzi”
http://www.youtube.com/watch?v=9VbrNsYNS9E

Friend Underride on Facebook
http://www.facebook.com/pages/underride/71205831473?sk=app_2405167945

Order Distorted Nation on cdbaby
http://www.cdbaby.com/Artist/Underride1

Rev photography by Travis Lawton

Death | Vivus!

by John Kindred
Staff Writer –

The Relapse Records reissue campaign for Death continues with their latest release Vivus! This two-CD affair comprises two live concert performances that originally were released separately in 2001, Live In L.A (Death & Raw) and Live In Eindhoven on Nuclear Blast. Both shows were recorded in 1998, disc one was recorded at the Whisky A Go Go in Hollywood, and disc two captured the band at Dynamo Open Air in Eindhoven, Holland. At this point in the band’s career, the lineup comprised Chuck Schuldiner, Richard Christy, Scott Clendenin and Shannon Hamm.

Death was founded in 1983 by the late Chuck Schuldiner. The band began from the anguish felt by Schuldiner after his brother’s death. At the age of 9, Schuldiner’s parents purchased a guitar for him as a way to help with his grief. Moving from an acoustic guitar to an electric set Schuldiner on his path of musical discovery. He became a self-taught musician, who was influenced by Iron Maiden and KISS and later moved on to Slayer, Possessed, Mercyful Fate/King Diamond and Metallica.

Death released seven studio albums from 1987 to ’98. 1991′s Human was the band’s bestselling album and showcased the technical and progressive maturity of Death. Schuldiner is regarded as a pioneering force in Death Metal and Grindcore and the father of Death Metal. After a brief battle with brain cancer, he contracted pneumonia and was hospitalized. Upon discharge from the hospital he returned home only to die an hour later on Dec. 13, 2001.

The music contained on Vivus! is a testament to the legacy left by Schuldiner, which ultimately created the Death Metal genre and was a major influence to Progressive Metal. Although both performances lack the full-on production afforded to some of the most desirable live recordings officially released. It would be a mistake to dismiss the importance of Death’s performance captured in a live setting. The technical prowess of the band and its brutal, spot-on delivery set the standards for their peers to follow.

Although Chuck Schuldiner died at 34, he left and extensive musical legacy. His body of work can heard in the bands Death and Control Denied, which was his progressive metal project, and Voodoocult.

Genre: Technical Death Metal

Band:
Chuck Schuldiner / vocals, gutiar
Richard Christy / drums
Scott Clendenin / bass
Shannon Hamm / guitar

Tracks Listing:

CD 1 – Live In Hollywood (1998)

01. The Philosopher
02. Spirit Crusher
03. Trapped In A Corner
04. Scavenger Of Human Sorrow
05. Crystal Mountain
06. Flesh And The Power It Holds
07. Zero Tolerance
08. Zombie Ritual
09. Suicide Machine
10. Together As One
11. Empty Words
12. Symbolic
13. Pull The Plug

CD 2 – Live In Eindhoven (1998)

01. The Philosopher
02. Trapped In A Corner
03. Crystal Mountain
04. Suicide Machine
05. Together As One
06. Zero Tolerance
07. Lack Of Comprehension
08. Flesh And The Power It Holds
09. Flattening Of Emotions
10. Spirit Crusher
11. Pull The Plug

Label: Relapse Records

Web: http://www.emptywords.org/

Hardrock Haven rating: 8/10

Amadeus Awad | Time of the Equinox

by Alissa Ordabai
Staff Writer –

Somewhere between prog-rock, instrumental guitar rock and the barefaced theatricality of a Broadway musical, the record at hand is a curious mixture of safe, time-tested styles unified by a pathos-laden melancholy mood, although occasional up-beat tracks such as “Spiritus Devi” and “Time of the Equinox” prove to be its best highlights.

With alternate nods to the Alan Parsons Project, David Gilmour, Ritchie Blackmore’s Rainbow, and a dash of Middle Eastern exoticism, plus episodic high-tech guitar demonstrations, the album still manages – despite its capriciousness – to paint a sincere picture of prog-rock as viewed these days from Lebanon, and at times touchingly so. The emphasis is on the guitar – be it acoustic or electric – takes Awad from the artless and deliberately child-like parts to flashy fretboard acrobatics a la Satriani, but it’s the unaffected candor of the simpler cuts that pulls the deepest resonance, when imitations are abandoned and Awad is intuitively tapping into something beyond allusions, and at privileged moments – beyond the everyday realities.

Much of the record is tadpole-stage ideas, with production to match, but even behind the raw outlines and unfinished musical designs there is a knack for picturesque, almost cinematic songwriting, an ambition to realize a wide, panoramic vision, and an attempt to conceptualize one’s own life story into a unified piece of work. How well the album’s parts resonate not only with each other, but with its audience on a universal human level is uncertain – not because of cultural differences between the East and the West, but rather because of the certain type of solipsism which at times is hard to avoid it in prog-rock. Still, when Awad manages to decamp from the myopic point of view, he shows the potential of becoming just as convincing as his legendary predecessors.

Genre: Prog-Rock, Instrumental Guitar Rock

Personnel :
Vocals : Mark Boals, Liz Vandall & Elia Che
Piano & Keyboards : Mood Yassin
Guitars & Bass : Amadeus Awad
Guitar Solo On Track nb.11 By Timo Somers
Piano Solo On Track nb. 6 By Amadeus Awad

Track Listing:
1. The Origins of Light
2. Gift of Solitude & Joy
3. Paper Dreams Pt. I : Requiem (Feat. Marc Boals)
4. Paper Dreams Pt. II : Dies Irae (Feat. Marc Boals)
5. Paper Dreams Pt. III : The Tempest (Feat. Marc Boals)
6. Time of The Equinox
7. Spiritus Devi
8. Meteors In The Blue (Feat. Liz Vandall From Sahara)
9. Virtual Eclipse
10. Nostalgia (Featuring Liz Vandall From Sahara)
11. Tales of Celtic Sunsets (Feat. Timo Somers From Delain)
12. Autumn Eyes (Feat. Elia Che)
13. L’Univers En Deuil

Hardrock Haven rating: 6/10

Grand Design | Idolizer

by Nikiforos Skoumas
Staff Writer –

Swedish outfit Grand Design shook the melodic rock world in 2009 through the release of their debut album Time Elevation. At the time a good part of the press labeled their approach as ‘Def-Leppard on steroids’ which, in retrospect, proves a fair assessment of the style Grand Design put across.

Now it seems the market is ready for album number two, vainly titled Idolizer. Lets get one thing out of the way, Grand Design feel no shame; thick yet polished rhythm section, crystal clear guitar chords topped by lengthy melodic lines, synth keyboard backgrounds and high pitched vocal quires are the key elements the quintet brings to the table. All the above components are used to re-create the radio friendly AOR/glam metal style which dominated the charts during the second half of the ‘80s.

Even the most detached would probably agree that Grand Design do sound a lot like Def Leppard, which, for the biggest part, comes down to the production, songwriting and lead vocals. However there are areas of differentiation; for instance the majority of Idolizer, much like its predecessor, is a substantially up tempo record with very few slow moments. Equally important is the fact that the guitars carry out a much larger task, switching from clean arpeggios to distorted rhythm parts, to shredding melodies and solos all well within the same song.

In many ways, Idolizer seems like the natural continuation of their debut. While experiencing the album one gets the impression that Idolizer was put together right after the completion of Time Elevation. And this by no means implies that Idolizer features left-overs; songs like the opener “Get On With the Action,” “Change Me Up,” “Oughtograph,” “Stealing My Love” and “Addiction For Love” are just as good as anything found on their debut baring the same radio quality and instant appeal.

Needless to say the lineup has remained unchanged since their debut featuring lead singer and producer Pelle Saether, bassist Anders Mood, guitarist Peter Ledin and Dennis Westman plus drummer Richard Holmgren. By this second studio release it becomes obvious that the grandeur of Grand Design’s debut did not occur by chance with the team sounding confident and focused on the given style and artistic direction. If you enjoy super catchy radio friendly ‘80s rock still featuring major guitars and rocking vocal harmonies, Grand Design once again provide an experience you would not want to miss.

Genre: Melodic Rock, Glam Metal

Band:
Pelle Saether – Vocals& Choirs
Peter Ledin – Guitar & Choirs
Dennis Vestman – Guitar & Choirs
Richard Holmgren – Drums & Choirs
Anders Modd – Bass

Tracks
01. Get On With The Action
02. Change Me up
03. OughtoGraugh
04. You Love’s A Runaway
05. Stealin’ My Love
06. Let’s Rawk The Nite
07. Addiction For Love
08. Idolize Me
09. Rock Back To The 80s
10. You’re Gonna Dig On It

Label: AOR Heaven

Website: http://granddesignrocks.com/

Hardrockhaven rating: 8.5/10

LIVE! | Hornet, Damn Dice & Western Sand

by David Cox
Guest Writer –

February 23, 2012 at THE INTREPID FOX, SOHO, UK

Until the other night I hadn’t previously been to a SED Records UK gig at The Intrepid Fox, however I recently heard great things about their monthly live nights and thought it was about time that I attended. This gig had been covered by a ton of online websites, radio stations and I’d seen posters and flyers plastered all over London all stating that this night was set to be hot! So was it hot?

Well… I got myself down to the venue for around 7 o’clock and grabbed myself a drink downstairs with some friends getting ready for the music to start. I must say that I know Thursday nights get busy in Central London but not usually until 10pm. The Fox was already very busy with punters, about half an hour later a hoard of excited fans arrived all sporting black t-shirts with big bold yellow font across the front saying “Hornet” this was exciting to see as I had previously heard amazing things about this band from bar talk around Soho and Camden.

I ventured upstairs for roughly 8 o’clock when the doors opened to make sure I didn’t miss any of the action, I grabbed another fresh pint of lager and got ready for the first band of the evening, Western Sand. Western Sand hit the stage at 8.30pm prompt (it’s good to be at a gig where things run on time) and the band opened up with a crunching hard rock sound. I was made aware by the promoter that these guys had traveled from Bournemouth and had brought some home-town fans with them who cheered as they tore through their 70’s sounding rock set. Lead singer Tyler Hains had a strong voice and his banter with the crowd between songs was well articulated. Drummer Nathan Kay kept things tight (in the vein of Airbourne’s Ryan O’Keeffe) and with Findlay Hotchkiss rocking bass, it kept Western Sands overall sound very AC/DC, not that there is anything wrong with that! The lads played very well together and the songs were well received by the evening’s ever growing crowd. My only real criticism is the bands look; I personally felt that only guitarist Jimmy Bradshaw had the look. Lead signer Tyler Hains looked like he was ready for a smart casual night out on the town not to play a rock ‘n’ roll show especially in Soho the London’s heart of heavy rock and metal. But boys perfect your look and I think you will go far!

The atmosphere was getting lively in Soho’s awesome Intrepid Fox. As bands switched over I got myself another pint, chatted to my mates and readied myself for the next band. Main support came from the outrageously dressed London glam rockers, Damn Dice. They hit things off with a bang and aptly named lead singer, Bobby Valentine had the girl’s hearts racing and the guy’s adrenaline pumping throughout a roller coaster ride of a set. The band had simple sing along songs with, as you would guess, some nice shredding guitar solos from guitarist Wallis. Sometimes people can’t take glam rock seriously with bands like Steel Panther around but Damn Dice do it well… not too much cheese you know? And this is coming from someone who isn’t into “glam rock” particularly. However an added tight performance from bassist, Marco and drummer, Fransoa mixed in with loads of charisma from the whole band made for a good show. If you are into dudes in make up such as Mötley Crüe, Poison and Reckless Love then you’ll love these guys!

I personally would have omitted the cover of Ke$ha’s ‘Tik Tok’ from the set though… I don’t think it went down too well with the crowd but that aside they worked and rocked hard on stage. Keep going for it guys as I think you will go far!

By now the room was packed out and I mean packed… I would guess there was between 160-170+ excited people squashed into this intimate venue and it was getting hot, sweaty and sticky and the tension was building for the headliners.

As Damn Dice left the stage and made way for Hornet the DJ span some classic rock tunes as the audience readied for Hornet. The lights hit as Hornet took to the stage. Vocalist/Frontman Joe Thompson said “Hello Soho, we are Hornet and we play rock ‘n’ roll” and the band quickly kicked into their first song “Down To The Bone” and what a fantastic riff this was with a dynamic verse climbing into an intense chorus of “Suck me dry, strip you bare, right down to the bone” all with sweet backing vocals to top it off. Things just got more exciting as Tollef Rikje-Pearson’s insane guitar solo kicked in with Joe Thompson, Max Thompson and Tollef Rikje-Pearson all coming together to the front of the stage and rocking in unison to the pounding drum beat, after the building guitar solo we heard a “Metallica” styled breakdown with Bassist, Max Thompson and Guitarist Tollef Rikje-Pearson aiming and firing their instruments like guns towards the crowd which made for an epic opener as these were certainly on target tonight.

Hornet rocked so hard that before their third song the band was asked to tell the crowd to calm down due to the rabid crowd going too wild. However this didn’t stop the crowd nor the band slowing down. The young lads ploughed through a couple more of their tracks (which were awesome) and then came the part which blew me away. I believe it was during a song called “Hunky Dorey” Frontman Joe Thompson put guitarist Tollef Rikje-Pearson on his shoulders and span him around whilst trawling through the rabid crowd; who at this point were screaming with excitement. After the climatic end to “Hunky Dorey” the band continued through the rest of their set. Whilst it was hot in the venue you could see the band sweating their nuts off with a pure passion to rock whilst there was a professional live video being recorded by Ignacio Crespo Valdez which I will be watching again to get my fix of Hornet before the March show.

Hornet played a new song “I’m Gonna Be The Man” which went down a storm and their loyal fanbase were clearly hungry for the new material! Sadly after 45 minutes the set came to an end and when Vocalist Joe Thompson said “We’ve got one more for ya, but we’re back next month, this is our last one it’s called rock ‘n’ roll riot” I just knew things we’re gonna go wild and boy did they, the crowd went into a wild frenzy which I have not seen at an upcoming band live show in years and one of the staff ran on stage and crowd surfed and was being thrown around the venue, it was chaos, I loved it!

After the end the band came to the front of the stage and bowed as the fans roared, cheered and begged for one more… did they play one more? Of course they did! The encore was “Bite Down” it was fast and people went mad one last time and all I can say is Hornet have it and were in full flight tonight! I don’t think it will be long until they’re touring major venues and record labels will be fighting to sign them.

Putting Hornet to one side, I must say all the bands tonight were absolutely bloody fantastic, and so was the venue and the bar staff, with an atmosphere that was just grand. It’s great to see a decent promoter pushing real hard working bands in London so hats off to you mate, whoever you are. I for sure will be back at The Intrepid Fox on Thursday 29th March for some more and I hope you will be!

Andy Parker of UFO

by Steve Patrick
Staff Writer –

Andy Parker of UFO is No Bone Rider

Eddie Trunk can end his hunger strike. British rock legends UFO have just released their most recent album Seven Deadly. On the record, UFO demonstrates that they still possess the heaviness and quality songwriting that has cemented their reputation as the musician’s rock band.

The well-oiled rock machine that is UFO has had drummer Andy Parker manning the engine room for over forty years now. Mr. Parker took some time to speak with Hardrock Haven about the new album, the band’s relationship with estranged bassist Pete Way, and playing drums in a swimming pool.

HRH: Well, let’s just jump right into it. How did the band want to follow-up 2009’s The Visitor?

Andy Parker: That’s kind of a tough one, Steve. It’s pretty much as always, you know. We weren’t absolutely sure we’d get another album because SPV had gone through some changes, but once they decided they were going to keep going and that they wanted us to do another album, then it’s just basically pitching the ideas and getting on with it.

HRH: Can you describe how the UFO of today typically writes a new album?

AP: Well, normally it would be Vinnie Moore (guitar) and myself…and Pete (Way) when he was in the band, obviously we don’t have a full time bass player right now, so the writing process is pretty much left down to the rest of us. This time around I didn’t really do much. I had kind of a busy year. My kid was getting married and stuff, so…yeah, we were on the road a lot, so it was kind of just when it came time to do the album the guys pitched in their ideas.

Traditionally what happens is we pitch in the ideas and Phil (Mogg, vocals) listens to them, decides which ones he can kind of feed off of, and we come down to a short list. Then we go into the studio and record those as backing tracks and he works on his vocals from there. I mean, quite often he’ll give us kind of a lyric idea or a hookline or a melody…some kind of phrasing ideas, but we don’t normally hear the finished product until it is actually finished.

I did the drums…the drums and bass were done in Germany at Area 51 with Tommy Newton (producer). Phil worked there too…Phil did his vocals. He tends to work out of his home studio in Delaware. He feels more comfortable there…he’s got all his stuff there. Paul (Raymond, keyboards/guitar) kind of worked between London at a studio he likes in London and Area 51. It’s not that far for him…from London to Hanover so it’s a pretty close commute. I think the only reason he doesn’t do everything in Hanover is he likes to use a grand piano and a B3, so Tommy doesn’t have those there…so Paul found a studio in London that did.

HRH: Who performed the bass parts on Seven Deadly?

AP: By this time, if you remember last time around it was a German bass player, Peter Pichl, that we used. This time around, it’s another German bass player named Lars Lehmann and he was a buddy of Vinnie’s. Vinnie had used him in some solo stuff and suggested that he was a great bass player, which he is…and a great guy. He was available and he was in Hanover, so that made things easier because at least he was around when I put the drum tracks down which was nice. We got to do the bass and drums together.

HRH: That kind of leads into the next question, how is Pete doing?

AP: Eh, well I mean I haven’t seen him probably in little over a year. Last time I saw him he was pretty much the same, as usual. That’s a tough one. I mean, you know, the story with Pete is he’s basically on hiatus from the band because of his lifestyle choices. It was really starting to affect his performance and the band in general, although it really fell on Phil’s shoulders to make the decision…that he kinda needed to sit out and pull himself together.

Poor old Pete. He started off with a good attitude, but he kind of fell by the wayside, so I don’t see him returning any time soon. I mean, obviously we’re all hoping that he will be back and that he will sort himself out, but the last time I saw him he was still pretty much in the state that he had been for a while. Now, funny enough, he’s actually been doing some stuff with Michael (Schenker) which I can understand, from a fan’s point of view, is pretty confusing, you know? Why is he out there with Michael and not with us?

It’s just a matter of degrees with Pete. I think the deal was with Michael is that Michael had him along, but he also had another bass player along to cover the playing duties…which works fine for Michael, but we won’t do that. If he’s going to be in the band then he has to step and play too, so…like I said, we love him to death. We really hope that he’s going to be back, but at this point in time I don’t see it happening in the near future.

HRH: So, I was curious, early on there was a press release stating that the album would be titled Last of the Bone Riders…what prompted the change from that original title?

AP: *laughs* Well, oh boy…this all started early last year and Phil had come up with concept, he’d come up with this title. It was either going to be Bone Riders or Last of the Bone Riders, as you quite rightly pointed out. So, he didn’t get very good feedback from us about it. To be terribly blunt with it, people were saying it sounded like some sort of gay porno movie, right? *laughs* So, he started taking an opinion poll about it and he was kind of getting mixed reviews from it. His whole concept was more of a biker kind of thing. So, anyway, I can’t remember exactly where it was, but we were in a bar of a hotel somewhere, just relaxing and this whole thing came up because we were going over songs, you know, just coming up with a short list of songs for the album and this question of the title came up again. So, he asks the bartender. He goes, “Alright, I’ll ask the bartender. They’re always good to get feedback off of.” So he asks this bartender, “Look, if I said to you a title Last of the Bone Riders, what would you think?” The guy looks right at Phil and says, “Sounds like a gay porno to me.” *laughs* So Phil said, “Right, I’m not going to use that title and I’ll come up with something else.” Fair enough.

Well maybe it was a few weeks later we were playing in St. Charles, Illinois. We had a gig there and we were staying just about two blocks from the gig in a nice hotel. It was a beautiful evening. Well as we’re walking down to the show and as we’re walking down there there’s this group of people coming the other way and this guy had a t-shirt that showed a skeleton riding a motorcycle on it and it said “Bone Riders” on it! So Phil’s going, “Yes! See, I told you it’s a bike thing! It’s a bike thing!” and he traded the guy his shirt right there for a UFO shirt and he’s bouncing around ecstatic, so then Bone Riders came back in on the list.

But, I think what happened was that eventually SPV announced ahead of time that the album was going to be called Last of the Bone Riders and it got some pretty negative feedback on the website. So, once again he changed it, but then he came up with Seven Deadly which was out of left field for us obviously because we were all expecting it to be the Bone Riders, but I think it worked out for the better. *laughs*

HRH: Here’s a song-specific question for you. In the song “Wonderland” off of Seven Deadly, what is “the monkey” that Phil keeps referring to?

AP: I think “the monkey” is whatever you want it to be. I mean, we’ve all got our own theories about it. I think it would spoil it for me to come up with mine. I have to be totally honest with you, I don’t know what Phil was actually referring to with “the monkey.” He’s got a thing about monkeys. I mean, it’s come up with The Monkey Puzzle, “Hard Being Me” has got a monkey in it, and there’s even a song on You Are Here that mentions monkeys. So, I guess he just likes monkeys, but I guess it’s whatever you want. I always see it as a “monkey on your back” kind of thing, but it can be whatever you want.

HRH: Seven Deadly is a really hard-hitting album right from the start…

AP: Yeah! More cowbell! *laughs* I’m a lot happier with the drum sound on this album than I have been maybe with the last couple. That’s fairly well known amongst the band. I mean, I wasn’t real happy with the drum sound on the last couple of albums. You know, not for any particular reason, it just sounded to me to be a bit lackluster.

Now the interesting thing is, although I did this with Tommy and it’s still Area 51, it’s actually a new studio. He moved right before we did this album. He moved to a new building and I actually recorded the drums in a swimming pool, believe it or not, obviously minus the water. It’s just a building that he found that had an indoor swimming pool which just turned out to be a great room for drums, so they put a floor in the bottom of it and the drums actually sat down in the pool.

It just gave them a really good sound. I think he’s really on a winner with this. It’s the best drum sound I’ve heard him come up with in a long time. So yeah, I think it’s a lot heavier. I think the material on the album is a bit heavier. It’s still got that blues feel that was in the band when I came back in 2005 and did Monkey Puzzle, they moved into that bluesy vein, which is fine by me because that’s kind of where the band started. It’s kind of like full circle and it’s very comfortable for me. This one’s got a little bit more edge to it I think which’ll please a lot of the fans.

HRH: Well Andy, I want to thank you so much for sharing your time with us today. It’s been a pleasure talking with you.

AP: Thank you so much and if we ever come your way come out and see us. Come say hi and we’ll grab a beer.

For more information on UFO and Andy, please visit www.ufo-music.info or www.mr-parker-rocks.com.

Knight Fury | Time to Rock

by Nikiforos Skoumas
Staff Writer –

Knight Fury, not sure what it means, or what it is meant to symbolize, but it is a pretty rocking band name one has to admit. Time to Rock is Knight Fury’s debut album, bound to establish them as a prime force in melodic/power metal. And that is not a big claim at all, you see, most of the persona’s in Knight Fury’s line up are already considered legends of the scene.

On bass there is one David Ellefson (Megadeth), on drums Ken Mary (ex-House of Lords, ex-Fifth Angel), the vocal talent of William King fronting the group and prodigal guitarist Chris Sanders (Lizzy Borden) the mastermind and power-behind-the-throne.

Indeed it seems that the time has come for the young flying-V shredder to lead a band of his own and, judging by the line up of Knight Fury, the past five years have cemented the guitarist’s reputation not only amongst his fans but his peers also.

Musically Knight Fury is melodic metal which often extends to neighboring territories such as melodic hard rock, power metal and epic metal. It is a fairly versatile record and it is key to note that Time to Rock never gets too heavy- on the contrary it is all melody driven, up tempo metal featuring catchy hooks, harmonious riffs and as few keyboard parts as possible.

As you would expect, Chris’ melodic shredding coats this entire debut, his solos are actually a sequence of guitar melodies or a single melody that continuously evolves throughout the solo, so clearly it all very meticulous playing as opposed to a bunch of notes played in quick succession. If there was any doubt before, Time to Rock puts firmly across that Sanders is every bit the guitar hero, you will hear a lot of Chris Impelitteri, Michael Angelo Batio and Gus G.

Equally significant is the contribution of lead singer William King who proves very effective on the mid-to-high range vocals baring a style and tone very similar to Geoff Tate. The singer seems at home delivering the rocking songs as well as the epic tunes; though perhaps his performance would have benefited from less dubbing.

Songs like the opener “Nothing Left,” the single “Forbidden,” “Endless” and the title track “Time to Rock” are straight to the point, old school, melodic metal cuts that should satisfy just about any fan of guitar heroes, vibrato based vocals and pounding rhythm section. Knight Fury is heavy metal for real!

Genre: Melodic Metal, Power Metal, Epic Metal

Line up:
Chris Sanders – Guitars
William King – Vocals
Dave Ellefson – Bass
Ken Mary – Drums

Track list:
01. Nothing Left 4:36
02. Attack 3:41
03. Forbidden 4:02
04. Battle For The Castle 4:10
05. Awaken 3:43
06. The Message 3:41
07. Endless Night 3:45
08. Out On Your Own 3:57
09. Believe 4:09
10. Time To Rock 3:36

Hardrock haven rating: 8/10

X-UFO | Vol. 1 The Live Files

by John Kindred
Staff Writer –

What do you get when you take former members of UFO and MSG and throw them in a blender? Well, they call themselves X-UFO. The group comprises Laurence Archer, Danny Peyronel, Clive Edwards and Rocky Newton. Self-described as an “… alternate version of UFO … a spin-off of the classic rock band,” the quartet aims to breathe new life into classic UFO music. While it’s unclear if this is a necessary endeavor, as UFO and MSG are still alive and well, X-UFO are taking a crack at it anyway.

The quartet’s first release as X-UFO is none other than a live recording of its 14-song set. Titled Vol. 1 The Live Files, X-UFO tear into the old UFO standards and some lesser-known classics. From “Love to Love,” “Doctor Doctor,” “Let It Roll,” to “Rock Bottom” and “Lights Out” and finally MSG’s “Armed and Ready,” X-UFO attempts to make these old battle hymns their own.

Who knows if their hearts are in the right place or whether their wallets are slightly empty. The music is performed with the skill that you would expect from former ex-UFO/ex-MSG alumni. But the magic, passion and energy created by Schenker, Mogg, Way and Parker, literally is their torch to bare. Peyronel, while doing an admirable job of singing the vocal melodies made famous by Phil Mogg, is not perfect. Can you name any guitarist that is better at being Michael Schenker than, let’s say, Michael Schenker? You get the drift here. It’s a tough pill to swallow.

Produced by Steve Mann, another former MSG band mate, the music’s strengths fall on the UFO songs that were hits and is weakened by the lesser-known tracks. Again, the musicianship isn’t the question; the question is, “why re-create the music of a band that continues to be in heavy rotation when you could write and release your own original music?”

In essence, X-UFO have pigeonholed themselves into being a cover band. Early this year, X-UFO plans to record a studio album with new material, which should be applauded and help the band create its own identity. Unfortunately, X-UFO aims to capture the essence and magic of UFO by creating new music as well as re-recording and reworking older UFO material.

If X-UFO formed with the intention of writing and releasing original music, the band’s name and union of the musicians would make more sense. Unfortunately, X-UFO is a cover or tribute band that all local music scenes have, so do we really need an international UFO cover band?

Out of 15 UFO and 3 M.S.G. albums, that’s 18 albums, the combined total songs written or co-wriiten by Laurence Archer, Danny Peyronel, Clive Edwards and Rocky Newton is 24. Their total years of experience when complied together is 10 with Archer (UFO) and Newton (MSG) putting in the most timed served.

Known writing credits and time spent in UFO or MSG:

Danny Peyronel – keyboards, piano (1975–1976) with UFO:
co-wrote or wrote on ’76s No Heavy Petting
“Highway Lady” (Peyronel)
“Can You Roll Her” (Danny Peyronel, Mogg, Andy Parker)
“On with the Action” (Schenker, Mogg, Peyronel)
“Martian Landscape” (Peyronel, Mogg, Parker)
“All the Strings” (Peyronel)

Clive Edwards – drums (1992–1993) with UFO:
co-wrote on ’92s High Stakes & Dangerous Men
“Ain’t Life Sweet” (Mogg, Way, Archer, Clive Edwards)

Laurence Archer – guitar (1992–1995) with UFO:
co-wrote on all ’92s High Stakes & Dangerous Men

Rocky Newton (1987-1992) with MSG:

co-wrote on ’87s Perfect Timing
“Gimme Your Love” (Rocky Newton, Robin McAuley)
“Time” (Schenker, McAuley, Newton)

co-wrote on ’89s Save Yourself
“Get Down to Bizness” (McAuley, Rocky Newton)
“This Is My Heart” (Newton, McAuley, Schenker, Mann, Bodo Schopf, Allan Nelson)

co-wrote on ’92s M.S.G. (McAuley Schenker Group album)
“This Night Is Gonna Last Forever” (Rocky Newton, Kenny Stewart)

Band:
Laurence Archer (v)(g)
Danny Peyronel (v)(g)
Clive Edwards (d)
Rocky Newton (b)

Track Listing:
1. Intro: Let It Roll
2. Natural Thing
3. Highway Lady
4. Backdoor Man
5. Can You Roll Her
6. Love Deadly Love
7. Armed And Ready
8. She’s The One
9. Love To Love
10. Only You Can Rock Me
11. Rock Bottom
12. Encore 1: Lights Out
13. Encore 2: Doctor Doctor

Label: MCPS

Web:
www.x-ufo.co.uk
https://www.facebook.com/pages/X-Ufo/202423463118622?sk=wall
https://twitter.com/?iid=am-136815635413275246138684918&nid=23+following_user&uid=291981910&utm_content=profile#!/XUFO1

Hardrock Haven rating: 7/10

UFO

X-UFO

SED RECORDS SHOWCASE; HORNET, THE BURNING CROWS & BLACK STATE HIGHWAY

by Chris Danielson
Guest Writer –

After another full capacity show at The Intrepid Fox in Soho, three great bands are yet again going to kick ass! SED Records UK will be returning for a fourth time to host another one of their fantastic free-entry live rock music nights on Thursday 29th March 2012. SED’s hard rock outfit Hornet are returning once again for a night of rock ‘n’ roll mayhem by re-energising rock ‘n’ roll at its unpretentious best with a fusion of punk and metal having been described as a 21 year-old AC/DC with Henry Rollins on vocals! Support comes strong with high quality bravado rockers, The Burning Crows who play hard and well and Black State Highway, a band who plays classic rock riffs with a southern rock swagger. Read more

Xandria | Neverworld’s End

by Joe Mis
Staff Writer –

Neverworld’s End marks the welcome return of Germany’s Xandria to the symphonic metal scene, and the debut of their new dynamic lead vocalist Manuela Kraller. Together since the early 2000s, Xandria has developed a significant following courtesy of a number of solid releases, including Kill The Sun and Ravenheart, and well attended tours. Their newest release further cements Xandria into the symphonic metal pantheon of the greats.

Unlike many other symphonic vocalists, Manuela Kraller is always clear and understandable – even when in full operatic mode. Her range is huge, and she can modulate her vocal power to cover everything from simple and soft verses to over-the-top full opera without losing clarity. Philip Restemeier and Marco Heubaum provide the well polished and precise guitar teamwork, with Heubaum contributing the massive keyboard presence as well. The bottom end it provided by bassist Nils Middelhauve and double-bass drummer Gerit Lamm. Xandria works well as a team, the overriding prerequisite for any symphonic act.

The album opens with a symphonic blast through “A Prophecy Of Worlds To Fall.” Big keys, synth strings, and sweeping guitars pave the way for Kraller’s fine operatic vocals. This track allows her to express the full range of her abilities from soft and somber to powerful and dramatic, and proves that she is not stuck in the “opera thing,” but can sing in a conventional manner without sacrificing anything. “Valentine” continues the orchestral assault with some powerful bass and drum work courtesy of Middelhauve and Lamm. A beautiful choral passage opens the mellower “Forevermore,” which is a great mid-tempo rocker with a complex and intricate guitar line, melodic pianos and intriguing tempo changes. “Euphoria” has a vaguely middle eastern tone to it, and features a sweeping chorus, neat guitar fills and fine vocals by the entire band. “Blood On My Hands” features a great rolling rhythm line, superbly done guitars and a powerful and dramatic bridge – quite probably the best track on the release. “Soulcrusher” is a darker and more intense track with heavy Gothic overtones and a truly manic drum line.

A soft, almost Celtic passage, an amazing guitar solo, and beautifully delivered vocals make the ballad “The Dream Is Still Alive” a true highlight of the album. Mythical subject matter and high energy metal drive “The Lost Elysion,” while “Call Of The Wind” is simply a rollicking, upbeat good time track. “A Thousand Letters” is undoubtedly Kraller’s best vocal performance, and a hauntingly beautiful ballad – proving that Xandria can do just about anything. “Cursed” is a complete u-turn – booming and powerful, dark, chaotic and creepy. “The Nomad´s Crown” is a nine-minute medieval epic with a driving rhythm line, orchestral passages, tempo changes, intense guitars and dramatic vocals – in other words it is symphonic metal at its purest.

The engineering and production values are high, allowing all aspects of the instruments to be heard and not allowing Kraller’s vocals to dominate the production. The guitars are clean and power-metal precise, and the keys and synths are allowed equal time. Bass is always audible and driving, and the drums are ever-present but never distracting. Backing and doubled vocal lines are well done and effective without being overdone. In other words, Xandria is engineered as a whole and complete entity, not as a bunch of individuals who happen to be playing at the same time.

Pure symphonic power is the key to Xandria’s music, and they deliver beautiful artistically developed music with technical perfection. Always dramatic and heavy, Neverworld’s End might be the album that will convert non-symphonic fans into followers of the genre due to accessibility of Kraller’s vocals and clarity of lyrics. If you have any interest in symphonic, orchestral, or gothic metal, there will be something here for you. Neverworld’s End is a shining example of powerful and emotional symphonic metal. Xandria’s latest is intense, powerful, theatrical, and ultimately beautiful – definitely recommended for fans of the genre!

Genre: Symphonic Metal

Band:
Manuela Kraller (vocals)
Philip Restemeier (guitar)
Marco Heubaum (guitar, keyboards)
Nils Middelhauve (bass)
Gerit Lamm (drums)

Track Listing:
1. A Prophecy Of Worlds To Fall
2. Valentine
3. Forevermore
4. Euphoria
5. Blood On My Hands
6. Soulcrusher
7. The Dream Is Still Alive
8. The Lost Elysion
9. Call Of The Wind
10. A Thousand Letters
11. Cursed
12. The Nomad´s Crown

Label: Napalm Records

Website: http://www.xandria.de/

Hardrock Haven rating: 9/10

LIVE! | Tony MacAlpine

by Alissa Ordabai
Staff Writer –

February 22, 2012 at The Underworld in London, UK

Currently in Europe road-testing his new self-titled album, the guitar virtuoso Tony MacAlpine is proving yet again that his solo records remain his most exciting work. After keeping busy touring as a member of Steve Vai’s live band, collaborating with Billy Sheehan, Virgil Donati, and other hotshots on prog-rock projects, as well as releasing jazz fusion CDs, the veteran of high-tech guitar is now back to being the grand master of his own creative universe.

Comprised of Angra drummer Aquiles Priester, Bjorn Englen on the bass (who also plays for Yngwie Malmsteen) and a 23 year-old up-and-comer Nili Brosh on the second guitar, MacAlpine’s live band is a tough-sounding combination of ferocity and discipline – something Londoners got a taste of first-hand at the Underworld club last Wednesday.

Not interested in overwhelming or intimidating his audience (which on the night – incidentally – included Herman Li from Dragonforce as well as a whole bunch of aspiring local shredders), MacAlpine made this show at once accessible and utterly futuristic, combining his instant-grip melodies with the angular punch of riff-heavy prog-rock.

The organic way in which MacAlpine weaves his insanely complex solos into the fabric of his songs, plus the way his melodies are at once memorable and constantly expanding, draws in the unprepared, while also keeping the most discerning high-brows on their toes.

The band was clockwork-tight, despite this being their first tour together. Aquiles Priester can go from melodic, hypnotically fluid beats to a roiling groove all within the space of one song, and floats perfectly even the most complex harmonic changes. Far from just keeping time, he builds several layers of texture, but never sounds cluttered while doing that – something which not only adds heat to the proceedings, but gives them an extra sonic and compositional dimension.

Nili Brosh’s volume was at times completely inaudible, but when her 7-string guitar was managing to cut through the mix, she complimented MacAlpine’s leads spot-on, sometimes playing in unison with his neck-break passages, and sometimes taking over all the guitar duties when MacAlpine was soloing on the electric piano. She is a young, camera-shy performer, studiously sincere and industrious (which is affirmed by her faculty membership at Berklee College of Music), but only beginning to find out about the balance between supporting a monster player and expressing herself.

But it was not MacAlpine’s instrumental wizardry – be it on the guitar or the keyboard – which was the biggest draw of the show. Nor was it the tasty, richly articulated fiesta of Priester’s drumming. As the band picked momentum, launching into the most audacious songs of MacAlpine’s first 1985 album The Edge of Insanity, suddenly the door into a different world was flung wide open. The sprawling soundscapes, soaring melodies and swirls and sparks of the lightning-fast, but at the same time non-obsessive guitar solos was where you forgot about the technique and let the actual music do its magic.

Somewhere between metal, prog-rock and melodic rock, MacAlpine’s material – be it old or new – escapes categorisation. Probably because he never thought of it in terms of genres, as he told this writer before the show. To him compartmentalization has always seemed artificial, and with his breadth of musical knowledge – stretching from his classical piano training to his love for jazz – this allows him to play without the weight of history on his back.

MacAlpine’s music has changed since the release of The Edge of Insanity in 1985, but while the new record sounds edgier and darker compared to the sunny vibe of his earlier albums, there is that balance of chops, structure, and emotion that unites them, despite the transfiguration’s of the past 25 years in music in general and in MacAlpine’s own inner continuum. The highlight of the show “Ölüdeniz” from the new record was one such number with the melody so open and so poignant that it erased distinctions between the Eighties and the now, between the high-brow and the low-brow, connecting with the audience through the heart, not through the brain.

“We are not going back to the big hair days!” MacAlpine laughs when asked about the vibe he feels when playing the new tunes and the material from 1985 in the same set. But the fact that he plays his very first record in its entirety on this tour shows that the material was able to stand the test of time. Asked if how he sees the difference between being a guitar player now as opposed to the Eighties, he tells me that both the instruments and the amps have become better: “In the Eighties you had a whole rack of effects, while now it is all built into the amp.”

Not a big fan of complexly layered guitar effects, on the night MacAlpine made sure his tone was clear and vivid. He used the Hughes & Kettner amp with the Coreblade head which allows guitarists to upload presets, and which he says is helpful in live situations because the rig is already included in the amp head.

But the “sonic fullness” which he sometimes refers to in interviews is there mainly thanks to his 8-string guitar which allows him to double harmonies and musical phrases with other instruments, especially with the bass. This way he can diversify the lower end of the sonic spectrum without overloading the lower register.

MacAlpine’s custom-made 8-string Ibanez Prestige looked swaggeringly high-style on the night, but rather than the instrument itself, the most spectacular visuals came from watching his formidable chops up-close – something which an intimate venue such as the Underworld is brilliant at allowing you to do. MacAlpine’s superhuman right-hand technique, the flying successions of pitch-perfect bends, his spare but tasteful tapping – all this seamlessly blended with the songs. The combination of dazzling flights of imagination and the down-to-earth craft, the magic and the technique, the personal and the traditional is what makes seeing MacAlpine live such an authentic experience. This is where it’s at – music which shares something real, played by someone who cares deeply enough to have progressed to the highest standards of his craft to match his inner realities.

Set List:
1. Wheel of Fortune
2. The Stranger
3. Quarter to Midnight
4. Agrionia
5. Empire in the Sky
6. The Witch and the Priest
7. Keyboard solo by Tony MacAlpine
8. The Taker
9. Edge of Insanity
10. The Raven
11. No Place in Time
12. Angel of Twilight
13. Ölüdeniz
14. The Sage
15. Tears of Sahara
16. The Violin Song
17. Serpens Cauda
18. PsychOctopus
19. Aquiles Priester drum solo
20. Stream Dream
21. Pyrokinesis

Encore:
1. Guitar Solo by Tony MacAlpine
2. Hundreds of Thousands

Photos appear courtesy of Alissa Ordabai

Golden Resurrection | Man With a Mission

by Nikiforos Skoumas
Staff Writer –

Swedish Christian neoclassical metal group Golden Resurrection are back with their second album Man With a Mission a follow up to Glory to My King of 2010. Golden Resurrection was put together by renowned Christian metal vocalist Christian Liljegren (founder and front-man of Narnia) and prodigal guitarist Tommy Johansson (of ReinXeed). The line up is completed by bassist Steven K., drummer Rickard Gustafsson and keyboardist Kenneth Lillqvist.

While their debut album was a perfect exercise in up-tempo, perfectly white neoclassical metal, Man With a Mission, incredibly, attempts to stretch the boundaries of neoclassical metal, putting theory into application from the very first song on the album. “Man with a Mission” is an orchestral opus directly influenced by ‘80s rock soundtracks. In particular the song is built on riffs and melodies found on the music piece “War” composed by Vince DiCola for the blockbuster film Rocky IV.

Though the rest of the album follows the stereotypical neoclassical form, for it biggest part, one clearly finds that Man with a Mission is a substantially ‘80s oriented album. The arrangements give a sense of fulfillment to the overall songwriting- between Tommy’s neoclassical attack, Christian’s rough-yet-melodic vocals, the essential keyboard harmonies and the up-front rhythm section there is nothing more to ask from a neoclassical album.

What differentiates Golden Resurrection from the majority of bands of the genre is their extra-clean approach in performance and album production? No unnecessary drop-tuning, just the right amount of distortion necessary and no one instrument undermining another. So we are looking at a pretty unique proposition in Baroque metal which often enters melodic hard rock territory while retaining a flavor and attitude of its own.

Taking one’s though a step forward,- Is Golden Resurrection a band that the neoclassical genre needs or simply a quality but overall expendable outfit? At the risk of sounding philosophical, one finds that Golden Resurrection is an indispensable musical unit of the genre above all because of their optimistic message. It is almost impossible for an artist to retain their ‘metal’ identity when conveying an optimistic message; and yet that is what Golden Resurrection have achieved. It is not Christian preaching that they put across but the feeling of hope; at times Man With a Mission is indeed inspiring.

Genre: Neoclassical Metal, Pomp Hard Rock

Line up:
Christian Liljegren – Lead & backing vocals
Tommy ReinXeed – Guitars,vocals, keyboards & orchestration
Steven K – Bass & Backing vocals
Rickard Gustafsson – Drums & backing vocals
Kenneth Lillqvist – Keyboards & backing vocals

Track List:
1. The Light Overture
2. Man With A Mission
3. Identity In Christ
4. Golden Times
5. Finally Free
6. Generation Of The Brave
7. Standing On The Rock
8. Metal Opus 1 in C# Minor
9. Flaming Youth
10. Are You Ready For The Power

Label: Liljegren Records

Hardrock Haven rating: 9/10

Grand Illusion | Prince of Paupers

by Nikiforos Skoumas
Staff Writer –

If you are into pompous melodic rock/AOR built on ambitious arrangements and performed to perfection then you probably have come across the Swedish-American group called Grand Illusion. Prince of Paupers is the brand new fifth studio album by the AOR powerhouse and their second since their reformation in 2009 and the subsequent comeback album Brand New World.

In the process of putting the album together founding members, lead singer Peter Sundell, vocalist Per Svensson and bassist/keyboardist Anders Rydholm once again joined forces with US-based musicians Gregg Bissonette (drums) and Tim Pierce (guitars).

The two had performed on the previous album and in the process developed into key contributors to the sound of Grand Illusion; On Prince of Paupers there is more of a team spirit rather than session performances brought together on a project basis. While Rydholm is credited for composing the album in its entirety, guitarists Tim Pierce and Muris Varajic added guitar melodies and solos of their own, in the same way that Bissonette induced his ever-evolving and catchy ‘80s-oriented drum patterns. Add to the above the orchestral arrangements of master composer Paul Buckman on the symphonic songs and you have a melodic rock/AOR album that strands out by any measure.

Those new to the band can be assured that one can not ask for lengthier melodies from this Swedish outfit as they provide the ultimate in musical harmony. Every vocal melody, every guitar line and keyboard harmony are extended for maximum effect while also being backed by complementary/background arrangements which further intensify the final product.

Their ability of switching between minor(sad) and major(happy) melodies/scales is indescribable and you have to get a taste of such songs as “St. Teresa’s love”, “Eyes of Ice”, “Prince of Paupers” and the unsurpassable symphonic rock opus that is “Gates of Fire”.

If you are looking for a band that made it their business to push the boundaries of melodic rock/AOR while staying true to its principles, then Grand Illusion is indeed that group and their new album Prince of Paupers shows no evidence of slowing down; ambitious to say the least.

Genre: Technical Melodic Rock, Pomp AOR

Line up:
Anders Rydholm – keyboards, bass, rhythm guitars
Peter Sundell – lead and background vocals
Per Svensson – lead and background vocals
Gregg Bissonette – drums
Steve Lukather – guitar solo on 4
Jay Graydon – guitar solo on 2
Tim Pierce – rhythm guitars and guitar solos on 5, 6, 8, 9,10, 12
Muris Varajic- guitar solo on 1, 3, 7, 9, 11
Robert Säll – guitar solo on 13
Paul Buckmaster – orchestral arrangmentrs and synths on 1

Track List:
1. Gates of Fire
2. Better Believe It
3. Prince of Paupers
4. So Faraway
5. St Teresas Love
6. Through This War
7. Eyes of Ice
8. Gone
9. Believe in Miracles
10. On and On
11. Under The Wire
12. Winds of Change

Label: AOR Heaven

Hardrock Haven rating: 9/10

Zakk Wylde of Black Label Society

by Cameron Edney
Guest Staff Writer –

Roasted And Ready To Rock With Zakk Wylde!

Growing up a fan of Heavy Metal pioneers such as Judas Priest, Slayer and Ozzy Osbourne, it was always about the music as much as it was the controversy that surrounded these bands. When it came to Ozzy Osbourne I always loved the phenomenal musicians he surrounded himself around, especially the guitarists such as Randy Rhoads, Jake E Lee and the one and only Zakk Wylde. I will never forget the first time I seen the video clip for ‘Miracle Man’, my introduction to one of the finest guitarist of our time.

You knew a star was born; Zakk’s onstage stage presence and phenomenal playing alongside Ozzy earned him the cover of guitar and music magazines around the globe. As the years have passed Zakk’s image may have changed from the young starry eyed teenager with blonde locks and leopard pants to a body building, black leather vest wearing rocker we see before us today but one thing that’s never changed is his determination to better himself as a guitarist, vocalist and song-writer. Outside of his amazing career as Ozzy Osbourne’s guitarist and song-writing partner Zakk made a name for himself with both the bluesy and acoustically driven Pride and Glory and Zakk Wylde’s Black Label Society, two very different musical entity’s yet both incredible and loved by rock and metal fans around the globe.

In 2011 Zakk Wylde’s Black Label Society released there eleventh album ‘The Song Remains Not the Same’ which featured acoustic re-workings of tracks from the bands previous album ‘Order of the Black’ as well as covers from Black Sabbath, john Rich and Simon and Garfunkel to name a few. The album was a huge success and reached #41 on the Billboard 200 charts. Since the album’s release the band has enlisted Breaking Benjamin drummer Chad Szeliga following will hunt’s departure.

Heavy metal’s beard dwelling, guitar squealing madman Zakk Wylde has returned to Australia this week playing live shows for the first time down under since 2006. Zakk Wylde’s Black Label Society are here as part of the Soundwave Festival and will be sharing the stage with Over ninety artists from the rock, punk and metal genres including Hellyeah, Shadows Fall, Biohazard, Steel Panther and Lamb of God.

Having been a fan of Zakk’s career for so many years now, it was a true honor and pleasure to have chat with one of the most influential guitarist of our time. After so many years of conducting interviews this would have to be one off the funniest conversations I’ve ever had with one of my idols and no doubt you’ll agree after reading what Zakk had to say! I spoke with Zakk about returning to Australia for the Soundwave Festival, recording cover tunes, the recent rock roast and much more. Australian Chapter are you ready? Here is what Zakk had to say…

Hardrock Haven: Hey Zakk, it’s awesome to be chatting with you and thanks so much for answering these questions for our readers, how ya doing mate?

Zakk Wylde: I’m doing good buddy… we’re psyched to start whoopin’ ass with the Australian chapter of the order of black; we’re really looking forward to it!

Hardrock Haven: We can’t wait either but before we get into that let’s talk about the recent Zakk Wylde Rock Roast… I’ve seen some online footage and it looked pretty fuckin’ funny man! From what I watched Sharon Osbourne really gave it to ya!

Zakk Wylde: The whole roast, everybody kicked ass on the thing, [laughs] it wasn’t like it was just a roast on me, everybody got roasted, it was awesome. I hope they do them every year now!

Hardrock Haven: How did you end up getting roasted, tell us how that all came together?

Zakk Wylde: I remember telling Fred from Guitar World that I was talking about doing these Black Label Roasts among other stuff. I said between all of my musician buddies, actors and athletes; everybody that I know in the entertainment business the list is just endless. Look at everybody we could roast, I’d roast a friggin cartoon character, its ridiculous! Fred got back to me one day and said “Zakk we’re gonna start doing these roasts, and we decided that you’re going to be the first one” [laughs] I said “ah great [laughs] the more brutal the better.”

Hardrock Haven: Well that it sure was mate! Now as all the Aussie fans know this tour is well overdue with your last visit in late 2006. What can we expect when Zakk Wylde’s Black Label Society Hit’s the stage?

Zakk Wylde: Well I’ve been hitting the Kim Kardashian quick trim pretty hard myself and the rest of the guys in the band are using this new product we have… black label thigh thinning cream, I’ve been using that religiously and I feel that we’re going to be hitting the stage with reckless sexual abandon [laughs].

Hardrock Haven: [Laughs] something for us all to look forward too I see [laughs]. You’ve been here a few times now on promotional tours as well as with Ozzy Osbourne, what fond memories do you have from your previous Australian visits?

Zakk Wylde: Well, obviously not to ask for Fosters [laughs] and make sure you ask for VB [laughs], that’s what I remember from last time. The craziest thing is that in America Fosters is considered the Budweiser of Australia, then you speak to someone from Australia and they’re like “we ain’t drinking that rat piss!” Everyone in America thinks that’s the beer man!

Hardrock Haven: It’s really sad to see that after all these years Fosters is still the only Aussie beer that they are trying to sell to the world [laughs].

Zakk Wylde: Oh without a doubt, that’s the marketing campaign. Everyone would say to me, Zakk VB is the beer down here, if you’re drinking beer it’s VB! I had a blast last time I was down there man, we did a lot of bar hoping after the gigs!

Hardrock Haven: You’re back in Australia for the Soundwave Festival and this year’s line-up is unreal with many of your friends also taking part this year! Will you be putting much time aside to watch the other bands, who are you most looking forward to seeing?

Zakk Wylde: Half the time when you’re at the festivals you’re usually always working, there’s always something going on but obviously you go and check out as many bands as you possibly can. A lot of the guys you actually know, you can always hook up with everybody and see how they’re doing. Usually everybody’s always touring or making records so it’s always cool catching up with everybody.

Hardrock Haven: The BLS fans are great man, very dedicated, some fanatical… you have the best seat in the house to witness the mayhem that takes place in the crowds… what comes to mind as some of the craziest things you seen happening whilst playing?

Zakk Wylde: That depends, sometimes some of the smaller places are even more insane, just put it this way, as long as nobody’s getting hurt that’s all that really matters at the end of the day! I’ve seen some pretty ridiculous stuff but then again [laughs] it depends on how many cocktails are flowing.

Hardrock Haven: How about when it comes to dealing with other members on the road… as we know at times it can become quite frustrating sharing a bus/hotel room for weeks, sometimes months at a time. How have you found is the best way to deal with each other on the road especially when it comes to those harder / not so pleasant times?

Zakk Wylde: I write all the checks so the bottom line is…

Hardrock Haven: [Laughs]

Zakk Wylde: I say, “Stay away from me, and don’t look at me cause I’m the artists” [laughs] and you know what they seem to enjoy it, and they all like me!

Hardrock Haven: [Laughs]

Zakk Wylde: Seriously, I’ve never been in a band situation since I was fourteen years old where we didn’t get a long, everybody usually hangs out and has a good time, otherwise why would you be in a band? I don’t get it, the whole time I played with Ozzy all we did was laugh our balls off, so that’s all that ever was about; we were doing what we love.

Hardrock Haven: I’ve heard many stories about you over the years, how you’re a funny guy and love practical jokes. What’s the best joke you’ve pulled on the road?

Zakk Wylde: I’m trying to think… the guys have gotten me too so [laughs] put it this way, you don’t want to piss anyone off to the point that they’re going to beat your ass [laughs]. All of us have to go to sleep sooner or later [laughs] so you have to be careful on how far you pull the practical joke; it’s always a good time though man!

Hardrock Haven: Aussie fans will be introduced to the newest member to the BLS family and incredible drummer Chad Szeliga this week, what’s it like working with Chad?

Zakk Wylde: Oh man, with Chad in the band right now… Chad’s awesome man! All he does is jam all day, we go down to the venue, he gets his practice kit set up and you know where you can find him. Chad’s a super cool dude, it’s always been a prerequisite for the guys who have been in [Zakk Wylde’s] Black Label Society that you can’t be a douche bag, and you have to be able to play your instrument. All the douche bageries… leave that to me [laughs], I write the checks, I am the douche bag [laughs].

Hardrock Haven: [Laughs] Zakk I want to talk to you about life in the studio… you’re not only a great singer and guitarist, you’re an amazing writer, when you look back on your back catalog what are most proud of, is there one song or album that stands out above the rest?

Zakk Wylde: Well like JD always says… I’m shocked that anyone does listen to this garbage

Hardrock Haven: [Laughs]

Zakk Wylde: [Laughs] JD always tells me the thing that you should be most proud of is that you managed to pull this off [laughs]

Hardrock Haven: [Laughs] That’s a fantastic way to keep you grounded isn’t it!

Zakk Wylde: [Laughs] I lit him on fire after he told me that!

Hardrock Haven: [Laughs] Last year you released ‘The Song Remains Not The Same’ which featured some great covers and the re-working of tracks from ‘Order of the Black’… looking back over the recording process now is there anything you would have changed?

Zakk Wylde: No, obviously when you’re making the records you’re always doing the best job you can at that time. I guess you can always listen back on it and say that could’ve been better or whatever but as far as the “Order” record and ‘The Song Remains Not The Same’ I think the production on those albums came out stellar.

Hardrock Haven: Dude I love how you changed up your songs, as much as I’m a fan of the heavier work you’ve done I think you acoustic work is among some of the best I’ve heard from any musician! When you take an album like ‘Order of the Black’ and then re-do some of the tracks I can’t help but wonder how many of those songs originally may have started out acoustically?

Zakk Wylde: Usually it’s the instrument that will dictate what I’m going to be doing. If I’m sitting there behind a piano it will be more reflective Neil Young, Elton John, The Eagles type of stuff but obviously when you’re playing through a wall of Marshall’s you’re going to start writing more Sabbath, Zeppelin type of riffs. As far as ‘The Song Remains Not The Same’ stuff I was just sitting around jamming. After we get done doing all the heavy stuff at the end of the night I’m just noodling around on the piano. I’d be using lyrics that I’ve already written just as something to mumble over while I’m singing a melody; that’s how ‘Parade of the Dead’ came about and some of the other heavy songs we took and made into a mellow tune.

Hardrock Haven: When you look back over the great material that you’ve been created, what have you found has been the hardest, most challenging album to make?

Zakk Wylde: I don’t know, you’re writing music you enjoy playing. It’s not like we’re making fusion albums. I usually make it a challenge to see how simple you can write something whether it’s a song like Led Zeppelin’s Whole Lotta Love or just one riff throughout the whole song; that’s a challenge in itself to make the song as simple as possible. In the solos you can always do whatever you want to do, but as far as it being challenging even with all of the Ozzy records, I’ve never made an album where I was like oh man it’s so hard.

Hardrock Haven: Are you currently working on any new material?

Zakk Wylde: No obviously we’re talking about doing this Unblackened thing, so we’re figuring out the set. There are strings and it’s still going to have electric guitars and drums. We’re figuring out when we’re going to be able to do rehearsals, fitting it into our schedules, we’ve already got stuff booked up til 2014 and then doing the Unblackened set.

Hardrock Haven: As I mentioned with the last album there were some great cover songs, and over the years you’ve covered many fantastic tracks, for me the standout is your version of Led Zeppelins ‘Going To California’. Is there a song that you’ve always wanted to cover but for some reason it just hasn’t happened?

Zakk Wylde: No not yet, I enjoy doing covers cause it’s some of your favorite bands, I’m sure eventually when we do the next album we will knock out some more covers. They always work as b-sides and I would say that’s a great excuse to end up doing covers.

Hardrock Haven: Zakk you’re certainly an incredible guitarist and to many you’re classed as a legend, an icon, your certainly one of the most influential players of our time, when you hear yourself classed as an icon a word that is used for the likes of Hendrix, Page and Beck, what runs through your mind…

Zakk Wylde: When the wife’s yelling at me I just throw that in her face and that makes her even madder.

Hardrock Haven: [Laughs]

Zakk Wylde: [Laughs] it’s either that or she just laughs me out of the room [laughs].

Hardrock Haven: It’s really fantastic to see that all these people around you keep you grounded by just giving you shit!

Zakk Wylde: [Laughs] completely, at all times [laughs] instead of having that roast they should have just been at my house the whole time, or on the road with the guys, it’s the same shit all the time.

Hardrock Haven: [Laughs] Who have you been surprised to learn is a fan of your work?

Zakk Wylde: I’m trying to think cause I know nobody in my family likes it [laughs]. Maybe the dogs [laughs] they haven’t bitten me yet. But then again I’m the one that always feeds them so I don’t think they’re going to bite me [laughs].

Hardrock Haven: [Laughs] Zakk on a serious note, the longer you’re in the industry the more you learn, whether on tour, in the studio or the all important business side of things. What do you feel has been the most important lesson you’ve learned to date?

Zakk Wylde: I guess your perception of everything from when you first start and as you get older and you see how things go. It’s so funny your perception of things then to see how it really goes down! That’s why you’ve gotta love the music and love it for that reason alone you’re always going to have ups and downs that’s what it is.

Hardrock Haven: Zakk unfortunately we’re out of time and it’s certainly been a blast chatting with you, do you have any last words for our readers?

Zakk Wylde: Tell the Australian chapter to stay strong and keep bleeding black man!

Zakk Wylde’s Black Label Society Kick off their Australian tour today at the Brisbane Soundwave Festival Make sure you see this kick ass band live.

Images by Cameron Edney courtesy of Wicked Pix

Girlschool | Hit and Run Revisited

by Justin Gaines
Staff Writer –

Pioneering all-female hard rock/heavy metal band (and New Wave of British Heavy Metal veterans) Girlschool delivered an unexpected release late last year in the form of Hit and Run Revisited. As you probably guessed from the title, Girlschool is marking the 30th anniversary of one of their best-known albums – 1981’s Hit and Run – by completely rerecording that classic album.

Revisiting older material, especially albums that are rightly considered classics, is a tricky business. Girlschool isn’t the same raw, hungry, young band they were thirty years ago, so some of the energy and spirit of the original Hit and Run album is impossible to replicate. What they have now is decades of experience under their belts and perhaps a desire to prove they’ve still got what it takes (as if their powerhouse 2008 album Legacy left any doubt). It’s clear from the start that Girlschool hasn’t lost any of their edge over the years. The original Hit and Run was a real kick in the teeth hard rock album, and if anything, Hit and Run Revisited sounds even heavier and harder-hitting. The band storms and stomps through these classic songs and sounds like they’re having all the fun in the world doing so. That kind of thing is totally contagious, so just about every song will have you adding more volume and giving your speakers a workout.

Hit and Run Revisited also features a pair of bonus tracks. The first is a new version of the Demolition song “Demolition Boys,” which, like the rest of the album is an energetic new take on an old song. The second is an alternate version of “Hit and Run” that features guest vocals by none other than Doro Pesch. This is a very cool touch, as it brings together two iconic female metal artists and rocks hard to boot.

While it probably doesn’t quite make the leap into “essential” territory, Hit and Run Revisited has a lot going for it, and is not likely to disappoint longtime Girlschool fans. It’s a fun and nostalgic detour, but now it is time for the band to deliver a proper follow-up to the excellent Legacy. They’ve obviously still got the talent and fire to deliver another knockout studio album.

Genre: Hard Rock, Heavy Metal

Band:
Kim McAuliffe (v) (g)
Enid Williams (v) (b)
Jackie Chambers (g) (v)
Denise Dufort (d)

Track Listing:
1. C’Mon Let’s Go
2. The Hunter
3. (I’m Your) Victim
4. Kick It Down
5. Following the Crowd
6. Tush
7. Hit and Run
8. Watch Your Step
9. Back to Start
10. Yeah Right
11. Future Flash
12. Demolition Boys
13. Hit and Run (with Doro)

Label: UDR

Website: www.girlschool.co.uk

Hardrock Haven rating: 8/10

Patrick, Steve

Biography

Steve Patrick lives and breathes music. His parents got him started with their Alice Cooper and Uriah Heep records, but Steve’s interest in rock music truly took off after seeing his first concert: AC/DC. He has a BA in Anthropology, but also considers himself to be somewhat of an amateur rock-ologist as well.

Steve’s official profession is as a remittance specialist for an online bill pay company, but his true passion is writing. While attending Ohio State University, Steve began writing for UWeekly newspaper in 2005 covering many hard rock and metal acts that came to the Columbus, OH area. Read more

Pushing Boundaries With Devin Townsend

by Cameron Edney
Guest Staff Writer –

Devin Townsend is one of the most intriguing men in metal music and he’s back in Australia this week to take part in the Soundwave Festival. Best known as the front-man for Strapping Young Lad, Devin Townsend has continued to push musical boundaries releasing albums that showcase his versatility as a musician from the more extreme forms of metal to folk. His most recent albums Ki, Addicted, Deconstruction and Ghost certainly appealed to a large audience resulting in all four albums being packaged together last year in a box set tiled Contain Us which also featured bonus tracks, a DVD as well as other goodies for fans!

No stranger to touring Australia Devin Townsend has a strong and dedicated fan-base down under and as a long time fan myself it was fantastic to catch up with Devin to talk about his love for Australia his devoted and sometimes angry fans, the new album Devin’s working on Epicloud and much more. Kick back as Devin tells us just how it is!

Hardrock Haven: Hey Devin, great to be speaking with you today mate, how’s everything going?

Devin Townsend: It’s really good, my life, career and music are in a place now that is just really humbling and flattering. I’m really excited and it’s just a lot of fun man and for the first time ever in my career I’m able to say this is really cool man and I’m digging it!

Hardrock Haven: That’s great to hear mate! It’s awesome to see you back in Australia for the Soundwave Festival; you’ve played here so many times now it must feel like visiting a second home!

Devin Townsend: In a way, I think my connection to different cultures a lot of times comes down to humor. You find that there are some cultures that just gel well together and Canada and Australia have certain things in common and I get it. My friends that I’ve got in Australia, we have a good laugh together and I think that makes it a lot easier to like work. It’s the same in the UK actually, I was basically breast fed Monty Python when I was a kid so that defines it. In Australia I’ve had some great experiences man!

Hardrock Haven: Having played here so many times over the years both solo and with Strapping Young Lad, what fond memories come to mind when you look back over previous Australian visits…

Devin Townsend: I remember the first tour we did with AJ, we did it in a splitter van driving thirty hours between gigs and playing Wagga Wagga, that was intense man. Later on I remember doing these incredibly elaborate tours and the last one that we just did. It’s been many years since I’ve done drugs or drank but I remember being high as fuck somewhere down there and thinking to myself that I was going to die and then communicating with a moth or something stupid, all those things kind of play into your whole tapestry of memories, the ultimate vibe that I get as a result of all those things is pretty cool!

Hardrock Haven: The Soundwave Festival line-up is incredible, there are plenty of killer bands on the bill, who are you looking forward to seeing most, will you be spending much time in the crowd or side of stage watching the other acts?

Devin Townsend: There’s a lot of people that I know that are going to be there and I’ll definitely looking forward to seeing a lot of them. I haven’t spent too much time thinking about that element of it, I’ve been so busy trying to finish up the work that’s been going on in my life with family I figure that I will make them decisions once I’m there but I have to admit I’m really excited about renting a bike and just farting around the town cause I do like riding bikes.

Hardrock Haven: It is a great way to see the sights that’s for sure! You are certainly no stranger to playing large festival bills, are you personally a fan of festival shows or would you much rather the smaller more intimate club shows?

Devin Townsend: I would do festival shows over club shows almost every time. I love it, I think there’s definitely something to be said for your headlining show and it’s a real casual set up and you get to sound check, but I think I find it easier to perform in front of larger audiences then I do in front of smaller ones. It’s less intimate in a way, intimacy has never really been a strong suit for me, I’ve been married for a lot of years but I’m not very comfortable with intimacy. I’m not a very huggy person, it’s not really my deal so bigger shows I find easier to be a character, to perform cause it’s less about Devin the person and more about Devin the performer.

Hardrock Haven: With the festivals there’s always that element of the challenge when you’re playing to a wider audience that may not be familiar with your work, to grab them and bring them in to what you do for that forty minute slot!

Devin Townsend: Yeah and I think for me, I’m banking I guess on the reason people get sucked into what I do is because we’re into it! I’ve definitely never in my career gone out of my way to try and convince people to like what I do, it doesn’t matter to me, I like having shows and it’s nice to pay the bills but the value of my music that I write is not based on whether or not it’s accepted by fuckin’ anybody, but because I do like it, I think that’s what draws people in, when you’re legitimately into it, it really shows!

Hardrock Haven: Devin, late last year you released an amazing box set titled Contain Us… it featured the four Devin Townsend Project albums as well as some bonus discs and DVD material also, it’s a great looking box set, why did you decide to put the package out this way?

Devin Townsend: Well I think that a lot of what’s been going on for a lot of my career in the past twenty years to be fair has been not taking that next step and a lot of that has been my fault. I’ve been afraid to take that next step but I’ve also been with different managers that in my opinion were great people, as hard as they worked for me I don’t think they understood what to do with me. I parted ways with my previous management about a year and a half ago and I have since hooked up with Andy Farrow from UK and he gets it! Andy’s been very proactive in trying to make up for lost time and a lot of what that entails is piggy backing off of one experience to another. In the past what would happen was we would do something that was significant in terms of my career or history but then we wouldn’t do anything after that; it would be like there’d be a bench mark that we’d reach and then it would just die off, then we’d do another benchmark and it would die off again. What we’re finding now is that we do a benchmark and then we announce something else. The ultimate goal of that is to get to the point where I can make this Ziltoid musical that I want to do with the backing and the musicians and the right way to do it. With the Box set there’s definitely an element of the fan base that gets upset saying well you’re taking advantage of the people that supports you, but my reaction to that is that I don’t want to take advantage of anybody and id be more than happy for you to just download it all. I don’t want what I do to make you feel uncomfortable, I have to sell shit, the industry’s in a way here that in order for me to reach these goals and bands on salary I have to sell shit, it’s stupid not to. We’re trying to make the product as good as we can so it’s worth buying however, somebody said to me on twitter “I need you to convince me as to why I should buy your shit” and I said “No, don’t buy it!”

Hardrock Haven: Those are the kinds of fans where you can think to yourself… just f#*k off, don’t waste my time and don’t buy it!

Devin Townsend: That’s it, right! I found out the hard way that telling a fan to fuck off specifically on the internet doesn’t go over so well. So you have to say it in a nice way without saying fuck off right!

Hardrock Haven: [Laughs] That’s a good point!

Devin Townsend: If you don’t very much mind, would you do me the extreme pleasure of fucking right off…

Hardrock Haven: [Laughs]

Devin Townsend: Somebody else is saying “you’re charging two hundred bucks for this VIP thing at the retinal circus why would you do that?” and I’m like “well, the management suggested it, it really helps sell cause it’s like a really expensive proposition and you don’t have to come cause I’m going to hang out after the show anyway!” Sometimes I find there is a certain fraction of the fan-base that is looking for reasons to be angry and I think that, that is fully understandable cause there’s a lot of labels that just re-issue shit as a cash-grab. Anytime I get an opportunity to be involved and make it better then it could be I do.

Hardrock Haven: Mate you must be one of the busiest men in metal, every time I turn around you’re writing new material, and getting ready to release something new! After so many years, creating such great music do you find it harder or easier to come up with fresh sounding material as time goes on?

Devin Townsend: Well it’s a little bit of both, it’s easier to come up with material but what sounds fresh to me now… the things that appeal to me most now with music a lot of times wouldn’t fit in with what we’re doing now. There has to be these moments where you reconnect with the band and fortunately I still have this vision with Devin Townsend Project where that inspiration is still to be found by doing that. I remember towards the end of Strapping [Young Lad] I was looking for inspiration to make Strapping like material everywhere and I couldn’t find it anywhere. Nothing was inspiring me to do this! With Devin Townsend Project what comes naturally to me at this point in my life whether or not it’s just a phase is very quiet, folk, country sounding stuff. If I start doing that with this after setting all of this up, glowing logos and all this shit… “I hope you like our new direction” people will be like “yeah we don’t.” It doesn’t mean I’m not gonna do it, I’m still working on it.

Hardrock Haven: [Laughs] It would be a fantastic way to upset some of those fans again!

Devin Townsend: I’ll tell ya what, I upset everybody basically every time I put out a record and then when I put out the next one it’s just about the time that they’ve become used to the one before, then they’re pissed off that you’re changing again.

Hardrock Haven: I’ve always felt that it’s great to have diversity in music and that’s one thing that you’re great with, you will do an acoustic show, record some folk type material and of course the more extreme metal styles also, have you always thought for yourself that it was important to be well rounded with your musical choices and the way you put it all together?

Devin Townsend: It’s never been a conscious decision, I get bored easily so once I finish one thing I’ll be damned if I want to do that again. That’s it more than anything else, again there’s a lot of times when people are talking about my process and music and it sounds so much more romantic then it probably actually is. I get bored easily, I like a lot of different styles of music I was never part of any click, so there’s no real reason to adhere to any click and I think you put all those things together with a capacity to for learning and you’re gonna get some weird music, that’s just what I do!

Hardrock Haven: Mate, I believe you’re already working on the next album Epicloud scheduled for release this year… how far into the writing are you?

Devin Townsend: Basically because Deconstruction and Ghost were so complicated I just said fuck it, I just want to write something that’s big, shiny, aggressive hard rock with a lot of beauty and a lot of melancholy. It’s simple with big choruses and its relatively accessible and its going to piss off people who liked Deconstruction and then by the time they start thinking wow that’s really cool then I’m going to release Ziltoid the Omniscient 2 and piss them off again!

Hardrock Haven: [Laughs] Sounds like a great plan! Mate in this industry you’re constantly learning whether it’s on tour, or in the studio or the all important business side of things! Knowing there are so many different lessons along the way what do you feel has been the most important lesson you’ve learnt thus far?

Devin Townsend: To not take it as seriously as you’re inclined to because when the gigs get big and the press room becomes to the point where it seems like what you’re doing is really important, because you’ve got people running around and there’s money that’s being spent on things you’ve got managers and lawyers it’s really hard to sometimes keep in check that it may seem important but it’s not! I think that if you can learn to take it with a grain of salt it doesn’t matter how big it gets man, it will just be fun! It will be “wow isn’t that cool” vs “oh my god this is a defining moment for me.” If you can keep it fun rather than with a sense of self importance then you’re golden man!

Hardrock Haven: Devin thanks again for your time today, it’s been a true pleasure. Do you have any last words for our readers?

Devin Townsend: Worst shit has happened to better people!

Devin Townsend will be performing at the 2012 Soundwave Festival and selected sideshows. Don’t miss the mayhem kicking off today in Brisbane!

Head In A Jar | Atomic Circus

by John Kindred
Staff Writer –

Aussies from Down Under strike again! This time, thrash metal reigns supreme in the guise of Head In A Jar. Hailing from Sydney, the quartet has been on a quest since their first gig in the spring of 2011 to put their own twist on their beloved thrash metal. Guitarists and vocalists Gordy Whyte and Nick Coady are joined by bassist Onni Hirvonen and drummer Adam Hopkins and aim to entertain and deliver thrash metal with a new found energy and excitement for metal fans.

Their first recorded effort is Atomic Circus, a four-song EP of what can only be described as rambunctious, aggressive and over-the-top. When you first hear Atomic Circus, you will recall the band Green Jelly (formally known as Green Jello) and Anthrax because these thrashers bring the energy, and, yes, fun vibe to their music. Heavy thrash-y grooves are paralleled with lyrics about rat kings in “King Gnawicus,” decapitated yet powerful heads in “Head in a Jar” and evil judges in “Judge Mental.”

The band builds its songs from pun-based song titles and then constructs the music. Self-describing their genre of music as Atomic-Circus-Thrash, the band certainly lives up to that moniker. With a goal to produce songs that are “heavy and fast … with a clear melody … each song is uniquely strange,” Head In A Jar have no problem exploring and exploiting their creative side. Obviously, influences by ‘80′s thrash metal bands, Head In A Jar strive to put their own stamp on the genre.

Atomic Circus is a must-listen for thrash metal fans. The music is honest and bottled with the youthful energy of aggression, angst and rebellion. The band currently is working on a full-length studio release, and they continue to tour to support their livelihood and spread their music to the masses. They are slated to perform at the Bald-Faced Stag on Saturday, July 1, with Death metallers Norse, so if you are able to go, check them out, or visit the band online.

Genre: Thrash Metal

Band:
Gordy Whyte (v)(g)
Nick Coady (v)(g)
Onni Hirvonen (b)
Adam Hopkins (d)

Track Listing:
1. Bloodsport
2. Judge Mental
3. King Gnawicus
4. Head In A Jar

Facebook: https://www.facebook.com/pages/Head-In-A-Jar/172129812835460?sk=info

Reverbnation: http://www.reverbnation.com/headinajar

Hardrock Haven rating: 8/10

Underride | Distorted Nation

by John Kindred
Staff Writer –

Melodic hard rockers Underride deliver their latest studio album Distorted Nation, an 11-track affair that revels in the ‘80s, while maintaining a modern edge. Hailing from Seattle, which is commonly known for Grunge, Underrides is far from that genre with its sonic delivery. The band comprises five blokes who hand down their take on rock with a revitalized guitar-driven attack, driving percussion and groove and vocals that are gritty, edgy and very listenable. With names that fall right out of the pages of a Japanese Magna novel, Rev, Suzuki Sixx, Princess, El Barto and Double A, are here to supplant those who lack the will or desire to survive the business of the music industry.

Distorted Nation is not Underride’s first rodeo – see 2008′s One of Us – their music features tight and cohesive songs that are built on hooks and catchy melodies. The album was produced by Rev, the vocalist, and executive producer John Elder. Their knowledge of the studio and song structure is apparent, as they deliver a balanced collection of songs that feel like they belong together and can stand on their own merit. The music is mixed expertly, allowing all the instruments to be heard while not stepping on each other and creating anarchy.

Hammering out an existence in the Seattle music scene has offered the band the opportunity to merge their influences into their vision of what rock means to them, creating music that is appealing and enjoyable to listen to. Steering away from the negative stereotypical constructs of many of today’s bands, their message is lighter and easier to digest.

With songs like “Paparazzi” and “Porn Star,” the band takes a poke at life in a fun way. “Do Anything To Me” drives forward with a catchy singable chorus and tongue-and-cheek lyrics. Bits of sleaze and cheese come across in “Candy Girl.” “Inside Out” has another memorable singalong chorus. Throughout the album, the band musically delivers, even playing guitar solos. It’s a nice change of pace from the more recent modern drivel that has been cast upon music fans over the last few years. Solid production, good songs and strong musicianship make Distorted Nation a winner.

Genre: Modern Melodic Hard Rock

Band:
Rev – vocals
Princess – guitar
Suzuki Sixx – guitar
El Barto – bass
Double A – drums

Track Listing:
1. Another Way Out
2. Paparazzi
3. Say Goodbye To Everything’s That’s Gone
4. Love Is Like Dying
5. Porn Star
6. Don’t Walk Away
7. Do Anything To Me
8. Inside Out
9. Blinded By You
10. Candy Girl
11. Road To Nowhere

Label: EPI-Records

Hardrock Haven rating: 7.5/10

Derek Davis | Re-Volt

by Mark Allen
Staff Writer –

Derek Davis’ name may not be as familiar to hard rock fans as, say, Bret Michaels, but he also fronted a hair metal band back in the day. But whereas Michaels and Poison sold 25 million records, Davis and Babylon A.D. sold… not 25 million records. They were latecomers to the commercial metal scene, enjoying a brief run of mild popularity before grunge took a big, down-tuned piss all over the hairspray heroes that had dominated the market for so long.

On their first two albums, Babylon A.D. contentedly hopped on the hair metal bandwagon; in fact, if you listen to their early demos, you can hear the band was originally more melodic and AOR-tinged and changed to a heavier sound for their debut in order to capitalize on what was popular in ’89. By the time their third album came out in 2000, the darker sound of alternative metal was all the rage and once again, in keeping with the times, Babylon A.D. altered their sound to accommodate the mainstream.

Now, a dozen years later, Davis has resurrected onto the rock scene and said to hell with trend chasing. Re-Volt is an album rich in raw, rewarding honesty that exhibits a stubborn, captivating refusal to cater to any crowd. Those hoping for a retro-reincarnation of that Babylon A.D. style will be as disappointed as an erectile dysfunction sufferer discovering his Viagra pill is actually just a placebo, but Davis refuses to dwell in the past just as much as he refuses to pay much attention to the popular music of the present. This is a pure powerhouse rock album untainted by mainstream pandering and though it is not flawed, even the missteps are evidence of the fact that Davis didn’t give a damn about what anyone wanted to hear and instead wrote the music he wanted to write.

Threaded through this music are veins and arteries pulsing with sonic blood that beats to the rhythm of a central hard rock heart but each with their own unique flavor. There are songs that have a modern vibe (“Re-Volt”), there are songs that pummel you with vicious beats and menacing power chords (“Bad Man Cometh”), there are songs reminiscent of Babylon A.D. (“Tied Down and Hammered”), there are songs designed to rip your face off with no apology (“Judas Kiss”), and there are catchy melodic rockers designed to get your body moving (“I Love U 2 Death”). Such diversity means there is something here for everyone, but the tradeoff is a slight lack of cohesiveness.

Where the album really fails, at least from the perspective of hard rock fans, is the ballad department. “Troubadour” is particularly problematic, an acoustic, Spanish flavored song that perhaps some folks would call beautiful but most hard rockers will call boring. “The Promise” doesn’t fare much better and will have head-bangers scrambling for the Skip button. But all is not lost, because the one ballad that does work is “Desperate,” a reworking of the song that first appeared on Babylon A.D.’s debut. It was a great song in ’89 and it’s a great song now.

Derek Davis covers a wide range of topics on this album, but what Re-Volt is mostly about is revolution. He is revolting, not against gods or governments, but against the corporate-fisted crap that passes for rock music these days. Re-Volt, flaws and all, is the inner essence of a man sitting in solitude and writing rock ‘n’ roll the way it used to be done, from the heart and gut and soul, with zero regard for whether or not the mainstream sheep or label suits will care for it. Rock music was, is, and always should be rooted in rebellion and that, more than anything, is the underlying message of this album. Derek Davis has risen up from seemingly out of nowhere and given rock music a good hard kick in the ass.

Genre: Hard Rock

Band:
Derek Davis (vocals, guitar)
Loren Turner (lead guitar)
Eric Pacheco (bass)
Jamey Pacheco (drums)

Track Listing
1. Re-Volt
2. Bad Man Cometh
3. Tied Down and Hammered
4. Troubadour
5. American Jihad
6. Hollywood Heartbreak
7. The Promise
8. Judas Kiss
9. I Love U 2 Death
10. Love Star
11. Desperate

Webpage: www.derekdavismusic.com

Label: Apocalypse Records

Hardrock Haven rating: 8/10

LIVE! | Motley Crue

by Deb Rao
Staff Writer –

February 15, 2012 at The Joint, London in Las Vegas, NV

On Feb. 3, Las Vegas Mayor Carolyn Goodman declared it Motley Crue day. One of the most notorious bands in metal, they raised the bar high as metal’s finest and just wrapped up a three-week residency at The Joint at the Hard Rock Cafe. Las Vegas may be known as the city of residencies with Celine Dion and Elton John, but no one can match the over the top musical reign that The Crue hosted. Complete with enough pyro, flash pods, video screens, midgets and dancing girls, Motley Crue lit up The Strip.

Opening with “Live Wire,” Motley Crue performed all of the hits plus a few obscure tunes in a two hour power packed set. From the song “Wildside,” to “Shout At the Devil,” the magic of these timeless hits outshined the stage set. Vince Neil was in great voice and ready to rock his hometown Las Vegas crowd. The rhythm section of bassist Nikki Sixx and drummer Tommy Lee pummeled the driving hit songs. Only the Crue could perform a three-week residency without getting boring. Keeping it fresh and over the top, just as the fans that have been with the band from day one would expect.

What would Vegas be without a mock wedding? As a fake minister wed Vince to one of the dancing girls. Motley Crue then launched into an acoustic set with on a floating stage that had to be one of my favorite parts of the show. Nikki SIxx told the crowd, “The acoustic set was a first for the band. We want to portray the band as band of brothers who write songs in their living room.” They performed three songs acoustically including, “Don’t Go Away Mad”, “Without You” and “On With The Show.”

Nikki Sixx performed a riveting bass intro for “Primal Scream.” Another highlight was Tommy Lee’s drum solo in a 360-degree angle. Tommy also invited one fan to sit next to him and do the spin around in his daring drum solo. Motley Crue went back to their heyday with “Smokin’ In The Boys Room.” The audience was caught off guard during “Kickstart My Heart,” as fake blood spiraled into the audience. Nikki Sixx became a blood spitting bassist. All in good fun of course.

Motley Crue ended the set with encore, “Home Sweet Home.” As the floating piano descended onto the floor with Tommy Lee and Vince Neil glided through the crowd. It was a once in a lifetime chance to see Motley Crue up close and personal. Hopefully, Motley Crue will do another residency soon. The stars came out to shine, as Vinnie Paul of Hell Yeah was cited at the show I reviewed.

Many Thanks to Motley Crue, and their management at 10th Street for letting Hardrock Haven review the show.

Set List:
Live Wire
Wildside
Too Fast For Love
Saints Of Los Angeles
Shout At The Devil
Afraid
Same Ol’ Situation
Without You
On With The Show
Don’t Go Away Mad
Looks That Kill
Mick Guitar Solo
Piece Of Your Action
Primal Scream
Dr. Feelgood
Tommy Lee Drum Solo
Smokin’ In The Boys Room
Girls, Girls.Girls
Kickstart My Heart
Encore
Home Sweet Home

Photos Appear Courtesy of Deb Rao

Motorhead | The World is Ours Vol. 1: Everywhere Further Than Everyplace Else

by Cynthia Jo
Staff Writer –

The world has agreed that Motorhead is one of the greatest heavy metal bands ever. For 35 years they have shown the world how the finest of bands do it— one of the only bands that can still kick some major ass.

The World is Ours Vol. 1: Everywhere Further Than Everyplace Else is the ultimate career overview of Motorhead’s greatest points. The material presented in this compilation was recorded in several locations. The live DVD contains footage from a concert in April of 2011 at the Teatro Caupolican in Santiago, Chile and tow other shows that took place at the Apollo in Manchester and at the Best Buy Theater in New York. This live 13-track, triple-disc CD/DVD is a very worthy live greatest-hits release and what every fan must own.

Lemmy Kilmister, guitarist Philip Campbell, and drummer Mikkey Dee bring home authentic rock and roll and make even better tracks like “Killed By Death,” “Overkill,” and the all time crowd favorite “Ace of Spades.” Nonetheless, this is the band’s sixth live album that still gives the old classics a great run.

The CD/DVD, mixed by the band’s long time producer Cameron Webb, has a very high quality to it and is a representation of the band’s live sound, especially in songs like “Over the Top” and “I Know How To Die.”

Bottom line: The World is Ours Vol. 1: Everywhere Further Than Everyplace Else is killer and worth it.

Genre: Heavy Metal

Band:
Lemmy Kilmister (b)(v)
Mikkey Dee (d)
Philip Campbell (g)

“Around The Wörld Vol. 1″ track listing:

Disc 1 DVD

Santiago, Chile (90-minute concert) + interview (9 minutes)

01. We Are Motörhead
02. Stay Clean
03. Get Back In Line
04. Metropolis
05. Over the Top
06. One Night Stand
07. Rock Out
08. The Thousand Names of God
09. I Got Mine
10. I Know How to Die
11. The Chase Is Better Than the Catch
12. In the Name of Tragedy
13. Just ‘Cos You Got the Power
14. Going to Brazil
15. Killed by Death
16. Ace of Spades
17. Overkill

New York (20 minutes) + interview (23 minutes)

01. Rock Out
02. TheThousand Names of God
03. Killed By Death (feat. Doro and Todd Youth)

Manchester (25 minutes) + interview (12 min)

01. We Are Motörhead
02. Stay Clean
03. Be My Baby
04. Get Back In Line
05. I Know How to Die
06. Born to Raise Hell (feat. Michael Monroe)

Disc 2 Audio CD

Santiago, Chile (90-minute concert) + interview (9 minutes)

01. We Are Motörhead
02. Stay Clean
03. Get Back In Line
04. Metropolis
05. Over the Top
06. One Night Stand
07. Rock Out
08. The Thousand Names of God
09. I Got Mine
10. I Know How to Die
11. The Chase Is Better Than the Catch
12. In the Name of Tragedy
13. Just ‘Cos You Got the Power

Disc 3 Audio CD

Santiago, Chile (90-minute concert) cont.
14. Going to Brazil
15. Killed by Death
16. Ace of Spades
17. Overkill

New York (20 minutes) + interview (23 minutes)

01. Rock Out
02. TheThousand Names of God
03. Killed By Death (feat. Doro and Todd Youth)

Manchester (25 minutes) + interview (12 min)

01. We Are Motörhead
02. Stay Clean
03. Be My Baby
04. Get Back In Line
05. I Know How to Die
06. Born to Raise Hell (feat. Michael Monroe)

Label: EMI

Web: www.imotorhead.com

Hardrock Haven Rating: 10/10

Venrez | Sell The Lie

by Deb Rao
Staff Writer –

California rock band Venrez has just wrapped up a very successful tour with Fuel. Comprised of Steven Berez aka Venrez, Jason Womack on guitar, Alex Kane on guitar, Ed Davis on drums, and Michael Bradford on bass. Venrez is gearing up for a February 28th release of Sell The Lie. Venrez has a very classic rock sound. After listening to the album in full, Venrez’ vocals remind one of Zakk Wylde. Actually, the guitar playing on Sell The Lie sounds like Concrete Jungle, in a good way!

Opening track, “Karma” sets the tone for the hard driving classic rock sound. With lyrics that say, “Some deeds never go away, Destined to follow you one day.” It has that underlying message; you always reap what you sow. “Yesterday Has Gone” is a catchy song with driving melodies. One thing about this album is the lyrics. They make you stop, listen and think. “Melting “has a slower acoustical vibe about death. The last chorus has a Beatles hook reminiscent of “Lucy In The Sky With Diamonds.”

As for the Alice In Chains reference, “Insanity” and “Ants And Sand” have that driving grunge guitar appeal. The title track Sell The Lie is the most commercial song on the album. It deals with the agony of war. One of the most interesting tracks on the album is the remake of Blind Faith’s “Can’t Find My way Home.”

Overall, Sell The Lie by Venrez has a huge classic guitar sound that is infectious. Sell The Lie can be purchased on itunes or the band’s website at www.venreztheband.com.

Genre: Classic Rock

Band Members:
Steven Berez – Venrez
Jason Womack – Guitar
Alex Kane – Guitar
Michael Bradford – Bass
Ed Davis – Drums

Track Listing:
l. Karma
2. Yesterday Has Gone
3. Insanity
4. Melting
5. Ants And Sand
6. Sell The Lie
7. Unplanned Fate
8. Can’t Find My Way Home
9. Messenger
10. My Only Light

Web: www.venreztheband.com

Label: Sony Red

Hardrock Haven Rating: 8/10

LIVE! | Rich Robinson

by Alissa Ordabai
Staff Writer –

February 16, 2012 at The Islington O2 Academy, London, U.K.

There comes a time in every rock musician’s life to stand up and deliver on their own. And the way you respond to this challenge is telling in more ways than one. Your chops, your songwriting, and your charisma – or the lack of it – are suddenly under the microscope. If you are a guitarist, you will also unexpectedly find yourself up for scrutiny against the most competitive bunch in the world – other guitarists. Even if you have never wished, dreamed or aimed to be measured against the virtuosos, the visionaries, the icons, or simply those who eat, drink and sleep guitar.

So spare a thought for Rich Robinson who after years in a mammoth band began venturing out on his own about 8 years ago without his superstar big brother Chris or the instrumental support of such prodigiously talented axe-men as Marc Ford or Luther Dickinson.

Currently on the road with his second solo album Through a Crooked Sun, Robinson played the London date at the Islington O2 Academy, almost selling out the 700-capacity venue. Expectations were running high, with the uplifted vibe in the room already before Robinson hit the stage. What the crowd was presented with, however, was illuminating in more ways than anyone has initially expected.

To start with, it soon became clear that there are inner realities which Robinson could have conveyed with more transparency and more depth had he had a richer instrumental vocabulary. What those realities are for now remains somewhat of an enigma, with only glimpses revealed during the show, and the rest obscured by the clichéd blues, country, and blues-rock formulas – a received tradition Robinson chose to merge with decades ago when he was still a young man, and which to this day he doesn’t risk stepping away from.

One gem which showed that there is more to Robinson than standard-issue Americana, was the highlight of the new record “Standing on the Surface of the Sun”. The late Sixties psychedelic vibe – elegantly understated, but at the same time touchingly sincere – was where Robinson managed to match the inner and the outer with spot-on precision. The song was all about the intuitively, yet accurately balanced atmosphere of regret, hope a dash of knowing bitterness, channeled through eerie retro-style psychedelia with a hint of the blues. This is where it’s at with Robinson, and had he explored this direction further, the set would have been a far more poignant affair.

The crowd welcomed this standout in the best way an English crowd can do, perhaps doubly grateful for this treat which came almost straight after the cover of the Rolling Stones ballad “Winter” – the low point of the show where the magic of the original became smothered, but no alternative angle offered instead. A rather apathetic vocalist, and an unsophisticated guitarist, this time Robinson tackled a song too subtle for him, despite its seeming simplicity.

So apart from occasional contrasts in hue, several blunders, and several lucky finds, the proceedings on the night stayed level, with nuances and the most tasteful instrumental parts supplied by the elegant, non-obsessive keyboard parts floating Robinson’s uncomplicated guitar while never overshadowing him.

And speaking of the guitar parts, those were mostly standard-issue blues-rock affairs – always somewhere between real grit and genuine fluidity, perhaps lacking in edge or depth, but still good entertainment, with occasional savory slide-work thrown in, sounding at their best when working a simple, time-tested blues-rock groove. The sometimes muddled, undefined guitar sound in the live mix was partly to blame for the blurry impression from the show, but where Robinson meant to be direct and clear, he was – especially when demonstrating his slide prowess or driving an unaccompanied groove on some of the intros.

Not interested in protracted solos or in extrapolating extra meaning from what the songs already offer, Robinson fundamentally is a solid rhythm guitarist with a natural feel for riffs, grooves and ostinato repetitions – the bread and butter of the Southern rock tradition and an indispensable part of the sound and the feel of the Black Crowes. Whether he has enough to say to launch a full-scale solo career remains to be seen. There is probably more songwriting to be done and more time to be spent with the guitar before anything would emerge beyond the habitual conventions, well-trodden paths, and safe formulas.

Photos Appear Courtesy of Alissa Ordabai

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