LIVE! | Van Mclain and the Movers

by Gary Dean
Staff Writer –

March 23, 2012 at Harrahs Voodoo Lounge in Kansas City, MO

Van Mclain, singer, songwriter and guitartist for Shooting Star, kicked off his new solo project, “Van and the Movers,” at The VooDoo Lounge, in Kansas City on March 23. Van and other members of legendary bands Shooting Star and Unidos played several numbers from his first solo CD, New Blue.

After listening to some sample songs on vanmclain.com, I settled in expecting a blues concert, but what I got was a rockin’ good show. Mclain has said what a departure this would be for him, playing guitar and singing lead the entire show, but he made it look effortless.

The fun and excitement emanating from Van and “The Movers” was very apparent. The group comprises Shooting Star band-mates Steve Thomas on drums and Dennis Laffoon on keyboards with Unidos, a three-piece horn section, a percussionist and two beautiful female back-up singers.

For many, the four Shooting Star songs were the highlight, but crowd favorites turned out to be “I Wanna Rock,” “Voodoo In Your Hoodoo,” “You’re Going Down,” and “Tailbone Jones,” which was written by Steve Werner.

There was a hush in the crowd as fans listened to the emotional “You’ll Be There For Me,” Mclain commented that this was his first time pretending to be James Taylor.

If you get a chance to view the DVD from the show, you may find yourself ready to petition Mclain on VanMclain.com to bring the Movers to your town and experience this show live for yourself. Having seen Shooting Star many times, this was a refreshing change that took one back to times remembered, and this was a time to remember.

Band:
Van Mclain – Vocals,Guitar
Dennis Laffoon – Keyboard
Steve Thomas – Drums
Ricky Carter, Mark Stafford, and Crayge Lindesay – Horns
Lope Munoz – Percussion
Tenesha Rochelle and Erica Baker Vocals

Set List:
Push it away
Nobody left but me
We’ve got history
Breakout
You’ll be there
Temptation
I wanna rock
Tailbone Jones
Waiting on your fire
Keyboard intro
Voodoo in your Hoodoo
You’re going down
Last Chance
Save your money
You’ve got what I need

Van Mclain and the Movers 2012 Photo Gallery

Photos appear courtesy of Glen Cutshall and John Croft

Nightrage | Insidious

by Nikiforos Skoumas
Staff Writer –

Greek-Swedish melodic death metal outfit Nightrage is back with its fifth studio album Insidious. It is the band’s third album under Lifeforce Records and is being promoted as their best work ever.

Nightrage is bandleader: guitarist Marios Iliopoulos, lead guitarist Olof Morock (founder of Amaranthe), singer Antony Hamalainen, bassist Anders Hammer and drummer Jo Nunez (also of Firewind). Insidious also features guest appearances by former members, Gus G (guitar solos) and Thomas Lindberg (vocals) along with Appollo Papathanasio who performs clean vocals where required.

One has to admire the niche Nightrage have come to develop; they play down-tuned melodic metal with emphasis on guitar harmonies and staccato tempo, topped by screaming vocals (which for the biggest part are not that hard to make out). So Insidious is very much a death metal album, yet one that bares an undeniable mainstream-metal appeal.

Much like previous Nightrage albums, the song structure of the material featured on Insidious is pretty straightforward. The rhythm patterns are fairly consistent within the song while the core instrumental melodies remain simple and memorable. Experienced fans should no be surprised to find riffs and melodies reminiscent of Firewind on this album; for that matter, making out the two spots where Gus G lays his solos should provide quite a challenge for any enthusiast because Olof and Marios seem to share a very similar mentality with the renowned guitar hero as far lead guitar playing is concerned.

It has to be addressed, however, that after the first three-to-four songs, every track seems similar to the previous or following; that’s not necessarily a bad thing as it does not cause the album to sound tiring, even though melodies, riffs, choruses and rhythm patterns tend to get overly repeated on the fifteen tracks of Insidious.

Having played the album a good number of times, one can pinpoint such highlights as the intensely furious “Utmost End of Pain,” “Delirium of the Fallen” and “Hate Turns to Black”. Bottom line you have to be a fan of head-bashing heavy metal to connect with Nightrage. Under this condition, Insidious should even satisfy audiences who share a very superficial relationship with the genre of death metal, much like the one writing this review.

Genre: Melodic Death Metal

Line Up:
Antony Hämäläinen – vocals
Marios Iliopoulos – guitar
Olof Mörck – guitar (bass on 2007 European Tour)
Anders Hammer – bass guitar
Johan Nunez – drums

Track List:
01. So far Away (intro)
02. Delirium Of The Fallen
03. Insidious
04. Wrapped In Deceitful Dreams
05. Hate Turns Black
06. Sham Piety
07. Cloaked In Wolf Skin
08. This World Is Coming To An End
09. Utmost End Of pain
10. Poignant Memories
11. Hush Of Night
12. Poisoned Pawn
13. Solar Eclipse (Prelude)
14. Solar Corona
15. Emblem Of Light (Outro)

Label: Lighthouse Records

Web: http://www.nightrage.com/index.asp

Hardrock Haven rating: 7.5/10

Voodoo Highway | Broken Uncle’s Inn

by Alexandra Mrozowska
Staff Writer –

Italian revolution in the European scene? Who knows! Ferrara-based Voodoo Highway is one of the young, promising bands that emerged from this Mediterranean country in recent years. Surprisingly enough – what they delivers is ‘70s-oriented hard rock with a modern touch. Classic Deep Purple (MKII, especially) is the first band that comes to a listener’s mind while giving a listen to the Voodoo Highway’s first release Broken Uncle’s Inn and the impression lasts throughout the whole album.

This journey back to the ‘70s starts with “Intro (From 1972)” to be followed with energetic, fast-paced “Till It Bleeds.” The latter, in fact, sounds like a cross between Deep Purple’s “Burn” and “Highway Star.” “The Fire Will Burn Away” is, on the other hand, a bit of a nod and a wink to the early KISS with a sing-along chorus, this track may soon become a concert favorite among the Voodoo Highway audience. “J. C. Superf*ck” is kind of a reasonable compromise between modern rock sound and Purple-esque instrumentation. Voodoo Highway does not slow the pace with the following songs such as “Gasoline Woman,” “Window,” and “Running Around.” In these, the Italians go back to their roots again, exploiting the classic Purple cliché to its limits with the massive Hammond Organ sound and nifty guitar licks that sound exactly like Blackmore’s. And there is the Voodoo Highway’s singer Federico Di Marco, resembling no one else but the young Ian Gillian… The title track stands out among the rest with its Zeppelin-esque harmonica and a deep bass line, while “Heaven With No Stars” is an obligatory rock ballad based on piano and later developing into huge, sweeping orchestral crescendo. Last, but not least, is a groovy rocker “In Fact It’s The Worst,” a finale that remains Broken Uncle’s Inn’s definite highlight, finishing the album on a high note with pounding drum line and classy guitar solo.

Voodoo Highway did not reinvent the wheel with Broken Uncle’s Inn; instead, they have delivered a classy performance following in the footsteps of the likes of Deep Purple, early Whitesnake, Rainbow and Uriah Heep. The group’s idea for their debut record was ‘70s hard rock peppered with modern style, therefore making an album an enjoyable but predictable romp through the genre. What this CD also shows is latent but unrealized musical capacity and potential of the band that needs right now to develop their own, signature sound instead of an excessive use of the worn-out hard rock clichés. This is to be achieved, hopefully, with Voodoo Highway’s next record (currently in works). Still, Broken Uncle’s Inn remains an album of great musicianship and well-crafted songs… and also, an operable time machine, able to take a listener a good few decades back! There is no doubt that despite their failure in originality, the Italians deliver what’s best in the ‘70s hard rock and – what is probably the most important thing – they do it with style.

Genre: Classic Hard Rock

Band:
Matteo Bizzarri (guitar, backing vocals)
Filippo Cavallini (bass guitar, vocals, backing vocals)
Federico Di Marco (vocals, rhythm guitar)
Vincent Zairo (drums)
Alessandro Duò (organ, guitar, backing vocals)

Track List:
1. Intro (Since 1972)
2. Till It Bleeds
3. The Fire Will Burn Away
4. J.C. Superfuck
5. Window
6. Running Around
7. Broken Uncle’s Inn
8. Heaven With No Stars
9. Gasoline Woman
10. In Fact It’s The Worst

Label: Voodoo Highway

Website: http://www.myspace.com/voodoohighway

Hardrock Haven rating: 7/10

Brendan Small’s Galaktikon | Brendan Small’s Galaktikon

by Trevor Portz
Staff Writer –

Brendan Small is a talented guy. Come on, he’s managed to successfully blend extreme metal and comedy on the surprisingly popular Metalocalypse. Plus, he spearheaded one of the most underrated animated shows of the last 20 years (Home Movies). On top of all that, he’s a wicked guitar player (and Berklee grad). Sometimes it seems like he is truly the master of all he attempts. Unfortunately, on his most recent musical outing—Brendan Small’s Galaktikon—he’s proven that not everything he touches turns to gold.

Before delving into why this album isn’t amazing, let’s talk about what is great about it: the musicianship. Gene Hoglan needs no introduction, and delivers an as-expected top-notch drum performance. Bassist Bryan Beller has worked with such luminaries as Steve Vai and Dweezil Zappa, so it’s no shock that he too shines here. And, as previously noted, Small is a wicked guitar player. From a purely technical standpoint, there’s little to criticize about this album. But technical skills aren’t everything.

Small noted in an interview that this album is essentially a musical graphic novel, purposefully overblown and silly, but that takes itself too seriously. Sounds like a pretty good idea in theory. In execution? Not so much…

What’s lacking here is an important combination: great songs and new ideas. The songs are mostly forgettable, and the best moments come off more as “stolen from” than “influenced by.” For instance, the Queen-esque layered guitars and melodies in opener “Triton” are so identical to Brian May’s tone and style that one may wonder if they aren’t just sampled from classic Queen tunes. This style-stealing flows throughout the record. There are elements of Satriani, Vai, Grohl, Malmsteen, and a host of others. While Small has mastered the ability to cop the styles of those he loves, he leaves behind the great songwriting that made them great.

Additionally, the vocals are pretty uninspiring. Small can carry a tune, but doesn’t have the chops to lead an album that’s supposed to be extremely grandiose, Galaktikon is advertised to be. To achieve the overt, epic drama this album purports to deliver, someone with the versatility of Devin Townsend or the power of Michael Kiske would need to be brought in. Small is, unfortunately, neither of these.

While this album is a bit of a disappointment based on Brendan Small’s previous output, it’s unlikely to hurt his career, and it shouldn’t. It was an interesting, albeit failed experiment. Now that it’s out of his system, he can get on to making awesome animated TV and metal that isn’t too clone-y.

Genre: Power-esque Metal

Band:
Brendon Small (v,g)
Bryan Beller (b)
Gene Hoglan (d)

Track Listing:
1. Triton
2. Prophecy of the Lazer Witch
3. Beastblade
4. Deathwaltz
5. Truth Orb and the Kill Pool
6. You Can’t Run Away
7. Dangertits
8. Arena War of the Immortal Masters
9. On My Way

Label: Williams Street Records

Website: http://www.facebook.com/pages/Brendon-Smalls-Galaktikon

Hardrock Haven rating: 4.8/10

Judas Priest | The Complete Albums Collection

by John Kindred
Staff Writer –

Judas Priest originally was formed in 1969 in Birmingham, England, but they didn’t solidify the core of the band until 1974 before recording their first studio album Rocka Rolla. Originally a four-piece outfit rounded out by Halford, Downing and Hill, their record label suggested adding another guitarist prior to recording their debut album. This brought Glenn Tipton into the fold and the rest, as they say, is history.

Launching a music career that has spanned four decades, Rob Halford, Glenn Tipton, K.K. Downing and Ian Hill forged a legacy that has influenced countless generations of musicians and indoctrinated legions of fans. The band has withstood many storms that tested their mettle, but they have survived and persevered. Even today, lineup changes have not deterred the band’s audio assault on the world.

Over the years, the core members of the band, Rob Halford, Glenn Tipton, K.K. Downing and Ian Hill, have been the forerunners of their style of rock. While known to the world as a Heavy Metal band, continued growth as a group and as individual musicians has evolved through several genres over the course of their careers. Starting out as a psychedelic hard rock band in the early ‘70s, they have traversed the genres from hard rock, heavy metal and thrash metal.

The voice of the band is Rob Halford, although Tim “Ripper” Owens admirably captained the ship for a few years and albums. Halford’s “hellion-ish” vocals pushed the envelope, reaching beyond the typical archetype for a hard rock or metal vocalist. Priest has had a few drummers sit behind the kit and bash the skins over the years, but Scott Travis (Racer X), who, since 1989, has elevated the metallic fury of the band to new heights. The twin guitar attack of K.K. Downing and Glen Tipton set standards for Metal bands worldwide to follow as they took their aerial assault to new levels of technical virtuosity.

The Complete Albums Collection Box Set is really the complete anthology of the Robert Halford -led Priest. The anthology contains the 15 studio albums and three live albums that, again, feature the four core members of the band: Rob Halford, Glenn Tipton, K.K. Downing and Ian Hill, who all appeared on the band’s discography from 1974 to 2009. Again, albums that feature Tim “Ripper” Owens as Priest’s vocalist are excluded from the collection, which, in truth, is only three releases. The Complete Albums Collection Box Set isn’t 100 percent complete, but it’s damn close.

This is quite a comprehensive collection of music. Each album is packaged in replica mini-LP sleeves, reproducing the original cover art. Also included is a 40-page booklet with photos, album credits and liner notes by rock journalist and Priest fan Greg Prato. The majority of the albums are the re-mastered editions, including recently re-mastered albums Rocka Rolla and Sad Wings Of Destiny. The album Hell Bent For Leather appears under its original name, Killing Machine, a change brought on before its release in ’78 by Judas Priest’s record label.

Are you ready for a Judas Priest audio marathon? Starting with 1974′s Rocka Rolla fans can retrace the steps of the band as the find their way from a fledgling psychedelic almost hippy-rock to harder-edged heavy rock. The band travels many roads from their commercial-metal excursion on the 1986 Turbo, to their thrash-inspired 1990 Painkiller and moves along to the dynamic heavy metal return of Halford on 2005′s Angel of Retribution. Judas Priest certainly has cut its own path in the music industry.

Even today, change, it seems, is inevitable. In 2011, K.K. Downing retired from the band, creating the opportunity for new guitarist Richie Faulkner to become the latest member in the Judas Priest family tree. The Judas Priest machine moves on as the band rolls forward on its last world tour, Epitaph, but don’t fret because they plan to continue to release new studio albums and perform live on a smaller scale.

Genre: Heavy Metal

Band:
Rob Halford (v)
Glenn Tipton (g)
K.K. Downing (g) [from 1970 to 2011]
Ian Hill (b)
Scott Travis (d) [from 1989 to present]
Alan Moore (d) [appeared on Sad Wing of Destiny]
John Hinch (d) [appeared on Rocka Rolla]
Simon Phillips (d) [appeared on Sin After Sin]
Les Binks (d) [appeared on Stained Glass]
Dave Holland (d) [featured on albums released from 1979–1989]

ALBUMS INCLUDED IN ‘THE COMPLETE ALBUMS COLLECTION’:

Rocka Rolla (1974)
Sad Wings of Destiny (1976)
Sin After Sin (1977)
Stained Class (1978)
Killing Machine (1978)
Unleashed in the East (1979)
British Steel (1980)
Point of Entry (1981)
Screaming for Vengeance (1982)
Defenders of the Faith (1984)
Turbo (1986)
Priest…Live! (1987)
Ram It Down (1988)
Painkiller (1990)
Angel of Retribution (2005)
Nostradamus (2008)
A Touch of Evil…Live (2009)

Label: Epic, Columbia, Legacy Recordings

Web: http://judaspriest.com/

Hardrock Haven rating: 10/10

Phenomena | Awakening

by Mark Allen
Staff Writer –

The latest entry in Tom Galley’s long-running super-group series sees the man summoning another impressive talent pool to deliver the songs, and therein immediately lies the problem: the talent is impressive, the songs… not so much. Listening to this album, the phrase, “Holy cow, this is awesome!” will at no point pop into your brain, but the adjectives “serviceable” and “formulaic” might see some cerebellum time. And frankly, if you have legends like Toby Hitchcock and James Christian on vocals and six-string samurais like Mike Slamer and Mat Sinner on guitars, you have a right to expect melodic hard rock ecstasy, not hard rock ho-hum.

Awakening is, therefore, victimized by over-sized expectations. Few of the tracks are terrible, and a few are even pretty good, but the album should be phenomenal (pun intended) when instead it is nothing more than okay. Yes, there are hooks, but you’ve heard them a million or three times before. Yes, the choruses can be sung along to, but they are crafted in the most basic way possible, as if the songwriters just completed Melodic Rock Songwriting 101 and were eager to show off their newly-acquired skills. Except, no one involved in this project, including the songwriters, is new to the game. Perhaps it is harsh to rip on a band for being “decent” instead of “great,” but the cold, hard, blunt-edged truth is that folks had a right to expect better from this album, given the pedigrees of the players.

But enough about what the album should have been. It is what it is, right? So… what is it? Well, for starters, it’s pretty damn impressive from a vocal standpoint. How could it not be, with professionals like Lee Small, Rob Moratti, and Terry Brock belting out the tunes? Toby Hitchcock and Ralf Scheepers in particular knock it out of the proverbial park. Hitchcock nails his delivery on “Reality,” wringing every last drop of emotional energy from each syllable, his powerful vocals perfectly complementing the driving rhythm of the music. Scheepers is equally impressive on “Gotta Move,” dialing back his Halford-esque pitch in favor of a lower register that lock-steps flawlessly with the dirty, throbbing, metal-edged hard rock.

But while those may be the best vocal showcases, they are not the best songs; those bragging rights belong to the back-to-back cochlear blows of “Shake” and “Fighter.” The former is a rumbling, foot-stomping arena rocker propelled by Mike DiMeo’s gritty vocals. The song has a healthy dose of attitude and the chorus slams out some head-banging hooks that are ‘roided up with some big ol’ gang vocals. “Fighter” also features some cool hooks and a slick chorus, but the lyrics come slathered in Velveeta. The song’s subject matter is boxing and every cliché in the book is tossed our way, including the Shakespearean line “He’s in trouble / He’s seeing double.” Still, the cheese is tolerable for the sake of one of the best tunes the album has to offer. When Hollywood gets around to the inevitable remake of Rocky, they should think about making this their theme song, as the pop-rock catchiness and schmaltzy lyrics are the perfect soundtrack for a rousing crowd pleaser.

So Phenomena is neither phenomenal nor is it a steaming pile of excrement. Boiled down to bare bones, it basically has great vocals, skilled musicianship, a couple of good songs, and a boatload of ambivalence-inducing filler. Hardly a glowing recommendation, but not quite full-blown damnation either. Bottom line, this album is as basic as the missionary position, and hey, if that’s good enough to get you off, have at it and God bless. But if you’re in the mood for the melodic rock equivalent of the reverse cowgirl, you might find Awakening a bit too tame for your tastes.

Genre: Melodic Hard Rock

Band:
Martin Kronlund (guitars, bass)
Tom Harlan (guitars, keyboards)
Imre Daun (drums)
Henrik Thomsen (bass)
Per Aronson-Andersson (Hammond, keyboards)

Additional Musicians:
Carl Anthony Wright (guitars)
Christian Wolff (guitars)
Tommy Denander (guitars)
Mike Slamer (guitars)
Magnus Karlsson (guitars)
Mat Sinner (bass)
Steve Newman (guitars, backing vocals)
Fredrik Bergh (keyboards)

Track Listing
1. Smash It Up
2. Reality
3. Homeland
4. Going Away
5. Gotta Move
6. How Long
7. Shake
8. Fighter
9. Dancing Days
10. Stand Up For Love

Webpage: www.projectphenomena.com

Label: Escape Music

Hardrock Haven rating: 6/10

Cam Pipes and Shane Clark of 3 Inches of Blood

by Steve Patrick
Staff Writer –

The Canadian horde known as 3 Inches of Blood have been flying the flag of heavy metal for over a decade. Immediately recognizable thanks to Cam Pipes ear-shattering high notes, the band has a hard-earned and well-deserved reputation of destroying audiences with their fusion of classic and modern metal elements. Shane Clark and Justin Hagberg’s infectious guitar hooks are the perfect complement to Pipes’ epic delivery. Tying the whole sound together is the relentless bass of the mighty Byron Stroud (ex-Fear Factory, Strapping Young Lad) and the percussive onslaught of drummer Ash Pearson (Sound of the Swarm, Just Cause).

3 Inches of Blood have just released their fifth album, Long Live Heavy Metal. On Sunday, March 26th the band blew the roof off the world famous Alrosa Villa in Columbus, OH. It was the first time that 3 Inches of Blood had ever played the venue and they definitely left an impression. Their dynamic set might have been brief, but it was most assuredly a tough act for tourmates Job for a Cowboy, Dying Fetus, and DevilDriver to follow.

Immediately after their set, Cam and Shane took some time to speak with Hardrock Haven about the new album, camping in British Columbia, playing the Alrosa and whatever else came to mind:

Long Live Heavy Metal is available wherever records are sold. 3 Inches of Blood can currently be seen live as part of the Metal Alliance Tour. For more information, please visit www.facebook.com/threeinchesofblood or www.metalalliancetour.com

Photos appear courtesy of Chris A.

Paul Crook of Meat Loaf & ex-Anthrax Guitarist

by Steve Patrick
Staff Writer –

Guitarist/producer Paul Crook has a pretty impressive resume thus far. He toured and recorded with the mighty Anthrax on Stomp 442 and Volume 8: The Threat Is Real, the latter of which he also co-produced. Ex-Skid Row vocalist Sebastian Bach then enlisted Crook to play in his touring band and Crook played guitar for Bach until 2004. After numerous other projects, another major break came in 2003 when Crook was asked to handle lead guitar duties in Meat Loaf’s Neverland Express, a position he still holds to this day. If all of that wasn’t enough, Crook also landed the coveted lead guitar position in the Las Vegas cast of the We Will Rock You Queen musical. As part of getting that gig, Crook received personal guitar training from Brian May to gain the highest level of authenticity.

Crook’s most recent endeavor was handling the role of producer and lead guitarist on Meat Loaf’s most recent album Hell in a Handbasket. In addition to that, Crook has also just wrapped up mixing the sound for an as-yet-untitled live Meat Loaf DVD. Crook was kind enough to take some time out of the recording process of Meat Loaf’s upcoming Christmas album to speak with Hardrock Haven about the making of Hell in a Handbasket, his thoughts on his time with Anthrax, his one-on-one lessons with Brian May, and whatever else came to mind.

Hell in a Handbasket is available wherever records are sold. For more information, please visit www.meatloaf.net and www.paul-crook.com

Wrathchild | Stakkattakktwo

by Nikiforos Skoumas
Staff Writer –

It would be safe to assume that any conversation regarding the pioneers of the glam/sleaze metal scene of the United Kingdom in the ‘80s is would bring two band references to front- these are Tigertailz and Wrathchild.

Though Wrathchild did not release a debut until 1984, they put out their first single in 1982 while many enthusiasts of the genre consider them the second oldest sleaze metal act internationally (the first obviously being Motley Crue).

It has been twenty two years since the release of the previous album Delirium but Wrathchild are back and meaning business, backed by the renowned American label Perris Records. Following the example of fellow-UK glam/sleaze metalers Tigertailz, Wrathchild name their comeback album after their most acclaimed release Stakk Attak, enter Stakkattakktwo.

The reformed Wrathchild features founding members Phil Wrathchild (guitars) and Marc Angel (bass) joined by drummer Eddie Star and new lead singer Gaz Psychowrath.

Musically, the Wrathchild of 2012 is far from the stereotypical sleaze rock’n’ roll band. Indeed grooves and riffs are bread-and-butter for each of their songs, yet guitar melodies, vocal harmonies as well as piano accompaniments prove an equally significant part of their sound. The opening track “Going Down” might mislead one into thinking that Stakkattakktwo is the average sleaze-party soundtrack, yet the follow up, “All About U” is bound to give an entirely different picture with its melodic-minor quality. Then comes the album’s first video single- “Cherrie Cherrie” is a melodic hard rock power house built on harmonious guitar riffs, shredding solos, infectious melodic lines and totally AOR-chorus.

Like any commercial sleaze metal outfit, Wrathchild is no stranger to power-ballads; “Psychofanatic suicide” is the ballad of Stakkattakktwo, also serving as the second promo video for the album built on atmospheric keyboards, piano rhythm, twin guitar melodies and Alice-Cooper-like balladic vocals.

One has to admire a band that goes beyond the obvious forms of its musical style-in this case sleaze metal- borrowing elements from neighboring genres as melodic hard rock and AOR. No question clichés are a must for a release of this kind, though you are looking at a lot more than that with Stakkattakktwo.

Genre: Sleaze Metal, Hard Rock

Line Up:
Gaz “Psychowrath” Harris – Lead Vocals
Marc Angel – Bass, Backing vocals
Phil “Wrathchild” Vokins – Guitar, Backing vocals
Eddie Star – Drums, Backing vocals

Track list:
01. Goin’ Down
02. All About U
03. Cherie Cherie
04. Trikk Or Treat
05. Hollywood Or Bust
06. Nice ‘N’ Eazy
07. White Hot Fever
08. I’ll Be Your Rokk ‘N’ Roll
09. Bad Billy
10. I Luv The Night
11. Sycophantic Suicide

Label: Perris Records

Hardrock Haven rating: 8/10

Desert | Star of Delusive Hopes

by Joe Mis
Staff Writer –

Power metal has been popping up from many unlikely places lately, and continuing that trend is the debut release from the Israeli act Desert. Founded in Beer-Sheva, but now calling Tel-Aviv home, this six-piece outfit has released Star of Delusive Hopes on Greek label Sleaszy Rider Records.

Desert has roots going back a decade to 2002, but the band really did not get rolling until 2004, when the core lineup of guitarist Max Shafranski joined up with vocalist Alexei Raymar and keyboard player Oleg Aryutkin. They released a demo (The Way to Honor) in 2004 and an EP (Prophecy of The Madman) in 2006. The band underwent a few more personnel shuffles before settling into their current configuration and beginning work on Star of Delusive Hopes, which according to the band’s label “tells stories of great men and women who lived and gave their (lives) for freedom and beliefs, stories of lost hopes and betrayal. The lyrics describe great deeds by Giordano Bruno, Joan of Arc, heroes of Masada siege, and unknown soldiers who fought and died in the fields of Russia.” While Desert’s music is definitely power metal, there is a major theatrical feel about it – along with a touch of doom, both in terms of lyrics and delivery.

Alexei Raymar fronts the band, and has a very theatrical, somewhat over the top delivery that well suits the nature of the music. At times, he does overcook this aspect a bit and ends up sounding like he is in something by Andrew Lloyd Webber or the soundtrack from a Tim Burton movie. He does have a strong and expressive voice with a decent range, but does sing with a very strong accent that is sometimes distracting. Oleg Aryutkin’s keyboards are an equal level with the guitars of Max Shafranski and Sergei Nemichenitser, a bit unusual for power metal, but effective nonetheless. All three make for a dynamic rhythm section, but the quantity and perhaps overall quality of the guitar work is somewhat overshadowed by the keys. Sergei Dmitrik (bass) and Zohar Telor (drums) make a fine bottom end, ably handling anything the rest of the band throws at them. They work together quite well, as a veteran band should. The album is very well produced and recorded, so it is easy on the ears at all times.

All is not perfect, however. There is not one track that stands out as a true barn-burner – it is almost as if the band is cranked to a steady medium heat without ever reaching full boil. Their performances are technically excellent but there seems to be a lack of a certain passion, almost as if they got a little lost in trying to tell all the small details of their stories while forgetting that the music and performance needs to be as compelling as the lyrics. As a result of this focus on detail, many of the tracks end up with a similar sound and are difficult to differentiate.

There are many bright spots on this album: the almost mid-90s commercial rock feel to the opening bars of “The Unsubdued;” the entirely of the up tempo and very progressive sounding “Letter To Marque;” the interesting use of hammered chimes and bells on “Release Me;” the driving yet simple bass line and blend of growls and clear vocals on “Soul Of A Wanderer;” the fabulous keyboard work, gurgling bass and the vocal contributions of Sabaton’s Joakim Broden on “Lament For Soldier’s Glory;”and the overall energy and “different” sound of “Whispers” – easily the best track on the album.

Despite the occasional shortcomings on Star Of Delusive Hopes, Desert is a young band and will surely learn how to more clearly express their fire and passion. Experience will surely push them down the correct path as their talent is unquestionable. They have a bright future ahead, but unfortunately this release would be recommended only for fans who may be looking for a fusion of power metal and doom.

Genre: Power Metal

Band:
Alexei Raymar (vocals)
Max Shafranski (guitars)
Sergei Nemichenitser (guitars)
Sergei Dmitrik (bass)
Oleg Aryutkin (keyboards)
Zohar Telor (drums)
Guest musician: Joakim Broden (vocals) on “Lament for Soldier’s Glory”

Track Listing:
1. The Unsubdued
2. Massada Will Never Fall
3. Letter To Marque
4. Victim Of The Light
5. Release Me
6. Soul Of A Wanderer
7. Whispers
8. Lament For Soldier’s Glory
9. Star Of Delusive Hopes

Label: Sleaszy Rider Records

Website: www.desertband.com

Hardrock Haven rating: 7/10

Jack Russell

by Derric Miller
Staff Writer –

Ex-Great White lead singer Jack Russell checked in with Hardrock Haven to talk about his new band, Jack Russell’s Great White; their current tour High Seas and upcoming America Rocks 2012; his current status on being removed from the band and their announcement of a 30-year anniversary release Elation (with Terry Ilous on lead vocals); a “digging in the vault” query about pre-Shot in the Dark tracks like “Black Lace and Leather” and “Survival;” if a new album is on the way; and a whole lot more.

When you look at all of the vocalists to come out of the ’80s, there were few — if any — who could compete with Russell. From his “Jack evil” vocal days on songs like “Down on Your Knees” to his flawless crooning on “Save Your Love” to his sheer Rock greatness on “Once Bitten, Twice Shy,” it’s no contest. Now that Jack is back, make sure you catch the band on the High Seas current tour or this summer on America Rocks 2012.

Online: jacksgreatwhite.com

Baby Jane | In the Spotlight

by Mark Allen
Staff Writer –

Ready for the latest Swedish metal sensation that’s going to rock your world? Part of the exciting musical movement known as the New Wave of Swedish Sleaze Metal, Baby Jane nail the sound, the attitude, the production, the songs, the drums, the… well, they pretty much nail everything. Nail it with the surgical precision of a Navy SEAL sniper slipping a subsonic slug between the eyes of a turbaned terrorist. This is a band with balls, a band that somebody told to go big or go home. Looks like Baby Jane didn’t want to go home.

Bands like Crashdiet, Hardcore Superstar, and Crazy Lixx may have gotten the Swedish sleaze-metal ball rolling, but Baby Jane give it a good, swift kick in the ass and jack the momentum up another notch or two. This is not a band that must skulk in the shadow of their predecessors; they are more than good enough to stand proudly alongside them, their sounds similar, their footing equal. For a while now, Crashdiet, Hardcore Superstar, and Crazy Lixx have been the holy trinity of Swedish sleaze; looks like the threesome needs to evolve into a quartet, because from now on when people shout the names of their favorite Swedish sleaze-metal bands, Baby Jane is going to be on a lot of lips.

One of the things that make these guys so great is their stubborn refusal to engage in subtlety. They avoid it like a naked man avoids cooking bacon. Everything about their sound and style is big, loud, and raucous, just like rock ‘n’ roll should be, fueled by reckless attitude and delivered with a don’t-give-a-damn sneer. Baby Jane’s brand of bad boy metal is catchy as hell and very much in your face and they make no apologies for it. These guys are not puke-inducing posers looking to pounce on the coattails of a successful fad, they are the real deal. Baby Jane lives, breathes, and believes their sleaze-metal creed and that authenticity comes through amidst all the slamming drums and huge hooks and ear-candy choruses.

Lead singer Freddie (no last name) bears a vocal resemblance to Tim Skold (Shotgun Messiah) and as far as resemblances go, that’s a good’un. A noticeable accent occasionally pops up and makes its presence known, but nothing that detracts from the songs, just enough to remind you that you are not listening to an American band. Then again, music this good so rarely comes from American bands that you probably won’t need the accent to remind you that this album is not native to the U.S. of A.

Picking out the best songs is impossible because every song is a highlight. No need to individually describe the tracks either, because writing “this song has massive hooks and a huge chorus powered by gang backing vocals” ten times in a row would get rather redundant rather quickly. Seriously, every anthem on this album is a hot blooded hit. The catchiness factor blasts through the roof, through the stratosphere, and resides in the realm of angels. The only place the band slightly stumbles is in their mandatory ballad attempt, “Upside Down,” which, while not horrible, doesn’t compare to the quality of the rockers that sandwich it on either side.

Any fan of that Swedish glam/sleaze-metal sound would have to be crazier than a lobotomized chimp cranked up on a hot-ball of speed, coke, and peyote to not fall in love with this album. With hooks sharper than a cutthroat razor and pounding grooves that slither into your brain-meat and stick there, these guys are the new princes of Swedish sleaze, and everyone knows that it’s only a matter of time before princes become kings. Don’t be surprised if they soon ascend to the throne as fans everywhere scream, “All hail Baby Jane!”

Genre: Melodic Hard Rock, Hair Metal, Sleaze Metal

Band:
Freddie (vocals)
Manx (bass guitar)
Matt (drums)
Mikey (guitars)
Rikk (guitars)

Track Listing
1. Raise Your Fist
2. My Behavior
3. Face Against the Wall
4. The Secret Lies
5. Upside Down
6. In the Spotlight
7. Next in Line
8. This is War
9. Adrenaline
10. Night Explodes

Webpage: www.babyjane.se

Label: Live to Fight Productions

Hardrock Haven rating: 9/10

Lullacry | Where Angels Fear

by Joe Mis
Staff Writer –

Seven years is a long time to wait between releases, but that’s how long fans of the Gothic / melodic metal band Lullacry have been waiting. At long last the Finns have stepped back into the spotlight with Where Angels Fear, an 11 song album that shows no traces of ring rust.

Formed in the late 1990s, Lullacry joined the wave of female-fronted metal by releasing their first demo in 1998 and full-length album (Sweet Desire) in 1999. They signed a major contract and followed up with releases Be My God (2001), Crucify My Heart (2003), Fire Within (EP -2004) and Vol. 4 (2005). After great success in Europe, the band took a break. They refocused in 2010 and began work on Where Angels Fear. Fans of Lullacry will not be disappointed, but the band has grown in songwriting skills and broadened its stylistic range.

Where Angels Fear is not a Gothic metal album – it is more of a melodic metal release with Gothic and progressive influences. Tanja Lainio is a fine vocalist who tries to blaze her own path rather than imitate the other female greats. Her voice is strong while not overpowering, intense without dominating the rest of the band, yet soft and soothing at the same time. Guitars are provided by Sami Leppikangas and Sauli Kivilahti. Both are fine rhythm players, but the style of music doesn’t really allow them to stretch their fingers as soloists – although many of the lead breaks are technically excellent, just not prominent. The bottom end consists of bassist Kimmo “Heavy” Hiltunen and drummer Jukka Outinen. They make a great team and their energy and intensity match the music perfectly.

“Antidote To You” opens the album on a high. Big guitar riffs and a solid vocal delivery make this upbeat rocker a winner, perhaps the closest thing to an arena rocker on the release. It also features the hottest guitar work on the album during the short and sweet outro. “Still An Angel” is a more pounding and intense Gothic-alternative metal track. A touch of apocalyptic metal permeates “Thousand Suns,” and although Tanja’s delivery is excellent her voice is too soft and mild to effectively covey the darkness of the words. “Feel My Revenge” is a dark ballad (for lack of a better term) which features a very good duet between Tanja and Mikko Herranen and top-notch musicianship from each band member – perhaps the most technically solid track of all. A booming bass riff and a very catchy chorus make “Bad Blood” a fun song, but at times Tanja pushes a little beyond her limits. “All Behind” is a more conventional rocker with good vocals and some interesting guitar hooks throughout.

The second half of the release opens with a very different sounding “Gone Are The Days.” This flowing gothic track highlights the bass and drums of Hiltunen and Outinen, and has a very smooth feel to the vocal lines. “I Am” has an almost punk tone to it thanks to the energetic guitars and kicky drums – a catchy and upbeat song. Undoubtedly the strongest track from almost any aspect is the power ballad-like “Broken (Into Pieces).” It is softer than the other tracks, and very emotional and heartfelt. Tanja’s voice it at its best, and the bass line carries the song to a very good lead guitar break. The title track “Where Angels Fear” is full on rocker with grinding guitars, bubbling bass and clockwork-precise drums and a sweeping chorus. “Stay” closes out the CD – a wonderful acoustic track is radically different in tone and delivery.

Overall Where Angels Fear is a very good album. Musically diverse and always interesting, this release proves that Lullacry does not use the “female-fronted” phrase as a crutch – they can hold their own against any band in the genre on pure musical talent. The production values are high, and the engineering allows the warmth of Tanja’s voice to be heard, and enhances the many subtleties of her performance. One of the oddities of the album is the sometimes massive disconnect between Tanja’s soft and sweet voice and the darker lyrics – to paraphrase comedian Steve Martin, it is like trying to play a sad song on a banjo. Lullacry seems to be strongest on their mellower songs, although they definitely rock when then turn it to eleven.

Where Angels Fear is a solid album from start to finish. The performances are technically excellent and the lyrics and music are emotional and passionate. All the songs are well-crafted and well-delivered, so any fan of the band, Gothic metal in general, or female-fronted rock will find much to enjoy about Lullacry’s latest.

Genre: Gothic Metal

Band:
Tanja Lainio (vocals)
Sami Leppikangas (guitar)
Sauli Kivilahti (guitar)
Kimmo “Heavy” Hiltunen (bass)
Jukka Outinen (drums)
Guest musician – Mikko Herranen (duet vocals on “Feel My Revenge”)

Track Listing:
1. Antidote To You
2. Still An Angel
3. Thousand Suns
4. Feel My Revenge
5. Bad Blood
6. All Behind
7. Gone Are The Days
8. I Am
9. Broken (Into Pieces)
10. Where Angels Fear
11. Stay

Label: OUTO Recordings

Website: www.lullacry.com

Hardrock Haven rating: 8/10

Axel Rudi Pell | Circle of the Oath

by Justin Gaines
Staff Writer –

German guitar wizard Axel Rudi Pell is back, right on schedule, with a new studio album, titled Circle of the Oath. This is Pell’s fourteenth studio album (excluding the Ballads series and the Diamonds Unlocked cover album), and his eighth with Hardline vocalist Johnny Gioeli and journeyman drummer Mike Terrana on board.

Axel Rudi Pell is nothing if not dependable, and in addition to knocking out a new album every two years fans can always count on each new album sounding almost exactly like the albums that came before it. The formula goes something like this: start with a short instrumental introductory track (for Circle of the Oath it’s “The Guillotine Suite”), then blaze right through a couple of high octane hard rockers (“Ghost in the Black,” “Run With the Wind” and “Before I Die”). After that it’s time for a sweeping epic that clocks in somewhere around the ten minute mark (see the title track). Then do it all over again, with a couple more rockers and at least one ballad, before closing things out with another epic (“World of Confusion”). Another brief instrumental is optional. As for lyrics, just throw everything Ronnie James Dio ever wrote into a hat and pull lines out at random until you have enough to fill an album.

OK, it’s possible Axel Rudi Pell puts more thought into each new release, but the honest truth is that Circle of the Oath sounds exactly like The Crest, which sounded exactly like Tales of the Crown, and so on. Now, if you love that formula then by all means pick up a copy of this album. You’ll get Pell’s dynamite guitar work, Terrana’s very steady drumming and, perhaps most notably, a powerhouse vocal performance by Gioeli. What you won’t get is anything you haven’t heard at least seven times before.

At this point what seemed so exciting on albums like Oceans of Time and The Masquerade Ball is all too familiar. It’s enjoyable enough while it’s spinning, but in the end Circle of the Oath feels like just another safe and predictable Axel Rudi Pell album.

Edition Notes: The limited edition version of Circle of the Oath comes in a digipack and features a live version of “The Temple of the King” (a Rainbow cover) as a bonus track.

Genre: Melodic Metal, Melodic Rock

Band:
Axel Rudi Pell (g)
Johnny Gioeli (v)
Volker Krawczak (b)
Mike Terrana (d)
Ferdy Doernberg (k)

Track Listing:
1. The Guillotine Suite (intro)
2. Ghost in the Black
3. Run With the Wind
4. Before I Die
5. Circle of the Oath
6. Fortunes of War
7. Bridges to Nowhere
8. Lived Our Lives Before
9. Hold on to Your Dreams
10. World of Confusion (The Masquerade Ball Part II)

Label: SPV Records

Website: http://www.axel-rudi-pell.de

Hardrock Haven rating: 7/10

Halloween | Terrortory

by Derric Miller
Staff Writer –

Halloween — and no kids, not the once Kiske-led Helloween — have just released their fifth studio album in their 27 years of existence. Titled Terrortory, the album somehow picks up where they left off with classics like Victims of the Night and Don’t Metal With Evil. Hailing from Detroit and obviously topically influenced by the likes of Alice Cooper, Halloween plays a unique amalgam of NWOBHM intertwined with good ol’ fashioned American Classic Metal. There’s also Doom elements inside the interwoven tapestries of the sonic nightmares they lure you into, making Terrortory one of those albums impossible to say “they sound just like (some freakin’ other band).”

How else would you want this album to begin with besides “Traipsing Through the Blood?” Before you get off track and think it’s a murderous winter serial killer song, it’s actually … an uplifting call to arms, a Marine-like “seize the day” anthem that belies the visceral title. “Why do we never care, until it’s way too late? Why do we waste our time; we play with fate.” The lyrical content is a query into cowardice, the sin of hesitation, of self-apathy. With the serrated riffing from guitarist Don Gurrier, the machine-gun like unforgiving rhythm section, and vocalist Brian Thomas’ foreboding and damning delivery … the guys set the bar unbelievably high with this opener.

The title track “Terrortory” nearly holds up against “Traipsing Through the Blood.” The galloping guitar riffs are the most mesmerizing ingredient in this concoction. Although simple, like an AC/DC riff, it’s implants itself into your brain tissue and becomes impossible to remove even as you move on to the rest of the story.

The next two tracks alone make this album worth purchase. “Images Quite Horrible” is a nasty, Metal Church-y type composition, breakneck and frothing at the maw. Fans of that type of music will shriek when they hear “Images Quite Horrible.” With deft tempo changes and an overabundance of moribund, it’s a highlight. But then so is “Her Ghost Comes Out to Play.” This is the first time the band dials back the speed if only for a moment, uses foreshadowing to lull you into a false sense of safety, and then pure NWOBHM-type riffs began assaulting you. “Remember when you took a life? You … murderer! Remember how you didn’t care … do you … remember?” Akin to a King Diamond tale, this is Halloween at the top of their game. Every single facet of this song works; it’s no wonder modern bands like Cauldron eagerly announce Halloween as one of their influences. What was once will be again …

Where Halloween runs into a corpse-filled roadblock, if there is one, is that there’s so much music to digest here. Over an hour in length and with 16 songs, after a while, the songs begin running into each. Of course, that isn’t the case with “Scare You,” another blazing dark fantasy. “I’ll never let you go; I’ll be there with you, after you’re dead. I will scare you!” Please don’t send this to an ex on Valentine’s Day — you’ll find yourself under arrest or in a straightjacket, or both.

“Not One” is one of the slower tracks on Terrortory. It’s an acoustic-led dirge at the onset, with Thomas’ honest vocals up front and center. He wades between a forthright full voice to an eerie falsetto, not as high as King Diamond but surely just as menacing. Halloween isn’t about writing ballads, though, so by two minutes into the song it goes back to that doomy, mid-tempo pace most of the songs stalk you with. Oh, and that’s only song eight …

The most unnerving tracks towards the end are “Reinventing Fear” and “Hands Around My Throat.” The most oddball one is the sloppy, sort of Misfits takeoff on “Say Your Prayers.” The swirling and evocative “Dead On …” is Halloween reminding you to stop thinking they are a one-trick pony. Instead of funereal, it’s graceful and sorrow-laden.

Terrortory, whether it finds an appropriate audience or not, deserves a listen. If you are into NWOBHM-influenced horror Heavy Metal, this is the band to check out. While seemingly blunt in its musical approach, you’ll be surprised to find the multiple layers beneath the surface of tracks like “Dead On …” and “Her Ghost Comes Out to Play.” Keep digging and digging until the flesh grates off your fingers … you are bound to find something worthwhile on Terrortory …

Genre: Horror, Classic Metal

Band:
Brian Thomas/vocals
George Neal/bass
Rob Brug/drums
Don Gurrier/guitars

Track Listing:
1. Traipsing Through The Blood
2. At The Gates
3. Terrortory
4. Images Quite Horrible
5. Her Ghost Comes Out To Play
6. Caught In The Webs
7. Scare You
8. Not One
9. Darkside Inside
10. Re-Inventing Fear
11. I Lie Awake
12. Hands Around My Throat
13. Say Your Prayers
14. Where Is Michael
15. Dead On
16. Into The Afterlife

Label: Pure Steel Records

Online: www.halloweentheband.us

Hardrock Haven rating: 8/10

Mark Evans | DIRTY DEEDS: My Life Inside/Outside of AC/DC

by John Kindred
Staff Writer –

Former bassist with Australia’s legendary AC/DC unveils the band’s secret world behind the curtain. AC/DC’s rough and tumble existence is revealed through the words of former bassist Mark Evans. Malcolm Young was handling those duties before Evans joined the band, but he wanted to return to hammering out chords as the rhythm guitarist. AC/DC’s journey to their future bassist is told by Evans, beginning with his childhood and his landing the gig, his departure and subsequent musical accomplishments, to personal tragedy and, finally, understanding and acceptance.

This is first-hand look of not only Evans but of AC/DC from behind the scenes. Evans paints the picture that highlights the band as a well-oiled machine, driven and controlled by Malcolm Young and the Young family. Those in the band Read more

Various Artists | Tribunal Records 100 – Cover to Cover

by Justin Gaines
Staff Writer –

Home to a diverse lineup of artists from melodic rockers Line of Fire to thrashers Blatant Disarray to modern metal bands Vanisher and Age of Ruin to metalcore and hardcore bands like Killwhitneydead and Jonin, Tribunal Records has just celebrated their 100th release. To mark the occasion, the label has released a special album that reflects the diversity of their roster as well as the diversity of influences those bands represent. Tribunal 100 – Cover to Cover features 21 cover songs from bands currently (or previously) on the Tribunal label.

Diversity is the key word for this release (which is available in MP3 format only). It’s a safe bet that no other album will have a metalcore band like Wombwrecker stomping their way through Korn’s “Here to Stay” right next to a sublime cover of Queensryche’s “I Will Remember” (courtesy of Line of Fire). The whole album is like that. That anyone would cover bands like EMF and Third Eye Blind is (pardon the pun) unbelievable enough, but hearing those songs from hardcore bands like Swift and He Is Legend is surreal. It works though, as do the more traditional choices, like Blatant Disarray doing justice to Megadeth’s “Holy Wars…The Punishment Due” or Vanisher taking on Metallica’s “Of Wolf and Man.” There are even a couple of old school gems from Uncle Slam and Sargant Fury.

Line of Fire’s Queensryche cover is an obvious standout of Tribunal 100 – Cover to Cover, but other highlights are Jonin’s fierce version of Faith No More’s “Caffeine” and instrumental progressive metal band Canvas Solaris’s take on Coroner’s “Arc-Lite.”

This is just a fun collection of unexpected cover songs that are executed very very well. Whatever your tastes (assuming you’re a fan of metal), chances are there’s something on Tribunal 100 – Cover to Cover for you. If nothing else, you’re in for some surprises with this one. Oh, and how cool is that cover artwork?

Genre: Metal, Hardcore, Melodic Rock

Track Listing:
1. The Feds: Barracuda (Heart)
2. Blatant Disarray: Holy Wars…The Punishment Due (Megadeth)
3. Aria: Clocks (Coldplay)
4. Vanisher: Of Wolf and Man (Metallica)
5. Age of Ruin: Buried Dreams (Carcass)
6. A Secret Death: Welcome to the Machine (Pink Floyd)
7. Killwhitneydead: Sacrifice (Inside Out)
8. Slowmotion Apocalypse: The Razor’s Edge (AC/DC)
9. Line of Fire: I Will Remember (Queensryche)
10. Wombwrecker: Here to Stay (Korn)
11. Jonin: Caffeine (Faith No More)
12. He is Legend: Wounded (Third Eye Blind)
13. Sargant Fury: Maniac (Michael Sembello)
14. Century: Kiss From a Rose (Seal)
15. Canvas Solaris: Arc-Lite (Coroner)
16. Uncle Slam: Dazed & Confused (Led Zeppelin)
17. Enemy is Us: Stockholm Syndrome (Muse)
18. Swift: Unbelievable (EMF)
19. Vanisher: Superbeast (Rob Zombie)
20. Slowmotion Apocalypse: Be Quick or Be Dead (Iron Maiden)
21. Killwhitneydead & Jonin: Vote With a Bullet (Corrosion of Conformity)

Label: Tribunal Records

Website: www.tribunalrecords.com

Hardrock Haven rating: 8.75/10

Jimi Bell & BJ Zampa of House of Lords

by Alex Barbieri
Staff Writer –

Mission Accomplished: House of Lords on their 2012 European Tour

When you get to know House of Lords—singer James Christian, guitarist Jimi Bell, drummer BJ Zampa and bassist Chris McCarvill—you become aware that loyalty is very important to them … loyalty to each other, loyalty to their melodic rock sound, loyalty to the quality of their live shows, and, of course, loyalty to their fans.

On the return of their 2012 “Big Money” European Tour (the band is barely unpacked as this interview takes place), guitarist Jimi Bell and drummer BJ Zampa debrief Hardrock Haven about their latest trip across the Atlantic: Why they enjoyed this tour so much, why you shouldn’t trust a GPS when driving through the Swiss Alps, and more.

HRH: Jimi and BJ, welcome home and thanks for talking to us about your latest European tour. What are some of your favorite memories and experiences of the tour?

JB: Thank you, Alex. Well the first scary experience was when our connecting flight from Portugal to Germany for our 1st gig stopped in the middle of the runway. They discovered our planes landing gear was not working. We all looked at each other and said, “HERE WE GO!!!” So we de-boarded and they put us on another plane.

By the grace of God, that was the only bad thing on this tour. Too many great memories to list, although on our 2nd gig in Austria, well let’s just say Chris had a great time with his good friend Jack Daniels!!! It was great not to be the one this time!! (Laughs out loud.)

BJZ: Just getting out and seeing all our friends over there and also making new ones, but the best thing was playing with the band again live—we haven’t done that since … my god, I think it was 2008 with Jimi.

HRH: Why does HOL make a commitment to tour Europe every year, or for every new album? Is it that your record company (Frontiers Records) is located in Italy? Or is it that Europe is still such a stronghold for melodic rock and HOL fans?

JB: They are the melodic rock market and that’s where we sell the most records. The HOL fans in Europe are just awesome. But the other reason is we love to tour and perform live. I can’t speak for the rest, but I could do this non-stop. It’s in my blood and has been since I was a kid. This is all I ever wanted to do.

BJZ: Well, I would have to say we have a better foothold over in Europe because of the Melodic Rock thing, but in all reality House of Lords is an arena rock/hair metal band from the ‘80s, and as of late we have a much heavier, darker vibe going on now.

HRH: Logistically, what goes into planning a European tour? Can you give us an idea of what has to happen to make the tour happen?

JB: That a question for James Christian because he’s the one putting all this together with promoters from all over Europe. He really did an unbelievable job planning this tour. With the exception of some long travel time, there wasn’t one thing to complain about and that’s a fact!!!

BJZ: There is a whole lot of stuff that has to happen, and it all has to happen at key times. Right off the bat, you need to get shows booked and try to make them make sense logistically. On top of all that, the shows have to be booked early enough to get your deposit money in. Generally, you need to have all the deposits in two months before the first show. The deposit money then is spent on travel—you know, plane tickets, buses, rooms on days off—I think you get the idea. Then just when you think you’re done, you need backline amps and drums. Now, you have to get all of your backline from point A to point B all before the first show. To plan a run of Europe takes about a good six months of your time and that is 24/7. If you drop the ball on one little detail, it can affect your whole tour and mess up your budget. That means nobody gets paid!

HRH: You played in 12 different countries in less than 30 days. What were your travel conditions like? Was it a lot of driving? Was it freezing cold and snowing? Take us back to the tour bus with HOL.

BJZ: A whole bunch of driving!!!

JB: Well like I just mentioned, some long drives, but not a lot of them. What really made this for us was how the promoters and James took care of us. We pretty much had four- and five-star hotels with our individual rooms each time. We ate like we never ate on tour before. Just amazing food, and the fans I can’t say enough about. Just great all the way around.

HRH: Why did your sound man, Marty Weiand, keep taking pictures of the Swiss Alps? (Just making a joke here.)

JB: Because our GPS kept taking us into the Swiss Alps. BJ kept saying, “DONT GET OFF THE HIGHWAY” but NOOOOO!! Did we listen? It’s a GPS … how can it be wrong??!! HMMMM. (Laughs out loud.)

BJZ: What else could you do driving 15, 16 hours a day? It’s either that or … ahh, never mind, we’ll keep that for another time. Ha ha.

HRH: On Facebook, some of you mentioned that this was a very enjoyable tour—maybe the most enjoyable. What was different this time compared to previous tours?

BJZ: It was all of the above. The rooms were great, the food was out of this world and the fans are always great, but even better this time out. Everything worked out perfect.

HRH: Jimi, you have mentioned, proudly, that you were clean and sober throughout the entire tour. How is playing and traveling different for you now, compared to years past?

JB: I loved being sober for this, and the band did too. And I didn’t have the desire to drink—not even once. I was just SOOOOO HAPPY to be on the road again and performing. That’s all I cared about. I do want to clarify that on past tours with HOL, I never drank and did a show. I would have never done that to the band. It was only after. And on this tour, if I was going down it would have been the 2nd gig in Austria. The whole venue was sponsored by Jack Daniels and that was my drink of choice.

HRH: What bands opened for you in Europe, and anyone we should know about and be listening to?

JB: For most of the tour we had the same band called Sandalinas from Spain. Great bunch of guys and great musicians. Then when we got to Spain, we were joined by Jorge Salan who was amazing on guitar and had a great band with him as well. They’re Jeff Scott Soto’s band when he tours there.

BJZ: Yeah, Sandalinas are a great bunch of guys and real troopers.

HRH: Regarding Europe, where are some of the most rabid HOL fans? Most beautiful women? Best food? Most impressive scenery and architecture?

JB: As far as women go, you can’t answer that. There are beautiful woman all over the world. As far as food goes, I don’t remember having a bad meal anywhere and we didn’t get to see much except out the windows as we were driving but Chris (McCarvill, bassist) and Marty (Weiand, sound man) took a lot of pictures. Chris is putting together a DVD of the whole tour. (You read it here first Hardrock Haven readers! – Ed.)

BJZ: As Jimi said, there are beautiful women all over the world, but when it comes to food you have to give it to Italy and then Spain, but that’s not saying the food wasn’t good in other places, but if I had to pick personally, I would go with Italy and Spain.

HRH: What are some of the “comfort items” you each bring on tour with you? Things you bring from home to make the tour go easier.

JB: NOTHING!!! I was lucky to get my guitars on the plane. The weight restriction for flying is just crazy. One bag, 50lbs or less. Try packing for a month or two month tour and keeping the weight to 50lbs. Don’t forget, besides clothes I had two guitars and my pedal board, 40 sets of strings, all that shit adds up. BJ had sticks, pedals mixers. It’s insane.

BJZ: Not much! Since they only let you bring 50lbs on the plane, you can’t bring too much. And you never know if you will be able to wash your clothes, so I think you get the picture.

HRH: Last question: Is there anything you’d like to say to your European fans?

JB: We love you and appreciate all the support you give us past and present and we can’t wait to come back and see you next year!!

BJZ: Thank you all so much for coming out and supporting HOL. For without you, we would not exist. We are here for all of you and we will continue to give you all we got every time we step onto a stage or go into the recording studio. Thank you, thank you, thank you, ‘til we meet again.

HRH: Guys, thank you again—this has been a lot of fun! Please keep us posted on what HOL is up to.

House of Lords is:
James Christian (v)
Jimi Bell (g)
Chris McCarvill (b)
BJ Zampa (d)

House of Lords 2012 “Big Money” European Tour
February 1, 2012, Munich, Germany
February 2, 2012, Innsbruck, Austria
February 3, 2012, Weert, Netherlands
February 4, 2012, Essen, Germany
February 5, 2012, Obermarchtal, Germany
February 6, 2012, Wuppertal, Germany
February 8, 2012, Trieste, Italy
February 9, 2012, Genk, Belgium
February 10, 2012, Lodi, Italy
February 11, 2012, Trofarello, Italy
February 12, 2012, Prateln, Switzerland
February 14, 2012, Budapest, Hungary
February 15, 2012, Prague, Czech Republic
February 16, 2012, Jonkoping, Sweden
February 17, 2012, Vaxjo, Sweden
February 18, 2012, Trolhatten, Sweden
February 19, 2012, Stockholm, Sweden
February 23, 2012, Madrid, Spain
February 24, 2012, Valladolid, Spain
February 25, 2012, Sevilla, Spain
February 27, 2012, Lisbon, Portugal

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Watch the official video for “Someday When”
http://www.youtube.com/watch?v=Va6gk6GYgfs&ob=av2e

Angel Witch | As Above, So Below

by Justin Gaines
Staff Writer –

There’s been a noticeable trend in recent years towards darker, traditionally-minded heavy metal. We’ve seen it in bands like Portrait, Witchcraft, Blood Ceremony and especially Ghost, and when you look for a common denominator one of the bands that seems to influence them all is the seminal New Wave of British Heavy Metal (NWOBHM) band Angel Witch, whose self-titled 1980 debut remains a metal milestone. It’s only fitting that Angel Witch is back with a new studio album, their fourth overall and first in more than 25 years.

Their latest release is called As Above, So Below, and it’s a monster. It fits effortlessly into this new wave of dark traditional metal bands, and at the same time stays true to the classic Angel Witch sound. It has the the heavy, doomy rhythms offset by subtle melodies, Kevin Heybourne’s somber, otherworldly vocals, and of course that signature dark energy. The lyrics remain dark, but they’re a bit smarter and less focused on Satanic imagery this time around. There are only eight songs on this one, but not one of them counts as filler. As Above, So Below is one fantastic metal song after another. “Dead Sea Scrolls,” “Witching Hour” and “Guillotine” are highlights, but the whole album has classic written all over it.

With this album Angel Witch makes a triumphant return and proves they are still very relevant all these years later. As Above, So Below will not disappoint any old school Angel Witch/NWOBHM fans, and it ought to be a real revelation to those who have been endlessly spinning the Ghost debut. Actually, what we really need is a Ghost/Angel Witch tour. The bottom line is that As Above, So Below is a welcome return from a classic band, and one of the strongest metal albums 2012 has to offer.

Genre: Heavy Metal, Traditional Metal, NWOBHM

Band:
Kevin Heybourne (g) (v)
Will Palmer (b)
Andy Prestridge (d)

Track Listing:
1. Dead Sea Scrolls
2. Into the Dark
3. Geburah
4. The Horla
5. Witching Hour
6. Upon this Cord
7. Guillotine
8. Brainwashed

Label: Rise Above

Website: http://www.facebook.com/angelwitchofficial

Hardrock Haven rating: 9.25/10

Andy Timmons Band | Plays Sgt. Pepper

by Alissa Ordabai
Staff Writer –

Somewhere between the sublimity of Bill Frisell’s recent tribute to John Lennon “All We Are Saying…” and the kitsch of Big Jim Sullivan’s renditions of the late 60s- early 70s pop classics, the record at hand is a hit-and-miss affair, albeit ambitious in its choice of material.

Apparently aware of the prerequisites for tackling material of this magnitude, Timmons offers an interpretation of the greatest album in the history of pop which is more often homely than daring. Mostly it’s faithful renditions of the classic tunes – safe and tame, not attempting to extrapolate extra meaning from what is already there. Notable exceptions are “With a Little Help from My Friends” where Timmons breathes bitter-sweet magic into the familiar-from-childhood original, and “She’s Leaving Home” where he goes beyond the prescribed and unfolds the song from an unexpectedly intuitive, deeply personal angle.

Otherwise the vocal polyphony of the originals, the subtleties of the songwriting and the nuances of the original production are lost, turning a multi-dimensional piece of visionary work into a humdrum, albeit pleasant and tasteful affair. Versions of “Getting Better,” “Fixing a Hole” and “Lovely Rita”, however, sag below average, sounding at times like a bunch of tracks that have fallen off the final mix of some sketchy demo.

Overall this is a perplexing record with a perplexing choice of material – given the level of casualness with which Timmons treats it – and an even more perplexing in its unwillingness to search for meanings and connections beyond the apparent and the familiar.

Genre: Instrumental Guitar, Pop, Rock

Track Listing:
1. Sgt. Pepper’s Lonely Hearts Club Band
2. With a Little Help from My Friends
3. Lucy in the Sky with Diamonds
4. Getting Better
5. Fixing a Hole
6. She’s Leaving Home
7. Being for the Benefit of Mr. Kite
8. Within You, Without You
9. When I’m 64
10. Lovely Rita
11. Good Morning, Good Morning
12. Sgt. Pepper’s Lonely Hearts Club Band (reprise)
13. A Day in a Life
14. Strawberry Fields Forever

Label: Favored Nations

Online: http://www.andytimmons.com/

Hardrock Haven rating: 4/10

Jay Parmar | Circle of Fire

by John Kindred
Staff Writer –

Jay Parmar returns with his sophomore studio release titled Circle of Fire on Steve Vai’s label Digital Nations.The album follows up his 2005 debut release, Strange Day, and tracks his musical progress and growth over the last seven years. Although it seems like quite a stretch in between releases, Parmar has been busy with building his studio, writing and demoing this forthcoming release and touring as second guitarist in the band Eden’s Curse in 2009. That tour produced a live album, Condemned to Burn, which featured Parmar on two of the recorded songs.

Parmar finds himself in great company on Circle of Fire. His hard work and networking ability has led him to becoming friends with fellow musicians Carsten Lizard-Schulz (Evidence One/Paradise Inc), Andreas Novak (House of Shakira/Mind’s Eye), Pete Newdeck (Eden’s Curse/Tainted Nations), Tim Wallace, Mike Rotella and guitar legend George Lynch, all of whom contributed to Circle of Fire. And, as all of Parmar’s friends and fans know, George Lynch is a good friend and inspiration to the guitarist.

The core of Circle of Fire is built around the original arrangements written by Parmar. He worked with Pete Newdeck to arrange and record the foundation of the music. Newdeck handled the drums, while Parmar provided the bass, keys, rhythm guitar and his lead solo tracks. From there, each of his “guests” continued to bring the music to life, contributing lyrics, vocals and additional guitar solos. Circle of Fire comprises 12 songs, all of which maintain a cohesive vibe even though different vocalists sing throughout the CD.

Although the inspiration may come from his influences, Parmar pushes forward, letting his voice be heard compositionally and vocally. The music is melodic hard rock, and the vocalists reflect this as they perform melodic and catchy vocal melodies. Newdeck and Schultz handle the majority of the songs, while Novak only is the featured vocalist on “Test of Time,” Wallace appears on “Harm’s Length.” Parmar makes his singing debut on “When Angel Cry.” Circle of Fire delivers great all-around vocals from everyone involved. At times, they fall in between the AOR and Melodic rock world, almost pushing into the ‘80′s stadium-rock-arena on several occasions.

There is no getting around the fact that George Lynch has had a major influence on Parmar’s own guitar style. He won’t deny it. You can hear it within the context of his rhythm guitar work, but it is more evident in his solos. His legato phrasing, attack, harmonic squeals and guitar sound pull a lot from Lynch. It would be bad if he did a poor job of it, but Parmar is extremely accomplished. It’s almost as if the torch is being passed from one legend to the next generation of shredders. Hopefully, as Parmar continues to write and record, his lead guitar work will evolve into a signature style that is all his own. For now, he nails it song after song.

Parmar and Newdeck build a solid foundation for the 12 songs that comprise Circle of Fire and deliver inspired, melodic hard rock bliss. Rotella and Lynch, both, deliver amazing fret board acrobatics alongside Parmar. The slick production magnifies the high caliber of musicianship that comprises Circle of Fire. Unlike a lot of independent artists out there today, Jay Parmar has taken the time to learn his craft, with his guitar and in the studio, before unleashing himself on listeners with sub-par studio albums. His approach and music is a mature and confident. This is reflected on Circle of Fire in his songwriting ability and the quality of professional musicians who brought the album to life.

Highlights: “Hell Is The Place,” “Walking In Circles,” “Dragon,” “Circle of Fire”

Genre: Melodic Hard Rock

Line-up:
Jay Parmar (g)(b)(k)(v)
Pete Newdeck (d)(v)
Carsten Lizard-Schulz (v)
Tim Wallace (v)
Mike Rotella (main solo on “Hell Is The Place”)
George Lynch (intro/main solo on “When Angels Cry”)

Track Listing:
1. Walking In Circles
2. You’re Not Alone
3. Test of Time
4. Lost In You
5. Now You’re Gone
6. Hell Is The Place
7. Stop Laughing
8. Guilty
9. Harm’s Length
10. Circle of Fire
11. The Dragon
12. When Angels Cry
13. Circle of Fire (Single)

Label: Digital Nations

Web: http://www.jayparmar.com/wp/

Hardrock Haven rating: 9/10

Pretty Maids | It Comes Alive – Maid in Switzerland

by Justin Gaines
Staff Writer –

Long running Danish melodic metal masters Pretty Maids are back with another live offering this year, their first since 2003’s Alive at Least. It Comes Alive – Maid in Switzerland is the title, and it is being released in conjunction with the band’s first-ever live DVD. The DVD will no doubt rule, but this review covers only the audio half of the show.

Spanning two discs and 21 tracks, It Comes Alive is the most comprehensive live album the band has released to date, and accordingly it covers all eras of the band’s lengthy career. They don’t quite hit every album, but you get songs from their ‘80s releases Red Hot and Heavy and Future World, ‘90s albums Lethal Heroes (a.k.a. Jump the Gun), Sin-Decade, Scream and Anything Worth Doing is Worth Overdoing, as well as more recent albums Carpe Diem, Wake Up to the Real World and Pandemonium. Future World and Pandemonium are the most heavily represented here, and that’s not a bad thing at all since those are arguably the band’s best albums.

Beyond being a hefty, comprehensive live set, the performance captured on It Comes Alive is just incredible. This is not a band that is just going through the motions or simply serving up note-for-note reproductions of their studio songs. Pretty Maids has a fantastic energy live that comes through in every song. Each song sounds almost brand-new, and between the band’s energy and the feedback they’re getting from the crowd it’s almost like being there in person.

While the smart money is on the full DVD package, the audio version of It Comes Alive is still a fantastic live release, and one that all serious Pretty Maids fans will want to check out. For fans here in the US, It Comes Alive is a terrific preview of what to expect when Pretty Maids finally plays here in America at the ProgPower USA festival this September.

Edition Notes: If you’re buying It Comes Alive in MP3 format, you’ll get an extra track – “Nightmare in the Neighborhood” – that’s not on the CD version.

Genre: Melodic Metal

Band:
Ken Hammer (g)
Ronnie Atkins (v)
Allan Tschicaja (d)
Morten Sandager (k)
Rene Shades (b)

Track Listing:
1. Pandemonium
2. INVU
3. Hell on High Heels
4. Wake Up to the Real World
5. Destination Paradise
6. Another Shot
7. Scream
8. Walk Away
9. It Comes at Night
10. Queen of Dreams
11. Savage Heart
12. Clay
13. Yellow Rain
14. Rock the House
15. Back to Back
16. Rodeo
17. Love Games
18. Future World
19. Little Drops of Heaven
20. Please Don’t Leave Me
21. Red Hot and Heavy

Label: Frontiers Records

Website: www.prettymaids.dk

Hardrock Haven rating: 8.75/10

Sleepy Hollow | Skull 13

by Justin Gaines
Staff Writer –

Leave it to the traditional metal merchants at the Pure Steel label to bring back another cult American heavy metal band. After more than two decades on hiatus, New Jersey-based traditional metal band Sleepy Hollow is finally back with a new album. Skull 13 is only the band’s second full-length release, and is the long-awaited follow-up to their self-titled 1991 debut. This time around, the band – which features former Attacker vocalist Bob Mitchell – is joined on bass by none other than Symphony X’s Mike LePond.

Sleepy Hollow’s debut may have arrived in the early ‘90s, but the band’s overall sound is decidedly ‘80s-inspired. The music on Skull 13 draws heavily from bands like Accept and Dio-era Black Sabbath, with some doomier elements along the lines of Solitude Aeternus added to the mix to keep things interesting. It’s a good mix of sounds, and one that old school heavy metal fans are definitely going to appreciate. It’s heavy, thrashing, headbanging metal with some very memorable vocals. Bob Mitchell has a very distinct voice somewhere between former Accept belter Udo Dirkschneider and their current frontman Mark Tornillo. It’s his powerful voice that brings the Accept comparison, and Steve Stegg’s fierce guitar work that recalls Sabbath and Solitude Aeternus. Songs like “Death of a Horseman” and “Black Passage” showcase the bands speed, while “Bleed Steel,” “Spiral Effect” and “Midnight” have a heavier, more epic feel.

It’s always good to see these old cult-status heavy metal bands (Exxplorer, Blacksmith and Overlorde SR also come to mind) reuniting, especially when the albums they release are this impressive. If you’re one of the lucky few who knew of Sleepy Hollow back in the day, you won’t be disappointed by what you hear on Skull 13. If you missed them the first time around but are a fan of the classic ‘80s heavy metal sound, now is the perfect time to discover this gem from the metal underground.

Genre: Heavy Metal

Band:
Tommy Wassman (d)
Steve Stegg (g)
Bob Mitchell (v)
Mike LePond (b)

Track Listing:
1. Death of a Horseman
2. Facemelter
3. Black Passage
4. Bleed Steel
5. Rear Window
6. Inquisition
7. Epic (The Legend Retold)
8. Eternal Bridge
9. Misery Waltz
10. Spiral Effect
11. Midnight

Label: Pure Steel Records

Website: http://www.myspace.com/theoriginalhollowmetal

Hardrock Haven rating: 8/10

Lanfear | This Harmonic Consonance

by Derric Miller
Staff Writer –

On the German-based band Lanfear’s sixth studio album, This Harmonic Consonance, we are once again exposed to one of the most glaringly underrated bands on the planet. (Which by the way, is how they tout themselves on their website. It just happens to be surgically accurate.) They’ve been around since 1994 (demo) and in 1996 released their first studio album. Through lineup changes, multiple labels, and of course a tanking industry rife with thieves and cowards, they somehow forge ahead and yes, give their fans another unique, melodically aggressive (and at one point jazzy!) creation in This Harmonic Consonance.

Unfortunately, like most bands of this ilk, they begin with a monotonous instrumental that is only 1:06 in length. Next …

“Colours of Chaos” is the first real track, and you’ll be pumped by guitarist Ulle’s almost Jeff Waters-like riffing. It’s caustic and machinelike in its mechanical fury. The vocalist, Nuno, is a multi-faceted talent who allows them to get near thrash levels in guttural chaos yet can also croon and nail high, falsetto shrieks. Oh, and at 2:55 into the song, it’s the aforementioned Jazz quotient, with Nuno breathily singing with an understated soft falsetto … but then they get back to the anthemic speeds again. One “poetic” note is that they call the song “Colours of Chaos” but sing throughout the song “The colours of existence.” So … chaos=existence.

“By-Product Nation” is a little more accessible if merely for the flowing, happily melodic keys from Richer. And the album is obviously a deconstruction of mankind’s continually bleary devolution, because the lyrics like “worst expectations come true” show that Lanfear is paying attention, even if no one else seems to be.

If you get into a spelling competition with the guys, you’ll probably lose, even if it’s an attempt to create neologisms. For instance, “Idiopathic Discreation.” It’s refreshing to listen to a band write such existential lyrics to perfectly mirror the complicated tempo changes, off-time rhythms, and backbone of the song. It’s haunting when they end the chorus and ask … “Where is God?” or admit “I’ll walk this path until I die.”

And don’t forget the mechanization of the human race. Lanfear surely didn’t on “I, Robo Sapiens.” (So they read Phil Dick and play off his ideas … but maybe it should have been “I, Electric Sheep.” Regardless …). This is one of the highly accessible songs, a composition that any Metal fan can embrace, even if you don’t dissect lyrics. It has that double-bass shotgun start/stop, haunting accompanying backing vocals on the chorus, and just an overall expert … everything.

At this point, you get the idea. Calling themselves underrated doesn’t make it any less true. This is one of the best releases of the year thus far, and they found themselves on a label in Pure Steel that seems to be behind their bands 100 percent. The underdog has to win some year … maybe This Harmonic Consonance will make it Lanfear’s year.

Genre: Progressive, Power Metal

Band:
Nuno Miguel de Barros Fernandes/vocals
Markus “Ulle” Ullrich/guitars
Kai “Schinde” Schindelar/bass
Richie “Richer” Seibel/keys
Jürgen “Gen” Schrank/drums

Track listing:
1. Giorno del Giudizio
2. Colours of Chaos
3. By-Product Nation
4. The Reverend
5. Idiopathic Discreation
6. Camera Silens
7. I, Robo Sapiens
8. Spectrophobia
9. Word Not Spoken
10. Disharmonic Consonance

Label: Pure Steel Records

Online: www.lanfear.eu

Hardrock Haven rating: 8.5/10

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