Unsun Clinic for Dolls

by Mark Allen
Staff Writer

Note to all the metal guitarists of the world: just because your wife is pretty as an angel does not mean she can actually sing like one. It’s a note that Polish axe-slinger Maurycy “Mauser” Stefanowicz needs to be sent ASAP, before his wife Aya’s banal vocals butcher another batch of otherwise solid songs.

For the uninitiated, Mauser scorched the strings for a time with Polish death metal mavericks Vader before parting company with them to form Unsun with his wife, Aya. Rather than the extreme metal from which he had emerged, Mauser and Aya steered their conjoined careers in the gothic/symphonic metal direction. Their debut was a rather lackluster affair marred by muddy production values, but now they have returned with their sophomore album, Clinic for Dolls, and while it is a major step up in the production department, it still suffers from one glaring flaw: Aya’s vocals.

It’s not that the Polish beauty sings badly, it’s more that her voice is far too weak and fragile for the beefy metal backing her. She seems to be striving for the epic approach of Amy Lee (Evanescence) but lacks the power to reach such euphoric heights. Her husband unleashes thundering riffs, the drums double-kick like a miffed mule, and polished heaviness abounds, but at the forefront are these rather heavily-accented vocals that possess all the strength of a cobweb. It’s a jarring mismatch, one that all the slamming power chords, sonic bombast, and slick atmospherics cannot overcome. Sure, she’s easy to look at—most women chosen to front rock/metal bands are—but music is about the ears, not the eyes, and it is preferable to listen to a pug-ugly girl sing well than listen to a pretty girl sing poorly. Unfortunately for Unsun, Aya falls into the latter category.

That said, the music itself is actually pretty good. Mauser knows how to play, and while his skills here are more about hard rocking riffs than technical showboating, those riffs are delivered with above-average talent. The solos don’t exactly melt the flesh from your face, but they’re more than serviceable, and work well within the somewhat narrow confines of the goth-metal genre. The bass booms prominently, maintaining a thick bottom end that the production caters to, a common trend in today’s metal scene. The drums pack a punch, the pounding rhythms impacting with a plethora of power.

The tracks themselves range from terrible (“Clinic for Dolls”) to decent (“Mocker”) and everything in between. In terms of song structure, the band fails to find good chorus hooks most of the time, and that, combined with the weak vocals, seriously hamstring the enjoyment factor of this album. About the only demographic that may be satisfied is the youthful and typically less-discerning Hot Topic crowd who believe that anything goth is automatically cool. The lyrics certainly cater to them, with lines like “What can I say when I’m out of breath / Unable to find the key to cheat death” and “Hell was too cold / Love’s gone away / Ultimately slain.” If dark and brooding is your lyrical tone of choice, then Unsun has you covered like a bandage over a freshly-sliced wrist.

In the end, what you have here is some pretty cool music and superb production sullied by weak singing and boring choruses. If Mauser dusts off this band for a third outing, perhaps he should consider making it an instrumental album, because when you hear Aya’s overwrought, lackluster vocals, you’ll wish that Unsun was unsung.

Genre: Gothic/symphonic metal

Band:
Aya (vocals)
Mauser (guitars, samples)
Heinrich (bass)
Vaaver (drums)

Track Listing
1. The Lost Way
2. Clinic For Dolls
3. Time
4. Mockers
5. Not Enough
6. The Last Tear
7. Home
8. I Ceased
9. A Single Touch
10. Why

www.myspace.com/unsunmusic

Label: Armoury Records/Mystic Production

Hardrock Haven rating: 5.4/10

Golden Resurrection Glory to My King

by Franco Cerchiari
Staff Writer

If you have heard the magnificent ReinXeed release, Majestic, then you should have great anticipation to take hold of ReinXeed guitarist/vocalist Tommy Johansson’s side project Golden Resurrection also featuring vocalist Christian Lijigren (Narnia, DivineFire.) Showcasing neo-classical/shredding guitar work by Johansson that could rightly be placed alongside of Yngwie Malmsteen, Jason Becker, Rusty Cooley or even the brilliant Michael Angelo Batio, Glory to My King does indeed have some major strong points. With of course each song about a belief in Christ, His teachings, His life and His death on the cross, the tracks are melodic, riff filled, rich and complete with some guitar work that is incredible.

Sometimes it becomes a bit much hearing a “sermon” and in moments the overall message and lyrics becomes a tad much, but one should know, by a title such as Glory to My King what it is they are in for.

Track 6 “Proud To Wear the Holy Cross,” does seem to repeat many of the lyrics time and again throughout this track’s playing time. However the fluctuation of the vocal lines during the chorus was redeeming.

The keyboards and guitar come across strong, both giving a layer of music under the vocals, and heard together are wonderful. And of course the beyond good guitars of Johansson do make this a CD that followers of neoclassic shredding need to hear. On the flip side, a strong, more prominent bass line would have brought a stronger “thunder” as it seemed on many tracks that the bass guitar was barely audible at best.

Lijigren is an admirable vocalist but his style seems to be better suited for hard rock (at times reminiscent of Russell Allen,) rather than the melodic power metal that is heard here. What made Majestic such a standout (along with the guitar work) was the melodic metal voice of Johansson. The vocals here on Glory to My King, while in many moments are harmonious, seem to be stuck in a sort of “flux” that instead of these huge, soaring, to the heavens voice that melodic power metal is so known for, they seem to remain at the middle range. During certain tracks (“God’s Grand Hotel,” “The Final Day,”) his voice reached higher but even in moments he seemed to be out of his comfort zone.

But what must be given notice are the harmonies of “Never Look Back,” the astounding, seemingly never ending guitar solos of “The Final Day,” the keyboards of Olav Andersson (Grand Stand/Audiovision) on “Golden Flames” are beyond good. Superbly mixed by Eric Martensson (W.E.T./Eclipse,) overall the sound was excellent, the production strong, and each musical note clear and easy to be heard.

Sadly not a CD that stands out (again like Majestic did,) but in its own way here is a CD rich in melody with some amazing musicians at the helm. Johansson is indeed a powerfully talented guitarist whose work alone makes this a CD guitarists the world over need to hear.

Genre – Melodic Power Metal

Musicians:
Christian Lijigren – lead vocals
Tommy Johansson – guitars, keyboards, vocals
Olav Andersson – keyboards, vocals
Rickard Gustafsson – drums
Stefan Kack – bass

Track Listing:
See My Commands
Best For Me
Glory to My King
Never Look Back
The Final Day
Proud to Wear the Holy Cross
Golden Flames
God’s Grand Hotel
My Creation

Label: Rivel/Lijigren Records

Hardrock Haven Rating: 8/10

Seven Thorns Return To The Past

by Joe Mis
Staff Writer

Denmark’s Seven Thorns is ready to unleash a new assault on the power metal world with their upcoming album Return To The Past. The band has taken great pains to purify their music and make it the epitome of the genre, and have succeeded remarkably well. Filled with hooky riffs, booming drums and solid vocals, this album will please any power metal fan.

Lyrically powerful and musically solid, Seven Thorns’ roots reach back to 1998, but the band really solidified when drummer Lars Borup joined forces with vocalist and songwriter Mik Holm. Numerous internal issues plagued the band and their first album was recorded but never released. Finally the group finally managed to stabilize and focus on their music.

“Liberty” opens the album with big sweeping guitars and a powerful drum line. The theme of fighting one’s own battles and not folding to outside pressures recur throughout the album. Guest guitarist Olaf Lank lays down a remarkable solo that highlights both his own talent and that of regular guitarists Gabriel Tuxen and Christian Strojer. “End Of The Road”gives keyboard player Asger Nielsen a moment in the sun, and the passionate voice of Erik Blomkvist blends nicely with the classically tinged guitar work of Tuxen and Strojer. “Through The Mirror” turns the speed down from 11 to 10 and gives drummer Borup and bass player Nicolaj Marker a chance to stretch their legs. This track have a very classical feel and could have easily appeared on one of Yngiwie’s albums. Nielsen’s keyboard work is quite slick here as well, making this easily the best track on the CD. Superb vocals and great teamwork highlight the galloping “Freedom Call,” along with some excellent guitar solos.

“Countdown” gallops along at high speed and allows Blomkvist to push the top of his vocal range. The opening of “Forest Majesty” is the only real break in the album’s intensity, but the double bass attack begins anew almost immediately. “Spread Your Wings” has a great opening riff – very much a conventional metal groove, but as before the rapid fire drums and bass return in earnest. “Fire And Storms” and the finale “Return To The Past” compete the aural assault.

Having refined their music to such a pure extreme makes Return To The Past a power metal showcase, but the album is so pure it is like drinking distilled water – sooner or later you need something with a different flavor. Almost all of the tracks have the same underlying tempo and the drum attack seldom seems to vary in speed or intensity. There is some variation in vocal timing and tempo, but at times it seems that different lyrics are the only way to tell one song from another. Non power metal fans will probably like each track on its own, but the relentless pounding across the CD will quickly wear them out. This aside, Return To The Past is slickly produced and well engineered. Everything is crisp and clear, as power metal should be.

Fans of power metal will love this album, but Seven Thorns will probably not bring new fans into the genre due to the unrelenting intensity and lack of easy differentiation between the songs. The band is definitely pure traditional power metal, and play their music with fire and passion. Immensely talented, Seven Thorns will only get better as they grow and begin to vary their sound and add some real originality to their tracks. If you like pure power metal with a hint of classical inspiration, don’t miss it.

Return To The Past drops on 14 January 2011.

Genre: Power Metal

Band:
Erik “EZ” Blomkvist (vocals)
Lars “Laske” Borup (drums, backing vocals)
Nicolaj Marker (bass, backing vocals)
Gabriel Tuxen (guitar, backing vocals)
Christian B. Strojer (guitar, backing vocals)
Asger W. Nielsen (keyboard, backing vocals)
Mik Holm (backing vocals, composer)
Guests: Mikkel Henderson (keyboards), Olaf Lenk (guitar solo on “Liberty” & “Return to the Past”)

Track Listing:
1. Liberty
2. End of the Road
3. Through the Mirror
4. Freedom Call
5. Countdown
6. Forest Majesty
7. Spread Your Wings
8. Fires and Storms
9. Return to the Past

Label: Nightmare Records

Website: www.myspace.com/seventhorns , www.seventhorns.com

Hardrock Haven rating: 7.5/10

Femme Metal Presents Beauty and Brutality

by Alissa Ordabai
Staff Writer

A two-disk compilation of female-fronted metal and rock released to support Cancer Research UK features 31 tracks of material ranging from operatic pomp-metal to punky pop-rock. It is, however, the former style which dominates this release, as if to convince that a female voice in metal goes best with gothic atmospherics, lavish theatricality, and mock-operatic delivery.

This idea, apparently, has taken root within contemporary metal so well that the pattern repeats itself track after track: ambitious string arrangements, commonplace vocal temperaments set over big orchestral pretensions, conservatoire-trained (or pretending to be such) smarmy voices, racing metal riffs supporting sweet pop melodies, and spooky, eerie atmospherics. Anyone who hasn’t been following female talents in metal closely within the past 10 years will find that this model has now been brought so such sleek perfection that finding true vocal individuality here is less likely than in the context of Broadway musicals.

It is perhaps against this streamlined approach that true individuality really stands out on this release. Reactive Black with their unashamedly decadent delivery and Iggy Pop-meets-Pet Shop Boys-meets early Metallica eclecticism show that there is still scope for a female voice in metal – beyond unctuous pseudo-gothic atmospherics and opera-scale diva pretensions. DEADMANSWAKE and Vanity Link demonstrate that you don’t have to have a big voice to be a true rock vocalist and to be able to deliver a poignant message, both offering welcome breathers for such an intense record jam packed with apocalyptic visions.

But spectacular displays of authentic vocal talent, true drama and wonderful melodic imagination still find place on this compilation. “Absence of Light” by Dimlight is one such track where finely wrought atmospheric soundscape accentuates the numinous voice delivering an inventive, protean melody. Here you start of believe that good taste, imagination, and an ability to create a unique atmosphere can still co-exist when women are represented in metal. Moreover, this track is a proof that a female rock singer can have choices beyond portraying lovers, mourners, or angels of destruction.

True self-expression has always come easier to women in jazz than in rock, maybe because jazz never tried to objectify women the way that rock has traditionally done. But metal is a relatively young genre – too young for succumbing to rigid models, yet mature enough for more women to start exploring ways in which it can resonate with their inner selves, as opposed to blindly following clichés and fulfilling expectations of the male-dominated industry.

Track Listing:

CD1
1. ReVamp – “Head up High”
2. Exilia – “No Tears for You”
3. DAMA – “Rainy Roads”
4. Magion – “War of Hearts”
5. Soulmaker – “A Vide”
6. The Mary Major – “Morning Sickness”
7. Disdained – “Longing for Serenity”
8. Asrai – “Stay with Me”
9. Crownless – “Lost Inside”
10. re-Vision – “Shapeless”
11. Infinite Tales – “Running Away”
12. One Without – “Withered Serenade”
13. Aperioin – “Shine”
14. Reactive Black – “Thoughts”
15. Appartition – “Elysium”
16. Triaxis – “Gates of Damnation”

CD2
1. Epica – “Unleashed”
2. DEADMANSWAKE – “Back to Blood”
3. Vanity Ink – “Smell the Party”
4. Seven Kingdoms – “Somewhere Far Away”
5. Diva Suicide – “Crystals”
6. Exoterik – “Butterfly in Your Hand”
7. Özge Özkan – “My Cold One”
8. Kivimetsän Druidi – “Jäässä Varttunut”
9. VIRUS IV – “Frightening Lanes”
10. Solsikk – “Volatile Territory”
11. Dimlight – “Absence of Light”
12. Raven Tide – “Doom Reveil”
13. A New Dawn – “Masque of the Red Death”
14. Velvet Seal – “Inner Guillotine”
15. Ex Libris – “Destined”

Label: Femme Metal

Online: www.femmemetal.net

Hardrock Haven rating: 6/10

Affiance No Secret Revealed

by Trevor Portz
Staff Writer

For those unfortunate enough to see the film Multiplicity, you may recall that when Michael Keaton cloned himself, each successive clone turned out more and more…well…stupid. As with any metal subgenre that emerges and catches on, it becomes inevitable that millions of clone bands will start to appear, and in a similar fashion, the clones often become more generic, less interesting, and, frankly, stupid. Metalcore has suffered this fate on a global scale due to the seemingly endless number of bands cropping up with the urge to sound (and look) like any number of others, and distinguishing between bands can be virtually impossible. Cleveland’s Affiance is a band that more or less fits this description, yet somehow has managed to create an album that is not only listenable, but actually reasonably good. While it doesn’t break any ground, No Secret Revealed is of high-enough quality to at least keep itself from being a total throwaway.

The songs that make up No Secret Revealed are generally high-energy metal romps, with a fair bit of groove thrown in (not entirely unreminiscent of later period Sepultura, groove-wise). What the band absolutely excels at, however, is writing with the mindset that one riff/tempo/groove is not enough to create an interesting song. The tracks feature plenty of tempo and riff changes, which help keep everything moving along and this, in turn, saves the album from being a boring blur.

Technically speaking, No Secret Revealed is tight and well performed. It may not be Dream Theater in terms of over-the-top technicality, but the band members are extremely proficient at what they play, which is far from two-note nu-metal. Now, to be fair, many bands are made to sound great via a few clicks of a mouse and some Pro Tools wizardry, but to stay optimistic, we’ll assume that the fixing was minimal.

On the less positive side, vocalist Dennis Tvrdik, while technically a talented singer (who relies almost entirely on clean vocals, a rarity in metalcore), has a whine that takes away from the overall intensity of the album. The songs race along, packed with vitality and anger, yet the vocals always seem two seconds away from becoming little more than a cowering figure wailing out “please don’t hurt me.”

Lyrically, things are also a bit silly, with “Der Fuhrer” leading the pack. Other than Mel Gibson, the world knows—and still feels the pain–of the atrocities committed by Hitler and the Nazis; of that there is no question. The statements made here, however, provide no new insight, and instead feel like little more than a mid-grade history report on World War II. They come across as a forced effort to sound intelligent or political (as do many songs here), and ultimately come off as juvenile.

Now, whiney vocals aside, No Secret Revealed, on the whole, is a decent enough record. It would be ridiculous to call it a masterwork of metal genius, as it does fit a little too perfectly into the sea of metalcore banality. However, the members of Affiance and just good enough at what they do—both writing and playing—that with a little creativity, they could break away from the scene and become something more memorable. Perhaps on their next album, secrets will be revealed, the first of which will be that they have more to offer than many of their peers.

Genre: Metalcore

Band:
Dennis Tvrdik (v)
Brett Wondrak (g)
Dominic Dickinson (g)
Erik Kemme (b)
Bradley Newshutz (d)

Track Listing:
Mad As Hell
Call To The Warrior
Nostra Culpa
For Power
A Monster Fed
The Hive
A Reading From The Book Of…
Der Fuhrer
Dissent!
Calculate and Control

Label: Bullet Tooth

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

Hardrock Haven rating: 4.8/10

Low Profile Afraid Of The Dark

by Joe Mis
Staff Writer

Hailing from Florida’s sunny Palm Coast area, Low Profile is trying to prove themselves to be more than a cover band by releasing a CD of all original music entitled Afraid Of The Dark. Despite the entire lineup being Florida transplants from the northeast or mid-Atlantic states none of them are senior citizens – go figure. This trio delivers some decent new hard rock while tipping their hats to some of the greats of the 1980s.

The members of Low Profile aren’t kids. They’ve been kicking around the Florida music scene for a number of years, and that experience shows in their music. Low Profile writes well focused and well structured songs, and their level of musicianship is very good. Their roots go back to the classic hard rockers of the early to middle 1980s, but they deliver their catchy hooks and riffs with solid teamwork and a modern touch. Their “veteran” experience shows throughout the album, particularly their fine use of backing vocals.

Lead vocalist / guitarist (and New York native) Reg Monsanto has a gruff and somewhat dry voice, well suited to the hard rock genre. His range is a bit limited, but he stays within it and delivers the goods. Monsanto is a good guitarist as well, laying down some thick and juicy hooks and nice solos. Fellow New Yorker Fred Peterson brings a big and crunchy bass to the band, and can play quietly in the background or step to the front. Drummer and D.C. native Ralph Abraham is a solid drummer and displays solid teamwork, working nicely with both bass and guitar.

“Afraid of the Dark” opens with a nice Dokken-esqe acoustic guitar and bass passage and features some great harmony vocals, chugging guitars, bubbling bass and strong lyrics. “Wandering” is a simple and soft rock track with some fine acoustic work, a great bass line and a fine lead break. Big drums and a touch of sleaze rock infect “I Like It”, but this track is one of the weaker on the album – it seems a bit forced, although the guitar solo is fantastic. The band switches toke totally and goes ultra heavy in “A Punk Like Me” and fills the song with grinding guitars, energetic drums and great bass. Good lyrics and solid harmony vocals brighten the upbeat rocker “Rain,” while a big bass groove and “Alice In Chains” style vocals drive “Going Down Again.”

“Let It Go” and “Waiting” have more of a pop rock feel to them thanks to simple and bouncy bass and drum lines. The band does not seem to be in their comfort zone on these tracks – some of the “pop” elements seem forced as if they really wanted to do something harder but held back a bit. “Call Of The Wild” opens with some tribal drums and intense bass, but becomes the band’s vocal showpiece with nicely layered harmonies over some powerful riffs. The band manages to set a truly dark and creepy mood in the somewhat spooky “Neverland,” while “Sleeping With The Enemy” takes its energy from a great drum line. “Black Widow” wraps the album with some great acoustic guitars that lead to a big arena-rock track with a solid sing-along chorus.

The only persistent negative on “Afraid Of The Dark” is the engineering. All the tracks have a bit of a muddy sound, but fortunately it is consistent so it is easy to balance out with equalizer settings. Low Profile makes simple, basic and direct rock, and the roughness of the recording in a way almost adds to the atmosphere.

Low Profile is a decent band and deserves more than just a cover band reputation. There is real talent here, both in terms of musical ability and songwriting talent. Despite a few rough spots on the CD, Afraid Of The Dark will appeal to almost any fan of hard rock or commercial rock. The band’s enthusiasm and raw talent easily overcome the flaws, so the good here far outweighs the bad. They are a young band and need to settle on a preferred style. They seem at their best at the opposite ends of the spectrum – playing hard and heavy stuff or soft ballads. They wash out a bit when holding the middle ground or reaching for a “pop” sound. While it may not be the proverbial “diamond in the rough,” Afraid Of The Dark is certainly is worth a listen.

Genre: Hard Rock

Band:
Reg Monsanto (lead vocals, guitars)
Ralph Abraham (drums, backing vocals)
Fred Peterson (bass, backing vocals)

Track Listing:
1. Afraid Of The Dark
2. Wandering
3. I Like It
4. A Punk Like Me
5. Rain
6. Going Down Again
7. Let It Go
8. Waiting
9. Call Of The Wild
10. Neverland
11. Sleeping With The Enemy
12. Black Widow

Label: LP Records (Indie)

Website: http://www.myspace.com/lowprofilepalmcoast , www.lowprofile-theband.com

Hardrock Haven rating: 8/10

All That Remains For We Are Many

by Mark Allen
Staff Writer

Following the ultra-melodic sensibilities of this group’s previous release (2008’s Overcome), many fans wondered if all that remained of All That Remains was a has-been band more interested in pleasing the modern hard rock crowd than continuing to lead the New Wave of American Heavy Metal charge. Sure, the commercial crowd had enthusiastically embraced the band–or at least, their hit singles–but could All That Remains reclaim the fickle fallen-away fans who demanded brutal heaviness while simultaneously keeping the mainstream hard rockers happy? For We Are Many, the band’s fifth studio album, answers that question, and the answer is a resounding yes.

For We Are Many immediately caters to the we-want-it-heavy component of their fan base with the thunderous intro “Now Let Them Tremble” which is all death-metal growls and powerful thrash rhythms custom-designed to prove that they can still slam out the savagery when they so choose. This brief opener quickly segues into the title track, showcasing a relentlessly aggressive pace and Philip Labonte in full-blown screaming mode with nary a clean vocal in sight.

“But what about those clean vocals?” you ask. “I like the band better in melodic mode.” Well, fear not, because once All That Remains finishes their heavy-handed silencing of their critics, they immediately start incorporating the melodic hooks and clean vocals that helped them gain crossover success. This is a pattern the band will carry throughout the album, expertly merging the thrashing metalcore of their genesis days with the commercial catchiness that has defined their more recent output. Nearly every chorus is crafted around a killer hook and sung cleanly to appeal to the melodic fans, but often with screaming and/or growling background vocals to remind everyone that this is, indeed, a heavy metal band. As formulas go, this one works surprisingly well.

Adam Dutkiewicz (guitarist for Killswitch Engage) returned to produce this project (he also produced the band’s breakout album The Fall of Ideals) and the sonic quality is absolutely impeccable. If the band paid a million bucks for this production job, it sounds like they got every penny’s worth. If they didn’t pay a million bucks, well, it certainly sounds as if they did. Dutkiewicz is a maestro knob twiddler, knowing with unerring instinct when to bring the heavy factors to the forefront and when to let the hooky melodies surface through the metal maelstrom.

The members give it their all and their energy comes through loud and clear. Labonte has been accused of being a better screamer than a singer, and it is an accusation that is, quite frankly, sustained, but that should not be interpreted to mean that his clean vocals are drab, for they are not. Labonte can sing perfectly fine; it’s just that his screams pack a little more power and emotion. Speaking of emotion, guitarist Oli Herbert lays it all on the line with his playing, his technical wizardry ably matched by his string-scorching passion. The raging riffs and rumbling rhythms intertwine with some relentlessly-powerful drumming, the sum of all the parts meshing together to form one massive melodic metalcore monster.

All That Remains have, against all odds, found a way to please their older fans while maintaining their hold on the newer ones. The metalcore market should eagerly devour this album like a hungry wolf feasting on the flesh of its fallen prey.

Genre: Melodic metalcore

Band:
Philip Labonte (vocals)
Oli Herbert (lead guitar)
Mike Martin (guitar)
Jeanne Segan (bass)
Jason Costa (drums)

Track Listing
1. Now Let Them Tremble
2. For We Are Many
3. The Last Time
4. Some of the People All of the Time
5. Won’t Go Quietly
6. Aggressive Opposition
7. From the Outside
8. Dead Wrong
9. Faithless
10. Hold On
11. Keepers of Fellow Man
12. The Waiting One

www.allthatremainsonline.com

Razor & Tie/Prosthetic Records

Hardrock Haven rating: 9/10

Frank Zappa Evening With Frank Zappa During Which… The Torture Never Stops

by John Kindred
Staff Writer

The legacy of composer Frank Zappa spans more than 30 years. Eagle Rock Entertainment returns to the video vaults to revive, in its entirety, Zappa’s ’81 Halloween concert, which originally aired on MTV. Evening With Frank Zappa During Which … The Torture Never Stops DVD features 24 songs that originally are found on the albums Tinseltown Rebellion and You Are What You Is, also released in ’81.

Recorded in New York at The Palladium, Zappa performs and directs his band through these eclectic songs. Zappa’s band included the best musicians available; Ray White, Tommy Mars, Scott Thunes, Chad Ackerman, Ed Mann, Bobby Martin and Steve Vai.

Zappa’s music highlights diverse explorations into a multitude of genres. His experimentation focuses on utilizing many types of instruments. Unfortunately, music fans must be a fan of the less-than-serious lyrics that float over the top of the complicated music. The quirkiness of the lyrics’ whimsical banter is better suited to fans of Weird Al Yankovich than serious rock fans.

The spotlight really shines on the musicians as they express their talent guided by Zappa’s baton from the opening track to the finale. Many know of the talents of Steve Vai, but the lesser-known musicians stand equally with Vai and Zappa. Bonus features include two additional live songs, “Teen-Age Prostitute” and “City Of Tiny Lites,” a videography, discography and a photo gallery.

Considered a musical genius among his peers and fans, Frank Zappa recorded and produced more than 60 albums during his career. As a modern composer, his lavish and unique musical landscapes brought inspiration to aspiring musicians. Although his music isn’t for everybody, you can’t dismiss his contributions to the world of music. Releases like Evening With Frank Zappa During Which … The Torture Never Stops provide a historical time stamp for current and future fans to enjoy indefinitely.

Label: Eagle Rock Entertainment

Line-up:
Frank Zappa (guitar, vocal)
Ray White (vocal, guitar)
Tommy Mars (keyboards, vocal)
Scott Thunes (bass, vocal)
Chad Wackerman (drums)
Ed Mann (percussion, vocal)
Bobby Martin (keyboard, sax, vocal)
Steve Vai (guitar, vocal)

Track Listing:
1. “Black Napkins”
2. “Montana”
3. “Easy Meat”
4. “Beauty Knows No Pain”
5. “Charlie’s Enormous Mouth”
6. “Fine Girl”
7. “Teen-Age Wind”
8. “Harder Than Your Husband”
9. “Bamboozled By Love”
10. “We’re Turning Again”
11. “Alien Orifice”
12. “Flakes”
13. “Broken Hearts Are for Assholes”
14. “You Are What You Is”
15. “Mudd Club”
16. “The Meek Shall Inherit Nothing”
17. “Dumb All Over”
18. “Heavenly Bank Account”
19. “Suicide Chump”
20. “Jumbo Go Away”
21. “Stevie’s Spanking”
22. “The Torture Never Stops”
23. “Strictly Genteel”
24. “The Illinois Enema Bandit”

Features:
Region 0
Note: Additional performances from the concert and one short:
1) Teen-Age Prostitute (live)
2) City Of Tiny Lites (live)
3) You Are What You Is
Discography
DVDography
Liner Notes
Photo Gallery
Dual Layer
Full Frame -
1.33
Audio:
Dolby Digital 2.0 Stereo – English

Hardrock Haven rating: n/a

Testament Live At The Fillmore

by Jay Villain
Guest Staff Writer

You’re going back in time, the year is 1995 and a sold out audience is assembling outside the Fillmore in the San Francisco bay area. This is the legendary Fillmore where Pink Floyd, The Doors and many other music icons have graced the stage. But is any of that really important to those now filing into the venue? No, it’s quite incidental. What is important is who’s about to take the stage, and that is Testament, one of thrash metal’s most underrated yet most influential bands. Having formed in the early 80′s, Testament set musical standards that others had to follow and many have fallen short trying.

Always maintaining an upper; even superior standard of musicianship they don’t fall victim, like so many; to the great musical depression of the 90′s. The year is 1995 and a new less educated, and much less skilled form of music called alternative / grunge has dominated the airwaves. This is music without guitar solos, musicians without image wearing flannel; so strung out on drugs that they can only play their instruments at an elementary level at best. Testament and their fans however, aren’t slaves to radio so they’re not affected by this backwards way of thinking; which becomes evident on this very night.

What follows is an entire show that clearly illustrates how it’s to be done, musicianship at its finest. From “The Preacher” to “Dog Faced Gods,” the night takes you on a ride throughout Testament’s historical years up to 1995. Each song serves up like a greatest hits with an equally great performance.

Fast forward now, back to the present. A re-release of the out of print, Testament Live At The Fillmore is being brought back to the fans; and with the three additional acoustic studio songs at the end of the CD. Paul Stanley from KISS once stated around the time of their acoustic release, “If it’s a great song then it should sound great acoustically as well.” Testament proves that Paul couldn’t be more right. “Return To Serenity,” “The Legacy” and “Trail Of Tears” all sound just as good if not better than the original versions. Testament also show that a thrash metal band can be multidimensional.

Testament Live At The Fillmore is an example of metal excellence!

Band:
Chuck Billy: Vocals
Eric Peterson: Rhythm/Lead/Acoustic Guitar
James Murphy: Lead/Rhythm/Acoustic Guitar
Greg Christian: Bass
Jon Dette: Drums
Star Nayea: Backup Female Vocals [Tracks 15 and 17]

Track Listing:
1. “The Preacher” – 4:20
2. “Alone in the Dark” – 4:37
3. “Burnt Offerings” – 5:15
4. “A Dirge” – 2:04
5. “Eerie Inhabitants” – 3:51
6. “The New Order” – 4:32
7. “Low” – 3:13
8. “Urotsukidoji” – 3:48
9. “Into the Pit” – 2:55
10. “Souls of Black” – 3:39
11. “Practice What You Preach” – 5:00
12. “Apocalyptic City” – 5:58
13. “Hail Mary” – 3:45
14. “Dog Faced Gods” – 4:47
15. “Return to Serenity” – 5:56
16. “The Legacy” – 5:17
17. “Trail of Tears” – 6:17

Rating: 10/10

John Waite Rough & Tumble

by Alex Barbieri
Staff Writer

Ask any rock fan who grew up in the ‘80s about John Waite, and they’ll probably smile and agree that he has one of the most signature voices of the era. Well, Waite is back to rough of us a bit with a delightfully inspired album of Nashville-tinged rock ‘n roll.

Rough & Tumble is Waite’s first studio album of original material since 2007’s Downtown: Journey of a Heart and long-time fans will not be disappointed. The album features some of the best melodic moments of his career but—to Waite’s creative credit—it is not a safe retread of a proven pop formula.

Rough & Tumble has a stripped down, organic rawness to it. Gone are the huge multi-layered vocals and keyboards in favor of guitar/bass/drums purity. At first a little disconcerting, you’ll soon realize the more straightforward sound is the perfect showcase for Waite’s clear emotive vocals, and also sounds just downright cool.

Credit for this new direction must go in part to Matchbox Twenty guitarist Kyle Cook, who was Waite’s songwriting partner for the past year and a half. The combination of Waite’s rich, dignified vocals and Cook’s Southern honkytonk Strat is both sexy and stunning.

On the Tom Pettyesque “Evil,” Waite sings, “Start to feel the rush of the 4/4 time / Moonlight’s kickin’ in the door.” The slithery groove and sultry vocal will make you want to turn up the red lights and dance like no one’s watching.

Waite goes for the gold on “If You Ever Get Lonely, a ballad so beautiful, it will stop you in your tracks. One of the best songs of Waite’s career, it is as “hit single” as a song gets. (Producers of Showtime’s Californication series should take note: this is the perfect song for an episode.)

The acoustic “Skyward” is another highlight: simple yet lush, it is both inspiring and life affirming. And “Better Off Gone” is immediately one of the best breakup songs of all time; full of motion and hope. Gonna let these horses run straight into the morning sun / I’m better off gone. Waite reminds us it’s ok to live, love, lose—and, if needed, relocate.

John Waite—one of rock’s rarest gems—is back and better than ever. Buy Rough & Tumble and be reminded what great rock music is supposed to sound like. And if you get the chance, see Waite live this time ‘round if you can.

Genre: Rock-Country

Band: John Waite – Vocals
Luis Maldonado – Electric and Acoustic Guitar
Shane Fontayne – Electric and Acoustic Guitar, Acoustic and Baritone Guitar
Kyle Cook – Electric and Acoustic Guitar, Programming and Harmony Vocals
Tim Hogan – Low End David Santos – Bass Guitar
Mike Webb – Hammond B3 Organ
Billy Wilkes – Drums and Percussion
Fred Eltringham – Drums and Percussion
Rodger Carter – Drums and Percussion
Bobby Keys – Saxophone
Jennifer Paige – Background Vocals

Track Listing:
1. Rough & Tumble
2. Shadows of Love
3. Evil
4. If You Ever Get Lonely
5. Skyward
6. Sweet Rhode Island Red
7. Love’s Goin’ Out of Style
8. Better Off Gone
9. Further The Sky
10. Peace of Mind
11. Mr. Wonderful (Bonus Track)
12. Hanging Tree (Bonus Track)

Label: Frontiers Records

Online: http://johnwaitethegreatest.web-log.nl/johnwaitethegreatest/2010/12/rough-an-tumble-tracklisting-and-info.html
www.facebook.com/people/John-Waite/1383702065  

Hardrock Haven rating: 8/10

Next Page »