Falkenbach Tiurida

by Trevor Portz
Staff Writer

It seems that in the nearly 20 years(!) that Viking metal has been a recognized metal subgenre, essentially two Viking “tribes” have emerged. On one side, we have the more extreme-metal influenced groups that like to lace in folk melodies and what not, but are still more traditionally black metal-esque. Good examples would be Ensiferum, older Enslaved, and the [luckily] reformed Einherjer. On the other side are the more epic bands, most of which are focused on slow-paced, drawn-out tunes that oftentimes feel like (and occasionally are) traditional folk songs played electrically. Leaders here would be Moonsorrow, Thyrfing, and the sorely missed Otyg. Falling into the latter category, Germany’s Falkenbach is back with its first album in 5 years, Tiurida. The question is: does it really stand up to its heathen brethren?

As with those of their ilk, Falkenbach’s metal is mid-paced and epic. There is little concern for complex riffing or tempo changes, and most songs repeat their core riffs so often that one wonders how the musicians keep track of where they are in the song. This is not inherently a bad thing—most dance and pop music seems to thrive on repetition. Those songs, though, rarely stretch to the 7- or 8-minute mark, whereas most of the tracks here do. Perhaps not all would agree, but 8 minutes of slow repetition can be rather… well… boring. Compounded with the fact that each song follows the same trend, Tiurida does little to hold the listener’s attention. Sure, the aforementioned Moonsorrow often far surpass the 8-minute mark, with songs breaking even the 20-minute barrier, but they grow and change steadily, feeling more like epic tales than endless repetition.

Now, it’s unfair to deem Tiurida a bad record, especially based solely on its lack of diversity. Many bands have made careers out of musical sameness. When looked at from a more historical sense, these songs are probably much more akin to the folk music from which they are inspired than any blast-beat fueled neoclassical song about a dragonslayer. In fact, if one were to strip away the modern instrumentation and harsh vocals (fairly sparse here anyway), it’s hard to imagine even an actual Viking finding it to be anything but authentic. So from that standpoint, Falkenbach are doing a bang-up job of keeping the history they espouse alive.

So sure, Tiurida is not as full-on exciting as Frost or In the Sign of the Raven, but it’s likely it was never intended to be. As a pure piece of folky Viking metal (assuming there is such a thing), it’s a clear victory. Maybe next time Falkenbach should throw in a blast beat, though, just for kicks.

Genre: Viking Metal

Band:
Vratyas Vakyas (everything)
+various session musicians

Track Listing:
1. Intro
2. …Where His Ravens Fly…
3. Time Between Dog and Wolf
4. Tanfana
5. Runes Shall You Know
6. In Flames
7. Sunnavend

Label: Napalm Records

Website: http://falkenbach.de

Hardrock Haven rating: 6/10

Bonafide Fill Your Head With Rock (Old, New, Tried & True)

by Joe Mis
Staff Writer

If imitation is the sincerest for of flattery then the boys in Bonafide certainly try to flatter AC/DC and Whitesnake. The Swedish quartet pays shameless homage to some of the great hard rock bands of the 1980s and is poised to release a 6 track EP to prove the point. Fill Your Head With Rock (Old, New, Tried & True) is indeed true to its title, containing three original songs lifted and edited from the band’s previous albums and three classic covers.

Bonafide was born in Malmö (southern Sweden) back in 2006. Founded by vocalist/multi-instrumentalist Pontus Snibb (Jason & The Scorchers) and bassist Michael Nilsson, Bonafide took up the mantle of hard rock and filled out its lineups by adding guitarist Mikael Fässberg (Paul DiAnno) and drummer Sticky Bomb, later replaced by current drummer Niklas Matsson (Raging Slab, Backdraft). Approaching the music with a simple and direct manner, Bonafide released a self-titled debut album in 2007 and toured in support of many hard rock acts across Europe. They followed up with the 2009 release called Something’s Dripping. The band has decided to release a few covers and edits for their fans, thus we have their upcoming EP, Fill Your Head With Rock (Old, New, Tried & True).

Bonafide’s music is straight on blues-based rock, very much in the vein of AC/DC or Y&T. With minimal electronic trickery and maximum swagger and attitude, the music will bring the listener way back to early 80s and conjure up images of the great arena bands of the day. Their tunes are catchy and filled with big hooks, churning guitars and bubbling bass. Snibb’s vocals are solid, at times recalling Brian Johnson, David Coverdale or Dave Meniketti. His guitar work blends nicely with the hot licks laid down by fellow guitarist Mikael Fässberg. The bottom end provided by Nilsson and Matsson is competent, although Nilsson seems content to just twang along on the bass (but then this IS ’80’s style rock and most bassists were strictly background then). Matsson’s drums are solid, but he occasionally comes across as a bit too metronomic for the older style of music.

“Fill Your Head With Rock” is a great rock anthem – an arena rocker with a definite AC/DC groove and nicely packed with sing-along lyrics, slick guitars and great backing vocals. “No Doubt About It” comes across as more of a Y&T or Whitesnake track, again with lots of attitude, a bouncy rolling groove and great vocals. “Kick Me Out,” apparently a B-Side from the band’s second album, brings a little more GNR/Van Halen swagger to the table. Bonafide covers Humble Pie’s “I Don’t Need No Doctor,” The Who’s “I Can’t Explain” and Rose Tattoo’s “Nice Boys (Don’t Play Rock’N'Roll).” All are solid covers, with Snibb’s vocals at their best during the Humble Pie track, but their enthusiastic version of “Nice Boys” brings down the house. The original tracks are nicely recorded, but the engineering on the three cover tunes is a bit muddy, but perfectly acceptable.

If you like the hard rockin’ ’80s, than this release will be right up your alley. The cover tunes are well done and enjoyable, and the original songs have the classic sound with a few modern touches. If you are looking for something more original in the classic rock genre, you might do better picking up one of the band’s full-length albums rather than this EP, but for fans of Bonafide it is highly recommended.

Fill Your Head With Rock will be released on January 28, 2011.

Genre: Hard Rock

Band:
Pontus Snibb (vocals, guitars)
Niklas Matsson (drums)
Michael Nilsson (bass)
Mikael Fässberg (guitars)

Track Listing:
1. Fill Your Head With Rock (Radio Edit)
2. No Doubt About It
3. Kick Me Out
4. I Don’t Need No Doctor
5. I Can’t Explain
6. Nice Boys (Don’t Play Rock’N'Roll)
Also included are videos for “Hard Livin’ Man” and “No Doubt About It”

Label: Black Lodge / Sound Pollution

Website: http://www.bonafiderocks.com/ , http://www.myspace.com/bonafiderocks

Hardrock Haven rating: 7/10

Mean Streak Metal Slave

by Alissa Ordabai
Staff Writer

Impeccable instrumental virtuosity redeems this Swedish quintet’s occasional overuse of the old power metal cliché, but by the time the album ends you can’t escape the feeling that you’ve heard it all before. Manipulations of the old standards come easy to Mean Streak, but courage and desire to experiment are yet to be developed.

Racing, self-assured rhythm section, vocalist Andy La Guerin’s operatic pretentions, neckbreak speed at which lead guitar delivers its virtuosic leads, and sleek, neatly prepared hooks introduce this record for what it is from the word go, and this streamlined metal-meets-Euro-pop routine will continue for the rest of the album.

Compositionally it’s all very simple, maybe too simple, but standout guitar solos on occasion surprise you with sheer force of conviction, skill, and imagination. Where the songwriting falls short, the solos are there to lift the proceedings from their flat cycles. “Rock City” is one such highlight – a cool but simple song in need of individuality, but the guitar leads are a different bag of goods – daring, varicoloured, and surprisingly inventive.

To sum it all up, brilliant execution is Mean Steak’s obviously clear forte, but what will come next after they exhaust the songwriting clichés of the genre they deal in, is another story.

Band:
Andy La Guerin – vocals
Peter Anderson – bass
Jonas Kallsback – drums
Yngve Frank – guitar

Track listing:
1. Whom the Gods Love Die Young
2. Battle Within
3. Eyes of a Stranger
4. The Seventh Sin
5. Raise Your Hands
6. Rock City
7. Sin City Lights
8. Carved in Stone
9. Metal Slave
10. Sinners and Saints

Online: www.myspace.com/meanstreaksweden

Label: Black Lodge / Sound Pollution

Genre: power metal, melodic rock

Hardrock Haven rating: 6/10

Joe Satriani Black Swans and Wormhole Wizards

by Alissa Ordabai
Staff Writer

Relentless in his output of groundbreaking material throughout his 25-year career, Joe Satriani is taking his game a notch higher on his new release Black Swans and Wormhole Wizards. Satriani’s formidable technique may have always been about conveying a sensation and serving a compositional purpose, but on this release the urgent intensity of his fretboard pyrotechnics often gives way to introspection, showing that virtuoso chops is just a means to achieving a higher aim. If anything, this new record is all about expanding his compositional latitude and experimenting with form.

Standout “Pyrrhic Victoria” showcases Satriani’s constantly evolving compositional approach perhaps better than any other track with its contrasts and juxtapositions of ideas, narratives, textures, and moods. Snappy, instant-grip hard rock riffs, perfectly orchestrated ear candy interludes, impeccably phrased, raunchy solos, and the main theme which is never linear and keeps developing throughout the song would be enough for a lesser composer to base an entire album on, but Satriani puts it all on one single track.

But while such meticulously constructed pieces confirm Satriani as a remarkable composer, other tracks show that it’s not all about rigor of purpose. The hauntingly cosmic “Dream Song” which transmits outer space signals down to Earth, and “The Golden Room” with its Arabic free-form extrapolations both show the deeply intuitive, numinous side to this record, and a mystical aspect to Satriani’s gift which becomes more transparent with each passing year.

Big, but accessible ideas, a desire to embrace a constantly expanding scope of moods, styles and states of mind, as well as combination of self-discovery with brilliant entertainment again prove Satriani not only as a guitar giant, but a musical giant of vast musical intelligence. On Black Swans and Wormhole Wizards he upholds the highest standards of his craft, but also ventures into territories which demand nothing short of miraculous flights of imagination.

Musicians:
Joe Satriani – guitars, bass guitar, keyboards
Allen Whitman – bass guitar
Mike Keneally – keyboards
Jeff Campitelli – drums

Track Listing:
1. Premonition
2. Dream Song
3. Pyrrhic Victoria
4. Light Years Away
5. Solitude
6. Littleworth Lane
7. The Golden Room
8. Two Sides to Every Story
9. Wormhole Wizards
10. Wind in the Trees
11. God is Crying

Online: www.satriani.com

Label: Epic / RED

Hardrock Haven rating: 10/10

Melodrome Flood

by Joe Mis
Staff Writer

Melodrome’s music is difficult to classify but easy to enjoy. This three piece from Massachusetts makes music that combines elements of classic rock, pop rock, alternative rock and blues, and presents it in a very simple, basic way that is easy on the ears. Filled with toe-tap inducing melodies and air-guitar inspiring riffs, Flood is an album that should appeal to almost any rocker.

Founded in 2000, Melodrome may not have much name recognition but their music has been in the mainstream for a while courtesy of Coors and Miller beer ads and TV / movie soundtracks. Melodrome’s sound is thus commercially acceptable, but somehow they manage not to sound “commercial.” Fronted by singer/guitarist Robby Baier and ably backed by bassist Jesko Stahl and drummers Justin Guip (in the studio) and Kali Baba (live), Melodrome’s overall sound is perhaps best described as the music of Gilby Clarke minus the anger and hostility. Sometimes light, other times heavy, Melodrome makes the most of their talents and performs with spirit, humor and enthusiasm. The trio’s current release (and fourth studio album) is filled with simple basic music with a surprisingly full and varied sound.

Baier does a fine job as a vocalist despite a limited range. He comes across cleanly and clearly, and there is no doubt about his belief and commitment to his music. His rhythm guitar work is simple and direct, and works very well with Stahl’s bass and Guip’s drums. Stahl and Guip are a great combo, both ever present but never dominant. Therein lies the strength of Melodrome – teamwork. The three musicians work together tirelessly and produce a truly cohesive sound – these guys simply rock. A line from “Complacent” best illustrates their spirit – “Who needs a one room and a fold-out when you’ve got a show that is almost sold out.”

Refreshing in simplicity but varied enough in tone and tempo, the eleven tracks on Flood deliver the goods. With straight up rock anthems, some blues tinged and some almost pop rock, Melodrome doesn’t miss a beat and shows up with a “plug in and play” mentality. Musical highlights include: the almost punk rhythms of “I Wanna Run,” the amusing and somewhat jaded look at the music industry in “Complacent”; the simple lyrical elegance of “Enough” contrasting nicely with the deeper intensity of the following track, “Shelter” and the unashamed party atmosphere of “With My Friends,” the cool groove of “Sticky,” and the great guitar work and well written lyrics on the purpose of music in “Rock With Me.”

Overall, Flood is a fantastic album for any fan of old school rock, eleven tracks and not a stinker among ‘em. Well written, well performed and well engineered, Flood is a must have. Melodrome lays down great riffs, hooky melodies and catchy tunes – a winner in every sense of the word. Highly recommended!

Genre: Classic Rock

Band:
Robby Baier (lead vocals, guitar)
Jesko Stahl – (backing vocals, bass)
Justin Guip (drums – studio)
Kali Baba McConnell (drums – live)

Track Listing:
1. I Wanna Run
2. Complacent
3. Enough
4. Shelter
5. With My Friends
6. Time On My Hands
7. Sticky
8. Lie To Myself
9. Rock With Me
10. Oh Yeah
11. I Want You Gone

Label: Soultube Records (Indie)

Website: www.melodrome.com

Hardrock Haven rating: 8.5/10

Texas Hippie Coalition Rollin’

by Mark Allen
Staff Writer

The saying goes that everything is bigger in the Lone Star State and Texas Hippie Coalition aim to prove that axiom on their sophomore album Rollin’. The southern metal band is fronted by Big Dad Ritch, a giant, tattooed, cowboy hat-wearing goliath of a man, but even bigger than Ritch’s imposing, wouldn’t-want-to-meet-him-in-a-dark-alley physique are the massive wall of guitars and the mammoth riffs that march ferociously across this release. Even the lyrics tap into that larger-than-life vibe with their single-minded focus on big, badass attitude.

Southern-fried metal can be a tough subgenre to nail, as proven by the lack of quality acts. Ask the average heavy music fan to rattle off a list of southern metal bands and you’ll hear Pantera, Alabama Thunderpussy, The Showdown, Black Label Society, Hellyeah, and maybe Maylene & the Sons of Disaster. After this, you’ll probably get blank stares, silent tongues, and shrugged shoulders. Well, to that relatively short list of bands that have figured out a successful southern metal formula you can add Texas Hippie Coalition.

The band first made noise on the hard and heavy scene with their independent debut album Pride of Texas. Big Dad Ritch’s impressively imposing stage presence combined with the requisite blood, sweat, and tears put them on the metal map and now they want to prove that their well-received debut wasn’t just a fluke. Their goal this time was to intensify the metal quotient while refusing to lose their Lone Star flavor. They have succeeded, but they walked a razor-thin line while doing so, as the pummeling metal that drips off this album like barbecue sauce off a rack of ribs comes dangerously close to overpowering that southern edge. In other words, this is the kind of southern metal album that even southern metal haters might actually enjoy.

Big Dad Ritch can bellow with the best of ‘em; there must be a huge set of lungs inside that beer barrel chest of his and he uses them very well whether singing, screaming, shouting, or growling the tunes. His vocals will not be to everyone’s taste, but they mesh will with the muscular, unpretentious metal on display here. He is backed by a hard-driving, rip-snorting, self-proclaimed “band of outlaws” who blaze through ten tracks of blistering metal like a wild bull blowing through a balsa wood fence. The guitar riffs are a highlight here: tsunami-sized, tough as nails, and bad to the bone. They demand you move your body and bang your head. Sitting still while these thundering grooves are slamming out of the speakers simply is not an option.

Production is handled by multi-platinum producer David Prater, whose Midas touch once propelled Firehouse and Dream Theater to the top of their genres (though make no mistake, Texas Hippie Coalition sounds nothing like those bands). If there is a flaw in the sonic quality, it’s that the lead guitars are too high in the mix, meaning when this album is cranked up—and it’s meant to be cranked—those guitars sometimes become a little shrill and piercing. But aside from this one production annoyance, the sound quality is as crisp, clean, and flawless as you’ve come to expect when Prater is the one twiddling the knobs.

So if you’re hungry for some bone-crushing riffs and more attitude than a pack of pissed off polecats, pick up a copy of this album. Despite the band’s name, there’s nothing even remotely hippy-ish about them…unless hippies have suddenly forsaken flower power for heavy metal. If Texas Hippie Coalition can keep up this kind of quality, they may soon find themselves rollin’ right to the top of the southern metal hierarchy.

Genre: Southern metal

Band:
Big Dad Rich (vocals)
Randy Cooper (guitar)
Crawfish (guitar)
John Exall (Bass)
Ryan Bennett (drums)

Track Listing
1. Intervention
2. Flawed
3. Rollin’
4. Jesus Freak
5. Pissed Off and Mad About It
6. Groupie Girl
7. Saddle Sore
8. Cocked & Loaded
9. Back From Hell
10. Beg

www.thcoutlaw.com

Carved Records

Hardrock Haven rating: 8.2/10

Crematory Black Pearls – Greatest Hits

by Justin Gaines
Staff Writer

The 3-disc (two CDs and one DVD) collection Black Pearls is the first proper “greatest hits” package from long-running German gothic metal band Crematory. The band started out in 1992 with a sound that was mostly death metal with some gothic influences, and has since moved to a full-on gothic metal sound (with death metal influences). They’re one of the pioneering gothic metal bands, and Black Pearls provides an in-depth look at their career to date.

With 32 songs spread across two CDs, Black Pearls leaves no stone unturned. It weaves non-chronologically through the band’s discography, from the harshness of their 1993 debut Transmigration to the far more polished 2010 release Infinity. Black Pearls contains 2-3 songs from Transmigration, Just Dreaming, Illusions, Crematory, Awake, Act Seven, Klagebilder, Pray and Infinity, and four songs each from Believe and Revolution. You get a good mix of their heavier, death metal material, the more danceable gothic metal, their German language tracks, and even a pair of excellent covers (Sisters of Mercy’s “Temple of Love” and Depeche Mode’s “Black Celebration.”)

The sheer volume of music on Black Pearls makes it a very comprehensive overview of Crematory’s career. Those unfamiliar with the band will find it an ideal introduction to Crematory, and it should also appeal to those who enjoy the band’s sound, but who don’t feel compelled to own all of their studio albums. Crematory’s albums are consistently enjoyable, but they’re also consistently…consistent. Black Pearls may end up being all the Crematory you need.

Edition Notes: The physical release of Black Pearls includes a bonus DVD that collects the band’s promotional videos, a 60-minute live performance from the Wacken Open Air festival and various other behind the scenes extras. Hardrock Haven was provided a digital copy of the audio, so this review does not cover the video material.

Genre: Gothic Metal

Band:
Gerhard Stass (v)
Matthias Hechler (g) (v)
Katrin Goger (k)
Harald Heine (b)
Markus Jullich (d)

Track Listing:

Disc 1
1. Infinity
2. Fly
3. Tears of Time
4. Hollenbrand
5. Eyes of Suffering
6. Left the Ground
7. Sense of Time
8. Greed
9. Shadows of Mine
10. Pray
11. Ist Est Wahr
12. Temple of Love
13. Tick Tack
14. The Fallen
15. Kein Liebeslied
16. Perils of the Wind

Disc 2
1. When Darkness Falls
2. Deformity
3. Kaltes Feuer
4. For Love
5. I Never Die
6. In My Hands
7. Open Your Eyes
8. Caroline
9. Ewigkeit
10. Black Celebration
11. The Holy One
12. Endless
13. Revolution
14. My Way
15. Hoffnungen
16. Away

Label: Massacre

Website: www.crematory.de

Hardrock Haven rating: 8/10

Mr. Big What If

by Erik Tweedy
Staff Writer

In 1991 Mr. Big stormed across the world with their hit single “To Be with You” which skyrocketed to #1 in 15 countries and has since become a staple on every hair band ballad collection being hocked on late night television. The original Mr. Big lineup never quite reached the pinnacle of success in America as soon after 1991 ended, so did their career in the U.S. Long since forgotten in their homeland, Mr. Big literally hit it big across the Pacific and have carved out a pretty solid 20 year career in Japan. The band comprised of all original members Eric Martin on vocals, Paul Gilbert on guitar, Billy Sheehan on bass and Pat Torpey on drums have reunited and just put the finishing touches on their first studio release, with the original lineup, since 1996’s Hey Man.

What If takes the listener on a raucous ride through a forgotten time of excellent musicianship, great vocal harmonies and the feel good Kodak moments of life. You won’t find any earth shattering or ground breaking material on this release, but what you will find are well crafted songs with strong vocals, some gnarly bass playing by Sheehan mixed with plenty of tasty licks by Gilbert all locked in step with the top notch drumming of one of the best timekeepers in the business in Torpey.

Once the needle drops on the first track, “Undertow”, you might find yourself thinking it is the early ‘90s all over again. What If could easily have been the successor to the meg-hit Lean Into It from which “To Be with You” was culled from. “Undertow”, the first single, is a solid kick-off to the album and features a gritty guitar groove that chugs along to the chorus and back again until Gilbert starts finger tapping through a welcomed solo that highlights the song. The second track, “American Beauty”, is a classic Mr. Big straight ahead rocker. This is what Mr. Big do best. Running with a deep bass line and a snappy snare drum mixed with great vocals and a smoking hot solo, this song will surely be a fan favorite.

After a deep breath, the disc hits the brakes with the melancholy lyrics of “Stranger in My Life” which could have been placed on any Loverboy record during the ‘80s and been right at home. With 12 songs, you know there has to be at least one filler and that’s what “Nobody Takes the Blame” feels like. It is a mish-mosh of sounds and structure and feels more like one of Extreme’s crappy funk laden songs that nobody understands.

If you must suffer through the bad to get to the good then listening to “Nobody Takes the Blame” is well worth it as it leads into “Still Ain’t Enough for Me” which puts the disc back on the rails and the pedal to the floor. A barnburner that again features Billy Sheehan ripping up the bass frets, reminiscent of 1989’s “Addicted to That Rush”. This song will surely have your head bopping with delight.

Hitting the midway point of the album “Once Upon a Time” is an up-tempo dirty rocker with a side of funk and features another ripping Gilbert solo that has you questioning why you stopped listening to this band back in ’92. “As Far as I Can See” is all about Eric Martin and showcases his strong vocal abilities. Martin remains one of the top vocalists in the melodic rock community and he shines on this track. There’s a reason he is bigger than Godzilla in Japan.

 The one true ballad comes in the form of “All the Way Up” which in the right market could get some airplay. This one might not inspire the rockers too much but we all need to stop and smell the roses sometimes.

One of the best tracks from What If is the mid-tempo “I Won’t Get in My Way” that features a great harmonizing chorus and lyrics that include “Viva La Strange, Take a Bite of Eden’s Apple”. This is a very solid track that will have the listener pushing the replay button.

 Cranking up the pace it’s “Around the World” that, like much of this record, features a blistering bass line from Sheehan. Heading into the homestretch, “I Get the Feeling” is an average mid-tempo melodic rock track that sounds dated on this release and would have been more at home on an Eric Martin solo record. The last track is the European/U.S. bonus track, “Unforgiven”.

The highlight of this track is the Gilbert guitar playing which is on full display throughout the song. A good way to end a very solid release from these veteran rockers from Los Angeles that have spent the past 15 years trying to get back into the music scene in the U.S. Frontiers Records has recently signed a new distribution deal for the U.S. which hopefully puts this release in more people’s hands.

If you are a longtime fan, you should really enjoy this album and if this is your first time around the block, there are several tracks that might have you scouring the record bins for their earlier material.

Band:
Eric Martin – Lead Vocals
Paul Gilbert – Lead Guitar
Billy Sheehan – Bass
Pat Torpey – Drums

Track Listing:
1. Undertow
2. American Beauty
3. Stranger In My Life
4. Nobody Takes The Blame
5. Still Ain’t Enough For Me
6. Once Upon A Time
7. As Far As I Can See
8. All The Way Up
9. I Won’t Get In My Way
10. Around The World
11. I Get The Feeling
12. Unforgiven (Bonus Track)

Label: Frontiers Records

Website: http://www.mrbigsite.com/

Hardrock Haven rating: 8.3/10

Vega Kiss of Life

by Ron and Don Higgins
Staff Writer

Kiss of Life is the debut masterpiece by VEGA, which has been eagerly anticipated by lovers of AOR since the project was first announced this summer. It’s exactly what you would expect from a Frontiers Records release produced by John Greatwood and mastered by Pink Cream 69 legend Dennis Ward. Every song from the first track to the final cut features powerful vocals, catchy choruses, rhythmic keyboards and driving guitars, complete with impressive guitar solos that would make Neal Schon proud. Fans of melodic rock like Journey and Survivor will absolutely love this album.

VEGA was formed in mid 2009 when former KICK vocalist Nick Workman paired up with songwriters Tom and James Martin (who have written songs for the likes of House of Lords, Ted Poley, Joe Lynn Turner’s Sunstorm, Khymera and others). The brothers and Nick first met a decade ago when KICK was supporting Thunder on the first of their farewell tours. They met Nick a second time along with drummer Dan Chantrey at a U.K. rock festival. They began working together the next day. They wrote 25 songs over the next few months and chose the best songs for recording, 12 of which ended up on this debut release.

As described by guitarist Tom Martin, “We wear our love of ’80s rock music on our sleeve, but we also have injected our love of modern rock music to it. We aren’t trying to rehash anything: the sound we have achieved is 100% VEGA. We didn’t want to try and guess what people expect and get it wrong. Normally when we write songs we have the control over the lyrics/melodies but this time with Vega we left Nick to this part because we really rate him as a songwriter and he did a fantastic job with this on Kick’s albums, so we knew he could make our sound more unique and make it a bit different from the AOR songs we write.”

There are many standout tracks on this release, including the two opening tracks “Into the Wild” and “Kiss of Life”, the two closing tracks “What It Takes” and “SOS” as well as the middle track “Headlights”. In truth, it’s difficult to highlight standout tracks because, really, all 12 tracks are standouts!

This album kicks off in glorious fashion with the up-tempo rocker “Into the Wild”. This is classic AOR with lots of keyboards, guitar solos and a catchy chorus. Lyrically, it’s a great motivational song and it’s a perfect choice to start with because it sets the rocking tempo and is probably the best track on this album of many great tracks.

“Kiss of Life” is the title track and another classic rock song with a chorus that you will be humming incessantly for many hours after hearing it. This could arguably have been the lead track but fits quite well in the second slot and keeps the album’s high energy level up. Vocally, one can make comparisons to Dream Theater’s James LaBrie.

The mid-track highlight “Headlights” features yet another catchy chorus, “baby don’t run into headlights; baby don’t turn into headlines; baby don’t burn a hole in my soul.” It starts off with a nice guitar intro that blends into another rockin’ tune. The guitar work on this album is stellar and shines through the whole album like, well, like a headlight!

Finishing off the record is “What it Takes” and “SOS”. “What it Takes” is a pure ballad that is reminiscent of Night Ranger, Survivor or Journey. Get your lighters ready because you’ll want to wave ‘em in the air to this one. “SOS” (aka, Save Our Song) is another highlight. It starts with a nice keyboard intro that leads into yet another inspiring rock groove and another awesome chorus (…that song, that dance, that night). Like many of the songs on this record, it’s a love song, and it beautifully wraps up this excellent album.

The other songs are equally brilliant. “One of a Kind” starts with another heavy keyboard intro and lots of thumping bass. The song continues to pick up momentum as it speeds to its final note, praising the virtues of nonconformity.

“Staring At The Sun” starts with another keyboard/drum intro. It’s a mid-tempo rocker with a great guitar solo in the middle and nice drumming. As with all of the songs on this release, it has a great sing-along chorus, “I can’t see what you’ve done, if I’m staring up at the sun…”

“Too Young For Wings” is a slow guitar ballad but features a great lead guitar break in the middle. Due to the slow tempo this song really showcases Nick’s vocals which become even more powerful as the song shifts into the chorus.

“Another” is another up-tempo rocker. It features beautiful piano work and a nice, loud, crunchy guitar. Interestingly, it features a nice little Beatle-esque harmony moment in middle just to break things up and demonstrate that they can color outside the lines when they want.

“Hearts of Glass” is a cautionary tale about love. No, it’s not a cover of the popular Blondie tune by the same name. It has a new-age synthesizer intro that morphs into wailing vocals, screaming guitar and thundering drums. The tempo starts moderate and then slams into full drive as it picks up into a faster pace. Another great melody is featured as well as inspired guitar playing and a cool solo towards the end of the song. Another instant classic.

“Stay With Me” begins like a typical ‘80s pop/rock song with the keyboard lead-in but then the guitar kicks in to modernize it. It has an infectious chorus, “Stay with me tonight. I lost my way when I lost my light, never realized the fault is mine.” Again, this track features nice guitar work by Tom Martin, including a tasty solo. There’s definitely a Danger Danger sound and feel to it, which is always a good thing!

“Wonderland” starts with a driving guitar and some ELP “Welcome back my friends” lyrics (”Good afternoon, how do you do…” This is an interesting, more modern sounding song, complete with “Enough is enough when it never is enough” chanting towards the end. Nick’s vocals are once again on display, evoking a Michael Kiske sound this time. Another impressive track.

VEGA will be out on the road in 2011 supporting this release with live dates, starting with a supporting gig for Danny Vaughn on Dec. 10 and a test-run on Dec. 9 at The Yardbird’s. If they play anywhere close to you, consider it a MUST concert to attend.

This album is truly a melodic rock masterpiece and will undoubtedly be listed by many as one of the best melodic rock releases of 2010. If you’ve been good girls and boys this year, maybe Santa will even leave a copy in your lacy, satin stocking.

Band:

Nick Workman: vocals
Tom Martin: guitars
James Martin: keyboards
Dan Chantrey: drums

Track Listing:

1. Into The Wild
2. Kiss Of Life
3. One Of A Kind
4. Staring At The Sun
5. Too Young For Wings
6. Another
7. Headlights
8. Hearts Of Glass
9. Stay With Me
10. Wonderland
11. What It Takes
12. SOS

Website: www.myspace.com/vegaofficial

Label: Frontier Records

Hardrock Haven rating: 9/10

Buffalo Grillz Grind Canyon

by Alissa Ordabai
Staff Writer

This Italian death / grindcore quartet’s debut album is a peculiar thing: on the one hand it shows the impeccable mastery of their chosen genre, but on the other betrays their talent for much more than solid, deep growling vocals, wall-of-sound texture and brutal delivery.

As soon as you get to the “Elisir”, the third track of this record, you start suspecting that Buffalo Grillz could become successful at anything they turned their collective hand to – be it death, grindcore, thrash, hard rock or any other style. “Fisting Daisy” – a country-tingled number echoing John 5’s bluegrass extrapolations and “Grind Canyon” – the biggest standout of this record – prove those suspicions.

There is compositional latitude, top-notch instrumental skill, and genuine interest in other styles behind the overblown vehemence and apparent brutality of the record at hand. Not to mention the band’s self-irony which makes them eschew lyrics altogether (singer Enrico Giannone’s parts are just primal pre-verbal sounds) and incorporate cartoonish computer game noises / funfair music into the tracks.

It is not clear how loyal Buffalo Grillz will remain to metal, but it seems that wherever their imagination will take them, the ride will be just as unexpected and just as fun as the debut.

Genre: Death metal / grindcore

Band:
Enrico “Tombinor” Giannone – insults and no lyrics
Marco “Cinghio” Mastrobuono – noise, guitars, bass, backing vocals
Luciano “Gux” Robibaro – heavy distorted bass, backing vocals
Massimo “Mastino” Romano – blast

Track listing:
1. Il Grind E’ Servito
2. Cous Cous Clan
3. Elisir
4. Part I: The Birth (Trilogy)
5. The Boss Anova
6. Grindasia
7. Part II: The Life (Trilogy)
8. Grind Canyon
9. Fisting Daisy
10. Veni Vidi Grindi
11. New World Disagius
12. Graind Paccordo Anulanre
13. Part III: The Death (Trilogy)
14. Il Lago Dei Cinghi
15. Grind Magne’
16. Grind Gala’
Bonus track:
17. No Mastino No Grind (A Rock’n’Roll Song)

Online: www.myspace.com/buffalogrillz ; www.buffalogrillz.com

Label: Gangsta Paradise

Hardrock Haven rating: 8/10

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