Malice | New Breed of Godz

by Justin Gaines
Staff Writer

It took a quarter of a century, but the metal world can finally witness the return of one of the American cult heavy metal scene’s most beloved bands. Malice is back…sort of. The “sort of” qualifier is there for a couple of reasons, both of which take much of the joy out of the band’s long-awaited return. The first reason is that of the lineup that gave us the classic albums License to Kill and In the Beginning, only guitarists Jay Reynolds and Mick Zane remain. The rest of the lineup is new, including Helstar vocalist James Rivera, who seems to be taking over Ripper Owens’s role as the “go-to” replacement metal singer. The second reason is that of the twelve songs on New Breed of Godz (and they lost a point just for that title), only four are actual new songs. The rest are just re-recordings of older Malice songs with the new lineup. We’re not off to a very good start here, are we?

The problem Malice faces here is that while James Rivera is a fantastic singer and has one of metal’s most recognizable voices, he also tends to dominate an album. In that respect, New Breed of Godz ends up sounding like just another Helstar, Seven Witches or Vicious Rumors album. There’s nothing here that really screams “Malice,” and that even includes the older songs. Speaking of which, if the best you can do with this lineup is four new songs, it’s probably not worth releasing as a full-length album. The re-recordings are interesting at best, and a mistreatment at worst. The old adage “if it ain’t broke, don’t fix it” comes to mind. As for the new songs – “New Breed of Godz,” “Branded,” “Winds of Death (Angel of Light)” and “Slipping Through the Cracks” – they’re all decent songs, but again, they seem more like Helstar songs than Malice songs.

None of this is to say that the music on New Breed of Godz is bad. It’s not. The musicianship is good and James Rivera sounds great as always. If you can ignore the history here and focus on the songs there is a lot to like. It’s just really hard to do that if you’re a long-time Malice fan, especially with so few new songs to focus on.

If you’re a huge James Rivera fan or a very forgiving Malice fan, go ahead and give New Breed of Godz a listen. Just don’t expect a new “true” Malice album, because this definitely isn’t it.

Genre: Heavy Metal

Band:
Mark Behn (b)
Pete Holmes (d)
Jay Reynolds (g)
Mick Zane (g)
James Rivera (v)
Robert Cardenas (b)

Track Listing:
1. New Breed of Godz
2. Hell Rider
3. Against the Empire
4. Branded
5. Sinister Double
6. Circle of Fire
7. Stellar Masters
8. Winds of Death (Angel of Light)
9. Air Attack
10. Chain Gang Woman
11. Slipping Through the Cracks
12. Godz of Thunder

Label: SPV

Website: www.malicemusic.com

Hardrock Haven rating: 6/10

Sonata Arctica | Stones Grow Her Name

by Joe Mis
Staff Writer –

Stones Grow Her Name is the latest evolutionary step from the Finnish power / progressive metal beast called Sonata Arctica. Evolution is the key word, as Sonata Arctica now blends almost equal parts symphonic metal in with the more familiar power / progressive styles that have been the band’s trademark through their six prior releases. This 11 track masterpiece is an amazingly unique sonic journey that for the most part is free of the stereotypical clichés of symphonic metal.

Since releasing Ecliptica back in 1999, Sonata Arctica has built a huge following in Europe, but unfortunately the band has mostly stayed under the radar in the US. Led by vocalist, keyboard player Tony Kakko, Sonata Arctica delivers everything from the expected power metal to soft balladic anthems without any signs of discomfort. Fellow keyboard artist Henrik Klingenberg delivers many amazing riffs, but surprisingly the music on Stones Grow Her Name is very guitar-centric. Guitarist Elias Viljanen pulls out all the stops on a number of tracks, putting out big hooks, catchy riffs and soft passages with equal aplomb and ability. Bassist Marko Paasikoski and drummer Tommy Portimo are the perfect rhythm section, providing the backbone and continuity to hold the diverse stylings of the album together.

Lyrically, Sonata Arctica moves far from the typical power-metal themes of war, conflict and nuclear apocalypse. Their songs focus on more personal issues such as justice, sanity and relationships – thus broadening their appeal to the non-power fans. The band is tight and their performances are flawless whether doing a soft ballad or galloping along at full power.

“Only The Broken Hearts (Make You Beautiful)” opens the album with a nice sing-along chorus, power–ful but not overpowering keyboards and strong guitars. This track deals with broken relationships, and finding the strength to cope. The very gritty rocker “Shitload O’Money”is a cautionary tale of personal corruption, and features some amazing guitar work and great gang vocals. Light Neo-classical keys open “Losing My Insanity” before the track become a rousing drum and guitar-driven power metal track. The brutal “Somewhere Close To You” licks the listener in the guts with powerful bass, intense guitars, manic drumming and bitter lyrics. “I Have A Right” is a powerful call for justice across the world with an effective spoken passage based on the United Nations Declaration of the Rights of the Child. This track presents the finest vocals on the album, heartfelt and passionate.

Bluesy acoustic guitars and vocals open “Alone In Heaven” as the band ponders the conventional vision of the afterlife, but the track becomes an upbeat, almost commercial rocker. The album’s title is inspired by the band’s description of a graveyard as “the field where the stones grow dead names.” “The Day” is a heartbreaking, bittersweet song that tells the tale of a man who loses his family to a natural disaster – no doubt inspired by the tragic tsunami that struck Japan. This track has to be one of the most emotionally powerful metal tracks ever performed, and is the standout on the album. Touches of bluegrass and southern rock make “Cinderblox” quite different from the rest – it is a kicky and upbeat song but the band does not sound 100% comfortable moving this far from their core. The simple and soft ballad “Don’t Be Mean” highlights the strength of Tony Kakko’s voice, and the vast range of talents that make up Sonata Arctica – fine performances from all make this track a special one. The lyrically deep “Wildfire, Part: II – One With The Mountain” deals with prejudice, exile, fear, and conflict – and brings the band fully back into the progressive power metal zone. “Wildfire, Part: III – Wildfire Town, Population: 0” is part anti-war song, part eco-green anthem and a plea for corporate responsibility, and is 100% awesome. The track wraps with a quote from British naturalist and filmmaker David Attenborough: “Instead of controlling the environment for the benefit of the population, perhaps it is time we control the population to allow the survival of the environment.”

There are no negative elements on Stones Grow Her Name. The musical performances are top notch, the songs are well-written and always melodic, and the engineering power metal precise. The band delivers an eclectic and diverse mix of music with a great sense of depth, emotion and fire, making Sonata Arctica’s latest release one of the finest albums of 2012.

Very highly recommended to fans of power metal, progressive metal and hard rock.

Genre: Power Metal

Band:
Tony Kakko (vocals, keyboards)
Elias Viljanen (guitar)
Marko Paasikoski (bass)
Henrik Klingenberg (keyboards)
Tommy Portimo (drums)

Track Listing:
1. Only The Broken Hearts (Make You Beautiful)
2. Shitload O`Money
3. Losing My Insanity
4. Somewhere Close To You
5. I Have A Right
6. Alone In Heaven
7. The Day
8. Cinderblox
9. Don’t Be Mean
10. Wildfire, Part: II – One With The Mountain
11. Wildfire, Part: III – Wildfire Town, Population: 0

Label: Nuclear Blast

Website: www.sonataarctica.info

Hardrock Haven rating: 9.5/10

Stuka Squardron | Tales From the Ost

by John Kindred
Publisher –

What on oddity to have a band that comprises Englishmen dressed up as Nazi’s, portraying vampires straight out of the World War II era. Calling themselves Stuka Squadron, their name is derived from the German two-man dive bomber squadrons from that time period. The band takes historical fiction and propels their back story forward into what can only be dubbed as horror-science-fiction. Offensive as this may be to some, the Nazi part, that is, Stuka Squardron pushes forward with the release of Tales From the Ost.

Heralded as the forerunners of the New Wave of Traditional Metal, Tales From the Ost features 13 songs. The CD was produced and mixed by Paul Miles, who also played lead guitar as his alter ego Der Mastergoth. The album links together each song with a narration, war sound effects, speech from Winston Churchill, radio transmissions and sounds of the undead, all of which is like taking a page straight out of Manowar’s playbook.

Although Stuka Squadron has been compared to early Iron Maiden, the music lacks the galloping rhythmic pulse and soaring vocals. Instead, Begley has a throaty-mid-timbre-vocal style that trends closer to the undead conceptual approach of the band and has an Rocky Horror-esque campiness. The guitars march forward in the style of traditional heavy metal, relying on eighth note-muted power chords and twin harmony lead melodies. The bass and drums provide the hammer that fuels the flame.

Set aside the lyrics and the visuals for a moment, and Stuka Squadron quite quickly prove that they are no slouches when it comes to musicianship. Starting off the CD with “Into the Breach,” we get the first taste of blood with the CD’s opening instrumental interlude, complete with military sound effects and an eerie voice declaring, “… legions of the undead the Stuka Squadron returns …,” which ends with wicked laughter. This carries the listener into “Tales of the Ost,” which is the album’s title track. Duke Fang Begley begins to tell the tales of the Stuka Squadron, which are spun over riffs that are inspired by the likes of Iron Maiden and Black Sabbath. Tales From the Ost features catchy songs that combine melodic and heavy elements, along with the conceptual atmospheric sound effects and narration. It is an album not unlike Pink Floyd’s the Wall or Queensryche’s Operation Mindcrime that draws you in with the story line and holds your attention with a superb audio soundtrack.

Gimmicks aside, these Brits can rock, and they do it well, albeit disguised as vampiric Nazi’s. While the shtick works on their debut album, it will be interesting to see if the concept can hold the same amount of weight on their future sophomore release.

Genre: Heavy Metal, New Wave of Traditional Metal

Band:
Duke Fang Begley – Vocals (ex-Centurions Ghost)
Gravedigger Cox – Lead Guitar
Sir Graveghoul Terrorsound – Lead Guitar
Lord Graham Pyre – Bass
King Kamil Krol – Drums

Track Listing:
1. Into the Breach
2. Tales of the Ost
3. The Last Resort
4. Stuka Squadron
5. A Cross of Iron
6. On the Volga Bridge
7. Tiger 1
8. The Fall
9. Lovecraft
10. Zabulon’s Inferno
11. Lord of Valhalla
12. One Eyed God King
13. We Drink Blood

Label: Metalbox Recordings

Web: http://stukasquadron.com/

Hardrock Haven rating: 8/10

Fall From Grace | The Romance Years

by Mark Allen
Staff Writer –

Fall From Grace have faced their fair share of adversity, but they conquered it by subscribing to the creed that whatever doesn’t kill you makes you stronger. And “strong” is a good adjective to describe this album’s sound: part modern rock, part power-pop, part punk, and part hair metal, the conglomeration of elements all prettied up with a polished production that is slicker than K-Y Jelly on a stainless steel pole yet never crosses the line into sugarcoated crassness.

Hooks are the heart and soul of this album; The Romance Years has more hooks than a fishing derby. While Fall From Grace have their own identity, their brand of infectious rock bears more than a passing resemblance to acts like Marvelous 3 and 40 Ft. Ringo. The band is very fond of thick backing harmonies; there haven’t been this many gang vocal “Whoas!” on an album since the ‘80s pop-metal peak. Most of the choruses are designed to be anthems, soaring addictively over the top, the kind of songs you can sing along to before your first listen even ends.

But with commercial appeal comes criticism. Fall From Grace could catch flak for playing what some would dub a disposable form of rock, but odds are they don’t care. The band refuses to chase trends or deliberately cater to a certain sound or style; they simply play what they want to play, critics be damned. Their goal is not to change the world; their goal is to simply rock your cochlea and hope you have a good time while they do so. 10-4, mission accomplished.

The best example of this ear candy is “Heart Attack Road,” not just the best song on The Romance Years but one of the best songs of 2012, period. A well-suited heavier edge makes an appearance along with some spit-and-snarl attitude which is used to power the song all the way to a massive chorus. For modern rock radio to ignore this track is felonious, a crime against rock ‘n’ roll humanity.

But that is far from the only great song The Romance Years has on tap. “Maybe I’m Outa My Head” is so catchy that if your body doesn’t move when you listen to it, you’re probably riding in the wrong end of a hearse. Huge backing vocals hammer the hooks into your ears where they travel onward to penetrate and stimulate the sonic pleasure centers of your cerebellum…or whatever part of the brain registers musical ecstasy. “Stand Alone” is another killer tune. So is “Your Majesty.” And “So Long For Now.” And the list goes on…

While they are the minority, there are a few songs that skew lower in the quality department. “The Resurrection,” while not rubbish, pales in comparison to the three opening tracks that precede it. “God of War” sounds badass, but in reality is just a brief instrumental that serves no purpose but to make you reach for the Skip button, and “Great Expectation” is anything but. And the electronica remix of “Fade 2 Grey” at the end of the album takes a good song and turns it into the exact opposite of a good song. It’s like taking a succulent slice of prime rib and then pissing on it. Seriously…why?

But those are the only negatives, the only diminutive dollops of donkey dung on an album otherwise loaded with diamonds. There are so many great tracks on this release that anything subpar is easily overlooked. Anyone who avoids purchasing this album because of 3 or 4 duff tracks is as brain-jacked as a guy who refuses to sleep with a Swedish supermodel because she chews her fingernails. Even though Fall From Grace might not be perfect, they have created an album that you can easily fall in love with for years to come.

Genre: Modern Rock

Musicians:
Tryg Littlefield (lead vocals, guitar)
Brian Olson (guitar)
Justin McDonald (bass, vocals)
Ty McDonald (guitar)
Jesse Smith (drums, vocals)

Track Listing
1. Your Majesty
2. 18 & Out
3. Heart Attack Road
4. The Resurrection
5. A Train Leaves London
6. Fade 2 Gray
7. God of War
8. Stand Alone
9. The Romance Years
10. Great Expectations
11. So Long For Now
12. Maybe I’m Outa My Head
13. Fade 2 Gray (Jon Rook Remix)

Label: Road 2 Hell Rekkids

Web: www.fallfromgrace.us

Hardrock Haven rating: 8/10

Mörglbl | Brütal Römance

by Alissa Ordabai
Staff Writer –

French veteran trio Mröglbl led by guitar guru Christophe Godin deliver a familiar brew on their new release: an off-the-wall, heady mixture of jazz fusion, metal, hard rock, prog, and whatever else they feel like including into their whimsically singular universe. In line with the style of their previous albums, the new record oscillates between knotty jazz-rock extrapolations, heavy metal riffs, ostinato languor, and soaring melodies all mixed in a wacky cauldron of genres, styles, formats, and moods.

It has often been said that Godin with his phenomenal chops and an exceptional gift for riffs and melodies could have become an A-list rock star decades ago, if only he could stick to one genre. But thankfully Godin is someone who finds staying within one paradigm too limiting for his latitude, on top of being a great merrymaker who can’t resist having fun even with the most pathos-laden maxims of metal or the most sublime elevations of jazz.

Godin’s free-flight improvisations such as on standout “Fidel Gastro”, however, show that there have always been deeper realities to his music than virtuoso chops or accomplished genre-bending. Channeling his intuitive magic into the band’s mosaic of styles during ad lib impro is where Godin goes beyond the facades and the joie de vivre of his act, opening another dimension with a scrupulous truth of feeling and mastery which goes beyond technique and beyond the theatrics.

Genre: Jazz Fusion, Rock

Line-up:
Christophe Godin – guitar
Ivan Rougny – bass
Aurel – drums

Track Listing:
1. Gnocchis on the Block
2. Brütal Römance
3. Le Surfer D’Argentine
4. Golden Ribs
5. Fidel Gastro
6. Oh P1 Can Not Be
7. Cantal Goyave
8. Glucids in the Sky
9. Wig of Change
10. Metal Khartoon

Label: Free Electric Sound

Web: http://www.morglbl.com/en/, http://www.christophegodin.com/

Hardrock Haven rating: 7/10

The Cult | Choice of Weapon

by Trevor Portz
Staff Writer –

After vowing not to make any more albums due the sad state of the music biz, public demand and the need for attention seem to have convinced Ian Astbury and Billy Duffy that “Capsules” aren’t necessarily the only way to continue recording. The result of that mind change is Choice of Weapon, their first full album since 2007’s less-than-spectacular Born Into This. Touching on just about all of the styles dabbled in by the band in the past—from the post-punk power of Love to the earthy hippiness of the Cult— Choice of Weapon is definitely a return to form.

Opener “Honey From a Knife” kicks things off in fine fashion, with a surprisingly not cheesy chant of “we got the drugs, we got the drugs.” This is followed by “Elemental Light,” which—lyrically and musically–would have been very comfortable on the oft-overlooked self-titled album from 1994. While that album was somewhat polarizing for long-time fans, smaller doses of its style work well amongst harder rockers.

“The Wolf” and “Amnesia” both return to the style of the classic, unmetallized Cult, with main riffs sounding like castoffs from the Love and Peace sessions. In fact, it would appear Duffy even pulled out some classic gear here, with the lead tone boasting the same echo-laden reverb that dominated “She Sells Sanctuary” and the pre-Electric version of “Love Removal Machine.”

Astbury’s voice isn’t quite as smooth as it was in his heyday, but has still held up exceptionally well, never losing its Gothic, shaman-like tone. Strangely, the more time that goes on, the more it seems Astbury and fellow crooner Glenn Danzig’s voices become increasingly similar. The appropriately titled “Lucifer” is a great example of this, as it feels very much like an outtake from Danzig’s Deth Red Sabaoth. It would be interesting to hear the two work together in some form, assuming ego and politics didn’t get in the way.

Included on some versions of the album are the four studio tracks previously released on Capsules 1 and 2. While “Every Man and Woman Is a Star” is only decent, “Embers” is a dark, haunting piece that sits well alongside earlier epics like “Black Angel” and “White.” If anything, it’s great to include the tracks for those that missed out on the quickly sold out (and impossible to find on ebay) Capsules.

While it may not be as stellar as the criminally underrated Dreamtime, or as commercially appealing as Sonic Temple, Choice of Weapon does show that the Astbury/Duffy well has far from run dry. Who knows, maybe this will be the last full Cult album, and the band will return to releasing bits and bops as they feel like it. If that’s the case, at least fans can look back and be satisfied that the final Cult album was a fitting crown on a long career of great albums. Or maybe it’s the signal that rock fans still care about full-length releases, and not just three-minute digital nuggets. Let’s hope for the latter.

Genre: Rock

Band:
Ian Astbury (v)
Billy Duffy (g)
Chris Wyse (b)
John Tempesta (d)

Track Listing:
1. Honey From a Knife
2. Elemental Light
3. For the Animals
4. Life>Death
5. The Wolf
6. Amnesia
7. Lucifer
8. Wilderness Now
9. A Pale Horse
10. This Night in the City Forever
11. Every Man and Woman Is a Star
12. Embers
13. Until the Light Takes Us
14. Siberia

Label: Cooking Vinyl Records

Website: www.thecult.us

Hardrock Haven rating: 9.1/10

Teenage Casket Company | Best Kept Secret

by Mark Allen
Staff Writer –

If you get your jollies by discovering unknown bands that sound like they should be bigger than they are, then listening to Teenage Casket Company will get you more excited than the high school geek scoring a date with a hot cheerleader who promises the night will end with her pom-poms naked. The band’s bouncy, infectious, guitar-driven power-pop has been filtered through the fun-loving spirit of the ‘80s and filigreed with some dirty punk attitude, creating a sound that is both warmly familiar and yet anything but cookie cutter. It’s Butch Walker meets Cheap Trick and it’s plenty good enough to be on modern rock radio… if modern rock radio didn’t have its head up its ass most of the time.

Teenage Casket Company have been around for a decade now, releasing indie albums in ‘03 (Dial It Up) and ‘07 (Eat Your Heart Out). Originally a quartet, they are now a trio following the departure of guitarist Jamie Derelict in ‘09. The other members circled the scene a bit, touring and writing with The Bulletboys and Stevie Jaimz, but during this two year hiatus the band’s fans (called “coffin kids”) grew restless and demanded they get back together. So, armed with a new studio track (“Best Friend is My Radio”), Teenage Casket Company have compiled this “best of” collection to re-introduce their smart, catchy style of rock to the world. Here’s hoping the world is paying attention.

This is one talented bunch of guys; they possess skills that only come from a hearty work ethic and an eternity or two honing those chops out on the big bad road. Bands like Bowling For Soup and Danger Danger have publicly declared their admiration for Teenage Casket Company, so you know they’re not just a bunch of frat boys banging around in daddy’s garage and calling themselves a band. Teenage Casket Company may only be a threesome now (get your minds out of the gutter) but those three know how to play.

Whether or not you choose to call this “hard” rock depends on where you draw the line. It ain’t Metallica, but it ain’t Madonna either. Whatever you choose to call it, this is utterly addictive stuff, equipped with snarky lyrics and the kind of sharp hooks that instantly snag you like a fish hook in the eyeball. Take the new song, “Best Friend Is My Radio,” for example; with its fast rhythms, driving guitars, sing-along chorus, and punk-powered angst, it is a prime exhibition of the Teenage Casket Company style. That description can be applied to just about any track on this album except for “Believe In You,” which is a huge lighter-in-the-air ballad that proudly testifies to the band’s love of ‘80s hair metal. It’s one part Warrant, one part Firehouse, and all class. Put it up there with the classic power ballads we all know and love.

If you absolutely must find something to complain about—though, really, this album is so much fun that bitching seems almost sinful, but if you must—then you could argue that all the songs kind of sound the same. But that is the curse of any genre and this sort of power-pop rock is no exception. You could also argue for a bigger backing vocal punch—a few more gang vocals would really hit the spot—but enough with the nitpicking. Even with these minor flaws, this album is fun and infectious from start to finish.

Teenage Casket Company have a name that conjures up images of dark, trendy, Gothic metal infested with garish ghouls and bloody-fanged vamps. Well, take that misconception, drive a stake through its erroneous heart, and bury it six feet underground. With their timeless, addictive, hook-laden approach to the genre, these guys truly are one of the best kept secrets in the world of rock and roll.

Genre: Rock

Band:
Rob Wylde (vocals, guitars)
Laney 74 (bass)
Spike (drums, keyboards)

Track Listing
1. Best Friend Is My Radio
2. Cocaine
3. Dial It Up
4. Down on Luck
5. Thank You For Nothing
6. Mirrors & Wires
7. Don’t Look At Me Like That
8. Believe In You
9. One Thing You Don’t Need
10. Eat Your Heart Out
11. Ain’t Got Nothin’ On Me

Label: JAMSYNC Music

Webpage: www.facebook.com/teenagecasketcompany

Hardrock Haven rating: 8/10

Empires of Eden | Channeling the Infinite

by Justin Gaines
Staff Writer –

Former Dungeon guitarist Stu Marshall is back with another in his series of Empires of Eden projects. The latest album, Empires of Eden’s third release, is titled Channeling the Infinite, and once again it features an impressive array of guest vocalists. The singers lending their voices to Channeling the Infinite are Udo Dirkschneider (UDO, ex-Accept), Rob Rock (Impelliteri, Driver), Steve Grimmett (ex-Grim Reaper), Mike Dimeo (Creation’s End, ex-Riot), Sean Peck (Cage), Ronny Munroe (Metal Church), Alessandro Del Vecchio (Edge of Forever), Carlos Zema (Outworld), Danny Cecati (Eyefear), Louie Gorgievski (Crimsonfire) and Vo Simpson (Darker Half).

Channeling the Infinite seems a bit less melodic and a lot more focused on traditional heavy metal power than the previous Empires of Eden release (2010’s Reborn in Fire). That makes perfect sense when you’ve classic metal vocalists like Udo Dirkschneider, Sean Peck and Steve Grimmett at your disposal. Marshall seems to have adjusted his songwriting to fit these singers, and he’s definitely brought the level of shredding up a notch (or ten). There are still some melodic moments here. “This Time” with Steve Grimmett and “Lions for Lambs” with Alessandro Del Vecchio have a melodic rock vibe, and stand out next to the pure blistering metal of songs like “Cyborg” (the album’s low point) and the title track. It goes back and forth like that throughout the album, and in the end it doesn’t feel like the album has a cohesive theme or overall style. Guitar wizardry and killer vocal performances (and there are some good ones here) aside, Channeling the Infinite just doesn’t wow the way Reborn in Fire did.

The album closes with a pair of alternate versions added as bonus tracks. The first is an “all star” version of “Hammer Down” that features Udo Dirkschneider, Rob Rock, Sean Peck, Carlos Zema, Vo Simpson and Ronny Munroe, and the second is a version of “Born a King” sung by Sean Peck. The bonus version of “Hammer Down” is the album’s best moment, as it brings together several great singers on a song that’s just 100% metal.

If you’re already an Empires of Eden fan, by all means pick up a copy of Channeling the Infinite. It’s not perfect, but there’s still more than enough to enjoy. If you’re new to the band, Reborn in Fire is probably a better starting point. Channeling the Infinite is still an album you’ll want to hear if you’re a fan of any (or all) of the vocalists involved.

Genre: Melodic Metal, Power Metal

Band:
Stu Marshall (g) (b)
Jason Manewell (d)

Track Listing:
1. Cry Out (featuring Rob Rock)
2. Hammer Down (featuring Udo Dirkschneider)
3. This Time (featuring Steve Grimmett)
4. Channeling the Infinite (featuring Sean Peck)
5. Lions for Lambs (featuring Alessandro Del Vecchio)
6. Cyborg (featuring Carlos Zema)
7. World on Fire (featuring Louie Gorgievski)
8. Your Eyes (featuring Mike Dimeo)
9. Born a King (featuring Danny Cecati)
10. As Flames Scorch the Ground (featuring Vo Simpson)
11. White Wings (featuring Ronny Munroe)
12. Hammer Down All Star Version
13. Born a King (featuring Sean Peck)

Label: Music Buy Mail

Website: www.empiresofeden.com

Hardrock Haven rating: 7.5/10

Cyclone Temple | My Friend Lonely

by Justin Gaines
Staff Writer –

When groundbreaking Chicago area thrash metal band Znowhite lost vocalist Debbie Gunn (she decided to join Sentinel Beast), guitarist Greg Fulton, bassist Scott Schafer and drummer John Slattery III decided to soldier on, bringing in a new vocalist and eventually changing the band name to Cyclone Temple. By the time their second album – My Friend Lonely – came out in 1994, Cyclone Temple was on their third vocalist, and faced with a changing musical climate that didn’t exactly favor thrash metal. The album, released on a much smaller independent label, went largely unnoticed, and the band went their separate ways soon after.

It’s a shame Cyclone Temple never reached a wider audience, because they were more than just your average thrash metal band. You hear that clearly on My Friend Lonely, an album that reveals a surprisingly diverse set of influences beyond the usual machine gun riffing. There’s a bludgeoning heaviness in the guitar sound that brings to mind Prong, and Sonny DeLuca’s soulful vocals are just as heavy in their own way. The album has a hardcore meets groove vibe that fans of Pantera will recognize, but it also makes sharp, if brief, shifts into almost reggae territory on occasion. This may prove to be a bit too… out there…for some, but Cyclone Temple’s willingness to experiment is a huge part of what makes My Friend Lonely so remarkable all these years later.

Divebomb’s 2012 reissue of My Friend Lonely not only features the original album, fully remastered by Jamie King at Basement Studios; it also includes a newly remastered version of the rare 1993 EP Building Errors in the Machine, which featured Marco Salinas on vocals. The EP is a very interesting addition, as all of the songs on it were later re-recorded for My Friend Lonely. Salinas did a solid enough job, but it really highlights just how much DeLuca brought to the band. The remastering is incredible, but that’s to be expected given King’s track record for restoring older metal gems. The liner notes include an essay/band interview by AOL Noisecreep Editor Carlos Ramirez.

Chalk up another first class thrash metal reissue for the Divebomb label. This upgraded version of My Friend Lonely is not only a must-have for Cyclone Temple (and probably Znowhite) fans, it’s also an album that will appeal to fans of forward-thinking, innovative thrash metal in general.

Genre: Thrash Metal

Band:
Greg Fulton (g)
Scott Schafer (b)
John Slattery III (d)
Sonny DeLuca (v, tracks 1-9)
Marco Salinas (v, tracks 10-14)

Track Listing:
1. Hate Makes Hate
2. Down the Drain
3. My Friend Lonely
4. Me, Myself & I
5. Drug of the Masses
6. Comfortably Superficial
7. Killing Floor
8. Time Heals All
9. The Law of Relativity
10. Hate Makes Hate (alternate version)
11. Me, Myself & I (alternate version)
12. Down the Drain (alternate version)
13. Killing Floor (alternate version)
14. Drug of the Masses (alternate version)

Label: Divebomb

Website: www.myspace.com/cyclonetemple

Hardrock Haven rating: 8.25/10

69 Chambers | Torque

by Joe Mis
Staff Writer –

Swiss female-fronted metal trio 69 Chambers has just released its sophomore effort entitled Torque and it is a fine follow up to their 2009 debut, War On The Inside. A bit alternative, a bit Gothic, and a bit old school, 69 Chambers delivers 14 varied and interesting tracks that should appeal to fans of almost any of the darker genres of metal.

The trio is led by the expressive vocals and multi-instrumental talents of Nina Vetterli-Treml (who is an automotive and motor sports journalist when not performing). Her voice is well-suited to the genre, and runs the gamut from soft and smoky to gritty and intense. She also contributes some fine bass and guitar to the album. Nina is backed nicely by standout guitarist (and husband) Tommy Vetterli (Coroner, Kreator) and drummer Diego Rapacchietti. The tracks on Torque stylistically range from the standard rock ballad to “beauty and the beast” metal to near pop-metal, but no matter which genre dominates melody is always present. The band’s musicianship is excellent, and the production values of the release are high.

The album opens with a bit of electronica during the intro to “Cause And Effect,” a thrashy track that sets the gritty tone for the remainder of the CD. Nina does a bit of back and forth with growling vocalist Chrigel Glanzmann (Eluveitie), and the pair change from sweeping melodic metal to snarling near death metal without difficulty. A more alternative sound (with a hint of pop metal) takes over with “Bring On The Flood.” This track features some great drum / bass coordination and a smooth layered chorus – a nice job all around. The band goes doom metal with the gloomy, guitar driven “Naughty Naughty Naughty,” and Nina adapts her vocals perfectly, coming across as a bit sinister. “Anhedonia” is a more conventional metal track with some manic drumming, well done vocals, and interesting rhythm guitars. Nina’s voice and passion are apparent on the conventional bass oriented rocker “Burn Some Gasoline.”

“The Peep Hole” is a very dark gritty track with great vocal performances (including some cool growls) and a complex rhythm line. “Ring A Bell” has an electronic opening and a bluesy vocal line. It would be a great track if it wasn’t for the distracting electronic manipulations of Nina’s voice. These last two tracks don’t seem to fit the image that 69 Chambers is trying to build – they are better suited to a pop-rock band, especially when followed up by the very dark and Gothic “Closeure” and the doomy “And Then There Was Silence.” The latter features some excellently brutal growls by Nina and slick guitars throughout. Unfortunately this track is marred by an annoying spoken (well, yelled actually) section at the end. “Temple Down” is another well-done Soundgarden influenced rocker.

The ballad-esque modern rocker “Your Fool” is a nicely done song, but again lacks the brutal edge of most of the other songs and as a result it seems a bit out of place. Fortunately the band dials the intensity right back up with the guitar-heavy and drum-centric “The Doom Of Her Power” – one of the best tracks on the release on lyrical, tone, and performance levels. “Grace” conjures up a bit of Lacuna Coil with its somber mood and strong bottom end. The soft and smooth “Elegy” wraps the album and features an emotional and heartfelt guitar solo. This final track really highlights the full range of Nina’s voice and the talent of Vetterli and Rapacchietti, as well as the stylistic depth of their songwriting skills.

69 Chambers Torque should appeal to most alternative metal fans, and to those who are into the Gothic or groove metal scenes. The band writes good dark songs without being overly morbid and depressing, and delivers them for the most part with appropriate levels of emotion and enthusiasm. The variety of styles highlights the band’s versatility, but leads to some tonal inconsistency. Not a perfect album by any means, but one that comes from the heart. Solid performances and gritty lyrics, coupled with good production techniques make 69 Chambers a band to watch in the future.

Genre: Alternative Metal

Band:
Nina Vetterli-Treml (vocals, bass, guitar)
Tommy Vetterli (guitars)
Diego Rapacchietti (drums)
Guest musician: Chrigel Glanzmann (vocals on “Cause And Effect”)

Track Listing:
1. Cause And Effect
2. Bring On The Flood
3. Naughty Naughty Naughty
4. Anhedonia
5. Burn Some Gasoline
6. The Peep Hole
7. Ring A Bell
8. Closure
9. And Then There Was Silence
10. Temple Down
11. Your Fool
12. The Doom Of Her Power
13. Grace
14. Elegy

Label: Massacre Records

Website: http://www.69chambers.com/

Hardrock Haven rating: 7.5/10

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