Talon | III

by Mark Allen
Staff Writer –

Talon want to sink their claws into your cochlea with their crunchy, chock-full-o’-hooks brand of melodic hard rock and this latest album is probably good enough to satisfy the easy-to-please segment of the genre demographic. But fussier fans who foist the opinion that melodic hard rock should be something more than standard issue may find that the average-ness of most of the tracks means they cannot muster more than minimal interest.

Talon continue their pattern of revolving door vocalists; for this outing, Shawn Pelata (Line of Fire) manhandles the microphone and gives a marvelous performance that is all attitude in the lower register and consummate skill on the high notes. His vocal prowess is complemented by the angelic axe-work, the thickly layered guitars sporting a gleaming edge like a polished razor blade, never losing sight of the melody for even a microsecond. Showing that he is not estupido in the studio, producer Ty Sims (Bombay Black, Far Cry) is wise enough to emphasize this serious six-string sizzle. The powerful one-two punch of the guitars and vocals is almost enough to compensate for the album’s shortcomings. Almost.

Adding class and clout to the album is the guest appearance of the legendary Jeff Scott Soto on the song “Take You All the Way,” which is easily one of the standout tracks and sounds strikingly similar to other Soto-fronted projects such as Takara or Talisman. In other words, if you like slick melodic rock structured around a sharp hook, catchy chorus, and big backing vocals, then you may want to stuff a handful of Kleenex down the front of your pants to soak up any visible sign of your sonic satisfaction.

Unfortunately, not all of the songs are of this high quality level and far too often the album threatens to collapse under the weight of mediocrity overload, particularly in the chorus department. Within the parameters of the melodic rock genre, you live and die by the strength of your hooks, and while none of the hooks on this release are terrible, few of them rise above basic boilerplate level. This is hard rock tragedy, because the smoking guitars and powerful vocals of Pelata deserve better than to be hobbled by an over reliance on formula.

Thankfully, this detraction does not apply to all tracks; there are several excellent songs that any true-blooded melodic hard rock enthusiast should have in their collection. First among these would be “Did You Have To Say,” a mid-tempo tune that slides along on subdued guitars and subtle keyboards before building to a catchy, harmony-heaped chorus. Next up is “Everytime,” which cranks along with fiery guitar acrobatics accented by a pounding back beat and punchy chorus that again features the slick harmonies of which the band is so fond. Rounding out the top tier trilogy is “You Got What It Takes,” and this song has got what it takes to get your head banging and your foot tapping thanks to its badass riff and stop-start rhythm.

Talon remain a reliable but mostly unremarkable melodic hard rock band. If you enjoyed past Talon efforts, you’ll enjoy this one as well, but the lopsided filler-to-gem ratio that has plagued them in the past continues to plague them in the present. Even with great talent behind the microphone and guitars, the third time is definitely not the charm for Talon, but neither will you want to curse yourself for having picked it up.

Genre: Melodic Hard Rock

Band:
Shawn Pelata (lead and backing vocals)
Kory Voxen (rhythm guitar, acoustic guitar)
Jim Kee (lead guitar)
Phil Keller (bass guitar)
Eric Ragno (keyboards)
John Parker (drums)

Additional Musicians:
Erik Johnson (backing vocals)
Jeff Scott Soto (lead and backing vocals on “Take You All the Way”)

Track Listing
1. Crying to Me
2. The Last Time
3. Did You Have To Say
4. Everytime
5. Take You All the Way (featuring Jeff Scott Soto)
6. Maybe One Day
7. You Don’t Know Me At All
8. Walk Away
9. Brothers
10. When Will I
11. You Got What It Takes
12. Jane (Starship cover)

Webpage: www.reverbnation.com/talonofficial

Label: Escape Music

Hardrock Haven rating: 7/10

Ilium | Genetic Memory

by Justin Gaines
Staff Writer

Genetic Memory is the fifth full-length album from (mostly) Australian power metal band Ilium, and is the second Ilium release to feature former Riot and Masterplan (and current Creation’s End) vocalist Mike DiMeo. The band started with a more straightforward power metal sound, but since adding DiMeo to the lineup the Ilium sound has gradually shifted in a more melodic and progressive direction.

Genetic Memory, if not a full-blown concept album, at least operates on a central theme – a scienece-fiction type look at genetic engineering – that ties these eleven songs together. Perhaps it’s this more complex subject matter that prompted the somewhat more progressive approach to songwriting, but the musicianship on this album tends to be a bit more intricate and nuanced than on previous efforts, especially on the mesmerizing title track and the 11-minute closer “Irrinja.” You can almost see the melodies and rhythms working into a DNA-like helix. Keyboards are used tastefully to add depth and atmosphere, but they never really creep to the forefront, which is a welcome change from a lot of power metal albums. Having a vocalist of Mike DiMeo’s caliber has also made a huge difference in Ilium’s overall sound, especially on this album. The band was always quite solid, and the albums with Dungeon/Lord vocalist Lord Tim are all enjoyable slabs of power metal, but Mike DiMeo has this great combination of grit and finesse, not to mention and incredible range and power to spare, that makes these songs soar. Hearing him belt out songs like “Kinaesthesia” and “Hostile Sky” is enough to convince you that he is probably the most underrated vocalist in metal today.

Longtime fans of the band should not be disappointed by Ilium’s latest offering, and Genetic Memory also makes for an ideal introduction to the band for Mike DiMeo fans who might be trying Ilium for the first time. It’s definitely an album that will please fans of hard-hitting melodic heavy metal along the lines of Masterplan, Pretty Maids, Riot, At Vance, Evidence One, Astral Doors and Axel Rudi Pell.

Genre: Power Metal

Band:
Jason Hodges (g)
Adam Smith (g) (b) (k)
Tim Yatras (d)
Mike DiMeo (v)

Track Listing:
1. Kinaethsesia
2. Littoria
3. Grey Stains the Rainbow
4. The Immortality Gene
5. Ephemeral
6. Genetic Memory
7. Hostile Sky
8. Fevered Tongue
9. Neanderthal Within
10. Ghosts in Flesh
11. Irrinja

Label: Escape

Website: www.myspace.com/iliummetal

Hardrock Haven rating: 8/10

ColdSpell Out from the Cold

by Alex Barbieri
Staff Writer

ColdSpell’s 2009 debut, Infinite Stargaze, was one of the instantly impressive hard rock releases of that year, lauded for its tight songwriting and masterful performances. The Swedish band rightfully earned thousands of international fans and topped many “Best of 2009” album lists.

ColdSpell was quiet in 2010 (at least in the U.S.), but recently released the much-anticipated follow up to Infinite Stargaze. Titled Out From The Cold—first announced on Hardrock Haven a few months back in an interview with guitarist Michael Larsson—is a seamless continuation of all that rocked about Infinite Stargaze.

Out From the Cold was mixed by Tommy Hansen in Denmark, who did a stunning job on Infinite Stargaze. Hansen has also worked with Helloween, TNT, Pretty Maids, Jorn and Pagan’s Mind.

The core of the band is founding member and guitarist Michael Larssen, the incredibly talented vocalist Niklas Swedentorp and Matti Eklund on keyboards and vocals. The band features two new members: Perra Johanson (ex Crawley, Lost Souls) on drums and Anders “Kebbe” Lindmark on bass (ex Dalton / RAW). Europe drummer Ian Haugland also makes a very special guest appearance. According to Larssen, “The new guys are both good old friends of mine from the time I used to live in the south of Sweden.”

The 12 songs that comprise Out From The Cold sound like they could have appeared on their debut, but there is a distinct confidence that replaces some of the reckless abandon of their first release. Opening track “Heroes,” for which they have a video (see link below), will have your head bobbing with its tight groove and catchy chorus. “Run For Your Life” kicks the album up a few notches with its headbanging tempo. “One In A Million” maintains the album’s high performance quality.“The King,” with its Dio-esque melody and storyline, is fantasy metal at its finest.

One of the appeals of ColdSpell is that they undoubtedly rock, but their performances and production are extremely listenable. They’re hooky, but not boring or predictable. And they don’t feel the need to overplay and “wank off” like so many other bands of the genre. ColdSpell impress with sheer talent, an impeccable sense for songwriting and a sincere passion for their music. What a concept. If Infinite Stargaze sent you into orbit, you’ll be just as hot for Out From The Cold. Like a fine wine, this is an album is worthy of time and appreciation—sip it, swirl it and drink it down—you’ll be rewarded with a rare gift of melodic hard rock.

Genre: Melodic Hard Rock

Band:

Niklas Swedentorp – Lead Vocals
Michael Larsson – Guitars
Anders “Kebbe” Lindmark – Bass
Perra Johanson – Drums
Matti Eklund – Keyboards

Track Listing:

1. Heroes
2. Run For Your Life
3. One In a Million
4. Six Feet Under
5. Time
6. Save Our Souls
7. The King
8. Fate
9. Seven Wonders
10. Angel Eyes
11. Heading For Tomorrow
12. Out From The Cold

Label: Escape Music

Online:

Crank up the new video for “Heroes” on YouTube: http://www.youtube.com/watch?v=ASLT2MOdQy0&feature=player_embedded

Read a recent interview with Michael Larrson on Hardrock haven: http://hardrockhaven.net/online/2010/michael-larsson-of-coldspell/

Friend Coldspell on Facebook at www.facebook.com/pages/ColdSpell/164708699316 and on MySpace at www.myspace.com/coldspellsweden

For more information, visit www.Escape-Music.com

Hardrock Haven rating: 8/10

Appearance of Nothing All Gods are Gone

by Joe Mis
Staff Writer

Appearance Of Nothing, and elements of everything …

All Gods Are Gone is the title of the upcoming release by Swiss progressive metallers Appearance Of Nothing. Although AoN bills themselves as progressive metal, they throw everything but the kitchen sink into this release – prog metal, prog rock, death metal, metalcore, classic rock, orchestral metal… And most surprisingly, it works! Influenced by Dream Theater, Symphony X, Saga and Vanden Plas, this quintet pulls no punches in delivering a unique metal experience in this follow up to their 2008 official debut, Wasted Time.

Appearance of Nothing was founded back in 2004 by Pat Gerber (Vocals / Guitar), Omar Cuna (Vocals / Bass), Marc Petralito (Keyboards) and Yves Lüthi (Drums). They have only made a single lineup change since, the addition of guitarist Peter Berger. This long time association shows in the band’s tight and consistent performance.

Taking a page from the metalcore book, AoN has two lead vocalists, guitarist Pat Gerber and bassist Omar Cuna. One has a nice smooth voice while the other is deep and raspy, an ideal combination for their style of music. The guest vocal appearances of Dan Swanö (Edge of Sanity/ Nightingale) and Devon Graves (Psychotic Waltz/ Deadsoul Tribe) give the band four distinct vocalists who can do everything from soft and clean to screaming death – and they work well together on all tracks. The other members of the band are no slouches either, with solid teamwork on each and every track. Gerber and Berger make a fine guitar duo whether playing hard and heavy or soft and acoustic. Marc Petralito’s keyboards are ever present but never dominating, and the keyboard solos are excellent. Cuna is a solid bass player who can gallop when he needs to and blend with the keys and drums when appropriate. Yves Lüthi is a very capable drummer and a good team player whether he’s dishing out massive double bass or subtle cymbal fills. Appearance of Nothing plays together like a bunch of seasoned veterans, and the long well crafted songs are structured to allow every member the chance to shine.

“The Mirror’s Eyes” opens the album with a big wall of sound and heavy prog metal rhythms. The upbeat chorus contrasts nicely with Dan Swanö’s death metal growl, and the acoustic guitars used during the bridge are unexpected and play nicely off the double bass drumming. “2nd God” opens with some classical guitar work, and transforms into a progressive rock tune driven by the rhythm section. There are great old-school keyboard riffs and finger stretching bass lines throughout along with some radical prog style tempo changes. “Sweet Enemy” has a definite Savatage feel to it, from the great keyboard and guitar opening bars, but then becomes a lush vocal showcase. “Destination” is a very well performed progressive metal track – solid vocals, great guitars, fine drum and bass lines – easily the best track on the album.

“The Call of Eve” starts with an almost techno keyboard section, but that is quickly overwritten by a searing guitar rhythm line, some awesome bass and great drums. It almost has a Pretty Maids groove to the chorus. “…I Said Silence” features some great clean and death vocals and is just a fun song to hear. “The Rise And Fall of Nothing” wraps up the album with a moody and powerful prog rock instrumental blast – great guitars, great bass, great keys & drums.

All Gods Are Gone should appeal to fans of almost any metal genre since there is just so much of everything in it. Rather than being a hopeless mishmash, Appearance Of Nothing has created something truly unique by blending a number of diverse genres seamlessly into their own style. Great musicianship, solid songwriting and excellent production make this album one not to be missed.

Very highly recommended!

All Gods Are Gone drops on January 21, 2011 on Escape Music.

Genre: Progressive Metal

Band:
Pat Gerber (Vocals / Guitar)
Omar Cuna (Vocals / Bass)
Peter Berger (Guitar)
Marc Petralito (Keyboards)
Yves Lüthi (Drums)

Guests:
Dan Swanö (Edge of Sanity/ Nightingale) – Death Vocals on Tracks 1, 2 and 6
Devon Graves (Psychotic Waltz/ Deadsoul Tribe) – Lead Vocals on Track 3

Track Listing:
1. The Mirror’s Eyes
2. 2nd God
3. Sweet Enemy
4. Destination
5. The Call of Eve
6. …I Said Silence
7. The Rise and Fall of Nothing

Label: Escape Music

Web site: http://www.appearanceofnothing.com/  http://www.myspace.com/appearanceofnothing

Hardrock Haven rating: 9/10

Stratosphere Fire Flight

by Joe Mis
Staff Writer

There is definitely something in the water over in Gothenburg, Sweden that encourages the creation of superb music. Stratosphere is one of the latest in a long line of powerful Scandinavian bands, and will be releasing their debut CD entitled Fire Flight on Escape Music.

Masterminded by well-respected keyboardist Jeppe Lund, Stratosphere blends elements of orchestral and progressive metal together with a huge dose of melodic rock to come up with a tight and polished sound that is sure to impress anyone who likes melodic metal. Fronted by the familiar and distinctive voice of Goran Edman (Malmsteen, Street Talk, John Norum), Stratosphere makes classically influenced metal that is not overly pretentious or highbrow and is easily accessible to the casual listener. The music from start to finish is dominated by vocals, guitar and keyboards, and each song is well crafted and well performed. The engineering is crisp and clear giving the entire album a polished and unified sound no matter the intensity or musical arrangement.

The members of Stratosphere are all immensely talented and work together as a team. Goran Edman’s voice is as solid as ever whether singing softly or pushing the limits of his range. He gets to sing with varying levels of intensity across a broad range of rock styles and handles everything well. Guitarist Jonas Larsen is a fine classical player, but he is not a one trick pony. Larsen can lay down wonderful Malmsteen-esque classical fills, and just as easily blast out some super heavy but simple lines. He is a fine soloist and is not hung up on playing “fast” and adjusts his style to suit the music. Jeppe Lund’s keyboard work is awesome without doubt. His work is a solid counterpoint to Larsen’s guitars and is as important to the overall feel and structure of the music as any other member of the band. Jim McCarty (drums) and Anders Borre Mathiesen (bass) are both capable players as well, but are so overshadowed by the other members of the band that they only really get to shine during the band’s two instrumentals.

“Russian Summer” opens the disc and sets the tone for the balance of the album. The keys dominate the intro while the guitars lay down a simple but hooky rhythm line. Once Edman’s vocals kick in there is no doubt that this is razor sharp Scandinavian metal. “The Battle Within” is a high-energy track with a very classical feel that provides an introspective look at a soldier’s post-duty life and the problems he may face. The intro to “Enemy Of My Soul” is a quiet and haunting symphonic passage that breaks out into a huge vocal chorus, but the band switches to a more conventional hard rock style when they visit the “Streets Of Moscow.” Edman’s vocals are particularly strong and expressive on both tracks. The instrumental “Rendezvous” gives Edman a breather and lets the other guys really show their chops. It is very classical and very intense, allowing everyone to blend together in layer upon layer of music.

“Shining Star” opens the second half of the disc. It is a very arena friendly AOR love song – a bit syrupy and overly sentimental, but Edman’s vocals are at their best throughout, and Larsen lays down some great guitar fills. “China Girl” has a “pop metal” feel to it, not fitting in fully with the rest of the album, perhaps added as a time filler, but it does feature some nice guitar work. “Princess of the Night” is a very soft ballad built around the vocal but featuring amazing guitar and keyboard teamwork underneath it all. “VIP” starts off light and melodic, but quickly becomes a very gritty song that paints a less that flattering look at the “celebrity” lifestyle and gives Goran a chance to growl a little. The sweeping instrumental “Fire Flight” wraps the album in fine style – big keyboards, soaring guitar riffs, great bass and drum rhythm lines, and is musically the strongest track on the release.

On the whole, Fire Flight should be on the “must have” list of every orchestral / classical / symphonic metal fan. The big hooks and catchy rhythms will easily appeal to any hard rock fan, and be instantly familiar to anyone who has ever listened to Yngwie. The quality of performance, solid teamwork and overall enthusiasm make Stratosphere’s debut a winner all around. Even though some of the elements of Fire Flight are a bit predictable, the plusses easily outnumber the minuses. A good listen from start to finish, and very highly recommended!

Genre: Orchestral/Progressive Metal

Band:
Goran Edman (vocals)
Jonas Larsen (guitar)
Jim McCarty (drums)
Anders Borre Mathiesen (bass)
Jeppe Lund (keyboards)

Track Listing:
1. Russian Summer
2. The Battle Within
3. Enemy Of My Soul
4. Streets Of Moscow
5. Rendezvous
6. Shining Star
7. China Girl
8. Princess Of The Night
9. VIP
10. Fire Flight

Label: Escape Music

Website: www.myspace.com/stratospherehere

Hardrock Haven rating: 8.5/10

Salute Heart of the Machine

by Mark Allen
Staff Writer

Let’s cut right to the heart of the matter like a hunter field-dressing a downed deer: Salute’s sophomore CD is good, but falls considerably short of being great. The band falls victim to too many average choruses and an over-reliance on standard issue hooks that have been heard thousands of times before to qualify this as something special. But for what it is, a stereotypical serving of slick, shiny melodic rock, it’s a solid enough effort.

For the uninitiated, Salute is fronted by Mikael Erlandsson from Last Autumns Dream, and his huskily emotive voice is one of the best things about this band. It possesses subtle power, not immediately resonating as a reckoning force, but creeping up on you as the songs flow along until you realize you are in the hands of a master vocalist. The lyrics often lapse into timeworn melodic rock clichés, but as sung by a maestro like Mikael, they are elevated above their ordinary origins, his uniquely strong tones wringing every last drop of emotion from each syllable. You may not like everything about this band, but the lead vocalist will not be among your complaints.

The production is another highlight, as bright and shiny as the brass buttons on a soldier’s dress uniform. These songs have been polished more than a narcissist’s mirror, courtesy of guitarist/producer Martin Kronlund. The sonics are full and rich and super slick, which often robs the songs of a hard rock edge but offers plenty to impress the AOR/melodic crowd. While the overall style is guitar-driven, there is a considerable keyboard presence on the album, swirling around the crunchy chords like sonic phantoms, never dominating but definitely a vital aspect of Salute’s approach to the genre. Like all other components, the backing/harmony vocals are perfectly pristine, consisting of layer after polished layer. Not that you can really pick him out of the wall of sound, but David Reece provides guest backup vocals which are seamlessly integrated into the myriad of harmonies. Again, you may have some complaints about this CD, but the production quality won’t be one of them.

So what will there be complaints about? Well, as mentioned at the start, the actual songs are a little on the standard order side. “Higher” strives to be a soaring-with-the-angels opener but never quite achieves such lofty heights. “A Falling Star” is a fine mid-tempo tune, but that’s all it is—fine, nothing more. “Feed Your Hunger” ramps up the energy a little bit but is shackled to mediocrity by an average chorus. The first standout track is “I Will Be There,” a melancholic ballad about love lost that allows enough breathing room for Erlandsson’s vocals to carry the melody and hit you in the soft spot of your heart with its bittersweet power.

Following this gem is a string of songs that range in quality from “pretty good” to “total filler.” Then comes the album’s crown jewel, “Train of Rock ‘n’ Roll,” a hellacious hard rock anthem, boasting a big ol’ chorus hook and big backing vocals to plaster the song in your impressed-looking face like a pulverizing fist. Lyrics read like some AC/DC throwaways, but for pure, head-bopping, foot-tapping, fist-pumping, sing-along fun, this is the best track by far.

In the end, this is a perfectly serviceable, middle-of-the-road melodic rock album, rarely straying into hard rock territory, instead opting to cater to those who like things guitar-driven but not too heavy. All things considered, you undoubtedly have heard better, but you’ve also heard much, much worse. If nothing else, Erlandsson’s superb vocals, the high-end production, and a couple of great songs make this album worthy of at least a half-hearted salute.

Band:
Mikael Erlandsson (lead vocals, keyboards)
Martin Kronlund (guitars, bass)
Imre Dauri (drums, percussion)
Henrik Thomsen (bass)

Track Listing
1. Higher
2. A Falling Star
3. Feed Your Hunger
4. I Will Be There
5. Tearing Me Down
6. Heart of the Machine
7. The Long Haul
8. Shadows
9. Train of Rock ‘N’ Roll
10. My Part in This Pain
11. Your Servant Tonight

www.escape-music.com

Escape Music

Hardrock Haven rating: 6.5/10

Marco Ferreira

by Derric Miller
Staff Writer

Guitarist/singer/songwriter Marco Ferreira checked in with Hardrock Haven to discuss his band Ferreira’s brand new album, Better Run; his DVD/CD package in Goodbye Thrill called Keepsakes; the new Goodbye Thrill album Outrageous; the possibility of touring with Ferreira or Goodbye Thrill; and a whole lot more.

Ferreira is one of the most talented Melodic Rock and Hard Rock musicians out there — and he’s pumping out a lot of music you need to hear! Tune in now to get to know Ferreira and all of his projects, and pick up Keepsakes, Outrageous and Better Run immediately!

Online: http://www.myspace.com/marcferr

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

Louis D’Augusta of Mass

by Derric Miller
Staff Writer

Singer Louis D’Augusta of the band Mass checked in with Hardrock Haven to discuss their upcoming new studio release Sea of Black; how the new music compares to their previous critically acclaimed album Crack of Dawn; how he manages to keep his vocal prowess in superior shape; the CD release party and upcoming tour plans; how downloading impacts Mass; and a whole lot more.

 

Boston is the home of many great bands, but you’d best include Mass when you start naming Boston legends. If you didn’t think so before, tune in now to get to know Louis and Mass, pick up Sea of Back immediately thereafter, and then you’ll know why.

Online: www.massrocks.com

(If the embedded player doesn’t populate, click here to stream the interview in a stand alone player.)

Mass Sea of Black

by Franco Wissa
Staff Writer

There are a handful of bands whose body of work really demands that the next release will be just as good, if not better, as the ones previous to it. Because of their reputation for having such a great body of work, when their next CD fails to achieve the level expected it is a major disappointment. Then, on the flip side, there are bands who, to a rock-solid core group of fans, have never failed to satisfy. While certainly labels and musicians want sales and recognition, it becomes more about the music, and only the music.

What must be pointed out – and questioned – first and foremost is how is it that with over 25 plus years of countless live performances and multiple releases, Mass lead singer Louis D’Augusta still has such a voice? For the love of God, this man can sing. Each sung word is clear as a bell, from the low octaves to the upper pitches, every utterance is understandable and the passion that comes from his voice is undeniable. It must be said again – Good Lord he can sing!

The new Mass album Sea of Black differs from their previous release, Crack of Dawn, in that this truly has a harder rocking vibe to it. While Crack of Dawn certainly did have its hard rock moments, it was a more polished, more melodic rock feel. Sea of Black is down and dirty hard guitar rock – the kind of hard rock that is certainly needed in a time of Disney fluff, and marginally talented performers who seem to be getting air time because of their looks, or television show, rather than a true, from their core longing to put out music.

Guitarist Gene D’Itria lays into his guitar, and never lets it rest. This hard guitar rock is certainly manifest on such tracks as “Falling From Grace,” “All That I Needed,” the head banging “The Right Side,” “Justify,” and the sensational “Ashes to Ashes,” To give an equal balance to this CD is the short instrumental “Captain Black” that gives way to the thumping “Sea of Black.”

Pay attention as well to the wonderful lyrics of the backwoods sounding “All The Years Gone,” the acoustic guitars of the mid tempo Bon Jovi-ish “Coming Home,” the crazy effects and the killer bass guitar work heard on “Through the Rain,” the soft “More Than A Friend,” and the synthesizers that only add to the heartfelt and warm refrains of “Till We Meet Again.”

Here’s the thing about Mass. It isn’t about the number of records sold, or a place on the charts, but instead from their musical souls, they love playing music for the simple reason it is about just that – the music – and nothing more. And as spoken of earlier, the boys of Mass have that reputation for time after time releasing a body of work that has only got better. And here is proof, Sea of Black IS their best yet …

Label: Escape Music

Tracks

Falling From Grace
All The Years Gone
The Right Side
Coming Home
Through The Rain
All That I Needed
More Than A Friend
Justify
Ashes to Ashes
Till We Meet Again
Captain Jack
Sea of Black

Musicians

Louis D’Augusta – vocals
Gene D’Itria – guitars
Michael Palumbo – bass
Joey “Vee’ Vadala – drums

Hardrock Haven Rating: 9/10