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Kill Hannah
Until There's Nothing Left of Us
Band Line-Up: Mat Devine: vocals, Dan Wiese: guitars, Jonathan Radtke: guitars, Greg Corner: bass-
Stand-Out Tracks: "Lips Like Morphine" "Crazy Angel" "Under the Milky Way"
They are based in Chicago, but could claim to have lived another life somewhere in Britain in the early 80's. They could also claim to be the immaculate love child of Billy Corgan and Robert Smith. The two bands that immediately came to mind after the first listen to this disk were The Cure and the Smashing Pumpkins, especially on the tracks "Statues Without Eyes", "Scream" and "Believer." Thus it was no surprise when I later visited the band's website that they are listed as major influences.
"Lips Like Morphine" is the most commercially pleasing song on the album, and the dreamy vocals of Mat Devine will seduce you upon the first listen. Dark and enrapturing tones radiate from both Devine and the band as they take you on a non-threatening journey of arousing and tuneful rock that is both eccentric and electric. With a plethora of harmonized vocals and synth effects, Kill Hannah has added a mellow twist to music that far precedes their career, and promises to bring dynamic components to complement the foundations built by their predecessors, such as those mentioned above, (and maybe the Psychedelic Furs) to formulate an intriguing new style of Euro-pop creations made in America! Cool!
Generating quite the buzz, they've received positive press from established bands, and revel with an ever-growing fan following at their compelling live performances. Now pop your Ecstasy and get your ass to the rage!
Check them out at: www.killhannah.com
Rating out of 10: 7.5
Review by Tracey L
Hollywood Vampires 
Night Club 666
Band Line-up: Kelly “Trash” Mendez-vocals, rhythm guitar, harmonica; Sidney McVio-lead guitar; Dr. Chantal Holidays-bass; Roxie Vice-drums
Stand-Out Tracks: “Nightly Paranoia” “Porny Piggie’s Rule” “Cinderella’s Night” “Nasty Luv”
Alright, lets state the obvious right off the bat…Hollywood Vampires….hmmmm…does that sound vaguely familiar to anyone? A blatant rip off L.A. Guns with the choice of a band name is not a good first impression. (ED Note: We just got word that the band changed their name to Sex Department) Okay, moving on, sounds half way decent, the guitar riffs and solos are very 80’s influenced, they look like Poison, and sound a little like them here and there, but for the most part there is no new ground broken here. They are similar to any of the countless bandwagon hair bands of the late 80’s and early 90’s. However, as I try to sing along to the catchy choruses and harmonies, I run into a snag…I can’t decipher one freakin’ word on this entire record! It sounds like singer Kelly Mendez was on a three-day bender while tracking the vocals. The lyrics are random thoughts and fragmented sentences about sex, drinking, sex, drugs, cars and more sex all spliced together with a lot of oohs and ahs, f-bombs and a couple ear piercing screams ala an 18- year old Vince Neil. I suppose if this was playing in the background at a hoppin’ house party, filled with drunken rockers, no one would notice this flaw, actually I think it would sound as good as any 80’s style sleaze rock record. However, if you’re listening to it in the car, or anywhere with no background noise to divert your attention, you’ll see where I’m coming from. Granted these dudes hail from Italy/Europe and the accent may be a factor, but unless you refer to the CD jacket…well, you get my point. In fact, the track “Putzfrau” is sung in a different language altogether! On the musical side, much of the bright spots on this record come courtesy of guitarist Sidney McVio’s blazing solos, and ballads such as “Rocky Joe,” “Nasty Luv” and “Cinderella’s Night” could challenge those from any B-list 80’s band. If anything, it looks like these dirty little boys are having a blast and it shouldn’t be too long before they are STD ridden.
Note: I’m very curious as to where they picked up all their vintage 80’s glam swag! A+ on the pink leopard print attire guys!
Rating out of 10: 5.5
Review by Tracey L www.myspace.com/sexdepartment
Deasdy
Phantasmagore
Band Line-Up: Exeter-vocals, guitar & synth; Nner-synths, vocals; Megaladon- Z-Tar, synths, guitar; Creature-bass; Pure- drums/percussion
Stand-out tracks: Razor Love, Carrying Over, The Last Story Ever
Turn on your black light, light some incense and sit with your arms wrapped tightly around your knees in corner of your room and gently rock back and forth, while resisting the urge to mutilate your forearms with a dull razor. If that sounds like a night of quality goth-glam fun for you, then you’ll dig Deadsy.
I guess having famous parents may give you the extra mucho denero to maybe buy some expensive recording equipment, like say a top of the line harmonizer, which is used in abundance here, nevertheless vocalist Exeter (aka Elijah Blue..yes Cher & Greg Allman’s offspring) succeeds in delivering a hypnotic yet monotone sound with similarities to one Jay Gordon of Orgy.
The synthetic smorgasbord doesn’t stop there. The effects used on this record lend themselves to the eerie and cliché music used to build suspense in horror movies just prior to some poor shmuck getting an axe lodged into the base of their skull.
However, I particularly want to give credit to the bands appealing cover of the Stones “Paint it Black,” when compared to some other versions I’ve heard, this one is pretty damn superior (even to the original).
Perfect production coupled with dark, well thought out lyrical content will secure these guys a few rotations on “new” rock stations across America or at the very least will have the goth girlies in an (albeit undetectable) state of euphoria.
Rating out of 10: 7.5
Review by Tracey L
www.deadsy.com
Wednesday 13
Fang Bang
Band Line-Up (Touing): Wednesday 13-vocals & guitar, Eric Griffin-guitar, Racci Shay (Ex-Dope)-drums, Nate Manor (Ex-Amen) on bass
Stand-out tracks: “Faith in the Devil” “Curse of Me” “Too Much Blood” “Buried w/ Children”
Ex-Murderdolls vocalist Wednesday 13 teamed up with his ex-Murderdolls mate -Eric Griffin on guitar for this horror-rock, high intensity release. And just like on previous CD’s, Wednesday takes a “play on words” to a whole new juvenile level with songs titles like, “Morgue Than Words," “My Home Sweet Homicide”, Happily Ever Cadaver”, “Til Death do us Party” and “Buried with Children.” Mr. 13 has either has an extreme case of commitment phobia or just a plain love or maybe obsession of B-rated horror flicks. That aside, “Faith in the Devil” really grabbed me by the throat on first listen and has all the elements of a sleazy rock anthem, with a great hook, guitar riff, chorus and enough “f”-bombs to wipe out a small village in the Middle East. YAY!
13’s vocals resemble those of Sebastian Bach in both pitch and intensity. In fact, on the tracks “Buried with Children” and “Too Much Blood” I’d swear I was listening to old Skid Row demos. (ED Note: I don't know about Skid Row, but man Wednesday 13 comes very close to sounding just like our friend Mike Trash in the Erotics, both lyrically and musically. It’s funny how they both want to rock out with their cocks out, although Trash whipped his out first) It’s those fast and ferocious tunes that should be a part of any hard rock record, and these two songs could resume the blood flow in any corpse and are close to perfect.
Most of the records lyrics are distinguishable, which is surprising considering they are screamed out in a gravelly snarl that would leave an ordinary singer with vocal chord polyps the size of Pam Anderson’s left breast.
While these guys should be opening for Alice Cooper, but they aren’t ,(ED Note: Ha, ha, Crash Kelly is) they should at least be taking his dog out for a shit cause they owe him for the apparent inspiration! (ED Note: And while your at it, walk Trash's shit spewing dog too !!!)
Rating out of 10 for the record: 6
Rating out of 10 for the shtick and their look: 9
Review by Tracey L (with additional comments from your editor)
Black Label Society
Shot to Hell
The Band: Zakk Wylde-guitar, vocals, piano, Nick Catanese- guitar, John JD Deservio- bass,
Craig Nunemacher -drums
Outstanding tracks: "Concrete Jungle," The Last Goodbye, Nothing's the Same", and Blood is Thicker Than Water.
Zakk Wylde steps into the center spotlight on "Shot to Hell", Black Label Society's first release on Roadrunner Records "Shot to Hell” is fueled by driving guitar melodies, passionate vocals, and a pulverizing rhythm section that picks up where "Mafia" leaves off. "Shot To Hell "displays an album cover concept that features Nuns shooting pool. The insert of the cover features Nuns partying with the Devil. It’s a hellacious ambiance, where heaven meets hell in rock and roll BLS style.
The opening track and first single,” Concrete Jungle” is infused with Zakk Wylde's famous trademark guitar sound. The catchy lyrics and melody is destined to become a favorite among Black Label Society fans. The song is being played on FM radio station across the country showcasing its commercial versatility. I recently had the opportunity to discuss the meaning of "Concrete Jungle", and the different rock influences that transpire on "Shot To Hell", with BLS guitarist Nick Catanese. When I asked Nick if the song was about the music industry, he told me,” No, it's actually about Los Angeles or New York, or any city in general. You always see freaks in the streets, not a lot of nuns with shotguns. But just the point of how you can do a lot of people watching. Hell I do it in the mirror everyday. "Shot to Hell" has everything, great heavy grooves, and slow piano songs for the Book of Shadow people. It has everything, I think. "Shot to Hell" is just the start, we have been going strong for 10 years, but this is the NEW beginning of Black Label Society.
"Black Mass Reverends" features the heavy, driving bass rhythm of new bass player John JD Deservio. The song is one of the catchiest tunes on the album with a killer power groove, but it is way too short. John JD Deservio replaced bass player James Lomenzo last year and really played an important role in laying down the heavy bass foundation of BLS on “Shot to Hell.” The rhythm section, which also includes drummer Craig Nunemacher, plays a major role in the heavy, skull crushing sound of BLS. "Shot to Hell" features 13 tunes that are very diverse in their musical style. Each song has a different musical influence including classic rock, blues, ballads, and metal.
I also had the opportunity to discuss the making of "Shot to Hell" with BLS bass player, John JD Deservio who told me," I would say it's in the” MAFIA” vain, but there’s some old school riffs as well! Zakk's vocals keep getting better! Zakk sang his ass off on this one. The songwriting is killer on this record. There’s some epic shit here! It’s like "Mafia” but there’s also some heavy shit! We had a blast making the album, and it was pretty much musical freedom. "It's right where Mafia left off. It's been evolving for years, and I think it might be Black Label Society’s best work yet! We wrote the album in the studio. It was written in a few weeks but the actual recording and mixing took a few months. It's awesome working with the guys. Everybody truly likes hanging with each other so it's been a great experience.”
One of the most exciting aspects of "Shot to Hell" is that Zakk showcases his true talent as a singer/songwriter. The new BLS CD features four ballads that are the real hidden gems on "Shot to Hell." Unlike,” Mafia" which only featured two ballads, on the new BLS CD, Wylde is not afraid to take a chance and illustrate that Black Label Society are about more than just a heavy rock band with a biker image.
One of my favorite tunes on” Shot to Hell" is the piano ballad, "The Last Goodbye." Zakk sings from the heart, and delivers a performance that is real and moving. They say you have to feel the pain, in order to sing the blues, as Zakk sings,” Take This Love, Take This Life, Take This Blood, I'll Never Die", This Ain't The Last Goodbye", sets the tone for Zakk's Tribute to friend Dimebag Darrell Abbott. As I listened to "Shot To Hell", it is clear to see that many of the lyrics on "Shot To Hell" were inspired by the lost of Zakk Wylde's friend, Dimebag Darrell Abbott. The lyrics are real honest, and full of pain. The song also reminds me of "Mama I'm Comin Home.”
"Give Yourself to Me," has a gritty, hard driving sound that was reminiscent on, "Mafia." One of my favorite tunes is the ballad;” Nothing’s the Same," which picks up where,” In this River" leaves off. As Zakk delivers his true reflection on the loss of his friend Dimebag Darrell Abbott, as he sings the chorus,” Crash and Burn, Refuse to Learn, Your Only Friend Inside the Scars That Never Mend, The Never Ending Rain, Kill the Past, Nothing's The Same."
"Hell Is High,” and "Faith Is Blind" are intense tracks that feature the velocity of the innovative pinch harmonics that is the BLS trademark. "Shot To Hell" ends with the melodic ballad", "Lead Me to Your Door,” and showcases how the band has grown musically over the last ten years of their career.
Zakk Wylde's Black Label Society first release for Roadrunner Records combines all of the band's musical styles; with a progressive modern approach this is well orchestrated and diverse. Zakk Wylde is not afraid to show is softer side; delivering a performance this is real and honest. "Shot to Hell" is a reflection of true events and feelings that have helped mold the songwriting process that has evolved the early Pride and Glory days. "Shot to Hell" proves that a good song can stand on it's own, as Zakk Wylde's Black Label Society make a bold statement with their new melodic classic rock approach, with traces of hard driving guitar sound that is the reminiscent of the Black Label Society trademark. Zakk Wylde delivers a powerful performance, as he combines guitar, piano, and melody on possibly the best produced album of his career.
I recently had the opportunity to discuss the songwriting process of Shot to Hell" with Zakk Wylde. Zakk told me,” It always starts the riff. That is the way I always love doing it best. I go into the studio with nothing and ten days later, I had 23 songs. Bottom line is this kind of sounds like Zeppelin, this kind of sounds like Sabbath. It is just like there is no shortage of great songs. With Zeppelin or Sabbath it is safe to say, it is not going to suck. We just have a good time, when we go into the studio. We start jamming and having fun. When we get tired from blasting from the Marshall’s, I would sit at the piano, pick up an acoustic, and do some mellow stuff. It is just like you can take a million different pictures. Like the famous picture of Jim Morrison. They probably took a million pictures that day, to get that one shot. It was a classic shot."
Rating out of 10: 9
By Deb Rao
www.blacklabelsociety.com
Stone Sour
Come What(ever) May
Band: Corey Taylor-vocals, James Root-guitar, Josh Rand-guitar, Shawn Economaki-bass, Roy Mayorga-drums.
Stand out tracks: “Zzyzx Rd.”, “Through Glass,” “30/30-150”
Slipknot vocalist Corey Taylor and guitarist James Root take off the masks and focus on their melodic hard rock band Stone Sour.
For many rock fans over the age of 25, Slipknot had always been unjustly dismissed as just a Gwar wannabe freaky nu-metal novelty band, even though, many of the musicians in the band, especially vocalist Corey Taylor, are extremely talented. To anyone that heard Slipknot, it was very obvious that Taylor had a great voice. Some even felt that he was wasting his time away, grunting and screaming in Slipknot. Imagine trying to be regarded as a serious musician or singer/songwriter when you’re aping around on stage wearing a jumpsuit and rubber Halloween mask.
So in 2002, when Slipknot decided to take some time off, Taylor decided to concentrate on his other passion for a while, the melodic, modern rock band Stone Sour, which also included Slipknot guitarist Jim Root. In this band, Taylor could sing and not worry about what the die-hard maggots would think. Stone Sour released their self-titled, debut CD in April of 2002. This release immediately caught the attention of the masses with its mature, modern rock sound. The first single from The CD, “Brother,” was a top ten smash and all over the radio play charts. Overall, it was a solid CD that sold over 1 million copies and proved that Taylor had potential in this genre. The band toured for a year in support of the release and then Taylor and Root went back to working with Slipknot. Stone Sour went on an extended hiatus.
Then late last year, Taylor started working on a new Stone Sour CD. Many were very curious as to what direction they were going to go in and, more importantly, to see if they could put together a great CD and avoid suffering the dreaded sophomore jinx and fade into obscurity. Well, after a few spins of Stone Sour’s “Come What(ever) May,” it’s very clear that this band is even better and Taylor has progressed into a very competent songwriter. ‘Come What(ever) May’ is a dynamic and profound CD with diverse musical content that could appeal to any rock fan. And Slipknot fans need not to worry, they’re enough songs on this CD that will appeal to you as well.
‘Come What(ever) May’ gets off to a hard rockin’ start with the song “30/30-150.” This song is Taylor’s rebuttal for all of those that accused his generation of being nothing more that a bunch of slackers. This track is also the first single from the CD and features some killer riffs compliments of Root and the band’s other guitarist, Josh Rand. Actually, these guys shine on every track with their hard hitting riffs and screaming leads.
“Hell & Consequences” and “Come What (Ever) May,” are intense, angst ridden tracks that call out George W. Bush for his vast incompetence. “Sillyworld” starts off with trippy vocals then turns into a powerfully hard hitting sonic storm. On “Made of Scars,” Taylor sings about the origins of the scars on his body. “Socio” is another introspective song that’s about the anxiety attacks that Taylor suffered before he become sober three years ago.
“Through Glass,” is a slower pace, very catchy acoustic track which lyrically deals with Taylor’s frustration with the country’s obsession with the fake pop-star, American Idol type shows. This track has the potential to be a HUGE hit.
The last track on the CD is the slow, reflective, beautifully arranged, very emotional piano ballad “Zzyz Rd.” This song is a modern day “Home Sweet Home” and a million miles removed from anything Slipknot has ever recorded. Taylor sings his heart out. The lyrics are influenced by living the life of a successful rock star and the toll it takes on one’s personal life.
Taylor and bandmates should be proud of this CD. It is very well written, in parts it rocks hard and in others it’s moody, melodic and sonically brilliant. This release is loaded with potential radio ready hits and should help catapult the band to the next level. The rubber masks and jumpsuits may be put away for a little while
Rating out of 10:9
Review by: Thomas S. Orwat, Jr.
Band site: www.stonesour.com
Early Man 
Closing In
Band Line-up: Mike Conte-Vocals, Guitar & Bass, Adam Bennati-Drums, Matt Sweeney-Additional guitars
Stand-Out Tracks: “Death is the Answer” “Like a Goddamn Rat” “Evil Is”
If you have XM Satellite radio, then you’ve surely heard of Early Man. Essentially a two piece, three piece, sometimes four piece metal band based out of Brooklyn, NY that take old school metal thrashing madness such as skull-bashing drums, lightning-speed guitar licks and lotsa long hair to a level not commonly witnessed by the new generation of headbangers.
The vocals are more melodic than any average speed metal singer and some of the songs have kind of a Lizzy Borden element to them, as Mike’s pipes are of a higher pitch, however, “Evil Is” and “Contra” expose a more stripped down sound both vocally and musically, leaving me to wonder if this band alternates singers. (I couldn’t confirm this anywhere). If not, then Mikes range covers a pretty broad spectrum.
Early Man is throw back to the early work of Metallica and Megadeth and the NYC metal scene of the late 80’s in general. Fans of Testament, Overkill and Anthrax will find these dudes worthy of a few slipped disks in the neck from bangin’ along to their brutal riff rifling. www.earlymanarmy.com
Rating out of 10: 7
Review by Tracey L.
Supermercado
Scary Baby
Band Line-Up: Matt Mercado- vocals, Gregg Potter-drums, Skender-bass, Killa Kat-vocals, Michael Ray Garrett-guitar
Stand-out tracks: Scary Baby, Leather Messiah, Supermercado, Cannonball Dream,
Look out! Here comes Supermercado, with a fury and a force that’ll get ya get excited about music again. Although the CD possesses some elements of the last decade of music, it definitely picked the right ones to build on. It’s got rock, rap, a variety of metal components and plenty of jive, all driven by the monstrous skin bashing of Gregg Potter. There are hints of the Chili Peppers, Disturbed, Faith No More, King’s X, Limp Bizkit and Saliva just to name a few, but they do have their own distinguishable sound down quite well too.
You’ll feel like you’ve been swept up into a Kansas sized twister with title track “Scary Baby,” with its dark, howling vocals and speed. “Bitch Ass” and “What I Say” show off crazy sound and guitar effects and samples, and the ferocious beats simply stomp all over your head.
The tracks on this record are unyielding rock compositions that features the rap of Killa Kat strategically interspersed throughout, but not in an overpowering way. It’s a good balance. In fact, I wouldn’t exactly call it “rap,” it’s more like an Andrew W.K. style delivery.
The autobiographically titled “Supermercado” is extra infectious, as I found myself singing the chorus out loud for dayze!!
Witnessing their killer live show first hand, I feel confident in saying it won’t be long before we see these guys on the charts. If not, then I shake my head in disgust at the current state of music and I lose my faith in the record buying public. These guys GOT IT, and I didn’t need Paula, Randy or Simon to tell me so!
Glam Metal will feature an interview with Supermercado drummer Gregg Potter coming soon….so keep an eye out for that. In the meantime check them out at www.supermercadorock.com
Rating out of 10: 8
Review by Tracey L
Crash Kelly 
Electric Satisfaction
Band Members – Sean Kelly-vocals/guitar, Allister Thompson-guitar, Jordan Michael Stewart -bass, Kevin Taylor drums.
Crash Kelly’s new release, “Electric Satisfaction,” is an incredible 70’s style glam, hard rock CD that consists of 12 fist pumping, ass shaking, rock n’ roll party anthems. This blue-collar Toronto, Ont. based band, led by born-to-be-a-star guitarist/vocalist/songwriter Sean Kelly, has clearly beat the dreaded sophomore jinx with this collection of soon to be classics. Part of the reason is because Crash Kelly recruited ex-Guns n’ Roses member Gilby Clarke to take on the production responsibilities. It was a bold move that paid off big time. Clarke really helped the band hone in on their sound with influence as producer and also with the use of his vintage equipment. As a result, “Electric Satisfaction” is an amazing progression from Crash Kelly’s very solid debut release ‘Penny Pills.’
The many aspects of this CD that slam you in the face on the first listen are the fist full of killer retro riffs, screaming leads and great songwriting. Sean Kelly is an unsung guitar hero and just rips it up on this CD. His co-captain on the axe, Allister Thompson, is equally impressive. Together they form a guitar duo that could rival some of the all-time greats and will surely make many guitarists green with envy.
The party kicks off with “Hang Out Where You Matter,” a track that builds with intensity and features a raw and nasty guitar duel in which Sean trades off Ace Frehley style leads with producer Gilby. This song really sets the tone for the remaining ten tracks on the CD.
One thing is for certain, Crash Kelly isn’t afraid to show their influences. The band gives sonic props to Cheap Trick, ALICE Cooper, Thin Lizzy, Kiss, T-Rex, Starz and many others that lined the record cabinet of Sean Kelly’s sister back in the late 70’s. The second track and hopefully first single, “Rock the Wire,” is a prime example of this. It has a big early Cheap Trick kind of sound that starts off with big pounding Bun E. Carlos style drums and a bratty chorus. This track would have fit nicely on Cheap Trick’s “In Color.”
“She Puts the Shock (In My Rock n‘Roll)” is Sean Kelly’s three minute plus glam-rock opera inspired by the movie ‘Almost Famous.’ It is oozing with a catchy hooks, tasty guitar and a satisfyingly cool Mott the Hoople style piano break compliments of ex-Guns n’ Roses Teddy “Zig-Zag” Andreadis. Hedwig and the Angry Inch would love this one. This song is sure to become the Crash Kelly trademark song and will help catapult the band to a new and exciting level.
“Two Year Runaround” is a poppy, clap-track supplemented song that will leave you singing back the chorus hours after listening. “You’re a Drag When You’re High” is an interesting, trippy sounding track that lectures the social ramifications of overindulgence. Gilby Clarke also added some guitar leads to this one as well.
All the tracks on this CD are well written. It’s a CD that’s all killer and no filler. Sean Kelly is becoming a better songwriter with each release, and his potential is unlimited. This band has a very bright future if they continue to stick to their no-frills classic rock formula.
As a bonus track, the band covers the Alice Cooper gem “Cold Ethyl’ in which Sean Kelly trades off vocals with ex-Silk Toxic, Revolver vocalist Nick Walsh. Alice would be so proud. This song leaves you begging for more. (As a side note, Sean Kelly also plays guitar in the band Revolver.)
I really hope that the label Liquor and Poker put some promotion behind this release. It’s too good of a CD to get lost in the shuffle. Maybe a vinyl version edition of the CD would be cool promotional idea. That way the audiophile in us would be allowed to hear the true warm tone of the guitars and all the little nuances that were lost when transferring over to digital.
So, if you are searching for a CD that captures the vibe and sprit of T-Rex with the swagger and melodic brilliance of Cheap Trick and Aerosmith look no further than Crash Kelly’s “Electric Satisfaction.” If Marc Bolan (T.Rex) was still around, he would most certainly steal a riff or three from this one. Hell, next time Def Leppard wants to put out a classic rock-glam CD they should have Sean Kelly write it for them. Buy this glam-tastic release and let the revolution begin. This band is about to break in a HUGE way.
Review by Thomas S. Orwat, Jr.
Rating out of 10: 9.5
Website www.crashkelly.ca
Illuminati
On Borrowed Time
Band-line-up: Les Godfrey, guitars; Mick Sewell, bass; Jim Gering, drums
IRRELAVANT TRIVIA: All three members of the band are left-handed, but play their instruments 'right-handed'.
Stand-out tracks: “Goin Down” “Casual Surveillance”
Why is it that bands hailing from the great white north need only possess 3 band members to pull off a huge, rich sound? There’s Rush, Triumph, Wide Mouth Mason and now…The Illuminati.
Started in 2002, these three men bonded over a common vision. Discontent with the state of rock music of the late 90’s, The Illuminati set out with their middle fingers waiving to the depressing flannel nation of grunge rockers, and proceeded to light a fire under a cauldron of Black Sabbath, Corrosion of Conformity, Molly Hatchet & Lynyrd Skynyrd stew. Consisting of hearty vocals, beefy guitar and chunky drum beats, dip your southern rock encrusted biscuit in and savor the flavor of this unique band.
“Black Russian Blues” and “On My Way Back Home Again” have that down-home boogie vibe happenin.’ “Goin’ Down” sounds like a Skynyrd classic, just played harder and faster. “Impressions” “Message Home” and ‘On Borrowed Time” are musically very Sabbath-esque.
“Casual Surveillance” holds up the harder edge with more corrosive vocals and speed.
It’s very hard to categorize this band or where their loyalties lie. There are no real hooks to speak of in any of the songs, but there are some killer guitar solos throughout, especially in the opening track, “Sphere of Influence.”
I am stumped trying to find the best description for these guys. I guess… progressivesouthernhardrock, then again, Southern Rock from Canada? One has to wonder, or at least be curious.
Rating out of 10: 5
Review by Tracey L
The Sword – “Age of Winters”
Guitar/Vocals – J.D. Cronise
Guitar – Kyle Shutt
Bass – Bryan Richie
Drums – Trivett Wingo
Rating: 8
Wolfmother – “Wolfmother”
Guitar/Vocals – Andrew Stockdale
Bass/Keyboards – Chris Ross
Drums – Myles Heskett
Rating: 9
Witch – “Witch”
Vocals – Kyle Thomas
Guitar – Asa Irons
Bass – Dave Sweetapple
Drums – J. Mascis
Rating: 8
Without warning, 70s metal has reappeared on FM radio – and not on the classic rock stations. The recent success (and modern rock station airplay) of Australia’s Wolfmother is merely a symptom of a contagion metal fans know and love – intense riff rock wrapped in sword and sorcery-inspired lyrics. It’s as if an entire generation found their parents’ Black Sabbath, Led Zeppelin and Deep Purple records in the attic, then went out and started bands. Music critics’ efforts to pound every band into the smallest possible niche has resulted in terms like “stoner rock,” “acid rock” or even “doom metal,” but you can call it whatever you want as long as it kicks ass.
Assembled in Austin, TX, The Sword practices a very monolithic form of metal, relying almost solely on bludgeoning riffs churned out at a nearly glacial pace. But just when you think you’ve been beaten into submission, a flurry of dextrous licks changes the flavor nicely. Cronise’s vocals stay within a range of about five notes throughout the album, at times nearly chanting the lyrics. None of this is meant as a criticism – when combined, these elements form a convincing image of battle-crazed barbarians roaring down from the hills to the north to ravage our defenseless village. That is probably The Sword’s greatest strength – they’ve managed to write an entire album of songs about some of metal’s favorite topics (warriors, wizards, demons and strange creatures) without sounding cheesy. Too often, metal songs about this stuff makes the listener cringe or crack a grin, but The Sword just stirs your blood and makes you want to go pillage.
Wolfmother is a more dynamic band, although it’s difficult to avoid the Deep Purple comparisons. Maybe its Ross’s John Lord-style keyboard work, which is certainly a pleasure to hear and adds a lot of depth to the songs. Nevertheless, the songs are damn catchy, adding a Brit-rock twist to the stoner rock formula. Stockdale even sports a Bolanesque white-boy afro, and there are songs about unicorns and gnomes. Wolfmother evokes a psychedelic, weed and women sort of vibe. They seem to dwell among hobbits while The Sword thrashes about ominously in the darkest depths Mordor. The tracks on “Wolfmother” stand up better to repeated listening, however, with layers of sound and melodies that are worth investigating further. The absence of any real guitar solos is somewhat conspicuous, though.
Not to be outdone, J. Mascis (yes, that J. Mascis) has formed his own retro-rock band. Dinsosaur Jr. fans will be excited to hear that Mascis has a new project, and will perhaps be equally excited to hear that Mascis won’t be singing this time around. He’s returned to his first love, the drums.
The album is filled with fuzzed out guitars lumbering through a bunch of riffs that Tony Iommi would be proud of, intertwined with spacey, atmospheric passages and the sort of odd jazzy breaks that Iommi himself was fond of on the early Sabbath albums. Thomas’ vocals are strangely submerged in the mix, but the supernatural themes of the songs come through clearly enough. And while Andrew Stockdale of Wolfmother might look like Marc Bolan, Thomas sounds a hell of a lot like him. The lo-fi indy rock production values work together with the sound and subject matter to make this album the most authentically 70s sounding of the three, although it is probably the least “metal” of all of them.
Once you cast aside to retro references and the Spin magazine categorizations, you’re really left with three great albums filled with well-crafted songs and interesting lyrics. There’s no sense in saying which album is best – each one fits a certain mood. The Sword is fist-pumping ass-kicking music, while Wolfmother is better suited for a sunny afternoon strolling through hedgerows (or, perhaps, dancing under colored lights at the local rock club), and Witch will surely impress your indy-rock friends at the college radio station. You might even convince them it’s a long-lost unreleased T.Rex album. Review by Ed Grabianowski
American Heartbreak
American Heartbreak
Band Line-up: Lance Boone, vocals; Billy Rowe, guitar; Case Crenshaw, guitar; Michael Butler, bass; Paul Scavuzzo, drums
Stand-Out Tracks: “Things Are Looking Up” “The Girl Who Knows Nothing At All”
Solid production and a singer who has an innate vocal style that lends itself perfectly to all things Glam, this band brings a collection of starry-eyed melodies and spirited guitar riffs to the forefront, with simple song structures that slightly echo the likes of the Goo Goo Dolls. The songs flow at a mid-tempo pace and provide a stark contrast to anything currently being spun on commercial rock radio stations these days.
“Things Are Looking Up” stuck in my head all day after listening to this disk only a few times, a sign of a quality song, or simply overkill, I can’t decide.
The majority of the songs have chorus refrains that quickly become a bit too repetitive for my liking, but the one that annoys me the most is on the aptly titled “Sick and Tired.”
Might I suggest a concentration on more inventive lyrical content?
Nevertheless, tunes like “The Last of the Super Heroes (of the 1970’s),” gives a nod to adolescent idols like Cheap Trick, the Ramones and The Who and succeed in revealing that particular musical era with unique style. Keep an ear open for these guys. I would also like to add that Billy, Lance and Casey must have one killer hairstylist! Tip her well guys, she’s doing you right!
www.americanheartbreak.com
Rating out of 10: 6.5
Review By Tracey L
Caroline Blue
Slave to the Hourglass
Band Line-up (which has since changed from this release): Wayne Johnson-vocals & guitar, Mike Merrifield & Dave Victory, drums; Jamie Criscione-Bass
Stand-out Tracks: “Mine, Mine, Mine” “The Queen of Pleasure”
This five-song release comes from Syracuse NY. Singer/guitarist Wayne Johnson is a promotions animal, and has no problem attracting attention; as he’s got that rockstar persona the ladies swoon over and a voice that has an uncanny resemblance to that of Paul Stanley of Kiss (which just happens to be one of his biggest influences), and he ain’t half bad on the six-string either!
In fact, the guitar riffs and solos are the shining stars on the tracks “The Queen of Pleasure,” and “Hard Life.” This band embodies all things 80’s and does it up right with stinging guitars and a live show that provides plenty of raw energy. Although the band has gone through a recent line-up change, anyone who fancies Kiss, or old school 80’s hair metal, is sure to get a rise outta this CD. As Wayne states, “Currently we're recording our new CD at Strangeland Audio Studios in Phoenix, NY with Scott Patnode doing the producing/engineering. I'm doing all the vocals/guitar & bass as well as executive producing. The drums are done by Monster Mike Merrifield. There will be 12 songs with some possible bonus/hidden tracks. We're anticipating a late summer/fall release, but will take as long as needed to make sure it's the best it can be!
Check ‘em out at : www.carolineblue.com
Rating out of 10: 6.5
Review by Tracey L
Untaymed
IV
Band Line-Up: Chris Jacobson-vocals, guitar & bass; Don Anderson-drums
Stand Out Tracks: “Goodbye” “Desperate Heart”
Possessing complete control over his vocal abilities, singer/guitarist/songwriter Chris Jacobson delivers note after note of fierce, yet melodic tunes that implicate early Queensryche, Judas Priest and Stryper as possible influences on this six-song sampler created near Saratoga Springs, NY.
The opening scream on “Can’t Kill Me” sounds like Rob Halford having his way with Geoff Tate! (sorry for that disturbing visual). But it’s meant as a complement…really!
“Last Time” has a Dream Theatre/Savatage edge to it. “Desperate Heart” points straight back to the first Queensryche release with a hint of Malmsteen inspired guitar shredding at the solo. “Goodbye” closely resembles a Stryper tune- minus the religious over-tones.
Chris also has the perfect pipes to front a side project called British Steel (a Judas Priest tribute). Not many can come close to touching Halfords range, but I can tell you first hand, Chris does a goddamn impressive job. Having done many CD reviews, I can attest to the fact that killer vocalists are hard to come by and Jacobson is pretty close to flawless.
The next ‘Untaymed’ disk, entitled “The Sniper” is already underway and is slated to be done by this Fall. I, for one, can’t wait to get it into my CD player.
Visit the bands web-site at : www.untaymedmusic.com
Rating out of 10: 7.5
Review By Tracey L
Those Charming Bastards
To Hell with Rock ‘n Roll
Band Line-Up: Steve Stavros-guitars,drums, vocals, Jim Makowski-guitars,vocals, George Banas-bass & vocals
Stand-Out Tracks: Chitter Chatter, What Might Have Been, Kiss It & Make It Better
I Need Your Money
When I first listened to this disk my initial reaction was Happy Days meets the Ramones.
The person who gave me this disk said, “Well that description won’t make them too happy!” But I meant no disrespect whatsoever. The songs have great hooks and the production is quality. There is a marked punk aspect on the majority of the record, and I couldn’t shake this vision of Joey Ramone jamming with Potsy, Ralph and Richie down at Arnolds, especially on the tracks “That’s What Love Can Do” “La La Girl” and “Apart at the Seams.”
Sharing equal grooves, are the clean-cut rock riffs that border on the early NY City glam scene and even a touch of 80’s hair metal, most apparent on the tunes “Fascination” and “Partners In Crime.”
“What Might Have Been” replicates some classic Joan Jett melodies and “I Need Your Money” runs along the lines of the Canadian pop band ‘The Pursuit of Happiness.’
Combining lyrical satire and thirty-something angst, wisdom, experiences, whatever you wanna call it, this 3-man outfit, hailing from the NYC/Connecticut vicinity is sure to make you feel all warm inside, ya know, kinda like a big plate of Polish Kielbasa (or at the very least, like a passionate kiss shared by Pinky Tuscadero and the Fonz), and if the songs don't bring a smile to your face, you're sure to get a good belly laugh from the liner notes on the CD and when you visit the band's website at: www.charmingbastards.com
Review by Tracey L.
Rating out of 10:7.5
KID EGO
Ignite the Tide
Band Line-up: Zakk Taylor-lead vocal; Birdy-guitars & vocals; Phil Morfitt-guitar; Rookie-bass; Niki Miller-drums
Stand-Out Tracks: Deathrow, Flirtin with Suicide, Til I Die, Heartbreak Hooker, Sweet Bectoria
I have a soft spot for guys in eyeliner, and Kid Ego puts it on nice & thick! Seeing as how these young lads from the UK were most likely just a gleam in their Daddy’s eye during the early 80’s, they must’ve done their homework. They capture the sound, the look, the energy and the charisma of early Motley Crue, Aerosmith, Gn’R, Skid Row and Def Leppard all rolled into one guitar driven collection of straight ahead rock songs, with a sheer black veil of metal and punk draped over a few of the 12 tracks.
Although Zakk’s voice is pretty gritty and powerful, the vocals seem a bit buried at times. You will find a fine guitar solo half way through almost every song and if you visit their website at www.kidego.co.uk and watch the video for “Flirtin with Suicide” and tell me you don’t get that feeling of deja’vu watching drummer Niki Miller, then you’ve burnt too many brain cells baby, cause he is the spitting image of an 18 year old Tommy Lee. However apparent their influences may be, this band definitely possesses their own sound and style and will stick to your shoe like a piece of bubble gum that you can only scrape off with a razor blade.
Review by Tracey L.
Rating out of 10:7
TEENAGE CASKET COMPANY
Dial It Up
Band Line up: Jamie Delerict -vocals and guitar, Rob Wylde -vocals and guitar, Rob Lane-bass and Mike Hollinshead on drums.
Stand Out Tracks: Bad Girl, Dial it Up, Down on Luck, Beautiful
A well-produced journey through 70’s and 80’s power pop that takes the listener back to a time of innocence and coming of age especially on tracks like “Beautiful”, “Down on Luck” and “Hell to Pay.” Some contain a shot of Poison (of the 80’s type), like the chorus of “Bad Girl” and definitely on “Down on Luck.” Also a little Goo Goo Dolls influence is detectable here and there.
“Another Part of Me” and “Dial it Up” offer more of a punk vibe, while sustaining a melodic edge.
Bassist Rob Lane, when dressed in full-on glam regalia, slightly resembles CC DeVille, but the look is complimented by an eerie Nikki Sixx psycho stare, that totally works for him. I like it when a band delivers the whole package: quality songs, a hot look and musicianship. These guys are creating a buzz and keeping on eye on their next move should be interesting and entertaining at the very least.
www.myspace.com/teenagecasketcompany
Rating out of 10: 7
Review by Tracey L.
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