Rock Circus CD Reviews

Ratings as by Gigz Giger a classic beyond recognition (five bones) beyond excellent (four bones) solid album (three bones) fair (two bones) pitifull (one bone)
Wicked Jones Supernatural Flesh Sonic Soul	There is something that sounds hauntingly familiar with Wicked Jones' Supernatural Flesh, and it's the fact that King's-X has already released this album-multiple times, and with many more creative variations. Guitarist Jason Sossoman sounds like a more naturally toned Ty Tabor, not as many as effects as the King's X master for his rhythm chops. Playing more bluesy-type leads in the songs on Supernatural Flesh. While, lead vocalist Gregoria D'Voldre may through a little thrash to his vocals, but sound hauntingly familiar to power-singer Doug Pinnick. Don't get me wrong, they're talented players, tight and all that, but fail to take their influence and reflect it in a more subtle manor. The band plays dangerously with a very familiar sound, and may pay the price when trying to acquire new fans because of this X-factor .
Social Code Rock 'N' Roll Fifth Season	Now here's a band that seems to breathe the fire that's procured from the belly of the beast. Canadian-rockers Social Code are a hard-rock outfit that seems to be generating a strong buzz with their heartfelt, gut-felt second-set titled Rock 'N' Roll. You don't want to sound cliche‘ when you title your album with a moniker that could very well presumed to be an industry platitude. Also, most noteworthy, is the power-lunged crooning of Travis Nesbit's vocal contributions. This northern-cat has got a set of pipes on him that'd echo from mountain-tops all day long. His imperious conviction in the album's opener-the title track- is tantalizing, masculine and invoking as Morgan Gies' soft acoustic guitar plays out as a new anthem, for a new decade of fantastic music. This album announces that real-rock is back, and it doesn't have any of that American Idol bullshit in it's main-ingredients at all. The obvious first track to be promoted is the up-your-girl's-skirt rocker, "Satisfied." It's got that big-hook guitars sound with dirty bending leads, and the sentiment of all the that's insalubrious of a quick relationship. This rowdy quintet likes females and holds nothing back in the pursuit of them through their particular take on hard rock. "Fight For Love" is another amped-up, fist shaking piece that'll have all the girls dancing during a Social Code set. While "Too Late For Tomorrow" start's off with a tough seventies vibe that transforms into one of those good-time, sing-a-long song's that all your friends will dig. It feels like the movies.This band has a formula that seems to work extremely well for them, and the course is all ready foreseen for the five from the upper-continent.
Code Orange Kids self-titled full-length/ Winter Tour Demo '09 Boat Records	Now here's a group of kids from Pittsburgh, Pennsylvania that are unsigned, extremely adroit and have got their "riot" act well organized. Code Orange Kids intertwine all that's reckless about great punk and all that's heavy in rebellious rock. Their language is course, not mixing their words with any bullshit that you can tend to find in many other young bands today. Lead vocalist/drummer Jami spews his lyrics as wildly as he attacks his drum kit, and that's like great balls of fire that are falling to the earth. The rest of the band (Greg, guitar/vocals; Reba, bass/vocal; Eric, guitar/vocals) punch out chords that are sharp, tight and concise. While not producing something repetitive of those parameters. COK's takes many musical definitions like different values of individual words in the dictionary, really defining a quite hopping mad sound. For not having a famous producer these punk rockers also really prove to be prolifically instinctive when in the studio. The fast-flickering 'Burgh quartet's lyrics are as pummeling-over-the-head as there vivacious, temperamental hard-punkin' sound. With titles like "Fuck Henry Frick" and "They Gased 'Em," their brute sentiment is is quite obvious with each blistering transcendence on the album. That's why COK will catch plenty of peoples attention with each promotion of their materials and performances. Maybe, just maybe, some big, independent label record-exec's ears. It's also quite refreshing to see and hear a good drummer that can pull-off excellent vocal capabilities (which are a shared responsibility amongst band members), along with great polemic beats, and that vocalist/drummer is simply known as Jami, and he does so it with great paramountcy. The Winter Demo '09 displays in such a short time, how the straight-edged COK's have developed their writing process to a new level, and hold nothing back with every unabashed note. Wether that be the contrast of low-end punches of the bass by Reba Meyrs, or the fiercely sharp guitar blows by Greg Kern and Eric Balderose. This is instantly recognized within four barres of "Head High, Skull Thick." Their passion should send tingles down the growing-number-of-enthusiasts spines everywhere. This is a band that quite possibly reach the same level as Pittsburgh's Anti-Flag if they keep up the same pace as in exchange between their last two releases.
Jimi Hendrix Valleys Of Neptune Experience Hendrix/Legacy	Now, how can a major music magazine that claims James Marshall Hendrix to be the greatest guitarist of all time, and then only give the luxioriously tracked Valleys Of Neptune, a lukewarm review? That's exactly what Rolling Stone has done. Sorry RS, he's not Lady Gaga, or any of that other pop confection you mostly promote, and adulate. One critic-no names mentioned- in a major city newspaper, only gave Valleys... two and a half stars. That critic needs publicly flogged! Valleys Of Neptune is as close as to the euphoric-vision that Hendrix had probably intended and imagined. Especially, with the ears of Eddie Kramer at the control-board helm. Unlike the hack-job Alan Douglas did on 95's Voodoo Soup, longtime Hendrix family associate John McDermont, Jimi's sister Janie and the aforementioned Kramer poured their hearts into this effort. So vivacious, that you think Jimi Hendrix is still with us and recording. The alternate takes on cuts like "Stone Free" (minus cowbell), "Fire" and "Red House" are so personal on a level that only a true Jimi Hendrix fan could ever appreciate the subtle genius. It's also very cool to hear the little things on the tracks, like Mitch Mitchell's alternate drum accents on "Fire." The title track has that hip, swaggering, guitar-groove of that day, and Jimi's voice is so free and uninhibited as it intermingles with the lush, chording structure that is the title cut. The re-make of Elmore James' "Bleeding Heart" is the most lively ever put down on two-inch tape. The fast shuffle of the tune, the super-fuzzed out leads-that bleed that Strat-are easily discernible as a true Jimi moment from these lost studio recordings. The ominous, back-roads blues feel on "Hear My Train A Comin'" is an insight of were the guitar virtuoso's mind was gearing towards creatively. It serves as an excellent pre-cursor to Hendrix's Band Of Gypsies. He makes more love to his guitar than any woman he's ever slept with, at any given time. He was that potent on his instrument. It's not often that you get to hear a new cut like "Lullaby For The Summer," which is an instrumental piece that has got the legendary guitarist shining from the grave. The leads are brilliantly melodic, but so free-flowing. The way Hendrix plays his counterparts to Mitchell's and bassist Noel Redding's beats are so extraordinarily well-defined. That's what has captivated listeners of the guitar god for four decades now, for that very element. "Lover Man" is another balls-out, jam-out blues number which is meaner than any blues dive than Hendrix ever played. Jimi's great respect for Eric Calpton is quite obvious by the cover of The Cream's "Sunshine Of Your Love." It's a shame Clapton didn't hold to that sentiment that Hendrix had respected and loved. But, Jimi speeds the tempo up on this one, and makes it more jam-oriented with brilliant lead-guitar work where the ever-so-familiar lyrics would be. Bottom Line: This valid and quite relevant Jimi Hendrix release maybe more influential that when he was alive. For the shear fact that some many more types of people are influenced by the Hendrix legacy, than just those hippie freakin' sellouts of 1969... Exactly where Jimi Hendrix's head was in that time and space during The Experience's last breath. Definitely the soundtrack for the summer of '010!
Bison BC Dark Ages Metal Blade	There's a loud rumbling coming from the great northern territory, and it's neither earthquake or volcanic eruption, but the assertive thump of Bison BC. It seems like the dark age again, and the Vancouver-based band christens this new era of mayhem with their latest offering Dark Ages. Bison's second effort on Metal Blade is a brilliantly climatic event. The way Dan And, James Farwell and Masa Anzai (bass) climb scales together is tremendous, simply put. They grab that open chord on a down-tuned instrument, and then jump in all different directions, like a big flame that flickers and dances in heavy winds. Dark Ages opens up with "Stressed Elephant," which sounds equivalent to a synchronous stampede of pachyderms. The dancing guitar parts that open the song accompanied by french horn and trumpets play lightly, and then segue into a fever-inducing, riff-off amongst band members. The eight minutes-plus of "Melody, This Is For You" further amends the bands sentiment of writing radio-timed songs. The crescendo-us build of this "beast" of a track fights like to big snow cats that start off circling each other. "Two-Day Booze" starts out with some interesting pull-offs that are quite transfixing to the mind's ears. Also, this really displays the doom metal prowess of the BC band. Farwell spits with venomous intent, " Standing at the dawn, watching the end/ Of beauty, identity, immunity/ The end is something to live for/ Vancouver's an empty bottle....Two-Day Booze, works a faster fuse." A surprising reprise of "Wendigo's Pt. 1 "and "Pt. 2" from Quiet Earth, and further laments to Dark Ages with "Wendigo Pt. 3 (Let Him Burn)," which opens with a subtle acoustic passage that transitions to a heavy-laiden piece. One has to wonder what inspired the title for "Take The Next Exit." The meticulously timed bursts that proliferate from the speaker system are astounding. Bison BC's is a band whose stock is going to be rapidly rising. Bottom Line: Bottom Line: This will be one of the best band's that you've never heard of, and once you do, you will ready the new dark ages accordingly...
Blestenation MBugout City Suburban Noize	What do you get on the new disc MBugout City? The most knocking of the hard rock riffs and hooks, mixed up with some intransigent, streetwise rap that are the basis of the stew being cooked up by team Blestenation. Well, maybe add a little surreal eighties sounding synths in with them beef and potatoes. This is a winning combo for the members of this big apple based band. Frontman Werdplay, has got a swift tongue, as proven on Blestenations's debut Left For Dead, but he and his co-horts FAFU (turntables/production) and Various apply all of their conscious to his latest consignment of words on MBugout City. Putting the spin out that most rap is from a drug dealer's perspective, this is from the buyers point of view. Being down and out, taken to the brink of your jones and a need for mad cash, and for big dreams with a big buzz, while trying to keep your sanity all awhile. Now you might think you've heard this all before with acts like Kid Rock, Everlast, Ice T and Body Count, but don't dismiss Blestenation just yet. These cats are working with a completely different palette of a different paradigm. The opening cut, "We'll Die" is the first single and video from this project, and with good reason. It's a tight, hard and choppy-bated cut that just sucks you up quicker than a coke-head on the first line of the night. Only, no cocaine is needed to feel this adrenal rush, just a good set of ears, baby. The following fifteen tracks are a brutal look into the future of chaos and disorder. Just check-out the snap to "Witness," there's enough power there to fuel a small army and maintain. The acid-bubbling acoustic of "Blackout" combined with the more subtle approach to throwing down rhymes, plays out like some strange dream produced by an oracle in your head. "Simmer Down" is another breakthrough track that is taking hip-rock to a new inventive level. An esoteric agenda that is the derivative of great societal awakening that things are as bad as they appear, and that we better get our acts together, quick-like. A sick ride on a very demented carousel is the vibe taken from "They're Coming For You," which rolls adeptly into the tough taps of the sneaky "Make Way." There are so many factors of sound that have been incorporated in the NYC trio's collective effort that they leave for not one dull moment on MBugout City, and may just raise the barre for the cast of this hip-hop nation. Bottom Line: This is the latest and greatest stuff popping on the underground. It's highly recommended you jump on this bandwagon on the ground floor-while it's still there- and ride it all the way to the top with the boyz of Blestenation.
Them Crooked Vultures self-tited DGC/Interscope	Question: What do you get when three icons from hard rock's biggest names-that span two generations of influence-converge together? That product, will soon become to be known as Them Crooked Vultures. The members of TCV are: John Paul Jones (bassists of the mighty Zep), Dave Grohl (drummer Nirvana/Foo Fighters fame) and Josh Homme (guitarist/vocalist, Kyuss/Queens Of The Stone Age/Eagles Of Death Metal). So, there should be quite a bit of excitement for hard-rock music fans everywhere over the release of this highly-anticipated release, and rightfully so. The day it was released, most Best Buys sold out by dinner-time. (That's not bad considering the internet piracy and digi-thievery that goes on these days.) On top of it all, Them Crooked Vultures is quite an eclectic line-up to say the least. Adding the fact that they're a super-supergroup. The music's infusion of variable influences allows for a mix that's captivatingly astounding-to say the least. The works of this line-up defy the rock radio formula for songs that are three-minutes, forty-two seconds. Most song's playtime average five-minutes. TCV allows for each song to breathe, and there isn't any suffocation, of suppression of the music. Change-up's in each track of this self-titled are extreme and prolifically radical. Homme and Grohl exchange vocals very complimentary to each other's style. There's a rather un-orthadox approach to the multiple slide-guitar tracks by Mr. Jones that permeate this collaboration. Adding Grohl's irreverent and abashed operandi on the drum-kit, makes for some very interesting time signatures and change-ups. This is some of the famed drummers most creative work on the kit since the Nirvana days. Unify those two aspects with legendary John Paul Jones hulking, hard-hitting bass-riffs, and you've got perfectionism. The rock-crowned trio is tight, but loose allowing for the listener to become lost in the mix. This self-produced works proves this a group of men that are no novices around very expensive recording equipment either. Now let's get into some of the phenomenal cuts of music on this release.This disc opens with the andantino-timed "No One Loves Me & Nether Do I." The slower-beat reverberates nicely with Homme's sultry and mesmerizing vocals. Those aforementioned song change-ups are easily audible within half the time of the track. Instantly offset by the next race-car-tempo number, "Mind Eraser, No Chaser." Which begins with big E-string bends through a wah-wah pedal, that has got harder bends than an upside-down stripper on a pole-that's workin' it! If you know what I mean. "Scumbag Blues" starts out sounding as if possessed by the legendary Cream's ghost, but transcends into an almost Zeppelin-sounding thing in the lead parts with Jones playing on some lavishly funky keys on the Hammond. "Reptiles" is a toxic, hard driving piece that has Jones and Homme exchanging some exotic rhythmic chops. What more can one say about entertainingly titled "Interlude With Ludes," it sound very drug-induced. There's a subtle intensity to "Caligulove," the mad keyboards, the buzzing guitars, the xylophone (?) allow for some extraordinary listening. There's over a seven-minute ride on album's coda song "Spinning In Daffodils." Opening with some classical piano and quickly turning into a quixotic, stony-riffed rocker. Enough Good things can not be said about the debut from Them Crooked Vultures. Bottom Line: This is one serious, iconoclastic, rock collaboration that is a must-have for any Foo Fighters, Led Zeppelin, QOTSA fan! Mainly because it's made from some of the best talent you've ever known in the rock world.
Kottonmouth Kings Hidden Stash 4-20 Suburban Noize/SRH	It'd be interesting to see where all those critics are now that disrespected the OC's Kottonmouth Kings. Coming up with childish names in the early-days for a band in last fifteen years that has lit the underground on fire, maintained the underground and continued growing it, building two record labels and one successful line of clothing that's distributed worldwide, babies! That confidence, the King's transmit into multi-dimensional layer's on their latest double joint, Hidden Stash 4-20. Add a free dvd (Lost Adventures: King's Videos and the usual hi-jinx) when you buy the Best Buy release, and you've got one hell of a "phatty" to smoke on.The discs contain 25 new crops and 15 from the King's "stash" of recordings. The detractors have been served-repeatedly, and can go back under the rock from which they've crawled out from. Hidden Stash 4-20 is a continuation of the celebration that's been going on for fifteen years now, and it's cuts are the dopest of the dope. Additionally, many of the Sub Noize Family members are featured on HS 420, and this deeply adds to the value of these recordings. DISC 1 The acoustic and harmonically lush "Can Anybody Hear Me" will be great to listen to while chilling on the beach at night. It'll be the ultimate sing-along song in 2010.It'd be great to have a video joint for this cut. Judge D shows up on the track "Take A Ride," which is smooth rip that leans hard to the King's hip-hop influence, as many of the tracks do on this fast-selling release. Johhny Richter takes the spotlight in the first single and video "Evolution." Richter conveys his life-long story of his dealings with his Mary Jane, and his smooth mellifluous voice makes for one hazed listen. D-Loc grabs the reigns on his self-tribute, "D id Who I B," and it grooves with a psyche-hop type deal. This a rapper that is greatly underestimated peers, and really is one of the best "white boy" rappers around these days. When he and Richter combine forces in Kingspade that connotation is double as heard in "Got It, Get It." "Stoner Bitch Featuring Potluck" attacks a harder edge lyrically, and may one skip over if the kids are around, but it is a funny and entertaining track don't get me wrong. It's a great track to have golden copulations while playing it. Ride that beat, for real! The melancholic "Lookin' Out My Window," exhibits that the KK's are a very grounded and humble band, that can really relate with their myriads of fans. "This Is For You (Featuring Judge D And The Dirtball)" is a tips their chalices to all the peoples that are unnecessarily imprisoned, or arrested hourly for the innocent possession of cannabis. Another hellacious cut is "Purple Smoke Featuring Judge D." The upbeat synth-funk will be great to play for those major "sessions" with friends and family. Another formidable romp is the space-techno funk, "Adventures Of This." Your body will start bouncing and thriving on it's own, subconsciously! Disc one closes with a very soulful and positive ditty titled "Let The Music Play." After you listen to this one, you just may go directly out into the street and randomly hugging people, and in these days, that's not a bad thing-at all. DISC 2 Who knew you could use frontman of (Hed) PE, Jared Gomes voice as an instrument in the studio? His demonic squelches and powerful shrieks are quite prevalent on two cuts ( "Wind Me Up," "Get Up"), and definitely adds a new dimension to the King's sound. Big B checks in on a unique remix of We Three's "We Can Dance." Only the OC trixter's re-title the jam "We Can Smoke." It should be a huge request at all the most happening light-pulsating clubs around the world. Combining the popularity of the huge eighties hit with one big hit of some good dank. Pure musical genius! There's no shwag, no Reggie Miller being thrown down in "Problem Addict." The super-psycha-freaky track is paradigm why these social outcasts rule the underground world mercilessly. Their studio has no limitations, and their full vision is never unrealized when in artistically-creating-mode. The fifties sound that infiltrates "Miss Sound" has the double K's taking nostalgia, and re-winding that bitch with sounds for a new millennia. "No Future" is another socio-concious number that ponders the state of mankind, and looks for some positive notes out of all the chaos that's around us, offering hope. The media won't like that because they can't cash in on that shit! There's a certain type of sentiment on how the King's keep things from stagnating of the whole scene, and that is to "Keep It Movin'." Which, is a mega-mix of everything the OC's finest has learned in the studio during their smoke-hazed tenure. Bottom Line: With forty new cutz properly cured: It's going to be a very "green" Christmas this year with this intense triple-shot of entertainment from the stoner-mighty Cottonmouth Kings!
Ventana American Survival Guide Vol. 1 V Inc./Filthy Hands/Trustkill	Where acts like Marilyn Manson and Rob Zombie have "dropped the ball" on writing great industrial-metal (mostly to appease their prima-donna record labels), Cleveland, Ohio's Ventana picks that bitch up, and runs like a crazed-child with that notion. The chops are real chops, and the pork is the thick gristly kind that sizzles nicely over a slow flame. Or, at any given moment, turns into the smell of gun-smoke and multiple canons shooting-off in unison. The digital wizardry may sound very familiar for some odd reason, because you've heard that in a little band called Mushroomhead. Rick "Stitch" Thomas brings a synthesized sounding orgy of samples and keys that have a revolution of visionary sound. Thomas serves as a vocalist in his secondary band. Mushroomhead drummer/producer Steve "Skinny" Felton extends his balance of sound on the mix, co-producing on American Survival Guide Vol. 1. Which illuminates Ventana as a culmination of multiple sub-genres melded together in a way that is going to excite many critics and music-heads alike, and emulates Mushroomhead in no way. The third cut in called "Stress Related" has a special cyber-driven quality that redefines standards for new music in this still very young millennium. It's like an army of men marching in overdrive with it's intensity. Best of all, their music follows no set formula. Allowing for the quartet to really explore and find new musical realm. "The Fallen Idol" is a dreamy, seductive song that has got the multi-facetly talented frontman Scott Beck barely singing over a whisper throughout the song's course. This guy can really stretch his vocal capabilities in all different directions. You may think they've got four vocalists when you check this one out. He's that versatile. No wonder they won the best Industrial/metal band by the highly-influential Scene Magazine. "Face To Face" is another powerfully, hard-cranking number that'll crush skulls with a surreal twist. Bottom Line: This is a band to watch out for while they're blowing up the under-ground with that unique Ventana pseudo-racket.
Saw VI (soundtrack) various artists Trustkill	It's been quite sometime since we've had an excellent movie soundtrack to match the equivalence of the movie. The Saw VI Soundtrack is just that, with special song's procured by most of the artists on this effort. A dedication-if you will- to the Saw empire that has spawned legions of dedicated fans. This is a disc that'll have you twitching with that tingle in your spine as you contort to the macabre-pulsed thriller. The heavyweights check in, cranking their amplifiers to ten and laying down one brutal soundtrack collectively. That little puppet's master would be real happy planning new demonic acts inspired by this one. On the cd's insert the song titles are in blocks of six, with a heading on each: 6 Chances, 6 Lessons, 6 Choices. That's some evil shit to mask this film with, soundtrack-wise. The collaboration begins with the hardcore ensemble "In Ashes They Shall Reap" by Connecticut's Hatebreed. They have really come into their prime as metalcore-crafters, and it is their time to rock the world. Frontman Jamie Jasta throws down some lyrics like well-timed, shattering bricks falling out of his mouth, bouncing off the ground in front of him. Cleveland's Mushroomhead contributes "Your Soul Is Mine," and if that track's any indication of what their new album is going to sound like, look the hell out! Guitarist Dave "Gravy" Felton whips out some awesome leads on this specially written-for-the-album number. He plays through a clean channel while the rest of his "masked men" push a sonic envelope that's pure wicked. Keyboardist Schmotz should do an album with Mike Oldfield-that be too scary for any movie! But it'd be twistedly brilliant I bet. Toronto's Danko Jones offers an interesting, and very catchy true-rock ditty ("Code Of The Rode") that shake jukeboxes across the country. It's got that timeless essence to it. One could only imagine-without seeing the movie-how Suicide Silence's "Genocide (Saw 6 Remix)" could play out to some murderous moment in the cult-followed movie without any visuals at all. It's easily understandable why the won the Revolver Magazine's Golden God Award for "Best New Talent" earlier this year. New York legends Type O Negative's "Dead Again" is an ambiguously refreshing cut that sticks to the brain like a Jigsaw-inspired torturous head clamp. That track segues nicely into Converge's "Dark Horse." Which, contradictorily rides out more like some bad-ass bull in some competition. Where the hell has the British band Nitzer Ebb been? They show up virtually out of nowhere on the Saw VI sound with one stellar creation. Other note-heavy performances that need mentioned are It Dies Today, Chimaira, The Flood, Every Time I Die, My My Misfire and Outbreak. The list goes on and on. If you buy it online, you'll acquire three bonus tracks that include Ventana's "Watch Us Burn." Although, having the tangible copy of the set is priceless with the fist/glove painting on the back cover by Tim Palen. Bottom Line: If you're a bona-fide heavy-metaling, hard rocker, you'll want to experience this soundtrack repetitively, before the dvd is released for the ocular sensation. Both mediums will achieve cult-status...at least until December 21, 2012! (Just hold on, it'll be the third age.)
Mower Make It A Double Suburban Noize	And so the members of Mower return with an almost-full-set of new material. Nine new songs including the hidden bonus track, and reaffirming this So Cal band is still making hard rock that's as solid as a valley of granite with Make It A Double. The dueling vocals of Brian Sheerin and Dominic Moscatello compare to two frenetic pitt bulls in a closely confined cage. The meaning of the aforementioned almost-full-set is not to be condescending in its use. Mower has taken six cuts of their previously released material, and re-worked them into a self described, "...jazz, lounge act versions." Astonishingly breathing new life into the classic Mower-fan-favorites. Hence, the title Make It A Double. The ambiguity of listening to, and enjoying "Road Rage" in a mellow context is not as difficult task as one might think. It really comes as natural as shitting for these San Diego cats. Which, is a feat in itself. Some of the other re-writes include "Pieces," "Faded" and "Shut Up And Skate." To hear Sheerin and Moscatello harmonizing, "How many days will you wear that independent shirt?" may invoke you to buy a pair of silk punk pajamas, and a satin housecoat. The first video-and first track off the album-"The Party" starts with that infamous slap-bass technique of bassist Chris McCredie instantaneously summons you to the San Diego band's mantra, and should go over exceedingly well live. As well as, the rest of the tracks. The second one inward titled, "Wolves" is a high-speed number that's got the ferocity of a tank with two high-performance engines gunning double out. And this is attributed partially to Greg Russell's sharp, chunked-out chording guitar work. This is really the quintessence of Mower's method of operation in creating sound. A very sonic vision indeed and formidable guitar player. "The Song We Don't Speak Of" is a play on words for the evil we don't speak of, and is basically about the ignorance of what supposed good people hide behind in that sick place in their mind and calls them out on it, "You would you die for your beliefs? Fight, prove it!...I don't believe you live your life as peaceful as you preach/ the suffering that you have kicked on those that don't believe." Throw some bass-lines behind that via the rhythm section, and you've got some very powerful verse and song. While, "Escaped" pushes the limits of these chic hard rockers to a new twilight of their maniacal manifesto. The twisting-riffed guitar, the expeditious drum changes, the trenchant vocals and the voice talking in a deep backtrack are substance to back that claim. Bottom line: No matter what kind of mood you're in, or day you're having (shitty, even shittier) the two styles of this Mower disc-download-will assist you through the day with one serious-ass-crutch!
Three Days Grace Life Starts Now RCA/Jive	This rock-gyrating unit from Toronto, Canada steps up their game-greatly- for their third release courtesy of Jive Records. Frontman/guitarist Adam Grontier cites listening to classic rock acts like Led Zeppelin and Black Sabbath while they were in pre-production for the newest offering. The stuff that made them want to pick up instruments and really rock-hard. That influence is easily discernible within an infamous four-count into Life Starts Now. The chording structures are hard and chunkier than a bucket of bridge bolts. In about half the tracks (other tracks detract from these developments relying heavily on the pop-factor). They seem to fire their instruments off from the hip, hence the "gyrating" reference. The second-time employment, and careful-ear of producer Howard Benson fosters a dynamic element that is not the formulation for other commercially savvy rock bands. But, works in leaps and bounds for this product created by the great-northern rockers. Newcomer and lead guitarist Barry Stock amends the sound with that fresh edge that the band may has lacked before. They've always been solid song-strists , don't get me wrong. But Stock brings that element to the group that could blast them off to Titan. Also, giving the ballads on Life Starts Now a new life-that chics will dig. Their previous release One-X went platinum on that factor alone. Three exemplary cuts where TDG manifests their new-found song fortification are the hard and lemony "Bitter Taste," the robust, encompassing "The Good Life" and the shovel-trodden "Going Down." There's a lot of pain in the tracks as well. The poignant moments recorded reflect the many personal situations that this group has had to deal with from the point of their last release through the pre-roduction process of this album. Many people will relate to these tracks and a few good radio hits should be in store for the future. Obviously with the first single to ship out "Break." Which, is a yarn about overcoming the dire experiences that this band has endured over the last couple of years. They've must of broken some ties by the song's mantra. "Lost In You" is definitely a track that'll have the chics reeling towards the stage, because of it's rock ballad approach. Another soft track, "No More" opens with a very familiar sounding harmonics that busts into a well-hooked chorus. Another possible radio track. The ballads are starting sound a little thin by the time you roll-up on the cut "Last To Know," and that'll lose your group a half a star. Perhaps the next recording session we could get a little less fluff, because Life Starts Now anyway, right?! Bottom line: This is an excellent boyfriend/girlfriend album. Because it'll appease both with the split of song-styles, and who knows, the two of you might even get a good "our-song-for-the-moment" with this tertiary release from Three Days Grace.
Alice in Chains Black Gives Way To Blue Virgin/EMI	It's been quite some time since the members of Seattle's infamous Alice In Chains have stepped into a studio together (The last time is when they recorded two songs together with now deceased singer Layne Staley, which ended up on the comprehensive box set Music Bank. Staley's use of hard drugs lead to his ultimate, self-predicted melancholic demise). This event has been highly speculated since the re-union concerts the band had put together for a benefit for the tsunami victims. After the first listen through Black Gives Way To Blue, it is easily discernible that Alice is back, and back with a tsunami-sized vengeance. Miraculously, lead guitarist and lead vocalist Jerry Cantrell has found another frontman that effortlessly fills Staley's dust-covered shoes, and that powerhouse is a cat named William DuVall. Cantrell and Duvall harmonize together stupendously. The group sounds as if they haven't missed a lick, or beat since the release of their last self-titled studio album in 1996. Black Gives Way To Blue sounds like a natural progression in AIC's record catalogue, and will definitely reinvigorate the "long-forgotten fans" enthusiasm. The talent of the band in creative mode is just as productive and sound-pleasing as ever. Continuing to make a dirty-metal that is quite relevant-to-the-times, and no, it's not a Layne Staley tribute album (Cantrell worked-out those demons on his solo albums). It's more of a re-birthing and celebration of a new era for the group. Quite clear on the first slowly-picked, diminished chords of "All Secrets Known." The first video and second single, "Check My Brain" will catch the many of the unassuming' attention with Cantrell's perfectly executed dive-bombing, whammy-barre riff that opens the cut. Which, should spawn many new fans as well, with all of the current medial promotions of "Check My Brain." The cut also makes way for a nice segue into the drop-D tuned chug of "Last Of My Kind." The distorted, choppy hum of this track compares to some sort of crazed-space-ride that permeates in the twilight of the brain. Cantrell and company procure that subtle pummel that's embodied so much of their music career. Another stand-out performance on Black... is the two-faced manifestation on "Acid Bubble." Starting out with that ominous, soft musical side and then transforms into something so heavy it smacks you like a posse' of bodyguards in the back of some dive-bar. "Private Hell's" crescendo to the chorus is some very heart-felt shit. Very vocally ambient. Probably a cathartic formula by the band to release those last demons felt by Staley's loss. DuVall also proves himself as a solid contributer of material on several of the tracks on the album with Cantrell. Co-penning the aforementioned "Last Of My Kind," and the heavily vocally embedded "Last Of My Kind." It will be quite interesting to see how the Cantrell/DuVall partnership will mature to new apogee over time. Bassist Sean Kinney and drummer Michael Inez also serve up those exotically heavy tempos that they're well-known for, and seem to be very comfortable with the "new guy." This evident by the passion that pours out from their recent studio sessions. The last cut on the disc, which is the title-cut has got some serious clout to it with piano-work by Sir Elton John himself. That piano-piece Sir Elton wrote in the studio one day, with Cantrell sitting in the wings. This is what really inspired him to start the process of writing material for the Seattle mega-group again, and hence Black Gives Way To Blue. Bottom line: This is an album that should transcend the many metal/hard rock fan genre and any generational gap there may be, and hold it's place as high as any prior Alice In Chain effort.
Brokencyde I'm Not A Fan..But The Kids Like It! Break Silence/Suburban Noize	This band is being scrutinized and scorned by critics in reviews. And many pejorative metaphor have been used. I would just like to simply punish and torture them in a way that they would understand as musician. "How is that," you ask? These guys should have too take a hit of window-pane acid, and be made to listen to I'm Not A Fan... But The Kids Like It until they have a nervous breakdowns, or meltdowns. Whichever comes first. (Unlike the time, I took seven hits of strawberry mescaline and watched Led Zeppelin's The Song Remains The Same over and over for fourteen hours: Great Trip!) It's everything that is wrong with mass produced american culture, and the "consumer-idealsism" that are ensconced upon them by major media. It's for kids that think they have moved beyond band like The Jonas Brothers. And, that is probably why Brokencyde is probably so popular with kids because, it's a step beyond the commercial crap they're exploited to on a daily basis. And, their teen-age mentality induced lyrics are part of the reason why the band's is sound and imagery is quite lacking. With title's like "Tipsy," "Booty Call," "I'm Sorry" and "Freaxxx," you can surely see what I'm talking about. Brokencyce self-proclaimingly calls themselves a "crunk" band. Most critics would agree that "crunk" would be a combination of the words of c-r-a-p and j-u-n-k noise too their ears. As it was to mine. They could probably get more people to pay them not to record another album, than to do so.
Clutch Strange Cousins From The West Weathermaker Music	On Clutch's first studio release on Weathermaker Music (their new label), the fantastic four from Germantown, Maryland produce another-relevant to the times-magnum opus! Neil Fallon's superlative command of his rough-sounding syntax proves to be the throat that moves life-like a sub-cultures movie. On their ninth studio release there is a new coalescent hybrid of Germantown's stoner rock, blues funk influences. While, stripping down their sound a little more than previous albums(no keys, or harp). Guitarist Tim Sult whips-out many heavy, groove-oriented riffs that are overdubbed by psychedelic blues-infected leads with single-note swelling bends that fall short of just snapping those strings. He's always been a solid player, and greatly neglected in all the "posh" rock music publications of today. As well as, the rest of Clutch. Drummer Jean-Paul Gaster is really a defining and off-setting element to the band. His rolling, syncopated drumbeats authoritatively define the foursomes sound uniqueness on a whole. Surprisingly, Strange Cousins From The West's opener, "Motherless Child" starts with a cool slide on a lap-steel guitar. Then works up instantly in to a frenzied tough-driving number. And, Fallon's perfectly seasoned vocal and reciprocation with those vocals makes for some of Clutch's most mature work to date. The first single and video "50,000 Unstoppable Watts," seems to be a big middle finger from the band to the commercial radio stations in this country with its sarcastic opening verse, "Airstreams tethered together like silver sleeping oxen/All the best locations are located on the margins/Suited for telescoping the interstellar scene" and the the chorus busts, "Anthrax, ham radio, and liquor." For the success and empire Clutch has built on their own, it's easily recognized this band has been shunned. Particularly, because of the nine albums of excellent material that has never made many of those airwaves to date. The video for the aforementioned track is also a great vid that is quite enjoyable to watch. "Abraham Lincoln" is a really different blues/rock direction for the band. Recounting the assassination of the sixteenth president in such poignant demeanor. And boldly, calling John Wilkes Boothe a coward, and rightfully so. The music that accompanies this cut is a dawdling, spacey blues-funk. The sharp, incisive blues notes of "Let A Poor Man Be," exhibits the new horizons Clutch has elevated their focus on song-crafting. And on the other hand, "Sleestak Lightning" is more of a cascading, upbeat type song with short pithy measures of back-riffing guitars. Should be a favorite amongst fans old and new. SCFTW is the most comprehensive artwork Clutch has ever done for an album. You can't get artwork this cool with a digital download. It's literally like a child's story book with the elaborate pop-ups. Once again, major kudos to artist Nick Lakiotes. He really adds an artistic dimension to Clutch and their cryptic mysticism that have always made them a one-of-a-kind act.
Devil Driver Pray For Villains Roadrunner	It seems to be another extraordinary year for metal releases. A true heavy metal resurgence hasn't been seen since the since the early eighties, by the visionaries that recorded and played hard and fast. And, really meant it. Before it became the hair and make-up freak show that it became. But, DevilDriver seem to be riding this wave of the new shit full blast and producing another thrashing masterpiece. Guitar shredding (Jeff Kendrick, Mike Spreitzer) , double-bass machine-gun-drumming (John Boeklin), vocals that resonate loudly with the music are back! I wondered how long it would take to catch-on with the kids. (Ozzfest was beginning to look like a senior-citizens day at a Woodstock reunion of some sort. But, Mayhem Festival has blown-up since beginning just last year.) But the genre is back, and back in a massive way. Lead throat Dez Fefara pushes the envelope of his boundaries with great success on this senior effort by he and the members of DevilDriver. Fefara's verbal libretto is unforbearing and devilishly wicked. Listen to Pray For Villains kick-off title track. The video is wicked-as-hell as well. The simplistic approach of lively band shots mixed with a slight nuance of digital technology makes for a great piece of media. Then they can flip-it into a whole other animal like with the slight prog influence during the bridge in "Pure Sincerity." The lead guitar-work isn't the huge break it once was, but in nu-metal flows more with the music's personality. For example, the sweeping arpeggios that ride with the rhythm-guitar tracks in "Resurrection Blvd." as the meat of the song are exemplary definitions of thrash metal today: The solo's match the music perfectly, and quite enthusiastically. "Forgiveness Is A Six Gun" is another cut that really lashes out from the speakers. The dark, Pantera-esque single-note, picked chords which, explode into a huge hook and bend that's quite a wrathful ride. The tacet-ing clean guitar solo that co-occcur with, and throughout the song displays how much DevilDriver has grown on their fourth full-length release as metallic forgers they've become. "Back With A Vengeance" is another track that has also got that "extra-something" that really delivers an unrepeatable experience when listening to this Santa Barbara-based group. Other highlights of this release include the thrashing "Fate Stepped In," the monster-stomp of "I've Been Sober" and the sonic-pulsating of "I See Belief." ...Villains is the quintet's most visceral, and luminous effort to date. And, will go down as one of the better metal albums of 2009. Hopefully, awakening many unknowing sleeping-heads, and propelling DD to new level of well-deserved fame. The special-edition release Pray For Villains contains four extra tracks ("Self Affliction," "Dust By Destiny," "Damning The Heavens" and "Wasted Years"), and comes with different artwork than the standard release. A behind- the scenes look at the making Pray For Villains is also accompanied on DVD. A must-have for you hardcore metal-maniacs!
Volbeat Guitar Gangsters & Cadillac Blood Mascott	It's refreshing to hear the hard-rockin', borderline-metal band, Volbeat stealing subtle nuance of country and incorporating it into their music. As opposed to country music's blatant stealing of rock and roll, and sticking some commercial cowboy with a Kenny Chesney-sounding voice in front of it all. Absolutely sour goat-cheese! But, back to Denmark's darlings, they also subtlety steal a little punk, ska and some rock-a-billy, and infuse it into that big-rock-making machine of theirs, for a result that is simply put, sensational. Frontman/guitarist Michael Paulsen has been hailed by many critics as the "heavy metal Elvis." But, he's much deeper than that. Paulsen vocals emulate this masculine, macho-ness that's rarely heard in this day-and-age's rock bands. The melodic baritone of his voice reverberates with melodic thunder-if that's conceivable- pushing the envelope further on their latest release Guitar Gangsters & Cadillac Blood. The decorum of Volbeat’s artwork centers around the nostalgia of fifties gangster underground in comic book format. This danish band really have studied, and tuned into a lifestyle that has been all but forgotten in the US. And, the songs lyrics center around multiple tales of different aspects of this consigned-to-oblivion culture, that Paulsen spins so fluently. The fiery-vocaled frontman and secondary guitarist Thomas Bredahi construct a wall-of guitar sound that’s controlled as sharply as a razor. While, the rhythm section, bassist Anders Kjolholm and drummer Jon Larsen provide a bottom-line with an intensity of a wide open throttle of “Caddy” with 501 under the hood. This slick, greasy-haired band does a remake of the Hank Williams’ country classic, “I’m So Lonesome, I Could Cry.” Paulsen sites the Elvis Presley and Me First And The Gimme Gimme’s versions as the catalyst for Volbeat’s homage. And, believe me, it has no assimilation of the originally recorded version. Surprisingly, Volbeat has not tracked any of Elvis' music to date. I guess the "heavy-metal Elvis" critics are just going to have too wait. Guitar Gangsters & Cadillac Blood opens on a slight, cowboy, dobros and slide guitar on their album Intro "(End Of The Road)," then segues with a flash, and your off to the dane-races (so-to-speak) with the title-track. There's some killer double bass-drum beats throughout this fast-paced, driving set courtesy of drummer Jon Larson. He gives the band such a solid foundation, that's thriving and ferociously alive. Throw a bastion of guitars and bass (Anders Kjolholm) over that, and you've got the hottest act out of friggin' Denmark this year. Just have a listen of "Hallelujah Goat," Its pulsating, reverberation is all that stuff that great rock is made! And the ska-styled opening on "Still Counting" is the perfect match for the raucous that follows and will have concert halls jumping everywhere Volbeat plays. "Wild Rover Of Hell," "Find That Soul" "Back To Prom" are tracks you might like to hit an open stretch of highway with one of those new Dodge Challengers open full-throttle. Or, it's equivalent. Every track of GG & CB has got an an-thematic type song-structure that should have their junior effort seeking gold-maybe platinum-on a international level. The danish band's sounds is nostalgic of the time when men were real men(tough), and women were real women(compassionate). And, when the two were together, it was quite harmonious. That not being such a bad thing, either. Men an woman dancing together hard, in the old rock hall. Lipstick, high-heels and the smell of whiskey and beer and rollicking good times. That's what I'm talking about! Bottom line: If you want to throw an ass-kickin' party on the deck, or boat this summer, and want to look like you know your new rock. Volbeat's Guitar Gangsters & Cadillac Blood will having you looking quite cool with your keen sense of new rock. And, wear plenty of hair-gel, baby!
Heaven and Hell The Devil You Know Rhino/Warner Bros	What's with the elder metal men producing their own albums these days? Just because they've been around studios their whole lives, doesn't mean they shouldn't forget that elements of what a great producer brings to a works. Such is the case with the latest Sabbath "dudes" release. Produced by vocalist Ronnie James Dio, guitarist Tony Iommi and bassist Terry "Geezer" Butler: The trio neglects the fact that it took the production tweaks by Martin Birch on those two original Black Sabbath albums (Heaven And Hell, Mob Rules) to make them quintessential and relevant too their time. Don't get me wrong though, this is a good release, but the hands of a great producer could have forged The Devil You Know into something superb. Something sounding more relevant to our times, and have kept it from sounding cliche, as it does at times (i.e. "Rock And Roll Angel"). And, the group of producers were much younger when they did Dehumanizer in '92. And, got to use and write under the Black Sabbath moniker as well. The two opening tracks ("Atom And Evil," "Fear")are the atypical of the previously mentioned quarry with The Devil... They are very slow-beat, and almost Melvins-sounding. It just doesn't work very well with this former Black Sabbath line-up. And Dio, trying to slow down his vocals doesn't really do the two cuts any real service either. The next cut,"Bible Black" brings this wicked crew back into their realm of musical domain. Heavy and sort-of fast. It's well-structured and has potential for classic rock air play. It's by far the best cut on the album. And, enthusiast should get-off on this power-blazer of a track with lighters highly risen and bouncing above their heads. Don't be fooled by the acoustic intro, the crescendo is orgasmic. Other outstanding tracks cuts include the heavy riffed "Eating The Cannibals," the dropped-tuned sludge of "Follow The Tears" and and the rapture-sounding thud of "Breaking Into Heaven." Like I said, its a "good release." But, will fall well short of many true-fans expectations.
The Number 12 Looks Like You Worse Than Alone Eyeball	Conversing with a few people in the industry, we've decided that the recording program Pro-Tools, helps ruin the music industry. "How is that," you ask? Well, overusing Pro-Tools gets away from the natural element of writing music. When you combine that theory with added teen-age-angst, whincing vocals , along with vocals that have that "trash" fixation as such does The Number 12 Looks Like You does on Worse Than Alone. What culminates is a cacophonous, shards of musical perspective that falls short of any disciplines. And, it's not that these guys are bad musicians, at all. They're a talented bunch of guys. But, just not song-structure wise. Additionally, Worse Than Alone's effects may cause A.D.D. to the unassuming listener. This may be trendy music to teenagers in pain, but will never sustain single footnote in the huge, ever-growing family history of rock and roll. The Number 12 throws some alternative fusion in to several of their numbers. Which, to reiterate displays a great deal of talent in this group. It's just severally misguided and lacks perspective of anything cohesive.
Eyes Set To Kill The World Outside BreakSilence/ Suburban Noize	Now here's a group that just busts their hump, touring and recording. All awhile, re-crafting their instrumentations, and re-focusing their sound to a level that proves Eyes Set To Kill is in it for the long-haul. The Phoenix-based group has grown legions beyond their debut, and come up with a big sound on The World Outside. Frontwoman, Alexia Rodriguez said she wanted the critics and fans alike to recognize the growth and maturity of the bands song-structuring. This is one critic and fan that makes that acknowledgment to her statement about their second release. And, major kudos to the group. Because it's easily discernible about thirty seconds into the first track on TWO that ESTK has elevated their song-crafting technique to an entirely different level. Rodriguez' vocals are powerful and seductive and may leave some men feeling emasculated. Because she's got some balls too, baby! She's a real tough one. And, her vocals are too. Guitarist/vocalist Brandon Anderson off-sets the domineering Rodriguez with a great sounding set of screaming pipes. He adds an elemental rawness that amalgamates ESTK's palette to its very own personal distinction. "Heights" and "Hourglass" are excellent examples of his demonstrative throat capabilities. Anderson's guitar-work is very busy, hook-laiden and octave ascending. Adding a real vivacious persona on TWO. And, drummer Caleb Clifton accents that aggro-hook style, propelling the bottom-line resonantly and authoritatively. The title track finds Rodriguez questioning "the world outside" with a subtle pop infliction, and should be buzzing through sky-waves by summertime. While the sixth track, "March Of The Dead" has a sharp, fast precision-like attack verse, contouring a dark and ominous chorus and bridge passage. ESTK balances a good portion of their songs to this element, and will whew their fans at every live venue that they play. And, reaching out assertively snatching many new fans as well. This quintet out of Phoenix proves be moving mountains through the dessert with their latest offering. (How's that for an analogy?) All awhile, taking a great notice and recycling it back to The World Outside.
Mike Farris & The Roseland Rhythm Revue with The McCrary Sisters SHOUT! Live INO/Columbia	It's been a long road traveled for the musical career of Mike Farris, but the former rocker has seemed to find his zenith in salvation and his own redemption. And taking that vision, and rebirthing it into his latest incantation as a musical preacher of no particular denomination. But, convincingly none-the-less. Farris' breakthrough gospel album, Salvation In Lights has been captured live with loving care at Nashville, Tennessee's infamous Station Inn. And, recorded by the legendary Nashville Mobile Recording Studio. SHOUT! Live is selected performance from a series of shows on Sunday nights that Farris put together to celebrate the Lord's day in a very nontraditional way. All in his hometown. What result is yielded is a powerful, soulful production that can be celebrated every time you load in this disc, or put the album on the turntable. Mr. Mike Farris is at his best when in the stage's spotlight. His voice shines ten-fold of any spotlight that is on him at the time. He's always been inspirational in a live forum his whole career. And, this carries through with this outing. While a portion of the material is reworked traditional hymns mixed with originals. Farris' band, The Roseland Rhythm Revue (Eric Holt: piano, hammond organ; Joe McMahan: electric guitar; Nick Govrik: bass; Keio Stroud: drums; Dennis Taylor: saxophones, calrinets; Rusty Russell: trumpet; Gregory Cox: trombone) invigorates the music with uplifting and some downright great playing. Matching the Nashville singers godly-sounding voice for a live performance that'll forever be immortalized with the release of SHOUT! Live. This vibrant artist also provides some very strong percussive acoustic guitar on his original gem, "Streets of Galilee." With The McCrary Sisters singing back-ups like there is no tomorrow. You'll literally be dancing in your own space with this one! The dark blues guitar on "Devil Don't Sleep," is a head-nodding, eyes-closed type experience that'll having you see the light. The vocal phenomenon "Will The Circle Be Unbroken," is a gut-wrenching performance. And, Holt plays some great piano. The horn section gives you a New Orleans feel through this ditty. Farris and his elaborate band do change up the songs than recorded on SIL. A little more ad lib-if you will. It definitely transcends to a very powerful entity. Mr. Farris' music is meant to be played live and allowed to breathe. Look for this church tent revival of a new kind in a city near you. Or, If you're at Bonaroo this year. A little soul time would probably do you a world of good! My brothers and sisters!
Static-X Cult of Static Reprise/Warner Bros	Well, if you're a adrenaline junkie, or an extremist of some sort then there's a good chance you'll want to download Static-X's sixth installment on your iPod for one hell of a ride. Wayne Static and company deliver a knuckle-busting, head-thrashing performance on Cult Of Static, and display that their vision is as vital as ever. The detail encrypted in the fiber of music's electronica shows that this west coast band is constantly evolving as well. The chops are short, fast and ferocious for a good a part of the eleven tracks that span this release. Which, should allow for the traditional X fans to take too heart this pariah of sound enthusiastically. One of the more noticeable alterations to their sound is the blistering lead work by lead guitarist Koichi Fukuda on each track. Fukuda attacks with a technical proficiency that'll have young guns everywhere trying to pull off his licks. Static-X has really focused on the lead breaks allowing them to give that extra something special to their latest works. Speaking of leads, the infamous Dave Mustaine (Megadeth) checks in with some killer scale-runs on what I'm guessing will be the secondly promoted track "Lunatic." If I were their A & R man, I'd push for "Hypure" to be the next promoted cut. It has the potential to be a huge hit on radio, satellite and that cursed music video channel. It really captures the sellable aspects of Static X. The enigmatic frontman's vocals are as potent and convincingly cryptic as ever. The first single and video "Stingwray" serves as an excellent paradigm, "Bulldozer crush/cover the rush/catatonic nonsense/hammering down/balance you found/forever were fucking/I love this machine." Surprisingly, there's a new-age type intro on "Tera-Fied." But then, busts into a monstrous hook that'll have concert venues vivaciously thumping. Along with every other cut on Cult. Wayne Static has also really refined his techo-tronical skills on this latest release. This new direction is easily recognized in "Terminal," "Isolaytore" and "Skinned." There is also a lot of guitar harmonics implored in the making of this machine. The album closer "Grind2Halt" places those harmonics at such opportune times, filling the track with a new level of esoteric expressiveness. And, these are all excellent reasons to promote you join the Cult Of Static. No brainwashing necessary!
Big B American Underdog Suburban Noize/SRH	One thing you've got to love about Suburban Noize Records is they really promote artist development over sales, and these days is quite commendable. No guys in suits that dictate what they want through the third party A & R man. Which, can totally hinder the creative process. Just ask any act that's been dropped by a major label. That's why Sub Noize is the underground movement And, is a classic example with Big B's American Underdog. Big B's vocals are smoother than a vaporizer hit, and come across with the vibe like Bradley Nowell (Sublime, R.I.P.) did on his first record. This fun lovin' criminals rhymes are his life, and you get that sense with each track and the sentiment that is procured. Diversifying his musical base as well on AU, bringing together a great summertime release. Kottonmouth King's Daddy X sits in on the joint "Supastar" for a trip in that good "high life." And, Johnny Richter (of the same KK fame) gets a good ol'e party song rollin' with "Drink More." Label CEO, Kevin Zinger's misadventure at The Las Vegas Hard Rock Hotel intro's the track appropriately titled cut "Fucked In Vegas." A perspective of Vegas that the Caddy-lovin' rapper could only give. There's some great slide acoustic work in opening track "To The Moon." There's also great acoustic work throughout this whole fourth set ( i. e. "Criminal," "Let It Rain" and "In My City"). While, "Gotta Do" got more old school beat tinge to the song. And, even though B cuts up on his rapping skills on this album, he proves himself wrong-time and time again. This track being a perfect example. Unwritten Law's frontman, Scott Russo lays down some sunny-day-smiling acoustic, and contributes vocals on the heavy-hearted "Sinner." Frontman of (Hed) P.E. Jared Gomes checks in on the radically frenzy of a number, "Born 2 Ride." "Sunday" has got that aforementioned Sublime feel to it, with a little rasta-vibe thrown in. It's just one of those songs that will sound really nice at the beach on a nice sunny day. "Trouble" is configured with that old world mafia noir with big beats. Would be a great for The Sopranos movie soundtrack I hear they're making. Another cut that really stands out is "Tattooed Queen." The slow, down-and-dirty guitar work mixed with Big B's master slur is a song that would make a ride on a nice summer night feel so right. On his latest release American Underdog, Big B is a man on a mission with a total Las Vegas disposition. And means it!
Mastadon Crack the Skye CD/DVD Reprise/Sire Relapse	There's no doubt that the members of Mastodon have a superlative creative command over their instruments, as proved on their previous three full-lengths. Combine that factor with the studio wizardry an insight of famed-producer Brendan O'Brien, and what culminates is the fourth masterpiece by the Atlanta-based band, and just may very well be their visionary, metal opus. Crack The Skye is the result of the blood, sweat and tears the band has endured sine the release of the critically acclaimed and their major label debut, Blood Mountain. Adding producer O'Brien to the fold was for convenience of location-also, being based out of Atlanta- and to add more of a "classic" sounding element to the mix. That concept is obvious in the vocals and the production of the harmonies on Crack The Skye. The band had serious issue to address (guitarist, Brent Hinds was severely beaten at the VMA's, and needed almost a year to recover, and drummer Brann Dailor having seen this unfold, revisited issues of his sisters suicide that he never really quite worked out until forced to deal with it due to the Hinds situation), and needed a cathardic process. Which, was the fiber that went into the making of this fourth ferocious release. The drummer wrote the lion share of the lyrics with all his bandmates contibuting on top to the core of his sentiment. Also, Dialor attacks his kit like a shark to fresh meat, and is probably his most focused works to date. Mastodon aligns the belly of the beast with myriads of underlying intricate subtlety and nuance on CTS. For starters, Bassist/vocalist Troy Sanders has added a bass synth pedal to his mountain of bottom-end sounds. And, the addition of keyboardist Rich Morris' mellotron and synthesizer opens up a world of tones that compound with the music to a new prolific altitude. Hinds even picks up a banjo for the intro on the second track, "Divinations."

Ratings as by Gigz Giger