Anthrax - Anthems

Anthrax – Anthems
2013, Megaforce Records

Anthrax might just be the most storied metal band to ever come out of New York City.  Contemporaries of Slayer, Megadeth and Metallica, Anthrax have been a heavy metal force over the past 30+ years.  With ten albums and numerous world tours under their belt, entire generations of metal musicians owe at least part of their musical lineage to Anthrax.  The events of the past few years have been surprising, not the least of which is the return of long time front man Joey Belladonna to the fold.  Anthrax is currently preparing for their eleventh album, to be released later in 2013.  For now the band has released an eight song EP entitled Anthems, comprised of six classic rock covers and one original song in two versions.

The idea of a cover project seems anathema to a band like Anthrax, but in the end it turns out to be a rather pleasant surprise.  The EP kicks off with a vibrant cover of “Anthem” (Rush).  Anthrax treats the song with reverence, kicking it out with energy, power and a distinctive precision that does the original proud.  “T.N.T. (AC/DC)” is a rollicking good time.  Things get a bit surreal with the cover of “Smokin’” (Boston), with Anthrax quite possibly bettering the original.  And while they don’t quite surpass the originators of “Keep On Runnin’” (Journey), they certainly give the current formulation of that band a run for their money.  Cheap Trick’s “Big Eyes” gets a wonderfully dark reading, and “Jailbreak” (Thin Lizzy) is full of all the mischief of the original.  Anthrax winds up with the original tune “Crawl” in its original form as well as in the “Orc Remix”.  The song is well-crafted and much more pop oriented than previous work by Anthrax, but positions them well for a potentially huge comeback in 2013.

Anthrax is surprisingly supple and graceful in covering some major hits of 1970’s and early 1980’s rock and roll.  Anthems is a cover project, but Anthrax manages to show off some very subtle yet distinctive changes in musical personality.  Anthems is thoroughly enjoyable, and Joey Belladonna’s voice is amazing.  Hard core fans of the band might be a bit taken aback by the sound of Anthems, but there is no doubt that this metal for the masses.

Rating: 3.5 Stars (Out of 5)

Learn more at www.anthrax.com.

Metallica & Lou Reed - Lulu - Coming November 1, 2011

Yes, you read that right.

In one of the most highly anticipating releases of 2011, two iconic acts band together to record an ablum inspired by Frank Wedekind's "Earth Spirit" and "Pandora's Box", exploring the life of a young dancer named Lulu.

It's hard to imagine even what this will sound like, but neither the irrascible Reed, nor the boys from Metallica, would release it if they felt it was anything less than perfect.  Lou Reed was inspired by what have become known as "The Lulu Plays" to create a musical theater piece.  Metallica got involved as a result of their performance together at the 2009 Rock N Roll Hall Of Fame induction ceremonies.  The rest is about to be history.

Metallica/Slayer/Megadeth/Anthrax: The Big Four

Metallica/Slayer/Megadeth/Anthrax: The Big Four

2010, WB Records

Metallica.  Slayer.  Megadeth.  Anthrax.

These four bands, dubbed The Big Four, are the foundation of thrash metal and all of the musical tendrils that have shot fourth from the movement born in the 1980's.  Despite their shared roots, it wasn't until the summer of 2010 when the four bands actually shared the same stage for a string of seven European concert dates.  One of those dates, a June 22, 2010 concert is Sofia, Bulgaria was beamed to movie theaters across Europe and around the United States in high definition, providing an opportunity for those who would never dream of making the trans-Atlantic trip a chance to be a part of history.  On November 2, 2010, Warner Brothers Records releases a 3-DVD/Blueray set of the show as well as a limited edition package that captures both the video and complete audio of the show (on 5CDs) with extras.  To put it bluntly, The Big Four is your favorite metal head's dream come true. 

The first DVD in the set covers Anthrax (CD1), Megadeth (CD2) and Slayers (CD3).  Each set is approximately one hour and features some of the best known hits from each band.  Each set features some of the best known songs of each band delivered in high definition with blistering sound.  Anthrax lets loose with tracks such as "Caught In A Mosh", "Antisocial", "Only" and "I Am The Law", as well as a cover of Joe Jackson's "Got The Time".  Megadeth steps up with "Holy Wars...Punishment Due", "Hangar 18", "Head Crusher", "Trust", "Sweating Bullets" And "Symphony Of Destruction", amongst others.  Slayer blows what's left of the roof off with hits such as "Jihad", "War Ensemble", "Angel Of Death", ""Chemical Warfare" and the Grammy nominated "Disciple".

The second DVD (CD4 and CD5) feature the masters of metal themselves, Metallica.  The headliners of the show are bit more clean cut than they were back in the 1980's, and age may have mellowed their respective personas, but on-stage they still rock out like nobody's business.  Hits such as "Creeping Death", "Heavers Of Sorrow", "Cyanide" and "Sad But True" are worth every penny, but as Metallica enters the second half of their set they raise their game.  The version of "One" offered here is absolutely classic, with all of the raw energy that exploded from the original.  "Master Of Puppets" likewise seems to find the band recapturing their glory days.  "Nothing Else Matters" and "Enter Sandman" don't seem as out of place in the catalogue as they did upon their initial release and the closing triumvirate of "Am I Evil?", "Hit The Lights" and "Seek And Destroy" simply are not for the faint of heart.

The Big Four preserves an once-in-a-lifetime concert in high definition video and sound.  Folks who missed the thrash metal movement may not get it, but there isn't a band working today who refers to themselves as heavy metal or something-core who doesn't owe their livelihoods to at least one of the four bands featured.  Megadeth, Slayer and Anthrax all helped build the foundations for thrash metal, but it was Metallica that turned thrash metal into an international conspiracy that was accessible to more traditional music fans by building the bridge that helped the form cross over into the mainstream with their ground-breaking The Black Album.  Hard core fans will have to have the "Super Deluxe" box set, which includes the DVDs, 5 CDs capturing the complete audio of the show, a 24-page book, a poster, band photos and a collectable guitar pick.  Whichever way you go, you'll be purchasing a record of rock history.

Rating: 5 Stars (Out of 5)

 Learn more about Metallica at http://www.metallica.com/.  Learn more about Megadeth at http://www.megadeth.com/.  Learn more about Slayer at http://www.slayer.net/.  Learn more about Anthrax at http://www.anthrax.com/.  Metallica/Slayer/Megadeth/Anthrax: The Big Four drops on November 2, 2010.  You can order the set on DVD, Blu-Ray, or as the Super Deluxe Box Set from Amazon.com.

Review: A.Z. - Sweating Bullets

A.Z. - Sweating Bullets
2006, A.Z.

Arab, Alabama’s A.Z. brings a bit of machismo back to heavy rock, creating melt-your face hard rock/metal on their latest album, Sweating Bullets. Led by vocalist/guitarist Clark Walker, A.Z. has made quite a name for themselves touring in the southeast United States, garnering airplay and building their fan base. While Sweating Bullets is nearly four years old, it is an apropos representation of A.Z.’s sound and energy.

Sweating Bullets opens with The Light, a dark and angry mid-tempo rocker built around heavy guitars and a vibrant bass line. Vocalist Clark Walker is believable in his passive anger, alternating between an almost speak/sing style and bouts of screaming. No Help is a song about helplessness sandwiched between heavy, violent guitar work and a nearly lyric chorus with prolific vocal harmonies. This is a great listen in general, although there a couple of spots throughout the song where things become a tad unhinged. Number 2 is wonderfully dark and heavy, whereas Ragged takes on an almost Pop/Metal feel with rap-style lyrics. This is the song most likely to impact at Modern Rock Radio based on current mores. Underrated takes a harder turn, although it does retain an almost Pop feel to the melody/vocal line. A.Z. closes with Kill Regi, recalling Black Album era Metallica crossed with a bit of Alice In Chains.

A.Z. has the heavy part of hard n heavy down pat. Sweating Bullets features vivacious hard rock and inspired energy. The songwriting varies from average to above average. Stage presence is hard to gather from a two-dimensional recording, but A.Z. carries some serious energy into the studio and it comes across on Sweating Bullets. In effect, A.Z. plays hard enough to please the metal fans and lyrically enough to grab the more Pop/Rock oriented folks. Sweating Bullets is a solid introduction to A.Z.

Rating: 3 Stars (Out of 5)

You can learn more about A.Z. at http://www.azband.net/. You can purchase Sweating Bullets as either a CD or Download from CDBaby.com.

Review: Jeff Litman - Postscript

Jeff Litman - Postscript
2009, Born Enormous Music

New York City singer/songwriter Jeff Litman was born in Minneapolis, and was devouring hard rock and metal songbooks by the age of ten. Litman went from Bon Jovi and Motley Crue to Metallica, Guns N Roses and Nirvana before becoming ensnared in the melodic Pop of acts such as Elvis Costello, The Beach Boys and The Beatles. Litman's next step was into classical music, entering a doctoral program before realizing that his true love lay in Rock and Pop. Litman began writing almost immediately for his debut album. The result, Postscript, promises Indie-Pop with big hooks, infectious melodies and a classic sense that universal themes of love and heartbreak always bring. Postscript is a breakup album, and Litman's refreshing honesty places the listener not so much in the role of observer but directly into reverie.

Postscript is a story within an album, following the rise and fall of a relationship, including the aftermath. It is written at a distance from the events that perhaps allow more perspective, but the raw emotional content is very real, if tempered by time. Postscript opens with Anna, a catchy song about unrequited love that will definitely get your toes tapping. A Beatles influence is very clear here and the backing vocals are superb. This is a complete song; a classic. Complicate digs into the emotional consequences of a breakup. It's a sunny tune full of regret and melancholy. Wife is a song that could put Litman on the Popular Music map; a marriage proposal in song. The gorgeous arrangement, including strings centers on acoustic guitar and Litman's voice. Don't be surprised if Wife gets licensed and recorded by other artists down the line. Either way the song is destined to become a wedding song of choice and is also likely to be co-opted for individual proposals over time.

From that emotional high Litman dips down to the emotional low of Everything You're Not; an upbeat, Beatles-inspired song of hopeful spite. Litman then shifts gears into full-on Rock N Roll in Detroit Layover. If you've ever been stuck someplace out of your control and just wanted to get home then this song will speak to you. It's very upbeat and danceable and has a classic sound that will appeal across genre lines. Postscript is one of those albums where it becomes difficult to pick a favorite song, but one of the contenders has to be Maine. Litman sings a duet with Kelly Jones on another song about going home. This is one of those songs that simply sounds perfect in presentation, and Jones has an amazing voice that complements Litman's perfectly.

Knock Me Down will get you up and moving. This active-rock song is presented in a brilliant arrangement with amazing vocal harmonies and a melody that won't quit on you. Postscript is another candidate for favorite song; it's a theatrical tune about the end and aftermath of a relationship. Postscript is stark and melancholy without being whiny, and is one of the better Pop songs written/released in 2009. Open Arms represents the bargaining phase of grief. He's willing to take her back temporarily for the joy of it even it means she'll rip his world apart all over again. Litman never begs during Open Arms but that's only a semantic justification. Open Arms shows a tremendous balance of lyrics, melody and arrangement in a wonderful pop tune that isn't far behind Postscript. Let You Go chronicles the Acceptance phase of loss with a song that sounds like it was heavily influenced by Elvis Costello. Litman closes out with It Wasn't Me. This epilogue is stark and honest and unfettered by sorrow. Litman sees everything from the distance and perspective of time with his healing mostly done; it's a fitting close.

There are albums you see coming from a mile away; the artist reputation, the cover art, the buzz all combine to create an understanding of what you're getting into. But every once in a while an album takes you by surprise. Jeff Litman's Postscript is in this latter category. Postscript is a brilliant display of songwriting and performance. The songs are subtle, nuanced and intelligently written and the album is an absolute pleasure from beginning to end. There isn't a poor song on the album, and Litman delivers each with an aplomb that grows from the intersection of artfulness and grace. Postscript is brilliant; a Wildy's World Certified Desert Island Disc. Make the time.

Rating: 5 Stars (Out of 5)

You can learn more about Jeff Litman at http://www.jefflitmanmusic.com/ or www.myspace.com/jefflitman. You can purchase Postscript as either a CD or download from CDBaby.com.

Review: Mile Marker Zero - Mile Marker Zero

Mile Marker Zero - Mile Marker Zero
2009, Mile Marker Zero

New Haven, Connecticut's Mile Marker Zero have been building to this moment since they formed in 2003. June 16, 2009 saw the release of a CD also entitled Mile Marker Zero. It's a mix of favorite tracks from their first 3 releases as well as newly written material. The new CD finds Mile Marker Zero riding a crest of creative depth and popularity that has been a slow-but-steady build over the last six years. Mile Marker Zero trolls the depths of Progressive Rock and Metal; everything from Rush and Dream Theater to Tool, Metallica and even Porcupine Tree. Vocalist Dave Alley is the ideal hard rock front man, able to shred the vocals when appropriate and sing almost lyrically at the other end of the spectrum. This is the album the makes Mile Marker Zero a name you'll remember.

Mile Marker Zero opens with the heavy, rhythmic guitar riff that announces A Thousand Nights. The song is constructed of free-wheeling verses that explode into a soaring chorus full of layered guitars and strong harmonies. Guitarist John Tuohy gives this song its heavy edge, while keyboardist Mark Focarile provides a swirling steadiness that holds the song on check. The rhythm section of Tim Rykoski (bass) and Doug Alley (drums) provides a solid and energetic base for the rest of the band to play off, both here and throughout the album. Laceration recalls some of the heavier rock that piggy-backed on Seattle's Grunge movement. The bass line to this song is killer, and Alley gives a vocal performance that's dynamic and alive. Alley reminded me a bit of the Tragically Hip's Gordon Downey on A Kiss To Fix. The sound here is a bit darker than on the first two tunes and perhaps a bit less accessible to the casual fan, but it's an intriguing piece of writing.

Passive shows a softer side to the band, a contemplative ballad for the first two minutes that slowly crescendos into a mournful power ballad. Crimson Red finds Mile Marker Zero in full-on Prog mode in the most dynamic song on the CD. The song examines war from a personal perspective, detailing the costs in human terms. The guitar work here in particular is notable, with Tuohy giving a performance that would make Malmsteen blush with pride. Maree is a more traditional power ballad, sure to make it to the mix-tape crowd, whereas In Loving Memory Of... is more of an epic ballad, with the sort of soaring grandeur that you used to find from groups like Styx in their heyday. Peril Aerial is a true epic, coming in at over 10 minutes and featuring some of the most inventive Prog work this side of King Crimson. Reaping Ride throws all caution to the wind; the guitar opening has the melodic metal sound practically patented by James "JY" Young of Styx but in a heavier setting than that band usually managed. The song itself is urgently driven in content but plays on the edge between classic and modern rock. Musically this is the most fun composition on the disc. Mile Marker Zero closes out with Hush, an acoustic composition that's quite beautiful and quite out of character with the rest of the album sonically. What is not out of character is the compositional depth, drawing on classical themes to construct a composition that could be played as easily in a concert hall as in a stadium. Hush is a true gift to fans, letting them see the depth of the talent Mile Marker Zero possesses both individually and as a group.

This sort of Prog Rock isn't going to find a lot of room on the radio dial, but there's a very hungry community of fans out there who love it, and if you're part of that community, then Mile Marker Zero is just what you've been waiting for. Fire up that CD, Maestro, I want to listen again.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mile Marker Zero at www.myspace.com/mmz or http://www.milemarkerzero.com where you can purchase a copy of Mile Marker Zero.

Review: Strangers Pass - Strangers Pass [EP]

Strangers Pass - Strangers Pass [EP]
2009, Strangers Pass

Strangers Pass is a power-trio that derives its sound from a wealth of influences. Singer/guitarist Robert Sadowski credits Hendrix, David Gilmour, Jimmy Page, Tommy Iommi and Brian May, whereas Bass man Bob Mikkelsen grew up on a hybrid diet of The Beatles, Pink Floyd, Metallica, Rush and Yes. Drummer Frank Gattuso leaned toward John Bonham and Bill Ward, but also had a strong affection for James Brown skins masters Clyde Stubblefied and Jabo Starks. Strangers Pass came together at an impromptu jam session in August of 2008 that was meant to be for fun but turned out to be for good. 2009 sees the release of their debut, self-titled EP. The styles and sounds that influenced each band member combine here to create a hard nosed Rock N Roll album with subtle influences and pensive interchanges.

Strangers Pass opens with Alone, an aggressive rocker that sounds a bit like what Black Sabbath might have sounded in their early, garage days. Strangers Pass does an about face on 400 Monroe, a moody and introspective rocker ala Pearl Jam. Snake Charmer is another dark and pensive rocker that calls out a manipulator. See Them All sticks to the dark musical aspect that runs through the EP, rebounding for an almost hopeful, ambient chorus before ricocheting back into darkness. Through The Maze finds Strangers Pass ending in a melodic and unthreatening fashion, with an upbeat yet mellow performance that sounds more commercial alt-pop than anything else on the EP.

Strangers Pass does an imitation of the month of March on their self-titled EP: In like a lion, out like a lamb, although Through The Maze does show some verve in the chorus. When I read the bio on Strangers Pass and saw the range of influences I was very excited. Here is an opportunity to take some grand musical traits and construct something new and original. In fact, the opposite has happened. Strangers Pass have taken the core elements and wiped away the things that don't match, much like finding the universal elements on a musical Venn Diagram. The result is essentially a mellow grunge album that sounds something like Pearl Jam, Soundgarden, Temple Of The Dog, etc. It's a good listen, but not necessarily what you'd expect.

Rating: 3 Stars (Out of 5)

You can learn more about Strangers Pass at www.myspace.com/strangerspass.

Review: KeyDragon - Dragon Mythos

KeyDragon – Dragon Mythos
2008, KeyDragon Studios

Heavy metal, programming and dragons are the three pillars of KeyDragon, the California band led by singer/screamer/synth player/programmer Ron Langford. Dealing exclusively in songs about Dragons, KeyDragon thrives in a gothic metal style with elements of Thrash, Darkwave and Prog. Langford is joined by Tamara Venus Star on vocals, Bobby “Bob-O” Blackmon on electric and bass guitars, Dan Marshall (DJ/Programmer), Holly Rains (drums) and Andrew Grant (guitar/bass). KeyDragon’s latest, Dragon Mythos, continues down the path of musical dragon lore.

For those of you not familiar with KeyDragon, the California band writes and performs only songs dealing with dragons. Some songs focus on folklore surrounding dragons while others take on original story lines based loosely on dragon myths and stories. The music is a subdued Darkwave Metal sound that is instantly recognizable particularly if you were ever a fan of bands like King Diamond, Type O Negative or mid-to-late Metallica. This is, of course, a niche record, playing to a very limited market of fans. That being said, it’s a decent album. Tamara Venus Star is always pleasant to listen to, and the juxtaposition of her voice with that of lead screamer Ron Langford is entertaining. The primary problem with Dragon Mythos is the uniformity of sound. The songs don’t sound all the same, but there is little enough sonic variation to bog down less than dedicated listeners.

Heart Of A Dragon is the high point of the album, and the midnight undertones of Jawzhar are sure to please metal fans. The Promise is the one true break in style here, slowing things down a bit in a sonic rest before the stretch run. In the end, there’s not enough here to hold the attention of anyone aside from diehard Dragon Metal fans. But those folks will be very happy.

Rating: 2.5 Stars (Out of 5)

You can learn more about KeyDragon at www.myspace.com/keydragon or http://www.keydragon.com/. You can purchase a copy of Dragon Mythos at www.cdbaby.com/cd/keydragon10.

Review: Resin - Truth Be Told

Resin – Truth Be Told
2006, Resin

Massachussetts-based Residn are following in the footsteps of Boston icons Aerosmith, Godsmack and Staind. After barnstorming the Northeastern United States for the past couple of years, the band has perfected a sound that ranges from melodic pop/metal to thrash, covering all points in between. Resin’s debut CD, Truth Be Told shows off the charismatic vocal style of Ron Dallaire (sometimes compared to David Lee Roth for flamboyance) and the masterful guitar skills of Pat Pacheco on top of a killer rhythm section (Dave O’Brien – bass; Steve Smith – drums). Resin paces through heavy and light, poignant and prickly in one of the most wide-ranging and deliberate rock albums I’ve heard so far this year.

Truth Be Told opens with Song F, a great driving rock song with big guitar sound. Song F just sets the stage for Not For You. Not For You is a revelatory moment for guitarist Pat Pacheco as he shreds his way through rhythms and sounds that are practically patentable. No offense to Dallaire, but I got so caught up in Pacheco’s guitar on this song that I couldn’t even tell you what the song is about, and I listened to it several times. Resin takes a much more pop/rock turn on songs like Tomorrow, In The End and Done To Me, any of which could have commercial impact, but the gem of the album is Feel. On Feel, Resin achieve the perfect balance of heavy metal sound and hook-heavy pop rock. For A Reason is an interesting change up from Resin, opening as an acoustic piece that allows Dallaire to let the soul loose in his voice. Even once the heavy guitars come in this song retains its gentler qualities. Resin closes out the album in interesting fashion. The second to last song is the heavy-bordering-on-thrash Down The Line, breaking any sense of pop serenity that might have crept into Truth Be Told before launching into the Creed-esque anthem All My Life.

Resin seems equally comfortable with their heavy and melodic sides on Truth Be Told. Even the harder-edge songs on the album have a strong melodic pop sensibility, while even the softest of songs retains an edge. Dallaire isn’t my favorite singer, but he sure can sell a song, and Pacheco is just amazing on guitar. Rhythm sections often get overlooked, but they are the heart and soul of any band, and due of O’Brien and Smith is as good as they come. On the whole, Truth Be Told is a strong debut that should have broad commercial appeal. Resin manages to sound at times a bit like Metallica, Soundgarden or Creed, but in the end seem to have found an interesting and unique band persona that envelopes all of these myriad influences and turns them into something new. The future looks bright for Resin.

Rating: 4 Stars (Out of 5)

You can learn more about Resin at http://www.resinrocks.com/. You can purchase a copy of Truth Be Told at www.cdbaby.com/cd/resinrocks.

Review: EB11 - One Decision

EB11 – One Decision
2006, EB11

Tenerife, Spain’s EB11 has a second home based in Miami, Florida. This two-hemisphere quartet lists references including Three Days Grace, Metallica, Dream Theater, Green Day, Nirvana, Three Doors Down and Pink Floyd. Their sound is straight up modern rock. Their 2006 EP, One Decision fits right into the Modern Rock mold.

One Decision opens with Myself Again, an energetic rocker about running away from change. She is a radio-ready wall-of-sound rocker with real commercial potential. The best track on One Decision is Be The One. EB11 comes off sounding a lot like Better Than Ezra in a catchy song full of great hooks and transitions. One Decision closes out with the martial rhythms of Going On. This one is a little more typical of the Modern Rock genre but still quite catchy.

EB11 gets better as One Decision progresses, and the EP is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about EB11 at www.myspace.com/eb11music or http://www.eb11music.com/. You can download One Decision from iTunes, Napster or Rhapsody.

Review: One Step Away - One Decision

One Step Away – One Decision
2008, One Step Away

Andover, Massachussets quartet One Step Away has taken the Boston music scene by storm, winning the Boston Music Festival’s Alternative Rock genre in 2008. Led by the lyric rock lead vocals of Adam Carrington, One Step Away blasts away with a heavy rock sound that borders on Prog and 80’s hair-metal sounds with big guitar solos, big choruses and an arena-ready sound. Their debut release, One Decision, debuted in December of 2008, just seventeen months after the bands inception.

One Step Away opens up with In This Moment, a wonderfully musical and melodic hard rocker that contrasts the melodic musical chaos of Terrence Healy’s guitar work and the lyric nature of Adam Carrington’s voice. This is an incredibly dynamic rock song that will grab you by the shirt and won’t let you go until its done. Over The Edge is a big, bruising guitar rocker that sounds like Metallica with Slash sitting in. Run Away is a driving rock song that’s perfectly positioned for Modern Rock and Hard Rock radio formats. It’s the most blandly commercial song on the EP but still a pleasant listen. The Space Within is amazing introspective and reserved in comparison to the first three tracks, and displays some of the range One Step Away possesses.

One Step Away is a rising dynamic force in Boston. It’s easy to see how they could be the next big thing from the Boston scene to rise to national prominence. Time and sales will tell, but One Step Away looks to have a very bright future. One Decision is a great intro.

Rating: 3.5 Stars (Out of 5)

You can learn more about One Step Away at www.myspace.com/1stepawayband or http://www.onestepawayband.com/, where you can purchase a copy of One Decision.

Review: Burn Halo - Burn Halo

Burn Halo – Burn Halo
2008, Rawkhead Records

Burn Halo front man James Hart is familiar to many Rock fans from his days heading up 18 Visions. When 18 Visions disbanded, Hart decided to pursue a musical project that encompassed his individual musical vision. Working with songwriter/producer Zac Maloy, Hart penned what would become Burn Halo’s debut. The album, also called Burn Halo, was scheduled to be released in early 2008 by Island Records, who unexplainably changed their minds, so Burn Halo will be released on Hart’s own imprint, Rawkhead Records on March 10, 2009. The recording features support from Daniel Adair (Nickelback), Chris Chaney (Jane’s Addiction) and Neil Tiemann (David Cook), with a special guest appearance by Avenged Sevenfold’s Synyster Gates.

Burn Halo opens with Dirty Little Girl, a rocking wall of sound with more life and hard edge in it than 99% of the stuff you’ll hear on the radio these days. This song might just be too hot for radio. Save Me is a huge guitar filled rocker that sounds like it’s a half step between 18 Visions and Metallica. The verses are heavy enough to please longtime fans and the chorus is commercial enough to break hard in Modern Rock and Metal formats. Here With Me has a little less of the slash and burn style to it, with Hart feeling out his pop sensibilities in very successful fashion. The most impressive thing about Burn Halo is the ability to rock hard but maintain a melodic pop mystique that is next to impossible. The best comparison I can think of goes all the way back to the glory days of Guns N Roses.

Every pop-metal album has a pre-requisite of at least one love ballad or one melancholy song about the one who got away. Too Late To Tell You Now fits in perfectly. This is perfect power ballad material with big guitar on the chorus, great harmonies and a cadence that will stick in listeners’ minds. So Addicted and Dead End Roads And Lost Highways are fairly typical Modern Rock fodder, although both carry Hart’s excellent grasp of pop timing and melody.

Lest you think Burn Halo is going soft, Our House is strong enough to rip it right off the foundations and may be the best overall song on the disc. Falling Faster revisits the prerequisite ballad requirement in one of the better power ballads you’re likely to hear in 2009. Anejo rocks in a frantic, pedantic fashion and has some amazing guitar work. Back To The Start is my favorite part of any hard rock album, when it occurs. A primarily acoustic tune that not only lets the melodic sense of the band shine through but also displays how truly talented the musicians are when all of the effects and distortion are stripped away. Burn Halo closes out with Gasoline, a melodic throwback to the sort of hair-metal anthems that dominated the airwaves in the 1980’s.

Burn Halo knows how to rock. James Hart has a wonderful melodic sense and an ability to craft these amazing pop songs with the hardest of edges. Breaking out from the safety of 18 Visions was a risk, and it was one well taken. Burn Halo looks to establish itself as one of the more talented rock outfits on the market. Burn Halo hits shelves on March 10, 2009. Look for this band, and album, to be everywhere in 2009.

Rating: 4 Stars (Out of 5)

You can learn more about Burn Halo at www.myspace.com/burnhalo. You can pre-order a copy of Burn Halo at Amazon.com.

Review: Sonic Bliss - Loved To Death

Sonic Bliss - Loved To Death
2008, Sonic Bliss

Sonic Bliss was born of five New York City music scene vets and one newcomer. The band seeks to bring old school classic rock into the twenty first century with smart lyrics, powerful songwriting and an explosive stage show. Vocalist Rene Berrios sounds like the ideal rock and roll front man, with a big powerful voice that can soar as easily as growl; Two lead guitarists, Roger Petersen and Kerry Christian Agnew give the band a Styx-like guitar sound, and Glenn Roberts and Charlie Martinez make up one of the tightest rhythm sections in Rock N Roll. Band members have individually played with or opened for Joan Jett, Mountain, Dee Snider/Twisted Sister, Ike and Tina Turner, Anthrax, Rick Derringer and Smokey Robinson, among others. Sonic Bliss itself has shared a stage with Winger, Black 47, Richie Havens, Cactus, Blue Oyster Cult and Savoy Brown. Sonic Bliss has built a reputation as one of the finest classic-rock style bands New York has seen. With Loved To Death, Sonic Bliss looks to propel themselves into a higher orbit. It just might work.

Loved To Death opens with Sahara, a big, strutting guitar rock tune that is at times reminiscent of Metallica. Aside from the big guitar work this song has a strong melody and a certain melancholy chutzpah that can not be denied. Far Cry takes off on a tear built of great guitar hooks and an outstanding vocal performance. This song sounds like post-Dennis DeYoung Styx material and is one of the better songs on the album. Better Days is a big acoustic anthem that allows the listener a bit of respite before the explosive hook that opens Home Again bends your mind. Home Again explores the human capacity for greed; the constant need for more and more. The song is full of great harmonies and a vibrant guitar part that very much moves the song along. Babe I'm Dying brings some 1970's funk into the mix, complete with horn section. Not to lay on the Styx references too much, but if you know ever heard Lonely People you'll know exactly what sound I'm talking about here.

It's not so much that Sonic Bliss sounds like anyone in particular, although the Styx and Metallica references have some real weight. It's more that Sonic Bliss engages on a musical playground that so many great bands have visited before. At the end of the day Sonic Bliss has a sound all their own, and that comes across nicely on Dead Sea Of Love, which is probably the best song on Loved To Death. Berrios is absolutely at the top of his game here, and Lea steps forward to the mic as a foil on the chorus to deliver a devastating aural counterpunch. The woman has pipes. In My Dreams opens with an organ interlude that segues into a roiling, angst filled guitar bank. The dark tone and themes roll away into sunlight for just Berrios and church-style organ. In My Dreams comes across as almost prayerfully introspective.

Nail In My Heart with a gypsy-sounding violin dancing along to a plaintive acoustic guitar part with Berrios singing over the top. This is perhaps the most emotionally powerful song on the album, and Lea again joins in to counterpoint Berrios. Save My Soul is an angry, anxious and ultimately desperate plea buried in driven guitars and seismic rhythms. Seven Days is a wonderfully dark rocker with religious overtones and some really unusual guitar work. From a pure Prog perspective this might be the most memorable song on Loved To Death, as it spirals almost out-of-control to its end. As an added bonus there's a live version of Stevie Wonder's Superstitious that will absolutely knock your socks off.

Sonic Bliss uses the concept album format album to drive home eleven powerful songs centered on themes of religion, redemption, belief and the infallibility of human imperfection. Prog/Arena rock fans you've been waiting for this one. Loved To Death brings retro-1970's hard rock into the twenty-first century with a glorious, resounding bang. Check out Loved To Death and see why Sonic Bliss have become almost legendary on the New York scene. You won't be disappointed.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sonic Bliss at http://www.sonicbliss.net/, where you can purchase a copy of Loved To Death.

Review: Triptaka - Second War

Triptaka - Second War
2007, Triptaka

Triptaka is from Seattle but has it's roots in Ontario, Canada. Graeme Cornies, Dave Kelly and James Chapple have spent significant time writing music for corporate America, but find their greatest challenge and satisfaction creating their own brand of industrial alternative rock music as Triptaka. Their debut album, Second War, is a theme album about humanity fighting to keep it's better instincts intact. The theme runs through both humanist and religious philosophies, with descriptions as stark as "spiritual war" or as benign as "selling out". Triptaka certainly doesn't sell out on Second War, a surprisingly supple (for Industrial music) album full of a positive message bigger than itself.

Triptaka sounds like an odd conjugation of the Dave Matthews Band and Nine Inch Nails. Lead vocalist Graeme Cornies sounds quite a bit like Dave Matthews on the opening track, Suspended, but there's a definite harder edge that runs throughout Second War. The title track is in the style of early Metallica, whereas Tamed takes a much more pop/dance flavor into the heavy drum and bass mix. Mother is a more organic, acoustic based sound that is pleasant to the ears but retains a lot of the repressed energy that runs throughout the album. The Source heads for more ambient musical currents, sounding more like the bizarre dream born of a meditation gone haywire. Falling Down returns to the heavy metal pretense with a song that rocks harder than most of the hard edge bands on the market these days. Second War closes with Don't You Think It's Time You Let Go?; a melancholy ambient number that has licensing written all over it.

Triptaka takes risks on Second War. Some work and some don't. What comes across more than anything is the courage to create in any direction that takes Triptaka's fantasy, regardless of the market at hand. This is why I think in the long run Triptaka will succeed in the music business. The courage and ability to create for and from one's own muse in the face of commercial pressures marks the sort of character and lasting confidence that tends to carry a mediocre band to success, and a good band like Triptaka to maybe be a great one. Only time will tell, but Second War is a good start.

Rating: 4 Stars (Out of 5)

You can learn more about Triptaka at http://www.triptaka.com/ or www.myspace.com/triptaka. You can purchase a copy of Second War at www.cdbaby.com/cd/triptaka.