Metal Church reveals new LP track listing, cover art

Veteran hard-rockers reunite with former singer
By Peter Lindblad

Metal Church will release its new
album 'XI' in March (Photo by
Mike Savoia)

Welcome back, Mike Howe. We missed you in church ... Metal Church that is.

Like the prodigal son, Howe has returned as lead vocalist for the Northwest metal and hard-rock heavyweights, and the track listing and cover art for Metal Church's latest album XI has been just been released.

Due out March 25 on Rat Pak Records, XI is the band's 11th studio album and is available for pre-order in various bundles via http://www.ratpakrecordsamerica.com/metal-church. A limited number of the Deluxe International Version, which features a bonus disc of eight extra songs, can be had through the website.

Choose a bundle, however, and guitar picks, stickers, a special edition behind-the-scenes photo book, t-shirts and even a limited number of personal phone calls from Howe himself are among the many treasures packaged with what has to be one of metal's most highly anticipated albums of 2016.

Metal Church - XI 2016

XI is also available for pre-order on Amazon, Google Play and via iTunes at http://smarturl.it/MCXliTunes. Those ordering the digital version will receive an instant download of "Killing Your Time" from the new record, produced by guitarist Kurdt Vanderhoof and co-produced by Chris "The Wizard" Collier.

Howe-era Metal Church made its mark on metal through strong songwriting, and "Needle and Suture" and "Soul Eating Machine" from XI are said to be reminiscent of that period. "Signal Path" and "Sky Falls In" exceed the 7-minute mark in length, giving Metal Church a chance to stretch out and flex its musical muscles.

Already, the band has released its first video from the album, as Metal Church roars through the rampaging debut single "No Tomorrow" inside the Satsop Nuclear Facility, an abandoned nuclear power plant in Elma, Wash. It was directed by Jamie Chamberlin of Black Dahlia Films and features a unique visual that ties in to the location. You can see it here: https://www.youtube.com/watch?v=ary17dRnC3o&feature=youtu.be. There's also a behind-the-scenes video on the making of that little film and it can be seen here: https://www.youtube.com/watch?v=Rr0bHRjfhmU&feature=youtu.be

Below is the track listing for XI:

1. Reset
2. Killing Your Time
3. No Tomorrow
4. Signal Path
5. Sky Falls In
6. Needle & Suture
7. Shadow
8. Blow Your Mind
9. Soul Eating Machine
10. It Waits
11. Suffer Fools

For more information on Metal Church, visit http://metalchurchofficial.com. Check out their Facebook page at https//:www.facebook.com/OfficialMetalChurch and go visit them on Twitter at https://twitter.com/metalchurchis1.

First impressions: Anthrax, Megadeth, Metal Church

Examining newly released songs, videos from metal legends
By Peter Lindblad

Anthrax will discuss their new LP 'For
All Kings' on the series  "Backstory" on
Wednesday, Jan. 13. It'll be live streamed
as part of the AOL Build series. Gets tickets
at www.backstoryevents.com/event/anthrax/
to be there in person for the interview.

Appetizers have been served, and they were delicious. Soon, the tables of famished thrash-metal fans the world over will be overflowing with main courses from three of thrash metal's most enduring acts.

First to arrive is Megadeth's Dystopia on Jan. 22, followed by Anthrax's For All Kings via Megaforce Records on Feb. 26 and then comes Metal Church's XI, slated for a March 25th release on Rat Pak Records.

Megadeth - Dystopia 2016

On Thursday, Dave Mustaine and company teased their upcoming release by unveiling the title track for streaming on http://www.megadeth.com/home, this after rolling out a new video for the song "The Threat Is Real" in December.

Not to be outdone, Metal Church announced a release date Monday for XI, which marks the return of vocalist Mike Howe. "At first I struggled with the decision to come back, but after hearing the riffs that (guitarist) Kurdt (Vanderhoof) was writing, I just couldn't resist. The music called to me and I wanted to be part of it!" said Howe.

In July 2014, Howe began working with Vanderhoof on a side project with Saxon's Nigel Glockler, leading to a reunion of Metal Church and its former singer, all of whom are featured in a new video for the debut single off XI, "No Tomorrow," that premiered along with these glad tidings.

And then there's Anthrax, looking to follow up the sensational 2011 LP Worship Music, one of the best records of that year and some have even claimed it to be as good anything in their catalog.

So, what's the early verdict on the new stuff? Here's a rundown:

Megadeth: By the time "Dystopia" the song made its introduction, the public had already been treated to a cool animated video for "The Threat Is Real" and another new track, "Fatal Illusion," the latter a mean, seething slab of heavy, gnarly thrash that harkens back to Megadeth's early days.

With "The Threat Is Real," exotic Middle Eastern wailing fades as Megadeth unloads a barrage of crazed guitar riffs strikes. Later, hitting its stride, the track morphs into a vigorous, hard-hitting Iron Maiden-like gallop, charging ahead with nostrils flared. Vic Rattlehead, the band's mascot, makes an appearance in the song's video, with its comic-book illustrations and video-game graphics acting out an attempt to stop an act of terrorism. At its core, it's a song that makes the case that our fears of sudden violent episodes of terrorism – like the ones that have dominated the news cycle in recent weeks – becoming the norm are very real, indeed, and that there's a reluctance to address the problem head on.

"Dystopia" is a bit different, its stylized, clean guitars practically gleaming and sharply etched. Here, high-definition production enhances the urgency, the pure energy of a track that takes off like a rocket. Mustaine has been singing the praises of new guitarist Kiko Loureiro to anyone who will listen since his hiring, and apparently there's a good reason for that. The six-string action on "Dystopia" is dazzling, with a solo that requires a dose of Dramamine before going on this ride and classic twin-guitar sculpture leading into a chaotic, fiery ending that takes your breath away.

Wipe that saliva from your mouth. Dystopia will soon be here. You can check out the song below:

Metal Church: A lapsed member of Metal Church has returned to the flock in the form of Howe, who is pounding the pulpit once again, just as he did on such landmark records as The Human Factor, Blessing In Disguise and Hanging In The Balance in the late '80s and early '90s.

His pipes sound as commanding and venomous as they ever did in a thrilling new sonic blitzkrieg called "No Tomorrow." The accompanying black-and-white video is now available for viewing, and it takes place in what appears to be a secret Roswell-like location, within a huge, abandoned, cylindrical concrete structure where space aliens are running around causing mischief or trying to escape. What exactly is going here is somewhat unclear, but it's a fun, sci-fi distraction.

Essentially, what Metal Church has offered up is a performance video with vague and shadowy conspiratorial undertones. As for the song itself, the exhilarating "No Tomorrow" is good, slash-and-burn metal, with a ripping Vanderhoof solo to boot. It doesn't reinvent the wheel, but there's an electricity running through its veins that is undeniable and the band seems to be enjoying itself in the video, which may speak to their enthusiasm for the XI material. Going back to church never sounded more appealing.

Anthrax: Already a Hot Track on iTunes, "Breathing Lightning" is sure to have tongues wagging. Anthrax bassist Frank Bello said of it, "That should be the biggest song Anthrax ever had."And he's right. It's got big, roundhouse hooks, a vitality and an immediacy that grabs you and an exciting, radio-friendly quality that's all fairly unusual for the band. The guitars are strong, melodic and powerful, the vocals are expansive and the rhythm section moves with dexterity and purpose. It's easy to get swept up in its currents. This could be a game-changer for Anthrax.

There's a clip of Bello, Charlie Benante and Scott Ian discussing the track on YouTube, and I urge you to check it out, because it offers real insight into the making of "Breathing Lightning." You can check it out here: http://anthrax.com/anthrax-breathing-lightning-preview-video/

Another @#$&! 2015 Top 10 rock albums list: Part 1

Depressing end to a year full of strong records
By Peter Lindblad

Killing Joke and Jaz Coleman released
one of this year's best records with 'Pylon.'

There was no happy ending to 2015 for hard rock and heavy metal. The December deaths of Lemmy Kilmister and Scott Weiland cast an overwhelming pall over a year dotted with peaks and valleys, the June passing of Yes bassist extraordinaire Chris Squire being one of the lowest of low points.

Once the grief passes, and eventually it will, the sun will break through the clouds, shining a light on the positive developments of 2015, such as the grand return of Jeff Lynne's Electric Light Orchestra and the release of critically acclaimed solo albums from Keith Richards, David Gilmour and Roger Waters. And while it appears the end is near for Black Sabbath and the ride is over (maybe?) for Motley Crue, battling brothers Ray and Dave Davies surprised everyone and briefly reunited onstage on Dec. 18, much to the delight of Kinks fans everywhere, rumors of a Guns 'N Roses reunion – now officially confirmed as a go, with a performance scheduled at the famed Coachella festival – gained unstoppable momentum and Phil Collins declared he is back ... for better or worse.

As is the case every year, a slew of incredible rock albums issued forth in 2015, bravely facing a music industry still in a state of flux and fighting for relevancy against tough odds, as a celebrity-infatuated public continues to genuflect at the pedicured feet of Adele, Taylor Swift and Bruno Mars. Here is Part 1 of our list of the Top 10 rock albums of 2015.

Stryper - Fallen 2015

10. Stryper – Fallen: Heaviness is next to godliness for Stryper these days. On Fallen, the Christian metal stalwarts keep thickening their sound and toughening gnarly riffs without sacrificing the sweet, uplifting melodic sensibilities and transcendent vocal blends adored by fans of their '80s output. More lyrically ambitious than past efforts, Fallen finds Stryper taking more risks, while refusing to abandon the signature elements that have always called the faithful to worship.

9. Lamb Of God – VII: Sturm Und Drang: Appearing rejuvenated, with Randy Blythe's terrifying legal ordeal in the Czech Republic behind him, Lamb Of God emptied their bag of tricks on the wild ride that was VII: Sturm Und Drang, proving that the disappointing Resolution was an aberration and thankfully not a trend. The words "controlled fury" get thrown around way too often, but that's what Lamb Of God engage in here, with brawling, savage riffs, titanic chugs and catastrophic breakdowns making beautiful chaos. There is great vitality and energy to VII: Sturm Und Drang, things that have been missing from recent Lamb Of God efforts. Blythe's personal journey out of hell seems to have lit a fire under the band he fronts.

Cattle Decapitation - The Anthropocene
Extinction 2015

8. Cattle Decapitation – The Anthropocene Extinction: Pollution is choking earth to death, and nobody is really doing much about it. That makes Cattle Decapitation very angry. On The Anthropocene Extinction, the extreme metal idealists paint an ugly apocalyptic vision of severe ecological devastation, and their rage at the apathy and corruption of mankind is manifested in some of the most intense, disorienting aural madness recorded in recent memory. And while it all seems to come dangerously close to going off the rails, Cattle Decapitation skillfully orchestrates a frenzied, enormous riot of pulverizing beats, violent riffs and diseased vocals designed to shock and awe. Welcome to Thunderdome.

Iron Maiden - The Book of Souls 2015

7. Iron Maiden – The Book Of Souls: A bit long-winded perhaps, with three songs clocking in at more than 10 minutes in length, The Books Of Souls dares to go places that Iron Maiden has rarely ever ventured. As their approach continues to grow increasingly progressive, resulting in some of the most complex and dramatic creations of their career, Maiden still indulges in the kind of thrilling, thunderous gallops and soaring, twisting harmonies that have always driven their most stirring anthems. And while that's a comfort to their legions of fans, as is the fact that they haven't lost any of their instrumental brilliance, The Book Of Souls also shows they're still eager to broaden their horizons and deeply explore new lyrical themes.

6. Killing Joke – Pylon: At war with the forces of oppression and greed, these post-punk veterans go for the jugular on the exciting, heart-pounding Pylon. Surging with great momentum from start to finish, while enveloped in swirling, expansive darkness, Pylon is a spiritual and political uprising for Killing Joke, a deep forest primeval of tribal drums overrun by modern electronic and industrial insurgency. In the distance, the powerful, echo-laden voice of Jaz Coleman sounds the alarm for mankind, delivering poetic tidings of the peril and calamity that should befall us if we fail to heed these warnings.

No weak sauce for Six Feet Under bassist

Jeff Hughell solo album about a chili pepper on the way
By Peter Lindblad

Six Feet Under bassist Jeff Hughell
is releasing his third solo album

Death metal is pretty brutal stuff. In the world of food, there are chili peppers that can, in similar fashion, be absolutely punishing on mouths, throats and the human digestive system. They are so hot and fiery they can make strong, hardy men weep and beg for a quick death. The Trinidad Scorpion is one of them.

Jeff Hughell, known mostly for his bass work with extreme metal maulers Six Feet Under, isn't afraid of a little heat. In fact, he's about to issue a scorching new solo album, his third, titled Trinidad Scorpion Hallucinations and it promises to score awfully high on the Scoville Scale, since the whole thing revolves around what it's like to actually experience tasting that nasty little chili. Hughell is well-acquainted with the stuff.

"I have Trinidad Scorpion sauce that my good buddy Matthew Kourie made, who is actually on the cover stirring the sauce," said Hughell, in press materials announcing the new LP. "It was made with Trinidad Scorpion, ghost and Habanero peppers plus some sweet stuff and it was amazing!!!"

Famed for his seven-string bass work, Hughell is known throughout the world of technical metal for his blazing chops, having played with such bands as Brain Drill, Vile, Feared, Asylum, Reciprocal, rings of Saturn and Cryptoreum. On Trinidad Scorpion Hallucinations, available Jan. 8 on iTunes, Amazon, Spotify and on jeffhughell.com, Hughell whisks listeners away on a gastronomical adventure, relaying through music what an encounter with the chili is really like.

Jesse Hughell - Trinidad Scorpion
Hallucinations 2016

For openers, Hughell offers the bass-and-drums beat down "Burn The Soul," a hell broth of a manifesto on the effects of capsaicin meeting your throat (Here's a video of the song https://www.youtube.com/watch?v=qHSY_dr8HgM).. A temporary reprieve comes with "Relief," which should be accompanied by a cold glass of milk, before the title track brings on psychedelic visions and the comforting harmony of "Brief Lapse of Clarity" lulls everybody into a false sense of security that the scalding "The Crown Won't Cool It Down" takes away. Inevitably, the issue of what happens later on in the bathroom comes up in the climactic "The Other Side."

"I came up with the idea then that it would be a really cool concept to go through the different phases of the initial heat, to the hallucinogenic part, to when it leaves you so to speak," said Hughell, who adds that he uses Kourie's sauce on tacos, eggs and chicken wings. "My favorite meal to cook would probably be pork shoulder. I love to smoke meats and a lot goes into making a pork shoulder perfect. From the brining, to the seasonings, the temperature, the timing, what wood you use to get the smoke flavor – it all matters. When it's done properly, you can take the shoulder out of it foil it's been resting in and basically smash it and the meat falls apart."

As for the album itself, the cover is intentionally trippy.

"The artwork was something that I wanted to really be extreme and I have wanted to work with Tony Koehl for a long time," said Hughell. "He took my basic idea of me drinking the sauce and Matt making it in the background and ran with it, putting in all of the insane detail. I couldn't be happier with it."

Almost certainly the only concept record ever made about a chili pepper, Trinidad Scorpion Hallucinations is different in other ways from Hughell's past solo work.

"I feel like this album has a much more consistent feeling," said Hughell. "It feels like one song that's over 40 minutes long. I spent a lot more time doing things in one take and having that feel of being real, versus technically 100 percent. It has a more human feeling to it."

Still, being the technically skilled player he is, Hughell is pretty discriminating when it comes to equipment. For this record, Hughell said, "I used my custom shop Warwick Corvette 7 string for everything except for 'The Crown Won't Cool It Down," which has my 6-string Warwick Corvette. Both basses have solid Bubinga bodies and custom Seymour Duncan Blackout pickups. I always record with a fresh set of Dean Markley SR2000 strings. I basically recorded all the bass at home, directly into my Mac book with Logic and then reaped everything at Castle Ultimate Studios. For the clean bass, we used my Gallien Krueger rig with a 2001 head into a neo 4x12 cabinet. For the distorted tracks, we reamped it with a Engl Powerball head into a Marshall cab."

To help bring his vision to life, Hughell recruited some top-notch musicians for the project, including Dominic Lapointe, who tears through a fretless bass solo on "Burn The Soul," with Marc Gilson on keyboards and Hannes Grossman on drums. Grossman also contributes to the title track and "The Crown Won't Cool It Down." Meanwhile, the creator of that  Kourie makes an appearance on vocals and guitar in "Relief," where Kevin "Brandino" Brandon plays arc bass and Mike Blanchard performs drums and percussion on "The Other Side."

"All the musicians on this album were great to work with," said Hughell. "They all brought their 'A' game to the project. I didn't even meet up in person with any of them. The thing I love about the guests is giving them freedom to do what they want. That's why I want them on the album, to hear their style. Or else, what's the point? Drums are a very important thing, too. Both Hannes Grossmann and Mike Blanchard do real performances of everything and don't leave a bunch of stuff to be edited after the fact. That provides a very real feeling."

Jeff Hughell on the bass

Currently, Hughell is on tour in Europe with Six Feet Under and enjoying the trip.

"I am in Germany as a I write this actually!" said Hughell. "This tour has been great. We have three more shows left. The shows have all been packed, the fans here always treat us very well, and we have some great bands on the tour with us."

Are there more chili pepper concept albums on the way from Hughell? Don't count on it.

"Ha ha! I think I am done writing about peppers," he said. "However, Matt and I recently went to a hot wings spot in San Francisco. We had Carolina reaper wings with a dry rub and it was possibly the hottest thing I ever ate. I had one wing. Matt had about five and he was defiantly crushed the next day!"

For more information on Hughell, check out these links:

www.facebook.com/jeff.hughell
www.youtube.com/666hughell
www.soundcloud.com/jeff-hughell

No sleep 'til heaven ... for Lemmy

A tribute to a fallen legend
By Peter Lindblad

R.I.P. Lemmy Kilmister

Nobody really believed that Lemmy Kilmister was actually indestructible. He was human after all. His recent death only serves to sadly drive that point home like a knife plunged straight into the heart of rock 'n' roll.

A kind of mythological figure, Motorhead's leader of the pack and former Hawkwind space-rock astronaut only seemed impervious to the Grim Reaper because he could guzzle bottles of Jack Daniels at a time, take as many drugs – never heroin, of course – as he liked and have as much sex as humanly possible with a multitude of partners.

None of that made him especially heroic, although, if blessed with an iron constitution like Lemmy's, who wouldn't want to experience such uninhibited and unfettered debauchery, if only for just a month or a week? Alas, all most of us can do is live vicariously through someone like Lemmy, someone who embodied the rock 'n' roll lifestyle and happily indulged in its all-you-can-eat buffet of vices. We needed the larger-than-life Lemmy in that strip club. We needed Lemmy knocking back enough booze to kill a horse and apologizing for nothing. Live free or die. No compromise. That made him rock's greatest anti-hero, untouchable and cool and immune to the judgement of self-righteous arbiters of morality. He ate sacred cows whole and spit out the bones. He had his own moral code, his own fashion sense – he wore "daisy dukes" shorts for god's sake and he wore the hell out of them – and interests outside of music that some might find distasteful. Lemmy didn't care what anybody else thought. That was his super power, and it made him bulletproof, as least when it came to criticism.

They made a movie about him, of course. How could they not? It was called "Lemmy," it came out in 2010 and if you haven't watched it, go and do so immediately. It was a revelation, and it showed that behind that tough, fearsome exterior was a generous soul, a proud father and a staunch, if unconventional, feminist. Not everything about it painted Lemmy in a good light, but he wouldn't have wanted some whitewashed version of the truth anyway. This was Lemmy, warts and all, and you couldn't help but love him. In the end, he emerged a beloved figure, a mentor even to some artists and to others a loyal friend for life. Nobody seems to have a bad word to say about him, and the outpouring of affection and adoration – things he abhorred by the way – since his passing has been a flood of biblical proportions. Punks and metal heads may not agree on everything, but they do find common ground on this: Lemmy and Motorhead were the genuine article, the band he fronted an exhilarating juggernaut of violence and speed and he played thunderous bass with reckless abandon, like an old moonshiner fleeing Johnny Law down treacherous country back roads. And if you didn't want to come along for the ride, so be it. There were no hard feelings on his part.

Incredibly candid and matter-of-fact about his own extraordinary, swashbuckling exploits in the movie "Lemmy," its namesake had nothing to hide and very few, if any, regrets, making it plain to anyone that this was a man who lived life on his terms. Artistically, he was no different. In a tweet following Lemmy's death, Alter Bridge's Myles Kennedy called him a "rebel poet," and that's fitting. His lyrics were searing in their honesty. They were philosophical and funny, and the furiously filthy, punk-metal nastiness of Motorhead, delivered with such volcanic intensity and ungodly volume, roared like the bikes of the Hell's Angels, providing the perfect vehicle for his defiant point of view. It was good, honest rock 'n' roll, just like the early stuff from the '50s that he loved. And don't forget that Lemmy also sang lead on Hawkwind's brilliant "Silver Machine" and served as a roadie for Jimi Hendrix. His story has many chapters, and all of them are utterly fascinating.

Lemmy leaves behind a slew of great Motorhead albums, such as Overkill, Bomber, Ace of Spades and the full-throated live LP No Sleep 'Til Hammersmith, and the band's most recent output – including this year's Bad Magic and 2013's Aftershock – could absolutely hold its own against the classics. Whether there was a will or not, everyone gets an inheritance from Lemmy, be it in the form of great music or the example he set. Think about it. How many of us desperately want to be truly free? And how many of us are so tied down with responsibilities that it becomes an impossible dream? Lemmy had mastered existence.

And even though he probably would be horrified at the thought of being put up on a pedestal or considered some kind of role model, there are lessons to be learned from Lemmy, especially for the next generation of musicians. Don't chase trends. Play to your strengths. Be true to yourself and your artistic vision. Honor the past, but don't be a slave to it. Be unique and be real. All are somewhat esoteric ideals, and it's harder than it sounds to stick to any of them. Lemmy did, and he was a legend because of it. And even though he had no use for religion, if there is a heaven, they should make welcome him with open arms at those pearly gates. The parties would be legendary.

DVD Review: Queen – A Night At The Odeon, Live At Hammersmith '75

DVD Review: Queen – A Night At The Odeon, Live At Hammersmith '75
Eagle Rock Entertainment
All Access Rating: A

Queen - A Night At The Odeon,
Live At Hammersmith '75 2015

Fog machines on full blast, the stage at the grand old Hammersmith Odeon was immersed in clouds of billowing smoke. Colorful lights circled about, as Queen strutted and preened through the bombastic epic "In the Lap of the Gods ... Revisited" like luminous peacocks in satin suits.

And when they were done, blue balloons and festive streamers fell from the rafters on an ecstatic audience begging for more. Even the toy sex doll seen surfing the crowd seemed to want an encore. And she got one.

Far from spent, on Christmas Eve in 1975, Queen – riding high on the chart-topping success of "Bohemian Rhapsody," celebrating its 40th anniversary this year – re-emerged, vamping through their take on "Big Spender" and then careening into a raw, raucous medley of old-time rock 'n' roll covers based around Elvis Presley's "Jailhouse Rock." A heady celebration, indeed, this performance, filmed beautifully for the U.K. TV show "The Old Grey Whistle Test," was as memorable and glorious as any for Queen, and it has now been released by Eagle Rock Entertainment in various formats as "A Night At The Odeon, Live At Hammersmith '75."

Along with a full CD, DVD and Blu-ray package complete with a never-before-seen "second encore" of "Seven Seas of Rhye" and "See What A Fool I've Been," there are separate DVD and Blu-ray versions with other bonus material. Guitarist Brian May and drummer Roger Taylor reminisce about being broke and riddled with self-doubt, how wonderful the night in question was and what made this particular period in Queen history so transformative, when the album A Night At The Opera was soaring in popularity, with "Old Grey Whistle Test" presenter Bob Harris in a nostalgic and revealing 22-minute documentary. That's included with rare and rather dodgy, but still vital, footage of Queen on their much-ballyhooed 1975 tour of the Far East playing "Now I'm Here," "Killer Queen" and "In the Lap of the Gods ... Revisited" in the release's "Live at Budokan" segment.

In stark contrast, the vintage video imagery of the triumphant Hammersmith Odeon gig is sumptuous, capturing with superb camera work all the bluster, theatricality and assured brilliance of a band on fire. May's harmonic, echo-laden solo turn during "Brighton Rock" is truly mesmerizing and that great tone of his bites your ear lobe throughout, while Taylor's drumming is controlled fury and John Deacon's bass work becomes the elastic glue that holds it all together. Not surprisingly, though, it's Freddie Mercury who steals the show, his voice so pure and his expression fierce and unabashedly dramatic, while his piano playing displays both an incredibly deft touch and an ability to pound keys into submission when so moved.

Honest-to-God hits are hard to come by in an interesting set list that reflects Queen's position then as relative up-and-comers, but small portions of the lively, bouncing romp "Killer Queen" and the ominously powerful "The March of the Black Queen" are bookended by the lovely intro and outro of "Bohemian Rhapsody." Just for kicks, they tack on a vaudevillian bit of "Bring Back That Leroy Brown" to the back end of this neat and tidy little medley that is entertaining. For openers, Queen charges right into an uplifting, soaring "Now I'm Here" and follows by staging a cinematic, expansive "Orge Battle," before tenderly treating "White Queen (As It Began)" like the elegant maiden she is and getting swept up in the dizzying frenzy of "Keep Yourself Alive" and "Liar."

Here is a young, hungry Queen feeling its oats, buoyed by its recent success and eager to show off its exquisite song craft, dazzling chops and the audacious showmanship of Mercury. What a night it was.
– Peter Lindblad

Chastain's Leather Leone bleeds for metal

Singer reunites with '80s heavy metal favorites
By Peter Lindblad

Chastain is David T. Chastain, Leather Leone,
Mike Skimmerhorn and Stian Kristoffersen

Leather Leone is back where she belongs, fronting the blazing '80s heavy metal outfit Chastain.

The namesake of guitar wizard David T. Chastain, the band was cobbled together in 1984 by Shrapnel Records President Mike Varney, who was looking for a vehicle to shine a spotlight on the CJSS shredder's instrumental prowess, as well as Leone's fiery, powerhouse vocals.

A force of nature on Chastain albums including the 1984 debut Mystery of Illusion on through Ruler of the Wasteland (1986) – both recorded for the Shrapnel label – and The 7th of Never (1987), 1988's The Voice of the Cult and 1990's For Those Who Dare, Leone returned to Chastain after a long break from music in 2013, with the LP Surrender To No One.

Released in early November, We Bleed Metal is Chastain's latest effort, and it is an all-out blitzkrieg of crunching riffs and blistering solos, rampaging drums and bass, and the vocal fury of Leone. By turns melodic and thrashing, with an appreciation for all the elements that go into making classic metal songs, We Bleed Metal – released on Leviathan Records – is more than just a declaration of allegiance to metal. It addresses heavy subject matter, such as the collapse of financial institutions, religious extremism and mankind's penchant for self-destruction, and it does so with intelligence and raw emotion. And with it comes the return of original bassist Mike Skimmerhorn and the sensational debut of drummer Stian Kristoffersen.

A power-metal legend, Leone recently discussed her comeback, the new album and her history in metal in this interview.

Chastain - We Bleed Metal 2015

Now that you've been back with Chastain for two albums, and Mike Skimmerhorn has returned for your latest record, We Bleed Metal, in what ways does this situation feel like it did in the early days and how is it different?

Leather Leone: The end product seems like we haven’t skipped a beat. The general feeling and vibe of Chastain is absolutely there. But since we all do most everything online ... the whole studio experience is gone, which is a personal loss for me. I appreciated all the feedback and sharing of musical ideas face to face.

How tough is it to balance the interests of creating new material that's in keeping with the classic elements of Chastain while also trying to be more modern?

LL: Chastain is the main songwriter and took the reins with We Bleed Metal. He has never tried to write or attempt to go in any direction. But that being said, we did work and create music together for a long time. He has a way of writing with my thoughts and vocals in mind.

What songs on this record challenged you the most vocally?

LL: In all honesty none of them come to mind. All of these tracks came together quite easy. There was a strong, magical flow for me the moment we started working with them.

A lot of the subject matter on We Bleed Metal has to do with serious issues. How does what the songs are about impact how you approach singing them?

LL: Of course it is extremely important. And since we write about a number of serious, intense situations, my vocals, I hope, reflect that. I have always been more of an aggressive vocalist. I won’t be doing any ballad records anytime soon!

Some of my favorites on the new record include "Against All The Gods," "I Am A Warrior," and "Don't Trust Tomorrow." What are the songs on We Bleed Metal that you felt were the most exciting and why?

LL: You hit it exactly. "Against all the gods" has a special place in my ears. As soon as I put that harmony on the chorus, I was hooked. The third verse just rolls off my Metal tongue!!!! This is an unusual record for me. I am stoked about all the material. Chastain did an incredible job with the mixing ,mastering, etc. And he allowed me to get my opinion in the whole story.

What brought you back to Chastain and has your return been everything you thought

it would be?

LL: My return came through the project I did in L.A. in 2011 called The Sledge Leather Project. We had put out a record called Imagine Me Alive. I had asked him for his advice on many occasions. Of course the musical conversation led back to Chastain. During my return I had continually been asked about new Chastain music. It was inevitable!

What inspires you most about working with Chastain and David in particular?

LL: It has been the same since I met him. He is a remarkable talent. He is a perfectionist. He has known me and watched me grow vocally. He knows what I can do and never settles for anything less. Musically we just fit. I consider him one of my favorite teachers. And we love f**king METAL!!!!!

With Rude Girl, everything seemed to be coming together for you. You were sharing stages with Megadeth and Suicidal Tendencies. You had a big record deal with Columbia. Why did it not continue?

LL: It’s the same ole boring story. Egos, control, youth and stupidity. It was not meant to be. I am thankful I had the experience. What a training ground!!!

David has said this is the most "shredtastic" album since the era of The 7th of Never. Would you agree and if so, is that what you were hoping for as well?

LL: Yes, I would agree. Yes, I was hoping for him to go off on We Bleed Metal. Again, this was one of those spaces in time that just worked!

If you had a chance to do one Chastain album in its entirety live on tour, what would it be?

LL: Mystery of Illusion ... that material would rock now. With modern production and my vocals to day!!!! I hear it in my head

What for you was your most gratifying experience with the early days of Chastain?

LL: Live shows ... without fail something always goes wrong, but that audience fuel

drives me. Metal in the house!! And also, now with the passage of time, those crazy little metal records meant so much to so many of you. It is a true honor to be held so respectfully in the metal community!

The decade of the '80s was such an amazing period for heavy metal. What are your favorite memories of that time, and for you, was it enjoyable or was there a downside?

LL: Just to be privileged enough to be part of it. For me it is disappointing that Chastain never broke to become a big band. I left things out of my hands and decisions were made that I would have done differently. To be able to create music at anytime that people enjoy and are inspired by is a true gift.  Love the '80s!!!!

Taking such a long absence from the music business, what did you miss most about it and what didn't you miss?

LL: I missed being in the core of new music. I missed meeting and performing for all of you. I didn’t miss having to stay in unbelievable shape to pull off doing live music nightly!!

In making all the albums you did with Chastain, was there one that stood out as being more fun or artistically satisfying than the others, and by the same token, which one was the most difficult?

LL: For me when we recorded Voice of the Cult I had a sense that I had found my stride. My experience had kicked in and I felt I knew what I was doing. I remember being onstage and thinking I got this. It all became very easy. It is a true comment I have heard from many artists, much better to never stop!

What do you see as the next step for Chastain?

LL: You would have to ask David.

A second life for Fleetwood Mac's 'Tusk': Reassessing the band's most controversial LP

'Tusk' gets deluxe reissue treatment, new video platform celebrates Fleetwood Mac
By Peter Lindblad

Fleetwood Mac - Tusk

Fair or not, there is a tendency to think of 1979's Tusk as "Fleetwood Mac's folly," the messy result of insane hubris, too much cocaine and frayed nerves, not to mention a whole lot of inner turmoil.

Trying to follow up Rumours, one of the biggest-selling records of all-time, can make an already dysfunctional band do crazy things. That includes blowing $1 million on making a record. They even convinced the University of Southern California marching band to play on the euphoric, wildly original, poly-rhythmic free-for-all that is the title track.

In desperation, they pulled out every trick they could think of, and their experimental approach – borrowing elements from emerging genres such as punk and new wave – seems entirely logical in hindsight. After all, how do you top Rumours? And, going one step further, how do you even attempt it with a band that doesn't seem to want anything to do with each other? There was no blueprint to follow. There were no case studies to review, except maybe that of The Beatles, who went off the deep end a little with 1968's The White Album, after engineering their masterpiece, Sgt. Pepper's Lonely Hearts Club Band. So forgive Fleetwood Mac if they were feeling somewhat desperate.

Assailed by critics upon its release as incoherent, self-indulgent and unfocused, Tusk took its lumps, but over time, those initial assessments gave way to more glowing commentary. Nikki Hirsch is the senior vice president for ZUUS Media, who is releasing an exclusive music video collection of Fleetwood Mac's most popular hits. ZUUS launched its Fleetwood Mac channel Dec. 3, providing a platform for viewing all of Fleetwood Mac's videos, as well as those of Stevie Nicks. The timing coincides with the release of reissued, deluxe versions of Tusk released Dec. 4 by Warner Bros. Records with a treasure trove of bonus material.

"Fleetwood Mac's Tusk is a legendary rock record – a double-LP with an experimental flavor and distinct, disparate songwriting, which (Fleetwood Mac bassist) John McVie used to say sounded like three separate solo artists," said Hirsch. "Despite these nuances, when it was first released in '79, the album was surprisingly met with harsh criticism for underselling in comparison to the band's previous album, Rumours. Perhaps it's because of this diss that the album is considered highly underrated by critics and fans alike. When Warner announced the deluxe re-release of Tusk, replete with previously unreleased material, we jumped at the opportunity to create a special artist collection channel to celebrate the band and album."

Listened to with fresh ears, Tusk doesn't seem all that weird today, although the bounding energy and oddball, manic exuberance of "The Ledge," "What Makes You Think You're The One" and "That's Enough for Me" – where a wired-to-the-gills Lindsey Buckingham takes center stage – can be jarring. It's as if these songs themselves were doing lines of coke in the studio, especially when juxtaposed against the stream of mellow, folky pop gold flowing from Christine McVie's "Honey Hi," "Never Forget" and "Brown Eyes," as well as the spectral beauty of Nicks' "Sisters of the Moon" and the breathtakingly beautiful "Sara."

Despite its excesses and strange hyperactivity, Tusk's up-tempo numbers have a bright, buoyant charm and surprising immediacy, while its well-crafted, soft-rock gems glow luminously, and while it's not an album that has a easy, logical sequence, it holds together pretty well – even if there wasn't much esprit de corps among the troops. Since then, hatchets have been buried, and this version of Fleetwood Mac, the one that couldn't stand to be around each other as Tusk was being birthed, is peacefully coexisting, even flourishing on its most recent "On With The Show" world tour. And those who want the full Fleetwood Mac experience will find a lot to like about ZUUS' new venture.

"ZUUS' strategy with our artist collection channel platform is to provide an expertly curated viewing experience for fans, where they can enjoy continuous play-out of an individual artist's official music videos, live performances and additional content in one place," said Hirsch. "In our Fleetwood Mac channel, we feature the band's official music videos for classics like "Big Love" and "Little Lies," along with Stevie Nicks' live version of "Landslide," and additional collaborations and videos from Mick Fleetwood and Lindsey Buckingham. When Fleetwood Mac fans visit the channel on ZUUS, they will be able to re-experience the band in a unique, engaging way."

As for Tusk itself, it was released in 1979 as a double-album and it climbed to No. 4 on the U.S. album charts on the strength of hits like "Sara," "Think About Me," and the title track. The new reissues are available as a Deluxe Edition (5-CD/2-LP/1-DVD-A, $119.98), an Expanded Edition (3-CD, $24.98), and a single disc of the newly remastered original album ($11.98). Digital versions will also be available.

The Tusk (Deluxe Edition) is packed with five CDs, including the remastered original album, an alternate version of the complete album made up of session outtakes, most of which have never been released, as well as an additional selection of singles, demos and remixes, including an outtake of "Think About Me," an early version of "That's Enough For Me" called "Out On The Road," plus several incarnations of "I Know I'm Not Wrong."

Want Tusk-related live stuff? This lavish release also includes two discs loaded with 22 unreleased performances from the band's 1979 "Tusk" tour with selections from concerts in London, Tucson, and St. Louis. It includes live versions of album tracks like "Sara, "Over And Over" and "Save Me A Place," as well as favorites like "Landslide," "You Make Loving Fun," "Rhiannon," "Don't Stop" and "Go Your Own Way." The collection also boasts a 5.1 surround mix of Tusk on DVD-Audio and vinyl of the original album on 2-LPs, and it's housed in an elegant box similar to the Rumours Deluxe Edition, with extended liner notes boasting new interviews with all the band members in a well-appointed booklet. This has to be one of the most impressive reissue treatments of the year.

TUSK: DELUXE EDITION (5-CD/2-LP/1-DVD)

Track Listing

Disc One: Original Album Remastered

1. "Over & Over"

2. "The Ledge"

3. "Think About Me"

4. "Save Me A Place"

5. "Sara"

6. "What Makes You Think You're The One"

7. "Storms"

8. "That's All For Everyone"

9. "Not That Funny"

10. "Sisters Of The Moon"

11. "Angel"

12. "That's Enough For Me"

13. "Brown Eyes"

14. "Never Make Me Cry"

15. "I Know I'm Not Wrong"

16. "Honey Hi"

17. "Beautiful Child"

18. "Walk A Thin Line"

19. "Tusk"

20. "Never Forget"

Disc Two: Singles, Outtakes, Sessions

1. "Think About Me" (Single Remix)

2. "That's All For Everyone" (Remix)

3. "Sisters Of The Moon" (Remix)

4. "Not That Funny" (Single Remix)

5. "Sara" (Single Edit)

6. "Walk A Thin Line" (Song #3 - 03/13/79)

7. "Honey Hi" (Alternate Version - 10/18/78)

8. "Storms" (Alternate Version - 11/30/78)

9. "Save Me A Place" * (2nd Version -10/10/78)

10. "Never Make Me Cry" (Version - 04/17/79)

11. "Out On The Road" (aka "That's Enough For Me" - Demo - 12/19/78) *

12. "I Know I'm Not Wrong" - Lindsey's Song #1 (Demo)

13. "I Know I'm Not Wrong" * (10/10/78 Version)

14. "I Know I'm Not Wrong" * (11/3/78 Version)

15. "I Know I'm Not Wrong" * (4/25/79 Version)

16. "I Know I'm Not Wrong" * (8/13/79 Version)

17. "I Know I'm Not Wrong" * (1/23/79 Version)

18. "Tusk" (Demo - 01/15/79) *

19. "Tusk" "Stage Riff" (Demo - 01/30/79)*

20. "Tusk" (Outtake Track - 02/01/79)*

21. "Tusk" (Outtake Mix - 01/23/79) *

22. "Tusk" (USC Version - 06/04/79) *

Disc Three: The Alternate Tusk

1. "Over & Over" (04/02/79) *

2. "The Ledge" (03/13/79)

3. "Think About Me" (02/18/79) *

4. "Save Me A Place" (10/18/78) *

5. "Sara" (03/10/79)

6. "What Makes You Think You're The One" (02/24/79) *

7. "Storms" (06/02/79) *

8. "That's All For Everyone" (10/20/78) *

9. "Not That Funny" (05/19/79) *

10. "Sisters Of The Moon" (11/12/78) 11. "Angel" (04/02/79) *

12. "That's Enough For Me" (09/29/78) *

13. "Brown Eyes" (with Lindsey & Peter Green, 09/20/78) *

14. "Never Make Me Cry" (02/08/79) *

15. "I Know I'm Not Wrong" (11/02/78) *

16. "Honey Hi" (10/11/78) *

17. "Beautiful Child" (10/09/78) *

18. "Walk A Thin Line" (04/06/79) *

19. "Tusk" (07/19/79) *

20. "Never Forget" (06/29/78) *

Disc Four: Tusk Tour Live I

1. Intro (Wembley, 06/26/80)

2. "Say You Love Me"(Wembley, 06/26/80)

3. "The Chain" (Wembley, 06/20/80)

4. "Don't Stop" (Wembley, 06/27/80)

5. "Dreams" (Wembley, 06/20/80)

6. "Oh Well" (Wembley, 06/20/80)

7. "Rhiannon" (Tuscon, 08/28/80)

8. "Over And Over" (St. Louis, 11/05/79)

9. "That's Enough For Me" (Wembley, 06/21/80)

10. "Sara" (Tuscon, 08/28/80)

11. "Not That Funny" (St. Louis, 11/05/79)

12. "Tusk" (St. Louis, 11/05/79)

Disc Five: Tusk Tour Live II

1. "Save Me A Place" (St. Louis, 11/05/79)

2. "Landslide" (Omaha, 08/21/80)

3. "What Makes You Think You're The One" (St. Louis, 11/05/79)

4. "Angel" (St. Louis, 11/05/79)

5. "You Make Loving Fun" (Wembley, 06/20/80)

6. "I'm So Afraid" (St. Louis, 11/05/79)

7. "World Turning" (Wembley, 06/22/80)

8. "Go Your Own Way" (Wembley, 06/22/80)

9. "Sisters Of The Moon" (Wembley, 06/22/80)

10. "Songbird" (Wembley, 06/27/80)

All live tracks previously unreleased

TUSK: DELUXE EDITION (3-CD)

Track Listing

Disc One: Original Album Remastered

1. "Over & Over"

2. "The Ledge"

3. "Think About Me"

4. "Save Me A Place"

5. "Sara"

6. "What Makes You Think You're The One"

7. "Storms"

8. "That's All For Everyone"

9. "Not That Funny"

10. "Sisters Of The Moon"

11. "Angel"

12. "That's Enough For Me"

13. "Brown Eyes"

14. "Never Make Me Cry"

15. "I Know I'm Not Wrong"

16. "Honey Hi"

17. "Beautiful Child"

18. "Walk A Thin Line"

19. "Tusk"

20. "Never Forget"

Disc Two: Singles, Outtakes, Sessions

1. "Think About Me" (Single Remix)

2. "That's All For Everyone" (Remix)

3. "Sisters Of The Moon" (Remix)

4. "Not That Funny" (Single Remix)

5. "Sara" (Single Edit)

6. "Walk A Thin Line" (Song #3 - 03/13/79)

7. "Honey Hi" (Alternate Version - 10/18/78)

8. "Storms" (Alternate Version - 11/30/78)

9. "Save Me A Place" * (2nd Version -10/10/78)

10. "Never Make Me Cry" (Version - 04/17/79)

11. "Out On The Road" (aka "That's Enough For Me" - Demo - 12/19/78) *

12. "I Know I'm Not Wrong" - Lindsey's Song #1 (Demo)

13. "I Know I'm Not Wrong" * (10/10/78 Version)

14. "I Know I'm Not Wrong" * (11/3/78 Version)

15. "I Know I'm Not Wrong" * (4/25/79 Version)

16. "I Know I'm Not Wrong" * (8/13/79 Version)

17. "I Know I'm Not Wrong" * (1/23/79 Version)

18. "Tusk" (Demo - 01/15/79) *

19. "Tusk" "Stage Riff" (Demo - 01/30/79)*

20. "Tusk" (Outtake Track - 02/01/79)*

21. "Tusk" (Outtake Mix - 01/23/79) *

22. "Tusk" (USC Version - 06/04/79) *

Disc Three: The Alternate Tusk

1. "Over & Over" (04/02/79) *

2. "The Ledge" (03/13/79)

3. "Think About Me" (02/18/79) *

4. "Save Me A Place" (10/18/78) *

5. "Sara" (03/10/79)

6. "What Makes You Think You're The One" (02/24/79) *

7. "Storms" (06/02/79) *

8. "That's All For Everyone" (10/20/78) *

9. "Not That Funny" (05/19/79) *

10. "Sisters Of The Moon" (11/12/78)

11. "Angel" (04/02/79) *

12. "That's Enough For Me" (09/29/78) *

13. "Brown Eyes" (with Lindsey & Peter Green, 09/20/78) *

14. "Never Make Me Cry" (02/08/79) *

15. "I Know I'm Not Wrong" (11/02/78) *

16. "Honey Hi" (10/11/78) *

17. "Beautiful Child" (10/09/78) *

18. "Walk A Thin Line" (04/06/79) *

19. "Tusk" (07/19/79) *

20. "Never Forget" (06/29/78) *

*Denotes previously unreleased

For more information, please visit FleetwoodMac.com/Tusk

Ordering information links

Physical:

• Deluxe (5CD/2LP/1DVD) - http://smarturl.it/TuskDeluxe

• Expanded (3CD) - http://smarturl.it/Tusk3CD

• 2015 Remaster (1CD) - http://smarturl.it/TuskCD

Digital:

• Deluxe - http://smarturl.it/TuskDL

• Expanded - http://smarturl.it/TuskExpandedDL

• 2015 Album Remaster - http://smarturl.it/TuskRemasterDL

R.I.P. Scott Weiland

Eulogizing the former Stones Temple Pilot, Velvet Revolver singer 
By Peter Lindblad

Scott Weiland 

The more callous among us are not surprised. Some will even go so far as to casually say, "I thought he was already dead," and in doing so, will not spill a drop of that milk of human kindness Shakespeare wrote about so eloquently in "Macbeth."

Scott Weiland's troubled life has ended, his well-documented battles with his addictions are over. Many are just waking up to the news that he died in his sleep and have expressed their sadness via social media.

Tributes are pouring in, and he is deserving of them, as Weiland was one of the last true rock stars, handsome, fashionable and debonair with a wild streak a mile wide and a riveting, charismatic stage presence. Not to mention that he had a commanding, confident voice capable of delivering the songs and poetry of Stone Temple Pilots and Velvet Revolver with an assured air of someone who wanted all eyes and ears on him, but didn't need it. He was like a rock 'n' roll matador. Jesus, the guy even sang through a megaphone.

Weiland was no shrinking violet, which was actually refreshing. He sought the spotlight onstage at a time when many of his contemporaries were trying to flee it. And ironically enough, it was the onset of grunge – the very movement that made him a star – that seemed to foster a sense of guilt and shame for chasing fame and fortune. Weiland wouldn't have any of that. He dressed to attract attention. He dated beautiful women. He was damn sexy! Which seems like a terribly inappropriate thing to say now, but he was.

And, at the same time, he was at least partly responsible for making music that deeply touched people. Classic songs like "Plush," "Interstate Love Song," "Big Empty," "Wicked Garden," and"Vasoline" are proving to have real staying power, as does Velvet Revolver's "Slither." Their surreal, evocative lyrics left the door wide open to interpretation. Where some see them as nonsensical and shallow, others find sensuality, imaginative metaphors and interesting puzzles, as well as thoughtful ruminations about death, deceit, confusion and love in classics.

Is he a tragic figure? That's always a tricky question when it comes to those with self-destructive tendencies. We still don't know the actual cause of death. Those who cling tightly to the notion that "it's better to burn out than fade away" might believe that Weiland was the poster boy for such a philosophy. Then again, he was 48, not 27 – which seems to be the age when rock stars of a similar bent shuffle off this mortal coil. So, if he did indeed burn out, it was a very slow burn.

To those closest to him, however, such talk is horribly crass and offensive. It trivializes his life. All they care about is that he is gone and they are grieving the loss of their friend or their family member, no matter how difficult the relationship. To the rest of us, the fans, another great artistic voice has been silenced and somebody we felt close to, who somehow understood us even though we'd never met, is never coming back. So, yes, he is a tragic figure in that he died too young and had more to give. Rest well, Scott. "Where ya going to tomorrow?" None of us truly knows.

CD Review: Monster Magnet – Cobras And Fire (The Mastermind Redux)

CD Review: Monster Magnet – Cobras And Fire (The Mastermind Redux)
Napalm Records
All Access Rating: A-

Monster Magnet - Cobras And Fire
(The Mastermind Redux) 2015

After tinkering with 2013's Last Patrol a year ago and slapping a fresh coat of psychedelic aural paint on what was already a mind-blowing record, Dave Wyndorf and Monster Magnet figured why not have another go at 2010's The Mastermind. 

In need of rehabilitation, The Mastermind was a rather uneventful walk in the park compared to more adventurous sonic journeys taken over the years by these stoner-metal visionaries. Given a second chance, they hold nothing back on Cobras And Fire (The Mastermind Redux), sending it screaming through space in a vehicle fueled by powerful drugs.

While slow-burning versions of "Hallucination Bomb" and "Time Machine' crawl across an expansive, alien soundscapes like lost scorpions and celestial voyages "Gods and Punks" and "The Titan" – a hypnotic instrumental – all float on, the apocalyptic firestorm "When The Planes Fall From The Sky" and blinding supernova "Ball of Confusion" engage in all-out attacks on the senses, pushing forward with more urgency as these massive doses of heavy psychedelia bring on terrifying lysergic trips. Even more unsettling, as an undercurrent of menace drifts beneath solar-powered guitar effects in the title track, Wyndorf advises, "You gotta trust your mastermind," and he does it so seductively you begin to wonder if you've been tricked into unknowingly clucking like a chicken for the last hour under his orders.

Taking liberties with The Mastermind, Monster Magnet heightens the drama of "Watch Me Fade" with swirling organ, making like The Doors meets Screaming Jay Hawkins. However, the most explosive choruses are triggered in "She Digs That Hole," as the pent-up, throbbing tension of its verses is finally freed. Doomsday drums, lonely piano and grumbling bass lines are found throughout Cobras And Fire (The Mastermind Redux), as freakish, howling storms of guitars and keyboards become spectacularly colorful backdrops for Wyndorf's lurid, space-rock tales of vengeance, lust and armageddon – gripping stuff from a master storyteller. Trust in Monster Magnet. They almost never let you down.
– Peter Lindblad

CD Review: Chastain – We Bleed Metal

CD Review: Chastain – We Bleed Metal

Leviathan Records

All Access Rating: B+

Chastain - We Bleed Metal 2015

The old gang is almost back together. Only drummer Fred Coury, better known from his days with Cinderella, remains a no-show.

Surrender to No One, issued in 2013, saw the welcome return of iconic female power-metal vocalist Leather Leone to the Chastain fold, and now, the band has reunited with original bassist Mike Skimmerhorn for its latest Leviathan Records release We Bleed Metal, an album that unabashedly relives past glories while wrestling with how to become relevant in 2015.

All the familiar talismans of Chastain's '80s heyday are present, from Leone's all-encompassing wail and wrathful expression giving the lash to David T. Chastain's fiery and diverse guitar shredding fury. Coexisting uncomfortably, for whatever reason, there is palpable tension between the two forces, which usually results in electrifying metal with neoclassical underpinnings, especially when propelled forward by the battering drums of Stian Kristofferson (Pagan's Mind, Firewind). Occasionally, though, they seem to be rebelling against each other as if Chastain is undergoing an attempted coup. Still, thought-provoking lyrics that press such hot-button topics as religious extremism, financial collapse and mankind's appetite for self-destruction would keep We Bleed Metal in the 24-hour news cycle if CNN and other networks of its ilk ever deigned to acknowledge traditional metal's existence. But, that's a conversation for another day.

In the here and now, there is a fire-and-brimstone rallying cry for marginalized headbangers in a soaring, stampeding title track, and nasty, rugged, snaking riffs that bring thunder and lightning to the darkened skies of "Don't Trust Tomorrow," "Against All The Gods" and "I Am A Warrior." Heavier still is "Search Time for You," a lumbering, mysterious trudge with Middle Eastern adornments that runs out of steam, but the bruising, ravenous "Evolution of Terror" and "The Last Ones Alive" – where a beautifully rendered acoustic intro succumbs to hellish brutality – resuscitate We Bleed Metal with acrid, smoky breath. With three-fourths of its original lineup intact, the current version of Chastain follows familiar paths through dense, scary woods of riffing, animalistic howls and pounding rhythms, always staying true to its mission. To deviate now would seem to be a disingenuous, desperate grab for attention.
– Peter Lindblad

CD Review: Billy Sherwood – Citizen

CD Review: Billy Sherwood – Citizen
Frontiers Music srl
All Access Rating: A-

Billy Sherwood - Citizen 2015

Filling the shoes of the late, great Chris Squire as the bassist in Yes is an almost impossible task. And yet, Billy Sherwood – handpicked by Squire as his replacement in the legendary progressive-rock outfit – isn't shying away from taking on other herculean projects, such as his latest LP Citizen.

Like all the scripts from "Quantum Leap" all rolled into one sprawling concept album, the Frontiers Music srl release Citizen imagines "a lost soul reincarnated into various periods of history" that isn't Scott Bakula. Still, the cast of Citizen is impressive, as Sherwood draws on the talents of prog-rock innovators Geoff Downes, Steve Hackett, Steve Morse, Rick Wakeman and Jordan Rudess – just to name a few – to bring his vision to life. What's more, Squire actually plays on the triumphant and expansive title track, thought to be his final recording.

Sherwood's "citizen" finds himself either caught up in a series of cataclysmic world events, such as the Great Depression and World War I, or witnessing the birth of paradigm-shifting scientific discoveries, once as a friend to Galileo or another time as an assistant to Charles Darwin. All the while, Citizen's sweeping, slow-developing melodies, layers of harmonies, soft instrumental interplay and breathtaking, cinematic beauty seem attuned to the somber and surreal artwork that graces its cover in standout tracks "No Man's Land," "Just Galileo and Me" and "The Great Depression."

More watery and ominous, "Empire" turns starry and its choruses grow wider, while "Trail Of Tears" – a song about the forced migration of Native American peoples in the U.S. – is an edgier puzzle of sharp confusion sussed out in a manner signifying rage at the ruinous cruelty and injustice of such a monstrous policy. Lighter and more lively, with some splashes of funk thrown into the mix, "Age of the Atom" practically dances about, as Sherwood's bass lines, so plush everywhere else, offer contrasting melodic forays, but in the end, it's the accessibility and drive of "Man and the Machine" that wins the day. Not so different from the music of Yes, the compositions here, while cut from the same cloth, are more lush and elegantly designed, even if Citizen does tend to infuriatingly dawdle at a somewhat leisurely pace. That won't matter to those with a lot of time on their hands; their patience will be rewarded with an immersive experience, both lyrically and musically. If Citizen is any indication, Squire has left Yes in good hands with his protege.
– Peter Lindblad