CD Review: Rubicon Cross – Rubicon Cross

CD Review: Rubicon Cross – Rubicon Cross

INgrooves Records

All Access Rating: A-

Rubicon Cross - S/T 2014

Forget for a moment that CJ Snare was, and still is, the lead singer of early '90s pop-metal kingpins Firehouse. In the here and now, although Firehouse is still very much alive and well, it's the much heavier and more aggressive Rubicon Cross that demands your full and undivided attention.

A shock to a melodic hard-rock system that needed a jolt of electricity, with a surprise ending nobody will see coming and a raft of strong melodies, the metallic debut album from Rubicon Cross was designed by Snare and songwriting partner Chris Green, a shredding assassin of a guitarist who unloads a fusillade of smoking riffage and searing, armor-piercing solos from an instrument he treats as a lethal weapon. And to beef up their sound, they brought in some musical muscle in the form of Pride/Furyon bassist Simon Farmery, second guitarist Jeff Lerman and Seventh Omen drummer Robert Behnke.

Fueled by raw emotions, heated to a boil by marital discord, feelings of betrayal, sadness over the death of a beloved father and a more uplifting sense of tight brotherhood in the face of adversity, the INgrooves Records release opens its mouth and roars, its big, snaking grooves hissing and lashing out with venomous intent in the face of a powerful, three-pronged storm front of "Locked and Loaded," "Next Worst Enemy" and "Bleed With Me." 

Minus the sleaze, Rubicon Cross is like Velvet Revolver on steroids, its modern hard-rock sheen shined up by producer Rick Beato, who strengthened records by the likes of Shinedown and Fozzy. These are big, thick slabs of rock, as "You Will Remember Me" and "Kill or Be Killed" grow increasingly more tumescent and dynamic with every spin, where the affecting acoustic ballad "Shine" and the more tender, yet still fully loaded and surging with power, "Save Me Within" and "Moving On" leave Rubicon Cross beautifully exposed and vulnerable. 

Clear and distinctive, Snare's vocals are all heart, and they rise above this din. And when Rubicon Cross reveals its pop-punk surprise finale, the infectious Green Day/Blink 182-like "All the Little Things," it's evident that all involved aren't entirely bitter or angry about all they've been through, and that this band might just be their salvation. An exclusive deluxe edition of the record will be available May 19 at Best Buy, and it comes with a poster and bonus tracks. It'd be worth the investment just to see what else Rubicon Cross have up their sleeves.
– Peter Lindblad

CD/DVD Review: Dio – Live in London: Hammersmith Apollo 1993

CD/DVD Review: Dio – Live in London: Hammersmith Apollo 1993

Eagle Rock Entertainment

All Access Rating: A-

Dio - Live In London: Hammersmith
Apollo 1993

Four years after the death of Ronnie James Dio left the heavy metal community in a state of profound mourning comes "Live in London: Hammersmith Apollo 1993," the first-ever video release of a professionally shot classic concert from, what was at the time, a newly reconfigured Dio touring the Strange Highways album.

Looked at by some as the start of a downward spiral for Dio and applauded by others as a much-needed change of lyrical scenery, Strange Highways was made with new parts, as the legendary singer and longtime collaborator Vinny Appice, having left Black Sabbath after Dehumanizer, revived Dio with former Dokken bassist Jeff Pilson, new guitar slinger Tracy G and Warrant keyboardist Scott Warren in tow.

Gone were the trappings of medieval fantasy that had fired his imagination in the beginning, as Dio started exploring matters of a more contemporary nature. Not everyone was onboard with the shift in emphasis, but at the Hammersmith Apollo on this December 12, 1993 evening, Dio made amends to those who accused him of heresy. Raining down fire and brimstone as only he can with his extraordinary vocal firepower, Dio led the band on a blazing march through his gloriously sinister past and a defiant charge into the band's then-current material, breathing fresh life into the churning title track, the dark and impossibly heavy "Hollywood Black" and a ferocious version of "Jesus, Mary & the Holy Ghost."

Without the distractions of mechanical dragons and castle ruins cluttering up the stage, Dio brawls with favorites from his Sabbath days, attacking "The Mob Rules," "Children of the Sea" and "Heaven and Hell" with vim and vigor. The heightened drama of "The Last in Line" soars, while the powerhouse anthems "We Rock" and "Stand Up and Shout" throws their fists in the air and race recklessly ahead. Mystical and melodic, "Don't Talk to Strangers" is both pretty and poisonous, while the gnarled hooks and animalistic growls of "Holy Diver" and "Rainbow in the Dark" raise the dead.

More than capable as a guitar shredder, Tracy G rips through hot-wired solos and wrenches tough, smoldering riffs from his instrument, as Pilson and Appice pound away rhythmically, their teamwork during Appice's drum solo causing seismic tremors. Edited to capture the breathtaking pace and excitement of a band playing with urgency, passion and energy, the crystal-clear "Live in London: Hammersmith Apollo 1993" boasts stellar camera work, shooting from a wide range of angles and with an innate sense of when to go close on Dio and his talented henchmen and when to pull back and gauge the crowd's reactions. Add a vintage "Hanging with the Band" featurette that provides an enjoyable glimpse into life backstage before and after the performance, and the package becomes even more vital.

Available on DVD, Blu-ray and as a two-CD set from Eagle Rock Entertainment, "Live in London: Hammersmith Apollo 1993" is also impressive sonically, a fitting tribute to an artist whose work will live on well after his passing.
– Peter Lindblad

Rubicon Cross unveil new video for 'Bleed With Me'

Shoot for the new clip was 'jinxed'

Rubicon Cross 2014

Shooting their latest video proved difficult for Rubicon Cross. The results, however, proved it was all worth it.

The majority of hard rock bands that manage to break through to the masses do so with a killer video clip. 

And Rubicon Cross has a worthy one on their hands with "Bleed with Me," off their fast-rising self-titled album, of which a "deluxe edition" will be available for purchase on May 19th exclusively through BestBuy (which comes with a poster and bonus tracks):

http://www.bestbuy.com/site/rubicon-cross-deluxe-only--best-buy-with-bonus-tracks-poster-cd/6017091.p;jsessionid=BC53FF54CE4B87FD626ED54D28C05B91.bbolsp-app01-145?id=3220147&skuId=6017091&st=rubicon

Shot in Racine, WI, the band (which is comprised of Firehouse's CJ Snare/vocals, Chris Green/lead guitars, Jeff Lerman/second guitar, Simon Farmery/bass, and Robert Behnke/drums), had this to say about the video shoot:

"I can't believe we did it! The "'Bleed with Me' video seemed jinxed at every turn. We had about five venues cancel on us before a friend [Brett Ihde - director of sales at Magnificent Events] came through with the abandoned warehouse less than two days before we started shooting. What we accomplished in 48 hours made us wonder how bands even use to spend $300,000 on a video. Thanks to friends and colleagues, we came up with a video we're incredibly proud of, and the help we received only reinforced the message of the song, when you have a band of brothers, anything is possible!"

And according to the band, other highlights of the shoot included:

--The amount of red brick dust in the factory coated every bit of our equipment.

--Behnke's drums were shot in a service elevator.

--The lighting was created by volunteers waving lights above the drums.

--Simon the bass player refused to go in a room with spiders so was shot in a hallway.

--The band shot a "Hello Cleveland" tribute to Spinal Tap that day, soon to be released.

--CJ's flight was so held up in traffic that the band had shot the drum AND bass shots already by the time he got there.

--Expecting nothing, Brett Ihde had laid on full catering including, sandwiches, cold meat buffet, chips, candy, large bottle of Jager, vodka, Jack, crate of Guinness and crate of lager (these got consumed during the process of the video).

--Band started drinking at 11am.

To see for yourself what all the buzz is about surrounding the "Bleed for Me" video, visit:

http://www.youtube.com/watch?v=dFneEfoJbn8

And also be sure to check out the making of the "Bleed with Me" video:

http://youtu.be/YOVY3Vb64Bc

Glenn Hughes: A different 'Breed' of singer

Legendary singer/bassist talks vocals for Calfornia Breed

By Peter Lindblad

Glenn Hughes 2014

Glenn Hughes doesn't labor over a multitude of vocal takes in the studio. It's not a sign of arrogance. He's just convinced the first one is almost always the best.

So, why mess with it? 

"If anybody knows anything about Glenn Hughes, it's never more than two takes of vocals for me," said Hughes. "There are singers – I won't name names – who have to sing 60 or 70 times on a song. I'm not that guy. Any more than three times, and it's like a job, and I don't want it to be a job."

Known for years as the "Voice of Rock," Hughes is one of the greatest singers in rock history, having lent his wildly soulful vocal stylings to classic recordings by Deep Purple, Trapeze and Black Sabbath's Tony Iommi, and, in more recent years, the highly acclaimed super group Black Country Communion.  

His latest project, formed in the aftermath of Black Country Communion's dissolution, is the power trio California Breed, featuring drummer Jason Bonham and guitar phenomenon/singer-songwriter Andrew Watt. 

California Breed - S/T 2014

Due out May 20, on Frontiers Records, California Breed's raucous, swaggering self-titled debut of riff-heavy, powerhouse '70s rock takes its cues from Led Zeppelin and Humble Pie, with a little bit of psychedelic soul thrown in for good measure. 

Produced by David Cobb (Rival Sons, Shooter Jennings) at his home studio in Nashville, California Breed's first shot across the bow is a devastating knockout punch, brimming with strong hooks and exuding attitude. 

One of the reasons for the record's immediacy is Cobb's treatment of Hughes's vocals, and the knob-twiddler was rather sneaky about it. Hughes might just be Cobb's biggest fan.

"We knew Cobb was going to produce us six months before we went to Nashville," Hughes related. "We got him in, because Dave is a fan of my band Trapeze. He’s also a Zeppelin fan, as you can imagine. And then I started talking to Dave every couple of weeks on the phone in Nashville, and he’s in L.A. I’d play him stuff over the phone. I wouldn’t send him any stuff on e-mail, I’d just play him stuff organically over the phone, kind of old school. He asked me, 'Well, what do you want to do? Do you want to record this on to tape, or do you want to go …' And I said, 'Let’s make that decision when we get to Nashville.' And we made that decision the morning of the session. We had a decision to go analog, and we all said sort of, 'Let’s go analog.' And Dave said to me, 'You got the lyrics?' I said, 'I do.' He said, 'You got the melodies?' I said, 'I do. Yeah, yeah, I think I’ve got all the melodies and lyrics.' He said, 'Good. How do you feel about Jason and Andrew cutting, and then you overdubbing later on the bass?' I said, 'Sure. Where’s the microphone?' And he said, 'You’re going to be in a booth, and let’s go record.' And basically, I sang to the tracks."

Hughes figured he'd have more work to do the next day. Cobb was rather coy about it.

"So long story short, we recorded the songs, and then I overdubbed the bass, and then I went to bed," said Hughes. "And the next morning, I went to the studio and I said to Dave Cobb, 'Now, I’m going to sing.' And he said, 'Oh no, you’re not. You’ve already sung the album.' Now, he wasn’t tricking me. I know I was recording, but I never actually questioned to myself whilst I was singing, 'I wonder if this is good enough?' I was just singing, just singing, like The Beatles used to do in 1964 on a four-track. To me, when I sing … I mean, I write this shit, and it envelopes inside of me, and it just lives inside of me until I record it. Normally, the way I’ve been recording for the last 20 years, when I sing it for the first time, it’s normally the way I want it to be, whether it’s something I’m overdubbing later or whether it’s like it’s this instance where it’s done live. Hats off to Dave Cobb, full marks from me, two thumbs up from me – he really captured me completely live, and I want to thank him for that. 

Of Cobb, Hughes added, "He f**king captured me for the first time since 1969 completely live."

Hughes is understandably excited about the new album, feeling its some of the best work of his legendary career.

"I’m going to be honest with you, man," said Hughes. "There was nothing technical about this album. When you listen to the songs, (sings a riff), it’s pushing full. We’re not Led Zeppelin, but Led Zeppelin was push and pull. This is life and shape and push and pull, and it’s breathy and it’s aggressive, it’s soulful, it’s harsh, it’s brash, it’s sensitive – it’s everything it started out for me in 1969. This album was written in the wind for me to record, with these two guys."

We'll have more of our interview with Glenn Hughes in due time.

For more information on California Breed, visit:
www.californiabreed.com; www.facebook.com/CaliforniaBreed;  https://twitter.com/CaliBreedBand;  http://instagram.com/CaliforniaBreedOfficial/#;  http://www.youtube.com/user/CaliBreedBand; https://plus.google.com/+CaliforniabreedOfficial/posts;  https://myspace.com/california.breed

CD Review: Prong – Ruining Lives

CD Review: Prong – Ruining Lives

Steamhammer/SPV

All Access Rating: A-

Prong - Ruining Lives 2014

Tommy Victor threw away the rulebook when Prong was formed, his experiences as a sound man at the famed punk club CBGBs undoubtedly opening up his mind to what was possible musically.

Always a little different and usually way ahead of the curve, the daring New York City alternative-metal outsiders introduced old-school hardcore hostility to trash-metal, while occasionally trespassing the fenced-in junkyards of harsh industrial noise and electronic squalor to steal taboo sounds and allowing undercurrents of rumbling, Killing Joke-style post-punk brooding to seep into their violent urban sonic wasteland.

All of this, of course, being subservient to Victor's rampaging, brutally efficient guitar riffs, Prong's pounding rhythmic machinery and the toughest, most tenacious hooks around. Now comes Ruining Lives, a Steamhammer/SPV release that's a dark, streamlined whirlwind of activity, with Prong's relentless energy cloaked in unexpectedly rich and full tonality. As one surgical riff strike after another is detonated, the sleek and powerful Ruining Lives races forward, with Victor's clear, forceful vocals issuing a series of enigmatic calls to arms, breaking through the record's glossy sheen.

Harnessing all of Prong's far-flung influences and aggression in a controlled burn, Ruining Lives consists of songs of sturdy construction and ferocious pace, never sitting in one place long enough to grow bored. Less angry, but still provocative lyrically, Victor sets out to free the soul from whatever binds and oppresses it, exploring themes of metropolitan alienation and self-determinant living as the threesome slams headlong into the bruising opener "Turnover" and its hard-hitting successor "The Barriers." Later experimenting with a new time signature, Prong turns the innovative "Come to Realize" inside-out, injecting it with an "out of left field" riff that, if nothing else, proves the band is still capable of surprising people.

High-speed, high-impact material like "The Book of Change" thrive on pure audio adrenaline, but the title track is a heavy, more ponderous beast that grows more powerful by the second, as do the moody "Absence of Light" and "Remove, Separate Self," two songs with quickening tempos and gripping, galvanizing choruses. Still as disciplined as Helmet, but with Killing Joke's subversive melodic sensibilities bubbling up from the cold, hard ground, Prong hasn't ruined anything, including their chances for record of the year.
– Peter Lindblad

CD Review: Ian Anderson – Homo Erraticus

CD Review: Ian Anderson – Homo Erraticus

Calliandra Records

All Access Rating: B+

Ian Anderson - Homo Erraticus 2014

There appears to be little hope of Jethro Tull ever being reconvened. Ian Anderson, it seems, doesn't see the point of it, especially when Homo Erraticus, his latest solo album, is just as delightfully eclectic and elaborately conceived as anything he's ever done.

Highly literate, as the tale of Tull fan favorite Gerald Bostock continues to unfold, Homo Erraticus weaves dramatic storytelling, evocative language and curmudgeonly social commentary through oddball folk-flavored progressive-rock compositions that rival the edgy, but often charming, eccentricities of Thick As a Brick or Aqualung. 

Wandering through Homo Erraticus takes hours, not a few minutes of simply cycling through 10-second bites, hoping something sparks a reaction, although "The Turnpike Inn" – bouncing with accordion breezes, although still vaguely unsettling – and "New Blood, Old Veins," so jaunty and spirited, are immediately appealing and compelling. More in keeping with the Tull of old and heavily influenced by Renaissance music, the sinister "Doggerland" and "The Pax Britannica" mix Old World classicism with slight electric rock dissonance and ever-evolving melodies, as Anderson's flute trills and flights of fancy grow ever more prominent.

When exploring Homo Erraticus, leave a trail of breadcrumbs. It's a maze of contradictions, with a great sense of musical and lyrical adventure that's not weighed down by its heavy intellect. Although songs flow easily, there are the occasional sharp turns, as Anderson and company – keyboardist John O'Hara, bassist David Goodier, guitarist Florian Opahle, drummer Scott Hammond and singer Ryan O'Donnell – stumble upon the solemn, church-like organ hymn "Meliora Sequamur" and slip into the soft, warm, colorful jazz instrumental "Tripudium Ad Bellum." And "Heavy Metals" and "In for a Pound" are beautifully rendered acoustic pieces, but there are lulls.

Though the verses of "Enter the Uninvited" are endearingly melodic, when Anderson simply reads off a list of banal pop culture references, fast-food joints and modern technological conveniences, it's a stale recitation that seems bereft of context. And then there's the dry creek bed known as "Puer Ferox Adventus," stagnant, lifeless and devoid of anything truly interesting, where with everywhere else there is natural movement and energy. Nevertheless, Homo Erraticus is theatrical, instrumentally diverse, dense with metaphor and description, full of historical treatises and it is surprisingly lighthearted – proof positive that Anderson is as playful and inventive as ever.
– Peter Lindblad

Firehouse gets bad advice from Jon Bon Jovi?

CJ Snare's new band, Rubicon Cross, readies heavy debut
By Peter Lindblad

Firehouse singer CJ Snare leads Rubicon Cross,
a new band that includes guitarist Chris Green,
bassist Simon Farmery, drummer Robert Behnke
 and guitarist Jeff Lerman.

To get as far as he has in the music industry, it stands to reason that Jon Bon Jovi is pretty shrewd when it comes to instincts about songs and the business in general.

And yet, as singer CJ Snare remembers it, had Firehouse heeded some advice he gave them long ago, the chart-topping '90s glam-metal stars might never have gotten off the ground.

The story has to do with the ubiquitous Firehouse smash hit "Love of a Lifetime," which Snare penned in a West Virginia bar. He then shared writing credit on the song with Firehouse guitarist Bill Leverty when the band was playing as a hotel lounge act to scratch out a living.

"Jon Bon Jovi heard it and said, 'Throw it away, it’ll ruin your career,'" said Snare.

Snare still fronts Firehouse, but he also has a new band called Rubicon Cross, which bears little resemblance to his other, more famous one. Rugged, crushingly heavy and emotionally intense, Rubicon Cross will release its self-titled debut album May 19, and it is driven by massive, roiling guitar riffs and pummeling rhythms while still possessing a keen melodic sensibility. Get a taste of it here:

In the distant past, however, when he was just starting out, Snare used to play solo gigs at a piano at a Holiday Inn. That's when he got the inspiration for "Love of a Lifetime."

"And the club owner there, he would come down and he would let me mess around, get a beer, and I’d be writing songs and go on back in the cooler, do whatever you want to do. And I would get free draft beer or whatever, and he’d say (whispers), 'Go ahead and do it.' And I’m like, 'Okay.' So I went down there, and I wrote 'Love of a Lifetime.'"

With some embarrassment, Snare recalled how the core group that would comprise Firehouse formed a lounge band. "Don’t tell anybody … sshhhh," laughed Snare.

Along with a keyboardist, the act included Bill Leverty on guitar, Michael Foster on drums, and Perry Richardson on bass guitar, " ... and we were doing all kinds of variety of jobs … anything to support ourselves while we were trying to get White Heat going, which became Firehouse. We had to change the name because the record company thought it would be confusing with White Lion, Whitesnake … there were too many 'White' bands out there."

A demo was recorded with Slaughter's Dana Strum and Mark Slaughter producing it.

"At the time, we shared a two-bedroom apartment in Los Angeles," said Snare. "We recorded it in Cherokee Studios out in Los Angeles, and they had boxes and boxes of cassette tapes, and 8x10s of people who were trying to be in what was going to be Slaughter."

Slaughter won the American Music Award for Best New Hard Rock/Heavy Metal Band the year before Firehouse followed suit in 1991. "Love of a Lifetime" had a lot to do with it, but that song almost didn't see the light of day.

"We had done a different ballad altogether because of Jon’s advice, and the record company came to us, and they said, 'You know, how about a power ballad? You know, they’re really hitting big on the top of the charts and everything, so we just don’t think you have one quite strong enough. Maybe we could bring in some outside writers and help you out,'" related Snare. "And I kind of really reluctantly raised my hand and said, 'Well, I’ve got another one.' And the guys said, 'No, no, no, no.' You know what that song was? It didn’t ruin our career. It actually helped make our career."

It was always a favorite among fans, even before Firehouse reached dizzying heights of fame and fortune in the '90s, before grunge came along.

"Yeah, back in the lounge band days, man, we used to pack the dance floor with that one," said Snare. "Yeah … oh yeah. It was big man."

The logo for Rubicon Cross

Now comes Rubicon Cross, a group Snare formed with London-born guitar virtuoso Chris Green. The release date for their new album, due out on INgrooves Records, a Universal imprint, is about a couple weeks away, but a few days beforehand, on May 15, Rubicon Cross will play a record release show in the Chicago area with Fozzy and Heaven's Basement. Visit www.rubiconcross.net for the particulars.

Of the upcoming Rubicon Cross record, Snare said, "It’s more aggressive. You listen to this record, it sounds almost live. It’s in your face. It’s got a 2014-2015 stamp on it, it is way heavier, but you can’t hide my voice, it is what it is. But it’s in a different vehicle, and I think that makes all the difference. We’ve already got a Firehouse. We don’t need another one."

And yet, after doing a double-take at hearing the new stuff, fans of Firehouse should find something to love about Rubicon Cross.

"Yeah, it’s going to surprise a lot of people when they hear it in this particular vehicle," said Snare. "But then again, I think they’ll get used to it very quickly, because it’s not unnatural. It’s very organic."

Snare also revealed that physical copies of the new record and a deluxe edition of it, with bonus tracks, a poster and lyrics included, will be available at 600 Best Buy stores around the country and prominently displayed in the "Nikki Sixx Sixth Sense" area. 

As for Firehouse, they're not sitting idly by this summer.

"Now I’m hoping to make a new and different contribution with Rubicon Cross, and I just will say [to Firehouse fans], don’t despair," said Snare. "Your Firehouse band is still here and we’re coming at you, just like we always have, like in 1990 when the first album came out. We’re coming at you. We’ve got a full touring schedule. I just spoke to our agent today and my tour manager, and we’re going to be out there."

Keep watching this space for a more complete version of our interview with CJ Snare.

CD Review: Black Label Society – Catacombs of the Black Vatican

CD Review: Black Label Society – Catacombs of the Black Vatican

eOne Music

All Access Rating: A-

Black Label Society - Catacombs of
the Black Vatican 2014

Whatever horrors there are hiding in the Catacombs of the Black Vatican they can't possibly be any more terrifying than what's yet to be discovered in Zakk Wylde's scraggly beard.

Nevertheless, the ninth album from the biker-metal doomsayers in Wylde's Black Label Society is certainly gloomy and eerie in places, this cavernous dungeon of monstrously heavy riffs, deep-dredging melodies, squealing solos and a few gritty ballads all haunted by painful memories and reeking of death.

Rummaging through the Catacombs of the Black Vatican, the old bones and skulls of Black Label Society's past are encountered, but do not linger in those sealed-off vaults. Wylde certainly doesn't. Although the brawny guitars, wicked grooves and rumbling rhythms found here have a familiar ring, there is a fresh vitality to this material that's palpable, throwing everything good about Alice in Chains, Led Zeppelin, Black Sabbath and even Southern rock in a boiling cauldron and casting timeless spells with those magical ingredients.

An absolute pile driver, its great mass heaving to and fro, "Fields of Unforgiveness" delivers a great pounding, while the stoned, churning blues of "Believe" is especially thick and meaty, its repeated riff not only powerful, but also memorable, seemingly feeding off its own energy. And in "My Dying Time," another in a long line of grungy, riff-heavy tracks with elongated, almost graceful curves, Wylde, sounding more like Layne Staley than ever before, confronts his mortality without fear, whereas the growling "I've Gone Away" and a very dark, Black Sabbath-like "Empty Promises" – Wylde's solo here is a shower of sparks – crawl through a sonic gutter bloody and vengeful.

Strong, shifting melodic currents run through Catacombs of the Black Vatican, as it swerves and bends to the mighty will of its creators, little flowers of sonic beauty sprouting through cracks in the hard sonic cement. Nonetheless, thanks in large part of Wylde's affecting vocals, the ballads "Angel of Mercy" and "Scars" somehow manage to sound both earthy and lush, each as pretty as anything in the Black Label Society canon, the latter inheriting its Southern accent directly from the Allman Brothers. Blessed be the Black Label Society.
– Peter Lindblad

Track listing for Judas Priest album released

'Redeemer of Souls' due out July 15

Judas Priest to release 'Redeemer of Souls' July 15

The legendary Judas Priest is about to roll out Redeemer of Souls, their newest record, on July 15 via Epic Records. And now, the track listing is available.

What promises to be a return to the classic Priest sound, Redeemer of Souls will be released as a standard version and a deluxe edition with five bonus tracks, with "March of the Damned" serving as the lead-off single.

The band says, "We feel Redeemer of Souls reinforces or passion for what we believe in from the Judas Priest style of heavy metal."

This is Richie Faulkner's studio debut with Priest, and he is co-writer of the material with fellow guitarist Glenn Tipton and singer Rob Halford. Bassist Ian Hill and drummer Scott Travis round out the lineup for Redeemer of Souls.

Priest's last studio effort, Nostradamus, came out in 2008, and the band calls the new one a "classic combination of all the statements we love to create with raging guitar riffs and solos, thundering drums, thick grooves of bass and vocals tearing it all up!" 

Here's the track listing for Redeemer of Souls:

Dragonaut

Redeemer of Souls

Halls of Valhalla

Sword of Damocles

March of the Damned

Down in Flames

Hell & Back

Cold Blooded

Metalizer

Crossfire

Secrets of the Dead

Battle Cry

Beginning of the End

Bonus Tracks:

Snakebite

Tears of Blood

Creatures

Bring It On

Never Forget

CD Review: Helstar – This Wicked Nest

CD Review: Helstar – This Wicked Nest

AFM Records

All Access Rating: A-

Helstar- This Wicked Nest 2014

A line in the sand was drawn with 2010's Glory Out of Chaos. Helstar leader James Rivera, he of the King Diamond-like wail, has stated unequivocally that " … we will not go any further into the extreme." 

And yet, after putting out an equally brutal new record called This Wicked Nest, available now on AFM Records, Helstar doesn't seem interested in toning down its intensity or aggressiveness. Seeing red and pawing at the ground, this enraged power/thrash metal Texas bull that's been around for more than 30 years rams its horns into a rugged, full-throttle succession of punishing tracks, each one angrier and more visceral than the last. 

With the blackened, doom-laden epic "Cursed" the exception to this harsh rule, its slow Sabbath-like crawl lashed with a mixture of anguish and hopeless futility, This Wicked Nest brings forth a pounding blitzkrieg of punishing tracks like "Eternal Black," "Souls Cry" and the stampeding, bone-crushing "It Has Risen," not to mention the sinister, brawling title track.

Once again venturing beyond its comfort zone, Helstar forms itself into a relentless sonic juggernaut, its blazing guitars and trampling, bludgeoning drums gaining more speed and energy as they propel themselves through the blistering, frenzied "Defy the Swarm," where Rivera, the former Vicious Rumors singer's vocal histrionics as high-flying and expressive as ever, goes where only Rob Halford dares. And guitarists Larry Barragan and Rob Trevino are just as potent throughout This Wicked Nest, their electrifying, bruising riffs full of white-hot intensity as they never fail to display increasingly dynamic technical skill. 

Slightly more melodic than its predecessor, there is evil, and some good, in the heart of This Wicked Nest, as well as defiance – the anti-tyranny sentiments expressed with such hostility in "Fall of Dominion," the song where Helstar's power-metal glory comes shining through in a fantastically intertwined twin-guitar helix. More compositional diversity and a variety of tempos would be welcome on the next Helstar release, but it's impossible to deny what a powerfully produced and vigorous performance this truly is. Indeed, something Wicked this way comes.
– Peter Lindblad

A little taste of the new Judas Priest record

Legendary metal band's 17th album due out July 15

Artwork for the track 'Redeemer of Souls,'
the first single from Priest's upcoming LP

For U.S. fans of Judas Priest that simply cannot wait for the July 15^th release date of their latest classic metal album, Redeemer of Souls, there is some relief on the way. 

And if you are wondering what to expect from the mighty Priest on their forthcoming album, guitarist Glenn Tipton has set the record straight. "Sometimes in the past we may have come under fire for being too adventurous musically – so we have listened!! From start to finish Redeemer of Souls is 13 songs of pure classic Priest metal!!"

On Tuesday, April 29, the title track from the album will be available for purchase via iTunes (https://itunes.apple.com/us/album/redeemer-of-souls-single/id863086125) and other digital service providers. And a clip of the song (plus the single's artwork) is now available to sample at the band's website, judaspriest.com.

There are only a select number of bands that have accomplished what Judas Priest has throughout their career (as well as having served as a stylistic influence on such a wide variety of bands). Soon the group – singer Rob Halford, guitarists Glenn Tipton and Richie Faulkner, bassist Ian Hill and drummer Scott Travis – will be offering up more classic Judas Priest metal with the release of Redeemer of Souls.

Tesla's 'Simplicity' to hit the streets June 10

Tesla in 2014 will release Simplicity

New album from '80s rockers on the way, with touring to follow

(NEW YORK, NY) – Sacramento rock band Tesla have announced an all new LP titled Simplicty due out June 10, 2014 via Tesla Electric Company Recording's arrangement with Entertainment One Music and Distribution.

Simplicity will be the band's seventh studio full length LP and 15th release overall. The new effort will be the followup to Forever More, which was released in October 2008 and featured the single "I Wanna Live."

Tesla locked themselves away for weeks writing the new material that would become Simplicity with longtime A&R man Tom Zutaut. Fourteen solid tracks later the band sank their teeth in while recording began at bassist Brian Wheat's very own J Street Recorders. Legendary engineer Michael Wagener (Metallica, Skid Row, Motley Crue) was then tapped to put the final touches in place. 

Fresh off the Monsters of Rock Cruise, the band has quite the itinerary of tour dates throughout the rest of 2014. Click here for all tour dates. 

Formed in 1981, Tesla have firmly carved out their own space in rock and roll history. The band saw great success with their own rendition of the 1971 classic "Signs" and their own hit single "Love Song" from the The Great Radio Controversy, released in 1989.

Tesla includes the members Frank Hannon, Wheat, Jeff Keith, Troy Luccketta and Dave Rude.