Riot is reborn as Riot V

Mark Reale encouraged band to carry on after his death
By Peter Lindblad

Riot V is bassist Don Van Stavern,
guitarists Mike Flyntz and Nick Lee,
vocalist Todd Michael Hall and
drummer Frank Gilchriest

Mark Reale's health problems were far more serious than he let on.

In 2012, the founding guitarist of heavy-metal cult favorites Riot died after an almost lifelong battle with Crohn's Disease, only months after the reunited Thundersteel-era lineup released the power-metal tour de force Immortal Soul. 

His passing shocked and saddened the metal community, and many figured Riot, having been through so much in its 30-odd years of existence, was not long for this world either. Reale wasn't having any of it.

Having formed Riot in 1975 with drummer Peter Bitelli as a powerhouse, straightforward metal outfit capable of produced such blazing classics as Narita and Fire Down Under, Reale was the one constant in Riot's existence, reviving and reshaping the band after devastating personnel losses and orchestrating Riot's transformation as a storming power-metal beast on 1988's Thundersteel with new partner Don Van Stavern.

It was Reale who urged his comrades to forge ahead in his absence, as Van Stavern and guitarist Mike Flyntz conspired to write the compelling material for Unleash The Fire, the electrifying new album from a unit rechristened Riot V that includes drummer Frank Gilchriest, guitarist Nick Lee and Todd Michael Hall, a vocalist of extraordinary power and expression.

Flyntz talked in this interview about Riot V's new adventures, Reale's final days and how Riot V carried on after the death of their leader to bring Unleash The Fire to life.

Riot - Unleash The Fire 2014

What was the hardest part about making this record without Mark?

Mike Flyntz: Besides the obvious musical and emotional difficulties the hardest part was not having Mark there for the final everyday decisions. Mark was very generous with letting everyone involved contribute ideas. He let everyone shine. In the end he would decide on different arrangements and tempo changes etc.  Don and I had to make all the final decisions for this record.

They say that tragedy that can sometimes unite and strengthen the bonds between survivors. In that respect, did the writing and recording of Unleash the Fire bring the remaining members of the band closer together, or was it a difficult process?

MF: We were on a mission to make the best record possible since it was written for Mark. We had big shoes to fill and most people didn’t think we could do it or if it was even possible without Mark. We were very close and Mark’s spirit was with us the entire time.

In what ways does the new album seem reminiscent of Thundersteel? That album was such a classic, and a lot of the elements that it made it so special are here as well.

MF: Todd’s voice mixed with the songwriting I think are the main components. Also Don Van Stavern wrote eight of the songs on the new record. He was also a main writer of Thundersteel along with Mark.

“Bring the Hammer Down” and "Return of the Outlaw" are such phenomenal tracks. The singing makes the hair on your arms stand up, and so do the guitar riffs. Was there a real sense of excitement in the air when those songs in particular were being recorded?

MF: The music was done first. Although we heard the demos we really didn’t realize how much Todd was going to step up to the plate until the music was recorded. We were blown away when he added his vocals.

As much as anything, Unleash the Fire is great guitar album, with really strong, tight riffs, fiery solos and really interesting, melodic dual leads. What did you hope to do instrumentally on this record in tribute to Mark?

MF: Our main focus was to stay true to traditional Riot and to honor Mark. I just wrote all the guitar parts the same way Mark and I would over the past 25 years. Mark always liked to combine melodic parts with bluesy elements.

Mark encouraged the band to continue on after his death. Why did he feel that it was important to do so, and how much pressure was there in trying to make a record that would make him proud?

MF: During the recording of Immortal Soul Mark was having trouble recording his parts. He told me to record the parts, and he would come in when he was better. I wound up doing all the solos and 90 percent of the rhythm guitars. He heard the recordings and approved them. He was very proud of us and said to keep going. We didn’t realize how sick he was.

What inspired the words to “Land of the Rising Sun” and was there a sense that you wanted to make a more hopeful statement with the lyrics here?

MF: Don wrote this about our first trip to Japan in 1989. We were shocked at the reception at the airport and the hotel. There were hundreds of people awaiting our arrival. We felt like the Beatles. We will never forget this and chose to write a song for them to say thanks.

Going back to Thundersteel, just before that Riot was trying to rebuild and re-establish itself after some problems with record labels and some lineup shuffling. Even though you weren't in the band then, what are your thoughts about that record?

MF: Mark did want to experiment with a new sound and Donnie was real influential in the Thundersteel sound. A lot of older fans didn’t like the change. On the other hand, there was an entire different fan base developed with the new sound.

What are your impressions of that record today? Was it somewhat ahead of its time?

MF: I think  the songs are great. It was ahead of it’s time. When we play live the Thundersteel songs are constantly requested and always go over the best.

With The Privilege of Power, that was such an experimental album, with the use of horns. What did you think of it?

MF: I think it was a great idea. Everything in life is timing. Not sure if the timing was right with the grunge era approaching, but who knew?

It is natural, given all the lineup changes over the years, to wonder how solid this version of Riot is. Is it different this time around? Do you sense that this group could stay around for a while, or are you guys just trying to live in the moment and not think too much about the future?

MF: We are looking towards the future now. At first our idea was to pay tribute to Mark and see how the fans reacted. Due to the blessing and constant support from the Riot fans it is obvious to us that we should continue. As long as Mr. Reale and the fans want it we will continue.

What would be the greatest compliment you could receive with regard to this new record?

MF: Already happened. The fans have spoken. The fans have showed overwhelming support and enthusiasm over this new record. To our surprise the writers and critics have all joined in too. We are so thankful.

Where there moments in the making of Unleash the Fire where you said to yourself or to the others, “Mark would have really liked that,” or, on the other hand, “Mark would have really hated that”?

MF: There wasn’t a day when Mark’s name didn’t come up whether we were asking “how

would he do it” or just joking about things he would have said. We constantly used Mark’s sayings and jokes throughout the entire recording process.

I have to ask about the cover. You used the seal from Fire Down Under, and you’ve utilized it extensively for Riot album art. What is the story behind its use and why was it important to bring it back for this record?

MF: Not sure where it came from. It is referred to as “Mighty Tior” or “Johnny”. Since the album was a dedication to Mark and the entire Riot catalog we wrote music and used themes that combined all the eras of Riot’s history.

What’s next for Riot?

MF: We look forward to touring and then doing another record and DVD.

CD Review: Riot V – Unleash The Fire

CD Review: Riot V – Unleash The Fire
Steamhammer/SPV
All Access Rating: A-

Riot V - Unleash The Fire 2014

There is life after Mark Reale for the rest of Riot. When Reale, the band's driving force, died in 2012, it appeared that was it for the scrappy hard-rock underdogs, Riot having written its final chapter with 2001's critically acclaimed reunion album Immortal Soul.

Urged by Reale himself, as well as his estate, to carry on in his absence, the remaining members have reconvened as Riot V, picking the pieces to roar back to life with the Steamhammer/SPV effort Unleash The Fire. With bassist Don Van Stavern handling much of the songwriting and guitarist Mike Flyntz assisting in the album's creation, Riot V – also featuring Todd Michael Hall belting out vocals, plus drummer Frank Gilchriest and shredder Nick Lee on guitar – has risen from the ashes, molding and shaping a record that's more than just a throwback to Riot's glorious past.

Unleash The Fire has everything a fan of Riot could want, from its electrically charged riffs to its soaring melodies, gripping hooks and distinctively sculpted dual-guitar leads. Intense and gripping, the gnarled "Kill To Survive," a pounding title track and the striking "Bring the Hammer Down" are surprisingly visceral, somehow managing to recapture the raw excitement of Riot's best work. And yet they pale in comparison to the thrilling barrage of riffs that make the action-packed "Return of the Outlaw" an absolute corker of a track.

A touching and emotional ballad that, without resorting to cliched sentimentality, honors Riot V's fallen leader, "Immortal" offers a testament to Reale's enduring artistry, his dedication to his craft and his stubborn refusal to give up on Riot, even when it seemed all was lost. There's little time for mourning, however, as the dazzling hooks and streaming guitars of "Land of the Rising Sun" light up the darkness, betraying the stylized pop-metal sensibilities of the song's creators.

Unleash The Fire is classic Riot, but because it harkens back to the days of Thundersteel and carries the flag for traditional metal, Riot V could be accused of simply retracing their steps. Such criticism is unwarranted. There is a freshness and vitality to this material that's undeniable, and they deliver it with passion and superb execution, the well-coordinated guitar attacks, in particular, mapped out with an ear for melody and a thirst for power. There is plenty of fire left in Riot V's belly.
– Peter Lindblad

Inside Crystal Viper's 'Possession' with Marta Gabriel

Polish power metal act unleashes new concept album
By Peter Lindblad

Crystal Viper has just released its album 'Possession'

Marta Gabriel doesn't want to spoil anything, so she's been careful not to give too much away when talking about the story of Julia.

Suffice it to say, she goes through a lot one night, and the latest album from Poland's Crystal Viper wraps her spellbinding tale in darkly epic, thundering metal that thrashes with rage one moment and glows with heavy, melodic incandescence the next.

A concept album in the tradition of Mercyful Fate's Melissa, Possession is the cinematic sixth studio album – they've put out a brace of singles, along with a compilation album and a live LP, as well – from this pulverizing power metal militia. Formed in 2003, Crystal Viper is led by the multi-talented Gabriel, who wrote all the music and lyrics for Possession. Bart Gabriel (Burning Starr, Sacred Steel) produced the record, which included 50 screams submitted by Crystal Viper fans in the final mix.

All the trappings of traditional metal, from its blindingly fast tempos to its beguiling passages of shape-shifting melody, are found on Possession, as it bears a resemblance to the work of Ronnie James Dio and Judas Priest, but it undoubtedly gets its black atmospheres from influences like Bathory and King Diamond's old musical haunt. And Michal Oracz, famed for his design work with Polish board games and role-playing games, did the cover art.

It's an ambitious package, with vocal contributions from Jag Panzer's Harry Conklin and Desaster's Sataniac, especially considering all the fashion design – she has a clothing line called Thunderball Clothing – and studio session work Gabriel does outside of Crystal Viper. Gabriel talked in depth recently about Crystal Viper's new record and all the other irons she has in the fire in this e-mail interview. 

Crystal Viper - Possession 2014

This is a concept record with a story that revolves around a young girl named Julia, and it's an incredibly cinematic tale. Tell us about Julia and how you developed her character.

Marta Gabriel: I wouldn't say I developed Julia's character in some special way, as the story basically tells what happened "around" Julia, during one night, on Friday [the] 13th. But I can tell you Julia is reincarnation of the witch named Sarah, and you could meet Sarah on our previous album Crimen Excepta...

Is this the most ambitious record Crystal Viper has ever made?

MG: I don't know, [it's] hard to say. We never plan anything. When we have enough good new songs, we do an album, that's all. We never think, "We should do this, or we should do this." We love writing, playing, and recording heavy metal. We prefer to act, not talk.

"Evil" is a topic that comes up a lot on the record, and there seems to be this inner struggle in Julia between innocence and succumbing to darkness or becoming possessed. How much do you relate to the character of Julia and what she's going through?

MG: Struggle between innocence and being possessed? Not really. Our story has a pretty unexpected twist. Let me keep the secret: if I would tell you what Possession is about, then it would be like telling people how the movie they are going to watch will end. But I can tell you another thing: if you will carefully analyze the front cover artwork of our new album, and you will listen to the album and read the lyrics, you will find out that almost every single song is represented on this picture.

What makes these themes of possession and evil such interesting subjects for you to write about and how did the story take shape?

MG: It's hard to answer this question, as the album, well, it's not really about "possession." At least not kind of the "possession" everyone expect. It's not [a] typical ghost / exorcism story. It has an unexpected twist and goes into themes and subjects no one would expect from a band like us.

In making this record, it seems that you wanted it to be darker, sort of blending traditional melodic metal with classical music, the thrash influences of a Metallica and the blacker epics of somebody like Mercyful Fate or Bathory. Was it the story that drove you to do that or did you simply like the idea of experimenting with all those different elements?

MG: Both yes and no. First of all, all members of Crystal Viper are die hard metal fans. All of us collect records, we go out to see other bands, we travel to see bands on festivals and so on. And everyone in Crystal Viper has different personal favorites, different tastes. All these tastes and personal influences melted together make what Crystal Viper is all about. So I can say that yeah, we are a heavy metal band, but I could list many, many thrash, black, and even death metal acts as our favorite acts, or influences. But you are right, Mercyful and Bathory are right there, between bands we all love.

"Why Can't You Listen?" is one of my favorites, along with "Voices in My Head" and "Mark of the Horned One." They're all really heavy, but you incorporate a lot of diverse influences and interesting changes in mood and texture. When writing songs, especially with this record, how do you balance that desire to be aggressive with fleshing out melodies and wanting songs to take on different characteristics?

MG: It's all about the story that I'm going to say in a song. Possession is a concept album. It's one big story told in all songs, one after another. So at the beginning I had to sketch the story, and then I was writing songs to build atmosphere around them. It was like painting a picture with sounds. You know, you can't do for example a fast and funny-sounding song about let's say killing or something epic. It would make no sense, unless you want to say the story from, I don't know, some maniac's perspective. Writing concept albums is maybe a bit harder than writing normal albums, but it's great fun for me. It's like doing a movie without pictures, without vision. You need to make sure the sounds, the melodies, and atmosphere of the songs go side by side with the story. I'm a great fan of movies, especially classic horrors, so this is the real reason of doing concept albums.

You wanted your fans to be involved in this record. How did you come with the idea to have them send in their screams and bring them into the recording?

MG: We love our fans. The truth is if there would be no fans, there would be no music at all, no heavy metal and no Crystal Viper. I'm not sure who exactly come out with this idea. It came out on one of our band meetings. We thought it would be something cool to do something special, something unique – you know, everyone can buy a CD or a t-shirt, but how often can you find your name in the album booklet, and say, "Hey, it's me!" when you listen to some song? I think it's really cool.

How would compare the playing on this record to that of past Crystal Viper records? Would you say the band as a whole is progressing as musicians?

MG: All musicians learn their whole life. If you are a musician, and you come to a point when you start to think you already know everything, it means you should start doing something else and quit playing. So with this in mind, I'm sure everyone's playing on each next Crystal Viper album is a little better.

Inviting vocalists Harry Conklin of Jag Panzer and Sataniac of Desaster certainly adds fascinating contrast to "Fight Evil With Evil" and "Julia Is Possessed." What made you pick those two singers in particular to appear on the record, and as for your own vocal treatments, was there anything different about Possession that made it challenging?

MG: Yes, we have Harry Conklin from Jag Panzer and Satan's Host, and Sataniac of Desaster on our album. We always try to invite members of other bands to be special guests on our album; it's already kind of tradition for us. We invite people we respect and like. This time it was Harry and Sataniac from Desaster. They are great guys, talented musicians, and it was great pleasure and honor to work with them. So everyone, if you don't know Desaster or Harry's bands – Jag Panzer, Satan's Host and Titan Force, check them out. They are f**kin' awesome and metal to the bone. Challenging? I don't know, for sure there were easier and harder parts to sing. Maybe most challenging was to put right emotions into singing, as with a concept album you actually tell the story.

You are also an in-demand session player. Has working on others' records influenced what you wanted to do with Crystal Viper?

MG: I wouldn't say so. I mean I love working with other bands and with other musicians, as I learn all the time. I'm like a sponge, I absorb everything. But I wouldn't say working with other bands had influence on what I do with Crystal Viper. We rather have an own path to follow.

You've recorded with power metal acts like Sabaton and Majesty, as well as Witch Cross. What was the most memorable thing about those experiences?

MG: Every single opportunity of working with other bands and artists is absolutely wonderful and memorable. I couldn't list only one. It's great when bands invite me to sing or to play with them. It shows the unity of the metal bands.

Tell us about your clothing line, Thunderball Clothing. What are the designs like and what was it that made you want to get into fashion?

MG: When I started to play on stage with my band, I couldn't find clothes I like in stores, so I started to make clothes for myself, and later for my bandmates. From time to time my friends were asking me if I could create something for them, and later, from one word to another, strangers started to ask me about custom clothes, as they've seen something cool that I've made for others. As there were more and more requests, I decided to open my own company, and create a clothing line, Thunderball Clothing. I think I found another amazing way in my life, as designing and making clothes is [the] next opportunity to make an art, which of course is inspired by music.

As a woman in metal, do you think the genre is becoming less of a man's world and that female artists are gaining more power?

MG: I will tell you like this: if someone doesn't like or doesn't accept female fronted acts, then well, it's not really my problem. Everyone has personal taste. I personally like a lot of female fronted acts, or even all female bands, like for example Rock Goddess, Warlock, Acid, Blacklace or Chastain, or even several of these modern female-fronted acts, such as Nightwish or Within Temptation. If I like someone's music I don't think if it's male or female singing or playing. I'm not really paying attention if there are more or less female artists. I do my own thing.

You decided to cover the Riot classic "Thundersteel." What made you decide to remake that song and what approach did you want to take toward doing it?

MG: We always wanted to record cover version of "Thundersteel,"as it's one of the greatest heavy metal songs ever written. We were just waiting for the right moment. And recording it as the bonus track for [the] new album was a perfect match, because when you will see all lyrics from the new album – with "Prophet Of The End" being the last song – and you know [the] lyrics of "Thundersteel," you will find out that "Thundersteel" can be taken as the song about something that got revealed in "Prophet Of The End." We are actually in touch with Riot members, and they were between first persons who heard it – they like it very much, so it's a big honor! One trivia here: when we were recording this cover, we tried to mix both versions, the original demo version which was recorded by Narita (Mark's other band he had in 1985) and [the] version that everyone knows from the Riot album.

Where does Crystal Viper, and, in particular, Marta Gabriel, go from here?

MG: I won't surprise you here: writing, composing, and recording lot of music – not only for Crystal Viper, as I have million other projects in mind as well! And yeah, doing next clothes for Thunderball Clothing!

CD/DVD Review: Sebastian Bach – ABachalypse Now

CD/DVD Review: Sebastian Bach – ABachalypse Now

Frontiers Records

All Access Review: B+

Sebastian Bach - ABachalypse Now

Twice, Sebastian Bach brings the proceedings to a halt, waving his arms and yelling, “Stop the show.” As only he could, the hyperactive former Skid Row front man admonishes the crowd at Hellfest in France on this warm, sunny summer day in June 2012 for not being as lively or making as much noise as he wants. 

They respond with feverish enthusiasm, and Bach gets his band to again rev their engines. And the caution flag drops, signaling a jailbreak restart.

To Bach, this is church, and the congregation has to be frothing at the mouth to receive communion in the form of screaming vocals, snarling riffs, searing guitar solos and thick, muscular grooves – except for the sweet power-ballad nectar of “I Remember You,” that is. No Sebastian Bach show would be complete without that Skid Row love potion of tangled acoustic strum, big swells of amplified chords and Bach’s surprising vulnerability. That goes double for the riotous “Youth Gone Wild,” which sends the Hellfest crowd into complete hysterics.

Captured on video and audio in a new Frontiers Records live two CD/DVD package – of varying, but mostly outstanding, quality – titled “ABachalypse Now,” the Hellfest performance is part of a trio of 2012 live Bach meltdowns crammed into one 160-minute DVD of what is being hailed as the ultimate Sebastian Bach experience. And it is wall-to-wall Bach up in here, his infectious exuberance impossible to ignore – and there are bonus music videos of “Tunnelvision,” “I’m Alive” and “Kicking & Screaming” to boot. Strong, but rough, sounding audio CDs of the Hellfest and Live at Graspop, Belgium, gigs are here as well, capturing the dynamic interplay of Bach and his band of heavy metal outlaws with full, hard-hitting sonic force.

Whether it was the heat in France or the slipshod camera work, the Hellfest performance is the weakest document of the three. Despite Bach’s efforts to rally the troops, the band lacks personality and energy, and Bach himself seems completely bored having to play “18 & Life” for the millionth time. Harder, edgier stuff like the bottom-heavy “American Metalhead” and “Monkey Business,” not to mention the combustible opener “Slave to the Grind,” saves the day, however, as Bach’s band thrashes, growls and salivates while gnawing on the bones and sucking out the marrow of these meaty songs.

In sharp contrast, the Live at Nokia show, filmed in colorful high-definition on Aug. 2, 2012, is absolutely riveting. Professionally shot and edited to thrill, this is worth the price of admission alone, ending with a savage rendering of “Youth Gone Wild” – enflamed by Black Veil Brides’ Andy Biersack joining his strong bellow with Bach’s wildcat howl. Lesser vocalists would leave the stage with collapsed lungs while delivering such a challenging performance, but the charismatic Bach is made of stronger stuff, prowling about like a dangerous animal being poked at by a trainer who’s about to be mauled. And he hits every seemingly unreachable note with gusto. With help from several guest guitarists, his band sounds sharp and vicious, attacking “Big Guns,” “(Love is) a Bitchslap,” “Piece of Me” and the heavy stomp of “Tunnelvision” with raging intensity, as drummer Bobby Jarzombek, of Iced Earth and Riot fame, hits everything in sight with bad intentions and guitarist Johnny Chromatic emits clear, rich tonality on every precise solo. Almost always in motion and supremely confident, they affect rock poses that are totally unscripted and completely born of the moment.

And “ABachalypse Now” isn’t finished, as Bach and crew battle the elements at Graspop. In a steady downpour, they forge onward, laying siege to an audience that deserves a powerhouse performance for getting soaked to the skin. And they get it. Splashing around in puddles onstage, Bach’s outfit guts it out, hammering their way through “Kicking & Screaming,” “Dirty Power” and the aforementioned “Big Guns.” And Bach invests himself fully in the proceedings, tearing his larynx to shreds in the name of rock ‘n’ roll and taking time out to laugh at the weather and kvetch about Mother Nature’s timing. Things go wrong, with false starts and the like, and that’s all right. The imperfections make it memorable and exceedingly likeable. So is “ABachalypse Now.” (http://www.frontiers.it/home/) 

– Peter Lindblad

Powerline: The Resurrection

Founded in 1985, Powerline began as an undergound hard rock/heavy metal mag, distributed mostly in record stores worldwide. As it evolved a few years later, it embraced more commercial hard rock

 (the popular genre at the time was classified as “hair bands”) and the mag was distributed as a high-gloss publication on American newsstands with a circulation of over 100K.

By 1992 the party was over. The magazine became defunct (for various reasons). The staff went onto other jobs. And the name gathered dust. Until now.

Resurrected online, Powerline covers hard rock/heavy metal music in general (truly From Glam to Slam!), as well as reminisce about the old days in the form of time-capsuled articles and experiences.

Backstage Auctions sat down with Pat Prince to talk about all things hard rock and heavy metal, the new online version of Powerline and the industry in general.

How did you start Powerline? And why?
I grew up reading magazines like CREEM and Kerrang! But I then became obsessed with seeking out and collecting metal fanzines – I loved Bob Muldowney's Kick Ass monthly and Metal Rendezvous — and the pure excitement of discovering new metal bands. Powerline was really born out of my love for fanzines and the metal underground but also my frustration of not being able to get enough of my photographs published in the metal press. I'd been sneaking my 35mm camera into metal clubs like L'amour in Brooklyn for years and taking photos of all the latest bands. Finally, in 1985, I figured I'd take my photographs and put them next to my ramblings about the bands I loved, so I started Powerline with a typewriter, pasteboards, and veloxes from my photographs. And, at first, I dropped off copies to sell in all the record stores in the tri-state area that carried metal. It progressed from there.

Since Powerline started as a fanzine. How much did the editorial content change upon hitting the newsstand?
After I teamed up with my friend Mike Smith in 1988, we merged the essence of the fanzine with the more popular hard rock/ metal acts of the time like Ozzy, Motley Crue, Bon Jovi, Skid Row, etc. It was really a great combination because it covered everything. Soon we were able to hire renowned metal journalists like Mick Wall (a favorite of mine from Kerrang!). And the graphics and quality became really fantastic. Some might of seen it as a sell out. But it was really an evolution.

What was your favorite issue to put together?
Each issue had its own great experience. But I would have to say the Metallica issue, September 1989. I was into Metallica from the very beginning of their existence but by the time I started Powerline in 1985, Metallica became too big to get access to. Finally, we were able to get an exclusive interview and make it a cover story, with great color live shots.

What was the strangest interview you've done?
L.A. Guns. It was in a hotel room in New York City and the band had their rock star hats on. They were rude and seemingly drunk out of their minds. My questions were repeated back at me and answered in a nonsensical manner. Steve Riley was laying on the bed and bouncing a rubber ball off the walls and giving me a juvenile play-by-play of it. I had brought Powerline t-shirts to give the band and Phil Lewis stood up and said sarcastically, 'Oh, great, t-shirts.' He picked one up and rubbed his crotch with it and then threw it across the room. Up to that moment Powerline had been a big promoter of LA Guns — not that that demanded my respect, but it certainly hurt witnessing this kind of behavior. I walked out of the room with Riley, Lewis, and Kelly Nickels in a laughing/giggling fit. I had loved Lewis' singing since he was in the UK band Girl, but I thought 'F*ck you. I don't care who you are.' The PR woman finally directed me to Tracii Guns' room. And walking in, you can clearly tell Tracii was in the middle of getting hardcore stoned. It was like walking into a hash den. But, completely opposite of his bandmates, Guns was one of the coolest musicians I've had the pleasure to meet. That's why when people ask me nowadays which faction of LA Guns I support — Tracii Guns' L.A. Guns or Phil Lewis' L.A. Guns — it becomes quite an easy question to answer.

How is the metal genre different than it was when you started Powerline?
Today's metal now has standardized extremities — it seems too forced at times. I like all kinds of metal for its musical value but I don't agree with this way of thinking. You don't have to be extreme to be intense.

Is it harder for a metal band to be recognized nowadays?
Metal seems to be making a comeback. Genres can be cyclical as far as popularity. But hard rock and heavy metal will always be there. It was very hard for metal bands to get recognized in the early - to mid-'80s— which made it seem more exciting, actually.

How are Metal fans/collectors unique? Do you collect metal memorabilia?
When you listen to a genre exclusively, you like to think that your music is the most unique, and its followers are the most enthusiastic. And there are some aspects of it that are unique. But, basically, fans and collectors are the same all over, no matter the genre. After being the editor of Goldmine I certainly realized that!
A lot of my favorite memorabilia, unfortunately, has been lost over the years. I had almost all the metal demos from the '80s, including Metallica's. And the heavy metal demos of the '80s were the most fun to collect and trade. It was a world onto itself — almost a secret society. And, unlike today's MP3s, bands wanted you to trade demos -- get the music out there. I'm glad I experienced it. The demos from bands like Malice and Mercyful Fate were better than a lot of the stuff that made it onto their studio albums. Brilliant stuff that you'd could only hear if you were part of that scene. And then you had bands like Surgical Steel that you can only hear on demo tape. It's a moment in time that you really can't recapture.

Why did you resurrect Powerline as a Web site?
I listen to all kinds of music now, but I had missed Powerline and the music it cherished being an important part of my life. Plus I got kind of sick of bands like Korn being seen as the face of heavy music. What about bands like Saxon, Riot, Accept, Raven and the hundreds of other great bands from the '80s — the ones that started it all?! They deserve the most respect!

What are Powerline's future plans?
To have Powerline conitnue to represent vintage Hard Rock/Heavy Metal bands. I love the idea of turning kids onto all that old school stuff for the first time. Kind of like how Kerrang! turned me onto it in the early '80s.

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CD Review: Riot - Immortal Soul

CD Review: Riot - Immortal Soul
SPV
All Access Review: B+

More an indictment of apathy towards war in foreign lands than a desperate plea for attention, “Riot,” the incendiary opener off Riot’s latest album, Immortal Soul, asks a pertinent question: “What’s it going to take to make you riot?” What, indeed, is it going to take for people to wake up and take notice of a grossly under appreciated cult band that’s been around since 1975 and tossed a few exquisitely explosive heavy metal Molotov cocktails into the fray between 1977 and 1981 with the albums Rock City, Narita and the quintessential Riot classic Fire Down Under?

When the New Wave of British Heavy Metal threatened to drown us all in spiraling twin guitar leads, screaming vocals and stampeding rhythms, Riot, the pet project of guitarist and lone remaining founding member MarkReale, a man who understands the capricious nature of rock and roll all too well, seemed poised to become America’s answer to English cousins Iron Maiden, Def Leppard, the Tygers of Pan Tang and Saxon, among others. Riot was cut from the same cloth, from the blazing guitar duels ignited by Reale’s ambitious fretwork to pulse-pounding rhythms and wailing vocals that could fill up the most spacious of arenas. The pace of their songs was blistering, and they didn’t opt for the clichéd fretwork and grooves so many lesser bands take when confronted with a fork in the road, musically speaking. At the very least, while opening for the likes of Sammy Hagar, Black Sabbath and KISS, Riot’s ballistic live performances should have spurred a groundswell of support that would eventually lead to massive record sales and sold-out stadiums. Alas, it wasn’t to be.

The usual suspects are to blame, of course. Too many lineup changes, record label treachery, seismic shifts in musical trends and the occasional lukewarm effort all conspired to keep a good man like Reale down. Word has it he was even living out of his car in Los Angeles at one point. And yet, through it all, Reale kept Riot alive, tenaciously holding on to the belief that his time was coming. Occasionally, he’s been able to recapture that old magic that made them one of metal’s top title contenders in the late ‘70s, as Riot did near the end of the ‘80s. The faithful always held a special reverence for the lineup that recorded 1988’s Thundersteel and 1990’s The Privilege of Power, and Reale has reassembled the crew of Tony Moore (vocals), Don Van Stavern (bass), and Bobby Jarzombek (drums), along with live collaborator and guitarist Mike Flyntz for another tour of duty.

The band’s rebirth is nothing short of remarkable. After a recent scorched-earth tour of Japan and a triumphant Sweden Rock Festival outing, Riot unleashed Immortal Soul in late 2011, and it is a beast. Out of the gate, the blinding speed and white-hot fury of “Riot” – a ballsy title considering it’s also the name of the band – outraces many of Riot’s thrash-metal brethren, with Moore’s squealing vocals adding urgency and excitement. “Sins of the Father” is just as scintillating, traveling as fast as a bullet from point A to point B and not forgetting to plant a series of hooks that claw flesh. “Crawling” is something altogether different. With an undeniably exotic Middle Eastern feel, courtesy of serpentine, hookah-smoking guitars, the undulating “Crawling” is a seductive and hypnotic siren’s call that listeners must repeatedly heed. Even more melodic is the soaring epic “Fall Before Me,” which artfully contrasts meaty, grinding riffs with angelic harmonies, while the title track is stylish and dark, a not-so-subtle nod to Queensryche’s Operation: Mindcrime.

Blessed with an impressive vocal range that easily reaches high notes other singers would have to stand on a chair to tough, Moore is impossible to ignore. He can sound tough and tender, as he redeems an otherwise lackluster “Whiskey Man,” or he can fill a room the size of a football field with his volume and high-pitched screams, as he does on “Insanity.” While Reale and Flyntz pound away at dynamic, thundering riffs and construct intricate helixes of notes that amaze and awe, as they do in the high-flying “Believe,” Moore’s presence is just as powerful. And don’t sleep on Jarzombek’s drumming, with its crispness and propulsive momentum, augmented by Van Stavern’s flexible bass work.

Not the edgiest album to ever see the light of day, Immortal Soul is, nevertheless, a classic-sounding heavy metal record, with strong songwriting and interesting diversity that mostly goes for the throat and takes daring risks. At times, it sounds almost reeks of desperation – not a bad thing for a band that’s been around this long – as if Reale and company are willing to try and do anything to catch your attention. More often than not, Immortal Soul does just that.

-        Peter Lindblad

Addendum: Just one day after posting this review Mark Reale was hospitalized due to complications of Crohn's disease, which he had battled most of his life. Sadly, Reale died on January 26th, 2012. He was an amazing musician and the world of hard rock / heavy metal lost another great one. RIP Mark Reale.