Showing posts with label Savatage. Show all posts
Showing posts with label Savatage. Show all posts

Alex Skolnick Unlocks His Vault Of Vintage Testament Treasures for Auction

Alex Skolnick
For more than 3 decades Alex Skolnick has shared his near immeasurable talents with all of us.  Known as one of the fastest and technically skilled guitarists in modern rock history, it takes all but one Testament live gig to be left in awe!

Like many great minds, Alex didn't limit that sharing to touring and recording with his legendary Bay Area Trash band; from writing columns in Guitar magazine and offering lectures, to penning down his memories in a must-read book and straight-up, old school sit-down guitar lessons with aspiring shredders, Skolnick has made it a goal to spread his 6-string gospel.

Well, the sharing has taken on a new dimension as Alex has opened the doors to his vault of vintage touring and recording memorabilia! In partnership with Backstage Auctions, Skolnick is offering up a most impressive collection of vintage guitars, gear, stage worn clothing and historical ephemera that is set to hit the auction block.

Skolnicks pre-Testament days guitar
Among the highlights are three of his oldest guitars that date back to the pre-Testament days when the band was locally known as Legacy. Each of these guitars has a phenomenal touring and recording history and are absolute crown-jewels. In addition to several sets of Marshall amp & cabinet combos and a colorful array of vintage pedals, the auction will also feature a unique assortment of recording and sound equipment.

And then there are the shirts and jackets...from vintage mid 1980s stage worn shirts to exclusive leather Testament tour jackets, it's all there. Coupled with rare paper goods such as itineraries, tour programs, signed vinyl and vintage Legacy concert handbills, Testament collectors will have to pinch themselves more than once to realize that this is not a dream. Rounding out the auction are cool mementos from the time Alex was carrying the guitar torch for the likes of Savatage and Ozzy Osbourne.

Owning a true piece of Alex Skolnick memorabilia does not come with the guarantee that you will end up being the virtuoso he is, but it does come with a signed Certificate of Authenticity, a great deal of history and the spirit of passion and inspiration!

The Rock Gods & Metal Monsters Auction will be live from June 20th – 28th with a special VIP Preview that starts June 13th. If you are not registered for your All Access Auction Pass, rock on over and sign up today – it takes just a minute and there is no fee to sign up.
Link: All Access Registration

Follow Backstage Auctions on Twitter and Facebook for auction highlights before, during and after the event. 



#RGMM2015

Short Cuts: Yob, DragonForce, Circle II Circle

CD Review: Yob – Clearing The Path to Ascend
Neurot
All Access Rating: A-

Yob - Clearing the Path to Ascend 2014
Ascension is, undoubtedly, part of the plan for Yob, as the Oregon doom-metal destroyers prepare the release of their first full-length for Neurosis's Neurot label.

An ambitious work, full of cataclysmic guitar riffs, writhing dynamics and long, slow death marches into bleak, unforgiving sonic territories, Clearing the Path to Ascend is alternately ponderous and tumultuous, ethereal and alien. And as prone as Yob is to doling out methodical, malevolent poundings like "In Our Blood" and "Unmask the Spectre," it's the ferocious tempest "Nothing to Win" – the drumming is superhuman – that truly awes, as does the trio's supernatural atmospherics.

Comprised of only four tracks, the shortest of which clocks in at 11:37, Clearing The Path to Ascend is nightmarish and intense, but it's also a daunting listen, although the variety of vocal treatments – the primeval shrieks and growls sometimes giving way to sinister whispers – captivates, adding interesting textures to what is already a strangely hypnotic and enveloping blackness. Yob is on a righteous path.
– Peter Lindblad

CD Review: Dragonforce – Maximum Overload
Metal Blade Records
All Access Rating: B+

Dragonforce - Maximum Overload 2014
What DragonForce does to Johnny Cash's "Ring of Fire" on the British power-metal dynamo's latest Metal Blade Records release Maximum Overload won't win them any friends among country music traditionalists.

An odd choice to say the least, given their fondness for video-game sounds and electronic blips and snorts, this version of the Cash classic is easily the most bombastic ever recorded. Making it their own, in DragonForce's nimble hands, "Ring of Fire" actually seems built for speed, transforming into a soaring, frenetic epic of high-velocity guitars, jackhammer blast beats and Mark Hudson's clear, spiraling vocals.

Interestingly enough, it's the first cover song ever to be included on a DragonForce record. And there are other noticeable differences between the aptly named Maximum Overload and its predecessors, this outing being heavier and more thrash-oriented, as stampedes "The Game," "No More" and "Defenders" – it's no accident that Trivium's Matt Heafy contributes powerful backing vocals to all three – set pulses racing with adrenaline-fueled riffing.

Nevertheless, this is DragonForce we're talking about, and, as per usual, iconic shredders Herman Li and Sam Totman throw themselves headlong into an endless series of blindingly fast, hyper-kinetic guitar solos while glorious melodies fly overhead. Maybe DragonForce has become formulaic and predictable in always going for the big climax, but every track on Maximum Overload is a whirlwind of dazzling activity – "Three Hammers" and "Symphony of the Night" being the album's purest specimens of full-on, triumphant power-metal found here.

With their fantasy-based lyrics and "Guitar Hero" shredding, DragonForce is not everyone's cup of tea, but their attention to detail, overblown production values and insane technical skills make for an entertaining ride. It's like Disneyland for guitar fanatics.
– Peter Lindblad

CD Review: Circle II Circle – Live At Wacken (Official Bootleg)
Armoury Records
All Access Rating: B+

Circle II Circle - Live at Wacken
(Official Bootleg) 2014
The plan was to play as much of Savatage's classic concept record 1998's Wake of Magellan at 2012's Wacken Open Air as humanly possible, given the time constraints of festival performance slots.

That was the last Savatage record Zak Stevens sang on before departing from that league of progressive-metal masterminds. Revered for its compelling story, stormy riffs, rolling emotions and maze-like arrangements, Wake of Magellan is a theatrical tour de force, a rock opera that connects two real-life incidents – the Maersk Dubai Incident and the story of Irish reporter Veronica Guerin and her tragic journalistic crusade against drug trafficking.

Circle II Circle doesn't shrink form the challenge, even if they do only manage to fit in eight of the 13 tracks on the original LP. His colossal vocals pushed way up to the front of the mix, where they belong, Stevens is a born storyteller, his power and expressiveness adding nuance to an already gripping morality play.

From the uplifting, piano-driven power ballad "Anymore" to the tension-packed pounding of "Complaint in the System (Veronica Guerin)," the golden folk of "Morning Sun" and the sweeping, melodic build of the title track, Circle II Circle follows the winding map laid out by Savatage with a bold, adventurous spirit, paying all due respect to the original source material while, at the same time, breathing new life into it. A rich pageantry of instrumental prowess, resonant sound and wonderful drama, Live At Wacken (Official Bootleg) serves as an ideal companion piece to Savatage's unassailable masterpiece.
– Peter Lindblad

Helstar: Something 'Wicked' this way comes

Going inside the 'Nest' with guitarist Larry Barragan 
By Peter Lindblad

Helstar is James Rivera, Larry Barragan,
Rob Trevino and Michael Lewis
2006 saw the return of Helstar, and what a welcome sight it was. After an 11-year hiatus, the nucleus of the classic lineup of one of the finest power-metal bands the U.S. has ever produced decided it was time to saddle up and ride again.

Birthed in 1982, the raging Texans, fronted by venomous vocalist James Rivera (also formerly of Vicious Rumors), emerged from the womb kicking and screaming on 1984's Combat Records release Burning Star, which set the stage for the fury that was to be unleashed in classic LPs such as Distant Thunder and Nosferatu.

A heavy touring schedule supporting metal heavyweights W.A.S.P., Megadeth, Savatage, Keel, Yngwie Malmsteen and Fates Warning served to spread the fire-and-brimstone gospel of Helstar far and wide. Lineup shuffling killed their momentum, however, and after a series of break-ups, Helstar fell apart, only to be revived again eight year ago.

Since then, Helstar has brought forth an album of re-recorded classics, plus an intense and gripping concert retrospective titled 30 Years of Hel. Then came 2010's Glory of Chaos, a punishingly aggressive testimonial to the technical brilliance and savage passion of a band that still has plenty to say. Released earlier this year, the AFM Records product This Wicked Nest is its evil twin, harnessing the frenzied melodic storms of Helstar's revered '80s material, while packing all the thrashing intensity of Glory of Chaos into an even more volatile and violent cocktail.

In Helstar, guitarists Larry Barragan and Rob Trevino have teamed to whip up a career's worth of heavy, roiling riffs and searing leads, bombing listeners with an assortment of tricks and designs meant to scramble the senses. Barragan recently took time out to talk about the band's latest record, it's glory days of the '80s and what the future might have in store for Helstar in this interview:

With Glory Of Chaos, it's been said that Helstar won't go that extreme again. Was there a point at which it struck you that perhaps that record was a step beyond what Helstar was all about, or do you just feel that Helstar is more at home being more melodic?
Larry Barragan: Never, I never thought that Glory was too extreme. I still don't. I never want to be put in a box were people can dictate what we should or shouldn't sound like. The new album is heavy as f--k, but I wanted to try to expand what we could do with the thrash influence and use, and mean really use, more of James' range of vocals. I wrote a lot of the melodies with that intention. The songs that James wrote the lyrics and melodies to also had that approach.  I think it sets us apart from other bands.  The fact that we have someone that can sing the way James can sing over those heavy riffs.

How has the material on This Wicked Nest been received live, and what do you enjoy most about performing it?
LB: So far I think everyone likes it.  I enjoy it because you do get a little tired of doing the same set after a while.  It's nice to make things fresh.  There are a couple of songs that we haven't done from the new album live that I think we should introduce into the set at some point.

Helstar - This Wicked Nest 2014
This Wicked Nest is still a very aggressive and intense record, and you can really hear it on "It Has Risen." Was it difficult to maintain a balance between creating really punishing, fast, thrash-like material, such as "Defy the Swarm," and stuff that has a slower pace and a darker atmosphere, like "Cursed"?
LB: No actually, it flowed fairly well. I want to say "Cursed" may have been one of the last songs we wrote for the album. So I think by the time we got to it we knew we needed something to change the pace.

"Fall of Dominion" has more of a power-metal feel to it, with those twin-guitar duelings and a huge chorus. It's such a powerful song. Is it more indicative of where the band is at currently and where it wants to go on future recordings, or does it simply fit in perfectly with the band's progression to this point?
LB: I can't really tell you where we're going to be honestly. I don't know what we're going to write next. I think if you start thinking about where you want to take this it may begin to sound forced and unnatural. "Fall of Dominion" is a song that everything just fell into place as it was being written. 

Tell me about making the title track. It has a real sinister feel to it. Did you want This Wicked Nest, on the whole, to be especially unsettling and scary?
LB: Rob wrote the music to that song, and I wrote the lyrics and melodies. And as it was presented to me I thought it had a very chaotic sound to it. You're right in that it is unsettling. I like stuff that has a very dark sound to it. I think we accomplished that.

To your ears, what makes This Wicked Nest more in line with the band's work in the '80s than Glory Of Chaos?
LB: I think some of the more intricate passages in the song give it that nostalgic feel. Other than that I think it's just as balls out as Glory of Chaos.

The classic lineup of Helstar
reunited in 2006
With 30 Years of Hel, what was the most gratifying aspect of that project for the band?
LB: You know the thing about that recording was that it may have not been the best night for us as a band, but it was a special night for us. We had so many friends and family come to that show. It was actually quite moving. I looked out to the left, and I could see my mom pumping her fist in the air. So to me, the actual show was the most gratifying experience. To be able to play songs that we wrote 30 years ago and have people to this day sing along with them is such a special feeling.

In 2006, the core of the classic Helstar lineup reunited. What was it that got you guys back together, and in 2014, looking back, has it gone the way you'd hoped it would?
LB: We were only supposed to do one show to commemorate the 20th anniversary of Remnants of War. It took a life of it's own and it snowballed from there. The next thing I knew we were in the studio and signed again. I really didn't think it was going to go beyond the one show. We've done more that I could have imagined. It's been great.

Helstar toured with the likes of Megadeth, Keel, Savatage, Yngwie Malmsteen and others back in the day. What was your favorite tour and why?
LB: I'll never forget the tour we did with Anthrax. It was the most fun and those guys were so cool to hang with.  

What do you remember about Helstar's first-ever performance?
LB: I remember it was in a garage at a house party. And we were doing "Hallowed Be Thy Name" by Maiden and right at the end of the song, James started throwing up. He had like this mini heat stroke I guess, and he just started puking as the song ended. You couldn't write a better script. It was like, "Oh so you can spit blood, huh? Well our vocalist can vomit on cue!"    

As far as you are concerned, what's Helstar's greatest achievement? And where does This Wicked Nest rank in the entire Helstar catalog?
LB: I think our greatest achievement is just the fact that after 30 years we're still around, still playing, still writing. It's not an easy thing to do but we've done it. This Wicked Nest is a dagger thrown at the heart of all those who thought we couldn't do it. If we didn't do another album I would be happy with this as an ending. Let's hope that's not the case though. Ha!

Best of 2013 in Hard Rock and Heavy Metal – Part 2

Deep Purple, Satyricon, Red Fang ... and more 
by Peter Lindblad

Youth will not be served in this portion of our "Top 20 Hard Rock and Heavy Metal 2013" list, except for Red Fang that is.

Deep Purple, Monster Magnet, Satyricon and Oliva – that's Jon Oliva of Savatage fame – all made compelling arguments for not being put out to pasture in 2013, making some of the most exciting and powerful music of the year.

Here, we tip our cap to albums 15-11. The top 10 awaits. 

Deep Purple - Now What?!
15. Deep Purple: Now What?! – Lost in all the hoopla over Black Sabbath's comeback was the return of Deep Purple, who crafted one of the most beguiling and intoxicating records of their career. By turns cinematic and mysterious, with a widescreen Middle Eastern vibe that recalls Ian Gillan's work with Tony Iommi on the recent WhoCares collaboration, Now What?! is also smolderingly soulful and even, in a minor sense, jazzy. And yet it never lets you forget that Purple can still burn through hot-wired hard rock, like the stuff that made them one of the '70s most explosive acts, with the kind of musical chops other bands would die for, as Don Airey and Steve Morse take off the training wheels and go for broke.

Oliva - Raise the Curtain 2013
14. Oliva: Raise the Curtain – Savatage was always a different kind of metal animal, theatrical and progressive while still managing to sound powerful and heavy. With Raise the Curtain, Jon Oliva, the group's founder, pulled out all the tricks, making this a Bat Out of Hell for the new millennium. Only Meat Loaf was never this unpredictable or adventurous, as Oliva boldly takes a lot of risks here, but the emphasis with Raise the Curtain is always on great drama and melodic grandeur, leading its wide-eyed audience through aural scenery and costume changes as breathtaking as any Broadway show.

Red Fang - Whales and Leeches 2013
13. Red Fang: Whales and Leeches – Maybe it was a small step backward. Maybe Red Fang isn't quite ready to make that grand statement of bearded and boozy metal glory everybody believed they would with Whales and Leeches. Still, the stormy Whales and Leeches is a whirlwind of purposeful and nearly manic activity, and yet it harnesses brawny riffs, wonderfully warped lyrics and raging rhythmic bluster into fairly tight, but malleable, song structures. Red Fang is kind of like Mastodon's more mischievous little brother, somewhat less serious with a slight touch of ADD. 

Monster Magnet - Last Patrol 2013
12. Monster Magnet: Last Patrol – It's all fine and good that Monster Magnet went back to using vintage gear for the making of Last Patrol. The fact that they did so and were able to generate such a compelling blend of wind-whipping space-rock and mind-bending psychedelia is more a testament to the creativity and songwriting aptitude of Dave Wyndorf than any simple equipment changes. Moments of painful introspection are leavened by cosmic tales of revenge and debauchery, as Monster Magnet flies around the universe looking for cheap thrills, and Last Patrol is full of them.  

Satyricon - S/T 2013
11. Satyricon: Satyricon – Not as blackened as in days of yore, Satyricon, nevertheless, can still conjure up plenty of chillingly melodic brutality, technical free-for-alls and dark malevolence on command, as this self-titled effort so effectively illustrates. The Norwegian black metal stalwarts don't mind slogging through layers of sonic sludge or inviting doom metal heaviness into their fortress of solitude, but Satyricon has morphed into a more dynamic entity, somehow becoming increasingly intense and heated in the process, while never quite escaping the eerie atmospheres in which they've lived for lo these many years. And there's something oddly comforting about that.



CD Review: Oliva – Raise the Curtain

CD Review: Oliva – Raise the Curtain
AFM Records
All Access Rating: A-

Oliva - Raise the Curtain 2013
Jon Oliva makes a grand entrance on Raise the Curtain. Out of the shadowy wings of the stage he steps, drinking in the triumphant, twirling synthesizers and well-sculpted guitar lines of a grandiose title track that could introduce royalty at some gala event. 

In a voice as radiant and angelic as Jon Anderson’s, the Savatage co-founder and vocal wizard demands the crushed velvet drapes be pulled aside so the drama can begin. Somebody’s been listening to Yes, the Rick Wakeman era in particular.

Oliva’s solo debut, Raise the Curtain is a great experiment, a wildly diverse progressive-metal epic that combines all of Oliva’s musical tastes in one extravagant movable feast, where the keyboards are as prominent as guitars and Oliva's theatrical indulgences are properly sated. On the menu is a generous helping of ‘70s prog, heaving surges of power metal and flourishes of jazz – the colorful and ebullient “Ten Years,” with its full-throated horns, being most reminiscent of the Broadway-style arrangements found on Savatage’s transformative fifth album Gutter Ballet.

Some of the most compelling material on Raise the Curtain also happens to be the heaviest stuff, such as “Soul Chaser” and “Big Brother.” The bass lines in both are remarkably strong and thick, circling around and around with sinister intent as driving guitar grooves push the action forward. An evil carnival of apocalyptic images, doom-laden sounds and crazily spinning instrumentation, “Armageddon” is by turns majestic and hellish, but “Soldier” is an affecting, melodic ballad, fleshed out with heartrending flute and piano, that sympathizes with a warrior finding it difficult to return to normal life. “Can’t Get Away” is similarly cast, but a little bluesy and more wistful, a modest cut with subtle charms.

Delighting in subverting audiences’ expectations with completely unexpected twists and turns, Oliva and crew – including Jon Oliva’s Pain drummer Chris Kinder – pull off a bait-and-switch on “Stalker,” as the mellifluous intro gives way to thorny, menacing verses that hack their way through incredibly intricate guitar work. And it continues to go off into different directions, once again becoming a wonderful flow of keyboards and six-string magic. Somewhat more Gothic, “The Witch” embarks in a similar journey, going down strange and wonderful paths and then running off into dense sonic thickets before emerging in bright, expansive clearings.

Composed and created with the help of friend Dan Fasciano and born of his still lingering sadness over the death of Jon Oliva’s Pain guitarist Matt LaPorte in 2011, Raise the Curtain also purges the vault of Criss Oliva’s final writings. Although it comes off as unnecessarily fussy and overblown on occasion, the album’s sheer bombast is awe-inspiring, even brilliant. Amid the prog pageantry are powerhouse riffs and forceful, evocative vocals that ground these shape-shifting works. Take a bow, Jon Oliva.http://www.afm-records.de/
– Peter Lindblad