Heavy Metal News
DEFOX RECORDS & INVINCIBLE RECORDS are proud to announce the record deal with the japanese Thrash Metal band called DEAFLOCK.
Deaflock is an old school thrash metal group formed in Nagoya in 2000, after the demo called simply "Deaflock" and the participation to a compilation "Earthquake A.G.M" the band publish "Reality Of False Pasts",the first album of the group which was showing the old school attitude.
Now the band presents new album titled "Courage to expose all" that contains 9 songs in vein of furious Thrash'n'Death sound, fast and
Most Recent Heavy Metal Headlines
Skeletons - SIRENS & SAILORS
Referred to by their fans as S&S or SandS, Rochester. New York's SIRENS & SAILORS are amassing a solid following for their semiautomatic-echoing style of metalcore. A lot of the band's success rides on feverish blast beats and crashing thrash parts administered by Doug Court. The rest of what S&S brings to the table is tons of repetitive low-end chugs from Todd Golder, Jimm Lindsley and Steven Goupil and prototype rise and fall screams from Kyle Birhle, who is countered by soaring cleans from Golder. Count on as many breakdowns as a highway choked by permafrost on the band's second full-length and fourth overall release, "Skeletons". Kyle Birhle has been quoted in an interview with Broken Records magazine as saying "our influences range from the music our parents made us listen to growing up, all the way to current music that we listen to today". What this means is that for all of the butt-ugly tones, clogging riffs and bludgeoning tom kicks, S&S does find peppy segments to squeeze into their gory mix. For young acolytes of this stuff to which SIRENS & SAILORS is principally marketed, the about-face upswing in moods from brutish verses to florid choruses on "Not That Easy", "Straightjacket", "Weight of the World", "Hold Fast" and "Go for the Throat" is going to be a long-affective pleasure pill. For those who pray metalcore sees its official demise sooner than later, "Skeletons" will hardly be in their best interest. The fact of the matter is that S&S have the capacity to play in many modes including grind, and herein, they milk the hell out of every bpm Doug Court allots them. The mix of the album brings Court's berserker bass pedals forward to the point they can sting a few overstimulated brain cells after a while. He appears to take inspiration from MESHUGGAH's Tomas Haake, FEAR FACTORY's Raymond Herrera and of course, the double hammer jackrabbit, Gene Hoglan. Doug Court's so much a factor in this band the blipping guitar squibs from Todd Golder and Jimm Lindsley are prominently dialed up ("Exorcist", for example) to make themselves heard, as well as to break open their monotonous riff creases. At least the album has gorgeous, effervescent guitars and electronics to spice up the undulating instrumental "Reflection". Then "Born & Raised (Flower City)" makes the attempt to streamline S&S' chunky onslaught with tempos fluctuating between mosh and stomp before a couple of breakdowns change the feel of the song a few more times. Some nice violin and cello fragments interrupt the battering bedlam of the title song and to the band's credit, they modify their tone up a level to match the chamber feel. The thing with SIRENS & SAILORS is they employ their husked-out schemes so many times it becomes old hat in a hurry unless you're really that deep into what they're doing. For the occasional shake-ups that appear on "Skeletons", the album stays in a primarily coarse key and abides by a set of slow-fast interchanges that grow routine and weary after a while, despite the band's sharp execution. Metalcore fanatics will embrace all of this, naturally, and thus SIRENS & SAILORS is holding the torch for them with a firm grip.
Beyond the Martyr - ARGUS
While you try to think deeply into the title of ARGUS' third album, "Beyond the Martyr", let's simplify things a little. The Pittsburgh trad metallers used the title in remembrance of their close friend and author, Bruce Nelson. "Beyond the Martyr" is from one of his works. From that point forward, dig for deeper meaning if you so desire, but the more important thing is the music, which demands enough attention itself. The cyberpunk fantasy art executed by Brad Moore is in the vein of VOIVOD's Michel "Away" Langevin, and as you drink in the hyperactivity of giant locusts and larvae tearing down a purported microelectronic utopia, the members of ARGUS take a more conscientious and methodic pace to their songwriting. Former PENANCE vocalist Brian "Butch" Balich is one the main catalysts to the success of this album that slides from one mid-tempo groove to another with dips into sluggish doom pastures. He has the capability to infuse occasional dramatics but overall, he simply assumes control over the fore of ARGUS' systematic power metal and doom attacks. One of his finest performances on the album comes on the smartly conceived "Four Candles Burning". Balich wails confidently over the lobbing bass knocks from Andy Ramage and twin guitar gusts by Jason Mucio and Erik Johnson. Balich thrusts himself through the steady yet busy bob of "Four Candles Burning" and the song is a vastly fulfilling venture. While ARGUS is fortified by Mucio and Johnson's congruous guitar lines and frequently pretty solos (their intro lines to "By Endurance We Conquer" are sublime), one of the back-end stories is drummer Kevin Latchaw, whose cymbal rides throughout "Beyond the Martyr" are terrific, especially in the opening bars of "By Endurance We Conquer". The rapid clangs emitted by Latchaw out the gate on this album sets a high mark that's mostly met, even if the doom-spirited "The Coward's Path" could use tightening up on the verses prior to its galloping second half. To be frank, ARGUS is a better power metal act than doom. Andy Ramage deserves a ton of credit for keeping ARGUS' instrumentation glued together. Even when "The Coward's Path"'s parts separate a bit too much in the doom section, Ramage acts as a buffer until the song speeds onward. Ramage rumbles and picks in the style of Steve Harris and you'll hear him taking charge in the back of "By Endurance We Conquer", "No Peace Beyond the Line", "Trinity" and "Cast Out All Raging Spirits". As much as Brian Balich, Jason Mucio and Erik Johnson will receive their proper accolades in this band, take away Andy Ramage and you have a grossly average sound. What ARGUS does isn't full-frontal; it's restrained and on its way to finessed. Ramage's bass is the fundamental element to keeping this band tight. "Beyond the Martyr" is sometimes detailed but largely understated. In the end, it's a classy bit of old-fashioned heavy metal sitting on the cusp of exceptional. ARGUS should be pleased with themselves at this point. There's still room for improvement, but "Beyond the Martyr" is nevertheless a solid ride into Valhalla where their beloved chum Bruce Nelson is likely fist-pumping with appreciation.
The Scenic Album - FELIX MARTIN
As long as new artists keep flocking to the works of Steve Vai, Tony MacAlpine and Frank Zappa for inspiration, we're going to keep finding more technique-oriented instrumental albums knocking on our door for attention. The latest of these comes from Venezuelan guitarist Felix Martin and his idyllic-titled "The Scenic Album". The fourteen-stringer has oodles of chops, there's no question about that. To watch Martin work over double necks with both hands is like watching a sculptor at the height of a caffeine bomb work the hell out of clay. That is to say, Felix Martin at work is expressive, detailed and above all, hyper in every sense of the sense of the word. There's no other way to describe the tirelessly spiraling scales through the first two minutes of "Triangle Tune" than hyper. Martin also has an impressive supporting cast in the studio with him. Joining him on his mission to assault listeners with scores of scales, taps and occasional decorative lucidity is former NECROPHAGIST, Steven Wilson and Paul Gilbert drummer Marco Minnemann plus dubstep bassist Nathan Navarro. For all the artillery Felix Martin has stashed in his creative compound, "The Scenic Album" feels remiss of something outside of the spellbinding scale laps and irrefutable virtuosity. Those who find the most value in method are going to be well-turned-on by "The Scenic Album". At his best, the stunning wonderment generated on "High Spirit" and "Triangle Tune" (which retains its dizzying awe even when switching flavors to a lower-key blend of samba, funk and prog) are brought to genuine climaxes the more Martin allows his partners help him create mood. On the flipside, Martin has a tendency to let freestyle be his guide instead (i.e. his "Tango" and "Viroliano" suites) and in those moments, the average listener feels pushed out somewhat. Even "High Spirit", which could've been bisected into two pieces or at least capped by the song's spectacular rolling tides, gets broken into with a couple of isolated sections that diminish the composition's vivacity. The "Tango" suite is a ton of fun to dive into, at face-value anyway. The second section sounds like a more prog-chopped take on the gonzo ska melodies from MR. BUNGLE's "Egg" for a spell. However, the segment belongs more to Nathan Navarro than Felix Martin, who frolics like hell, but becomes secondary to Navarro's funk plucks and Marco Minnemann's grinding drive. The best part of "The Tango II" comes with a brief flash where all stations gel together nicely. "The Tango I" has moments when the ensemble mashes the tar out of their metallic parts, but mostly the track rings like a jam session played for themselves only. "Spam II" is so tech-heavy your brains will melt trying to keep up with it note-for-note and you can expect that mathematic magma to sear you completely when Marco Minnemann rushes into a grind tempo. Martin shows that he can easily keep up with such arresting speed, which is impressive beyond all words, but there's not a ton of actual musicality lurking behind "Spam II"'s sensory rape. Felix Martin employs a nutty succession of theory experiments entitled "Viroliano Tries Prog", "Viroliano Tries Jazz" and "Viroliano Tries Metal". Somewhere between Steve Vai's "Flex-able" and Mike Oldfield does this triad attempt to excavate for Martin's supposed amusement. Only when Marco Minnemann challenges Martin with acceleration does any of it carry any actual weight. Again, the issue is a lack of overt songwriting. "Eleven Drums" shows ornate promise featuring some of Felix Martin's most delicate possessions, yet the potential for a tranquil, chop-filled ballad spirals backwards into naked indulgence that serves mainly the interests of future guitar students. Felix Martin is a stunning player, make no bones about it. Word has it he custom-made his fourteen-string and the way he patters all over his necks, he's destined to become a future innovator. Even better he has a stellar group of session players who keep him honest, if only in the briefest sense. Martin could've merely set himself up next to a drum machine and had at it, but honestly, if you come to "The Scenic Album" without knowing Martin has live musicians in his stead, it's tempting to think he did exactly the former. There's not a lot of musical soul driving this album, but if all you seek is forty-five minutes of mechanical grandiosity, then step on up here; you'll hardly be disappointed.
Destiny of the Gods - COVEN 13
The Detroit-based metal troupe COVEN from the mid-Eighties is not to be confused with the more notable Seattle thrashers of the same name arriving shortly after these guys. Having originally hung up their leathers in the early nineties after releasing one album, "Worship New Gods", the renamed COVEN 13 reunited in 2011 to take another run. Citing themselves as Nordic doom metal, nobody's really going to buy into the tag save for maybe the SABBATH-hiking "Walpurgisnacht" and the Thor lore spread throughout much their wobbly new album, "Destiny of the Gods". In actuality, COVEN 13 in sound is more about power rock and trad metal, i.e. JUDAS PRIEST and DEEP PURPLE, though they sound like them in theory, only. Alas, this album is the little engine that stalls at the roundhouse despite the appreciable fact these guys have their hearts in the right place. What's positive about "Destiny of the Gods" is that the instrumental front line of guitarists Todd Kreda and Richie Karasinki plus bassist Roger Cyrkeil provide a doughty backbone for COVEN 13. Not all of the scratchy guitar solos are great, but some are hefty and there are a number of songs where Kreda and company riff the hell out of their spots, such as "Isle of Man", "Witches Kiss" and "Frost Giants", the latter actually reaching close to the boundaries of awesome. Unfortunately, for all that is good in COVEN 13, vocalist David Landrum, is well, not. In snarl mode, Landrum can hang in there, barely. Landrum's having a goblin grog-sloshed time on this album, and it's his party, which means it's not even invitation-only. The only time he's genuinely invasive and not merely discordant is when he peels off a grotesque take of Ronnie James Dio on "Witches Kiss". The first two tracks, "Thor's Twins" and "Winds of Revelation", are absolute messes from top-to-bottom, starting with Landrum's off-key caterwauling and trailing down to drummer Brian McGuckin's slacker beat patterns. "Winds of Revelation" is so hard to accept you're to be hardly blamed for bailing out on this album. However, McGuckin tightens up through the rest of the album (though he's a little off-target in spots on the poorly mixed "She Rides the Dawn") and at least the band's crunching riffs will help listeners roll through the way-long "Solitary Days" and a so-so cover of SIOUXSIE AND THE BANSHEES' "Spellbound". If the rest of "Destiny of the Gods" was up to the pounding coolness of "Frost Giants", then COVEN 13 would have something to write home about. Unfortunately, writing home to 1986 finds the God of Thunder not swinging Mjolnir against those hulking lords of the rime, but being turned into a frog in Issue # 364 of "The Mighty Thor". Take that as you will.
Triumf - CURSED 13
Scandinavian black metal horde CURSED 13 has some unfinished business. They could still use plenty of tightening up, but at least there's a dedication to chaos that prevails throughout their sinister album "Triumf" which will appeal to their longtime fans who have been waiting for a proper full-length to emerge. "Triumf" covers a hefty period of time between 1998 and 2013 with many of its tracks intended for a never-released album entitled "And Hell" along with redone demo and EP tracks from CURSED 13's early years. Band leader Heljarmadr (also of DIABOLIC LUST) relays in CURSED 13's biography that he spent some time in jail in the span of CURSED 13's doings that saw the band's single for "I Love Cyanide" spread worldwide in 2005. After recording a lot of material, Heljarmadr and drummer Dimman released a 2009 split with DOMGARD and many of the remaining songs intended for "And Hell" remained dormant until now. "No Return" starts "Triumf" on a high note with an evil tide of riffs pocked by evocative loops of train wails and later, clacking slats amidst the swell of a winter's gust. All of it lends an astute shivery cadence nobody's ever seemed to fit to employ in metal before. The rugged tempo and menacing creep of "No Return" thus establishes a haunting tone to "Triumf" that's quickly ripped to shreds by the fast and slashing "Dead and Gone". Lead guitarist and bassist Maugrim's insane solo on this track hits such shrill notes it sounds like high-pitched radio waves. After these two balls-out compositions, "Triumf"'s middle territory rolls through more stripped-down affairs such as "Death 'n Roll", "Fralst av Eld" and another version of "I Love Cyanide". As clunky as "I Love Cyanide" may be, the choppy rhythms and barren spaces between drums and guitars work as the track speeds up and slows down. In both extremes, the song huffs like a beast instead of choking outright. Ditto for the banging "Nar Marornar Kallar" and the militant snare strikes breaking into "Fralst av Eld" that sets up a pretty killer breakaway and trance-filled outro. Some of the most accomplished songwriting comes on the slithering and malevolent "Seductress" with its well-structured doom and black grooves setting up a succinct and extensive guitar solo. Afterwards, "Requiem/Victory" varies its tempos between mid-tempo march and chuffing deliberateness. The drums are a bit uneven until the later sections where Dimman throws out sharp sets of rolls and then carries the song home on a measured crawl. The sliding electro shuffles of "Vrede" may be out of the norm for black metal, but they effectively allow for a terrific sequence of layered guitars that languish on the bottom and clout overhead until the song hits an organic trail allowing Dimman to take over with a steady pound that almost drowns the rest of the band in the mix. The synths creep back in-between Helharmadr's outraged snorting and plugged-in soundbytes of throng cheering, but those synths operate subversively in a GOBLINS-esque fashion it makes "Vrede" the best-written and produced track on "Triumf". For black metal purists, "Triumf" is mandatory listening. Sloppy it may be at times, there's heated integrity running throughout the entire project that makes it perversely compelling. It serves as reminder that no matter how polished and streamlined black metal's become over the years, it belongs underground. That's hardly a rip.
Unblackened - BLACK LABEL SOCIETY
Back in March of this year, Zakk Wylde and BLACK LABEL SOCIETY put together a special treat at Club Nokia in Los Angeles, a scaled-back, relaxed retrospective set filled with ten BLS songs, three from the PRIDE & GLORY days and four selections from Zakk's 1996 solo album, "Book of Shadows". "Unblackened" is perhaps the most intimate look at Zakk Wylde onstage you'll hope to witness outside of actually sitting in the man's presence. There's a passionate and sensitive drive to "Unblackened" that transcends the mostly slow to medium pace of the concert. You won't find BLACK LABEL SOCIETY staples such as "Bleed for Me", "Demise of Sanity" or "Suicide Messiah", but you will get "The Blessed Hellride" almost off the bat, an acoustic-driven fan favorite that translates naturally into this reformed set. Ditto for "House of Doom" with its peppy collision of smooth jive and static jumpiness. In many cases of the "Unblackened" set, new or modified arrangements were employed, making this an even more savory delicacy for Wylde's fans. The PRIDE & GLORY songs performed here are "Losin' Your Mind", "Sweet Jesus" and "Machine Gun Man", while "Road Back Home", "Sold My Soul", "I Thank You Child" and "Throwin' it All Away" represent "Book of Shadows". While the BLACK LABEL SOCIETY numbers are reaped with a heavy lean on "Hangover Music Vol. VI" (i.e. "Queen of Sorrow", "Won't Find it Here", "Takillya (Estyabon)" and "House of Doom"), there are set standards such as "The Blessed Hellride", "In This River", "Speedball", "Spoke in the Wheel" and "Stillborn", plus an appearance of "Rust" from "Stronger Than Death". Still holding court in the BLACK LABEL SOCIETY are guitarist Nick Catanese and bassist John DeServio along with recent drumming addition Chad Szeliga, backing vocalist Greg Locascio and keyboard troubadour Derek Sherinian. Catanese and DeServio's faculties speak for themselves, but the inclusion of Derek Sherinian is one of the best moves Zakk Wylde could've made. As Sherinian fields a number of song intros and loads of fills, his veteran prowess well-serves Zakk's purposes for the set. When Zakk takes the piano, it's enough he can leave the guitar solos in the trusted fingers of Nick Catanese, who shows off on "Road Back Home", "Spoke in the Wheel" and "In This River". With Derek Sherinian across from Zakk onstage, they work magical keys together on "Sweet Jesus" and "In This River", but the most breathtaking moment of unity between them comes on the flamenco-blitzed "Speedball". Watch for Zakk to grin like the devil after Sherinian matches his flurrying acoustic scales. It's fair to assume playing for Zakk Wylde comes with a sense of gratification since his nods of appreciation and silent gestures of accolade come frequently. While the "Unblackened" set restrains the players to a seated position for the entire show, there's an evident brotherhood swarming over the stage at Club Nokia. John DeServio can hardly contain his excitement, much less his butt to his stool. Numerous times he lurches off as if ready to pounce to the front of the stage before zipping back in place. During the band introductions, though, DeServio hops off to embrace Zakk and that's unrehearsed sentiment you can't fake in public. It's unnecessary to gush over Zakk's presentation, be it on the strings or the keys. He's a phenom and always has been. Even now it's still hard to cue to mind the young, beardless whiz kid kicking off his career on Ozzy Osbourne's "No Rest for the Wicked". Zakk Wylde today is brawny, scruffy, a real deal roughneck who doesn't need "Duck Dynasty" to endorse his chin wag. His instruments speak for him, proven by the marathon solos on "Throwin' it All Away" and "Stillborn" in this set. The fact a dusty dude is capable of such an emotive set as contained in "Unblackened" defies convention. Yet one of the most poignant moments of the show comes with a family archive video clip showing Zakk and his daughter Hayley Rae in a cut-up daddy-daughter duet, which leads into his sweet fatherly ode "I Thank You Child". It's a precious moment of grace that leads into the show's finale, a slowed and reworked version of "Stillborn". Even without Ozzy's added vocals, this rendition serves as a dramatic, reflective finish to a largely beautiful set. Among the bonus features on "Unblackened" are an interview segment with Zakk, the promo video for "Losin' Your Mind", and the real treasure, a one-man jam contained in "Zakk Visits HM Prison Stocken (UK)". Here Zakk crams at least twenty music theories into one hyperactive guitar solo and then fields Q&A with the prisoners. For the Zakk Wylde connoisseur, this alone is must-see material. If you want a full frontal video exhibition of BLACK LABEL SOCIETY, drift back to 2006's "The European Invasion, Doom Troopin'". If you want to see a more expressive and disciplined set assembled for longtime Zakk Wylde fans, then "Unblackened" is where it's at.
Funeral Circle - FUNERAL CIRCLE
Canadian doom sect FUNERAL CIRCLE are a well-read bunch who weave creeping, elegiac dirges featuring dark fantasy and arcane muses. The Necronomicon, Paganism, Lovecraft's sinister realm of Cthulhu and Conan the Barbarian's duke-outs against the snake cult of Set all figure into FUNERAL CIRCLE's brand of "epic doom metal." This, as opposed to regular ol' doom metal, supposedly. True to their word, though, count on plenty of "epic" with this band. FUNERAL CIRCLE has spent as much time consuming CANDLEMASS, PENTAGRAM, CIRITH UNGOL and GRAND MAGUS as they have occult literature and pulp novels. While Jeremy Hannigan's tormented swills appear to still be in their refinement stages, the other two components of FUNERAL CIRCLE, Matthew Barzegar and Steven Mulleady, carry the lumbering weight of the band's music, which accelerates past two miles an hour only in spots, i.e. in later segments of "Black Colossus" and "Obelisk". Barzegar plays electric guitar while Mulleady adds supplemental electric and acoustic guitars along with bass, keys and drums. FUNERAL CIRCLE's biggest attribute is their encapsulating guitars, shining from the commonplace conventionalism of doom metal, which these guys are obliged to honor. Structurally, there's not much to this album you haven't already been privy to on a doom record, but Barzegar and Mulleady's reeling swirls that ring atop the clambering plods of FUNERAL CIRCLE's compositions are fantastic. The explorative, wailing tag solo opening "Scion of Infinity" sets up the song's unhurried grind. The longer the song winds on, expect Barzegar and Mulleady to return with an extensive series of traded and ultimately morphed solos. Containing their work to a largely ponderous pace, the sonic-bled layers FUNERAL CIRCLE stacks into the 8:48 "Corpus of Dark Sorcery" not only add malevolent consistencies, they elevate the mysticism of the song's primary whispery feel. The sweaty final sections and screeching outro to the 11:35 "Obelisk" are magnificent, while the articulate though bleak acoustic guitar and echoing keys on "Tempus Edax Rerum" create one of the more stylish points to the album. The same lucid sway is carried into the intro of the quick-to-be-ugly, sluggish clout of the 9:22 "The Charnel God". Jeremy Hannigan tries to be entrancing in his delivery, but there's too much shakiness in his effort to stray from monotone. His vocal patterns slowly rise and fall in routine patterns, but stand prepared for him to peel off a few unnerving falsettos throughout the album, along with a demon growl in the beginning of "The Charnel God". Hannigan doesn't extend himself too far otherwise, yet his tones could use some polishing in order to keep up with FUNERAL CIRCLE's expressive guitars. In all, a pretty stout offering with attractive guitar work frequently stretching beyond the anticipated low-end chords and timeworn doom scripts. Matthew Barzegar and Steven Mulleady load their distortion with fragility as well as heftiness. When they have vocals to stand tall with them, FUNERAL CIRCLE will emerge as a potential force.
Live Fast Die Loud - BEASTO BLANCO
For a contemporary heavy music market where intricacy is valued more than ever, once in a while, straightforward and simple wins the day. Chuck Garric, veteran bassist for Alice Cooper and affiliate of a Who's Who list in hard rock and metal ranging from Ronnie James Dio to Steven Tyler to CHEAP TRICK, leads his own power rock posse reportedly named after his dog, BEASTO BLANCO. Garric's mission to release his own music (once under the monikers THE DRUTS and THE BARONS) finds him adding guitar and vocals to his bass licks for a tirelessly whumping rawk ride, "Live Fast Die Loud". Garric brings with him Chris Latham (lead guitars) plus Glen Sobel from the Alice Cooper band and Uncle Alice's daughter Calico, who cuts some backing vocals for the title track and the album's first single, "Breakdown". Joining the femme fatale hit squad fuming behind Garric (and supplying keys) on some of the songs of "Live Fast Die Young" is Tiffany Lowe. BEASTO BLANCO's trio of kit smashers consist of Tim Husung and former Alice Cooper drummer Jonathan Mover in addition to Glen Sobel. Additionally, Jan LeGrow laid down some bass contributions. Clearly Garric's been chomping at the bit to get out on his own and BEASTO BLANCO is an energetic mofo, whipping out a guileless overhaul of Rob Zombie all over the place, most gratuitously on the title track, "Blood Shot", "Beasto Blanco" and of course, "Breakdown". Yet Garric and company don't dip into Zombie's world of undead drag queens and grade babe ghoulinas. "Live Fast Die Loud" instead attempts to recreate a full-frontal, party-minded style of modern heavy rock cultivated largely from the buzz-bombed jives of Rob Zombie. It's not all played in this key, however; for example, MOTÖRHEAD is an obvious inspiration for "Beg to Differ". Sometimes the vocals mimic Rob Zombie with alarming exactness ("California", for example), but most of the time, Garric, who handles primary singing duties, spews more choke and spittle into his raspy delivery. The coolest quality to BEASTO BLANCO is its unabashed thrusts and throbs, living for the kinks of rock 'n roll. They would be an automatic Billboard burner if it was more rock-friendly these days. Whether you rebuke or embrace what Garric's trying to accomplish with "Live Fast Die Loud", the guy knows how to pour it on, making his album an entertaining, if at-times derivative jaunt. The stifled and repetitive "Viva Las Vegas Nights" is the only real throwaway tune, but "Motorqueen" comes snarling immediately thereafter as the heaviest thing on this album, coiled with a beefy set of riffs that sound bred from KISS and Alice Cooper's darkest corners. Opening the album with a pretty cool flamenco sprawl on "Ill Nostro Spirito", Tiffany Lowe subsequently rips out her best Lucia Cifarelli (KMFDM) impression behind Garric on the anthem-driven choruses of "Beasto Blanco". Calico Cooper later seethes pleasingly on "Breakdown", getting right into the heat of things with Garric as he woofs "bang bang, baby!" lasciviously in response. BEASTO BLANCO's biggest asset is that they shoot for the same level of arena amp rock that Chuck Garric and his cohorts are plenty familiar with. Whether they make it there on their own remains to be seen, but "Live Fast Die Loud" refuses to quit, and you have to tip your hat in that respect. This album makes no pretentions of what it is. It's loud, it's pumping and it's surprisingly effective.
EMMURE Frontman Talks To Metal-Trails.com (Video)
On October 26, Metal-Trails.com conducted an interview with vocalist Frank Palmeri of the Queens, New York-based deathcore act EMMURE in Essen, Germany. You can now listen to the chat in the YouTube clip below. EMMURE closed out 2013 by headlining the Never Say Die! tour in Europe (October 4-26) and then a full U.S. tour (October 29 - November 22) alongside ASKING ALEXANDRIA, SEVENDUST, ALL THAT REMAINS and FOR TODAY. EMMURE will enter the studio in January to begin recording its sixth full-length album for a late spring 2014 release via Victory Records. EMMURE's fifth full-length album, "Slave To The Game", was released in April 2012 via Victory Records. The CD was recorded with producer Joey Sturgis (ASKING ALEXANDRIA, THE DEVIL WEARS PRADA), who previously worked with the band on 2011's "Speaker Of The Dead". "Slave To The Game" marked the recording debut of EMMURE's new drummer, Mark Costillo, who has previously played with BETWEEN THE BURIED AND ME and BURY YOUR DEAD.
NASTY IDOLS Singer ANDY PIERCE Dead At 45
Vocalist Andy Pierce (real name: Anders Persson) of Swedish hard rockers NASTY IDOLS died on Thursday, December 5 after suffering a brain hemorrhage at the home of his girlfriend in Denmark. He was 45 years old. "We, the band members, have been talking a lot and it is a shock," NASTY IDOLS guitarist Peter Espinoza tells the Swedish newspaper Sydsvenskan. "It goes up and down. One second you're not thinking about it, and then the next second, it hits you like a bomb. It's terribly sad." He added: "[Andy] was a very funny human being. We were always having minor quibbles at gig time. My hair is falling off, it happens to most people sooner or later, and he always said, 'It's cool that you're going bald, but wouldn't it be cooler with a baseball cap?' We were always giving each other friendly jabs like that. He was a truly wonderful and funny person." Formed in Malmö in 1987 by Pierce and bassist Dick Qwarfort, NASTY IDOLS released their first single, "Don't Walk From Love", the following year. The band's debut album, "Gigolos On Parole", came out in 1989, earning them the status of one of the hottest new rock acts in Scandinavia. Their second album, "Cruel Intention", was recorded in 1990 between gigs and tours just as the L.A sleaze/glam rock scene was at its peak. Following the release of "Cruel Intention" in 1991, NASTY IDOLS became icons in the genre and their music videos for "Cool Way Of Living", "Can't Get Ya' Off My Mind" and "Trashed N' Dirty" were in rotation on MTV's "Headbangers Ball". While other bands in the genre were breaking up in the wake of grunge's rise and "hair" metal's loss of popularity, NASTY IDOLS carried on with their rock 'n' roll crusade and released "Vicious" in 1993. The album spawned two music videos, "Heads Down In Tinseltown" and "Ain't Got Nothing". NASTY IDOLS disbanded in 1995 following the recording of their fourth album, "Heroes For Sale". They eventually reunited in 2006 for the "Rejects On The Road Tour" and issued a comeback album, "Boys Town", in 2009. Their final studio album, "Kalifornia", came out in 2012.