Days Of Loss run the gamut of bone crushing brilliant to common thrash on their Life Is Decay LP. Overall it is a good metal album for whatever ails ya, and at times it can be stunning, such as the mixing of blast beats, melodic speed metal, scream-core and the foundation style of the band, technical thrash combine on cut three White Page. The wrecking crew doesn't let up either, as they bring the big guns to bear on the title cut. Vocally there are not many dimensions, which somewhat cuts down the overall market for the band, and they do compete in a huge one today which contain thousands of bands that are hard to tell apart, there is much excellence in the metal community. The musicanship in the band is hard to beat though, and the guitar interaction between the two in the band is on par with almost anything I've ehard in a while. With the right focus, pr, marketing and hopefully tons of live gigs, Days Of Loss look to become a mainstay of heavy metal, and with a few tweaks and experiements, perhaps a leader of the scene. Contact: http://www.myspace.com/daysoflossband
VOICE OF ADDICTION - RE-EVOLUTION
This album contains everything and the kitchen sink. From grunge haze outs to funky jabs, it's all buffered by the errie vocals harkening back to something like Hawkwind might have conjured up in the day, then breaks into some western swing shit, and it blows your mind. Lots of progression and agression, buffeted by the occasional punk/oi shoutouts. Then you get a big riff bridge that kicks into cruise mode through the next part....and all this in one song. A couple of peeps you get some jazz, maybe some high school marhcing band, all woven in a wicked thick of personality. Appealing to scenesters and the casual observer alike. It really is the old school rock and blues stuff that sets it all off though, and you get a big chunk in each song. Voice Of Addiction are like the canvas of style, blended into the rock n roll generator. The boys do have their moments, The Wall might be another 311 tribute, yet it has enough rough edges and metal overtones to where you really don't know WTF it is. It just keeps on comin' at 'cha. There are a few stutter steps, yet they usually pull something different enough to where it don't really matter. Here's to ya! contact: http://voiceofaddiction.com/fr_home.cfm
SUCH VENGEANCE - The Time Is Now
SV mixes old school metal riffings with hints of progression and death metal thrashing coloring bleeding throat vocals which you can actually understand lyrically. Amazingly, the band is from Utah yet could be from the UK easy if you happened to hear their music in just a listening setting. The American thrash heritage shows through (The Core) early in the album, and makes an appearance quite often through the album's 10 songs. 10 songs too is reminding of how albums used to be made, none of this 15-20 songs that way before you've got to 10, you've heard well enough! Sonically, like much metal, today and always, it is midranged out and sounds like it might have a dose of limiting. With some eq'ing it sounds pretty good and will save your ears from fatigue over extended listening periods. I play this album, using close to the entire thing, on my weekly show all the time. It contains plenty of good, driving heavy metal, with just the right mix of genres and time periods, plus a better than average dose of originality, to keep you coming back for more. Contact: www.myspace.com/suchvengeance
CARLOS LICHMAN - GENIUNE
Carlos Lichman has made a name for himself as a smoking guitarist capable of composing new classics and faithfully translating the core of old masters, such as he does with Mozart's Addagio. In fact the disc starts with a blistering Hellish Priest that pulls parts of a couple of ancient, dark themes, and makes them wicked all over again. Blood Search has to be one of his finest moments in the sun. With a monster metal riff incorporating massive lead breaks that tie together parts of a numeric modal lesson in percision. Carlos can play with fire yes, and he can soar with melody, as in Judas Judgment. Overall favorite on this album is closing number cold Nights, with Carlos reaching into a wide display of styles in the piece's many movements, showing maturity in a growing concert composer. All of Lichman's stuff on this album are instrumental guitar symphonies, weaving many layers of tribute and influence into sound Carlos. Fans of the great solo guitarists, like Vai, Satriani, Malmsteem have all been at one point in their careers can add this one to the lists for the collection. Contact: http://www.myspace.com/carloslichman
MENTAL FRICTION - WELCOME TO THE NEIGHBORHOOD
A very strong EP, blasting out of the gate with Welcome to the Neighborhood, which quicklyshows it's classic rock roots when the chorus hits. In fact, next song, Headstrong is even more traditional, with a big blues romp and more tight backup harmonies. The whole EP is full of rock n roll treasure at every turn. Secrets and Sorrows is a emotional plea for forgiveness, something everyone should be able to relate to. It was the first song off this release to go into rotation on Live At Underground Records and everytime I play it I get people asking who the band is and what the song is called. The first hit I guess you could say. I think though after many months playing this disc in its entirety, the release as a whole is a hit. The disc closes with the upbeat driving High Maintenance which is another straight ahead rocker. Give 'ema 9 outta 10. Contact: http://www.myspace.com/11mentalfriction
JFKFC - JFKFC
Mel From Hell is up to his usual shenanigans with his latest band of mischief makers via the ATL. The band breaks out with a fugue style Metal Church revisit opening the album with reference to the JFK assasignation. Not really sure about the signifigance of that, other than the band must get incredibly high before creativity time. That, and according to the lyrics, a bit of a bite with the Almighty to calm those munchies. The band gets down to the dirty quick, lots of stone age riffage and nods to the courage in the can. Trailer park bible this it be. Tales of BBQ, LSD and CIA abound. Mucho glory to the sludge monster, inbred on good 'ol jawger clay, rednecker than hell. The band are tight, production clear, like a slice 'o funkage heaven. If you find yourself out there on the plain, spinning in ever closer circles, JFKFC have invided your mind. Time to let loose and have a helluva time. Contact:
INNOCENT PREY - NEMESIS / SECRECY
Micqel Servetus preaches real world observations on his indie label releases. While the sound quality borders on nominal at times, the lyrics and their delivery make up a good bit and more for that. The artist sings frankly about our big brother government and collapsing social infrastructures; he does not shy away one bit from mixing every conspiracy, threat, and abuse done in our names into a new type of monster. Servetus goes one further with the commentary throughout the Secrecy album, exploring the worker-as-state-slave concept to a full conclusion; they, you, and I, are fucked. On both albums, you need to work a bit with an eq to get the best, most enjoyable performances; Innocent Prey cleans up real nasty with Servetus drenching his vocals in feed-back storms as he riffs and jams above triggered drum patterns. Nothing really new music wise, but he pulls it off like a precise doomsday machine, making the apocalyptic feeling that much more perverse. While both albums carry nary a "bad" song, I prefer the balls-out feel of Nemesis a bit over the heavier psychedelia styled concepts of Secrecy. Nemesis is actually a bit rawer too, reminding me of some of the early industrial work at the beginning of that era. Whichever of these albums you prefer, there is great writing and content on both. Servetus hits the pinnacle of his stride on Nemesis's "RFID" - "Big brother sees all, Big Brother controls all, Big Brother is the law, Big Brother is God!" Amen brother. Contact: http://www.myspace.com/innocentprey2
KARYBDIS - WAR FOR LAND
I've had this great EP for a couple of months now and it stays in rotation almost all the time. True the opening sound bites are beyond lame, but it kicks nicely into a driving "War For Land", the self title of the disc. The group show their chops with follower "Worth It" with all it's stops and accents. Karybdis bring home the motherlode with closer "Strain", it IS what pure metal should be; driving, melodic, powerful and mean. It starts with a classic dark dirge, building into a surge of molten riff. Like a war machine laying waste to the city, the song is awesome, dark, and listen to the lyrics, a masterpiece of apocalyptic truths. Karybdis stand out amongst much of the heavy metal fodder in that they are precise and for the most part the vocals clear, it is still good to see them include lyrics on their tray insert. All bands should do this. As the last feedback barrage fades, the metal machine from the UK have made their presence well known. The war has begun. Contact: www.myspace.com/karybdisband
