Live 4 Metal - Reviews

Bless The Fall - His Last Walk (Ferret) Review by Robert Beeton
	A guy I know back in a town I used to live in created a band which built a characteristic I hadn’t quite heard in metal. Or certainly I wasn’t aware of. They were really good but as I moved I didn’t really get to see this bands raw talent progress. I took a listen to Bless The Fall (made up of Craigafer, Mike Matt, Eric and Jared) new album “His Last Walk” and it automatically took me back to that bands style. Screamo and sweet, soft vocals entwined with weaving guitars, on top of thundering drums latched to a cloud of deep powerful bass really shows the warmth and the power for which this band posses. Even though it takes time to pick up its not a worry as the rest of the album delivers enough feeling and passion
to take hold of your soul with open angel wings. It would certainly take you a long time to figure out if this band sounds anything like you’ve heard before as they combine modern day Screamo and rock with a small infusion of RnB/hip hop beats. Don’t be worried however as this album is not a black mark against any hard rock/metal fans cd collection. Highlights of this album include the feel good “Pray” a beautiful acoustic/rock anthem which really shows the vocalists unique range. And also “Wait for Tomorrow”, a track that propels you through a sunrise reflected by the delicate acoustic and distant guitar while a blissful fall of rain from the sky that is the vocalist’s sweet melodies carries you on. Watch out for “His Last Walk” which will has gracefully landed in shops now! www.myspace.com/blessthefall

Fates Warning - No Exit (Metal Blade) By: Joe Florez
	God damn! Metal blade is at it again. First, the label released a deluxe edition of Awaken The Guardian and now a 20th anniversary edition of No Exit? Hells bells yes! This record which burst out on the scene back in 1988 would be the last heavy metal effort from the boys before they went into the more mature and progressive route. Many things are different for the guys. First off, John Arch was out and newcomer Ray Alder is at the helm. Also, Zonder wasn’t bangin’ on the skins. It was Steve Zimmerman. Frank Aresti was side by side with Jim Matheos trading guitar licks and Joe Dibiase was plucking the four stringer. Now, onto the music. Once we get past the light intro to “No Exit” that contains an acoustic
guitar and an eerie vibe, “Anarchy Devine” kicks into high gear with some really catchy riffs and a rhythmic beat, but then the riffs get a bit more flashy and move up a notch. Ray’s voice soon enters the picture and boy did he hit those high notes that were akin to Geoff Tate’s from back in the day. There was nothing ultra technical on here or proggy. It was sheer old school metal of the highest order. “Silent Cries” is a more versatile song as it will contain heavier riffs on occasion, but you can hear Frank’s rich and thick bass lines and the composition would sway back and forth from sounding lean and mean to slightly gentle. Furthermore, Ray’s vocals would also bounce around going from high pitch to mid range. Damn, was he good and still is. To wrap things up on this six song disc, No Exit closes with the lengthy 20 minute legendary song “The Ivory Gate Of Dreams.” This composition never stays in one place as the tempo changes vary as well as the mood. There is not this consistency that drags on long enough to make you get bored. It just gets more exciting as it builds up. This was one solid release that included zero duds. I think the newer fans who like the later stuff may be put off a little by this because it’s so much more aggressive and raw, but if you are a true fan like myself, then it won’t matter. This is absolutely essential listening. Besides it’s re-mastered for superior quality. In order to make you take the old disc out and sell it for this one you get three demo cuts tacked onto here and get a DVD with this. It’s filled to the rim with two vids from this album along with a making of footage from this particular tour. Bottom line, go and buy this NOW! www.metalblade.com \| www.fateswarning.com

For Ruin - December (Sentinel) Review by Chris Davison
	Just every now and then, the Live4Metal management spoils me and sends me discs that I've been looking forward to for a very long time. Now For Ruin and I have a history together: they were one of the first bands that I ever reviewed for this august organ, and a band that has produced nothing other than brilliant music with every release. To say that this was a disc that I had lusted after would be like saying that I would “quite like to” have a “chat” with Rachel Weisz. Now the shiny little Cd sits in my player, and try as I might, I can't bring myself to remove it. It is, in a single utterance, “essential”.
Now with a steady line up, the hardest working man in the emerald isle, John Murphy, has created an absolute classic of an album. If you haven't heard For Ruin before, (and if not, then hang your head in shame, young reader! I have told you to before!), then you're in for a double treat. This is magnificent, cerebral and emotional metal. Now I know you've just seen the “E” word and you're thinking about crying goths and be-hooded fringe wearers weeping and sobbing into their respective lacy handkerchiefs and day-glo flannels, but this is more in line with the classic emotional metal bands. Think a mix of the intricate guitars of “Shades of God” era Paradise Lost, mix in the maudlin of prime Katatonia, garnish with Celtic flourishes that wouldn't sound out of place on the stronger Cruachan releases, and you're still only half way there. If only melodic death metal wasn't such a misused and by now vapid term, I'd use it to properly describe what makes For Ruin so special. The guitars are both aggressive, weighty and slice through the air like flashing blades. They seem to weave magical, mystical melody lines with seeming ease, and the drums, played with more taste and flair than many bands who seem to content to blast rather than play, provide the most steady backing that I have heard in many a month. The bass is a constant steady influence, underpinning those moments of melancholia that meld with the sinister and occult air, as with the frankly stunning “Demon”. It is perhaps the title track that does most to truly exemplify the For Ruin sound. Twin guitar harmonies that are laced with an inherent sadness are pounded by drum lines as if by waves crashing against the cliffs on some gloom ridden night. Once the main galloping riff comes a-clattering, if you don't have some supremely melodramatic nocturnal image in your head, I'm fairly sure that you must be dead. The coarse but still eminently decipherable deathly vocals manage to evoke the very best memories of the early nineties while still having a contemporary edge to them. While the production is clear and uncluttered, I would like to have heard slightly more low edge “grunt”, and at some moments the drum sound was a little hollow. There are, in the grand scheme of things rather inconsequential complaints over what I think is the best Irish release since the sublime “The Gathering Wilderness”. You need this. I need you to know that. www.forruin.com

Hanoi Rocks - Street Poetry (Demolition) Review by Steve Green
	The best Hanoi Rocks album since 1983's Back To Mystery City? You'd better believe it. With a stable line-up now in place, Hanoi Rocks have delivered the album I'd hoped they would. Street Poetry is a classic album. Hypermobile is a high octane opener with Mike Monroe, as ever, on top form and the guitars take you right back to the early 80s. The title track, Street Poetry, is about the bands time in London in their heyday and one of the characters they saw around West London. Again, it's a belter of a song with a chorus you'll be able to shout along to when they tour the UK later this year. When it was released as a single, my take on Fashion was
indifferent, mainly because of the lyrics, but it's a catchy number and one I've grown to like over the last couple of months. I still think the lyrics are crap though. Highwired is another catchy bugger and one to get your head bopping along to, especially with the chorus which is a fists in the air glam anthem. A third of the way in and this is definitely a contender for my top ten of the year... Power of Persuasion is ok, although it's not as good as the previous 4 numbers. The song is just a bit too funky for my liking. Saving grace is the guitar work, which sounds especially good on headphones. Next up is one of my favourite songs on the album. Teenage Revolution is another rock n roll anthem that has an amazing feelgood factor and it's why this album is so good. Hanoi Rocks have created songs for you, the fan, to enjoy. After another ok-ish number in the form of Worth Your Weight In Gold, before Transcendental Groove gets things fired up again and in a classic 80s Hanoi Rocks style. This One's For Rock N Roll is one of Hanoi Rocks' finest moments. A pure party anthem that pays homage to many of their influences, I'm sure this one will be a live favourite for years to come. As I'm sure will Powertrip, with its lashings of oriental guitar and classic Hanoi Rocks-meets-the-Stones rock n roll. As with the opener Hypermobile, it's also the band at their heaviest, which satisfies my more extreme tastes. The pace slows for Walkin' Away and the drop in volume and intensity works very well. Tootin' Star is another ballsy rocker which again sees the band firing on all cylinders, even down to the saxophone solo and it would be a perfect way to end the album. But bringing up the rear is the cowboy/western sounding Fumblefoot and Busy Bee. A quirky instrumental, which would actually make a good intro. Maybe it will when they hit the road very soon. I for one can't wait to find out. www.hanoirocks.info

Malfeitor - Unio Mystica Maxima (Scarlet Records) Review by Crin
	Featuring, Malfeitor Fabban from Aborym, and a sound hauled across the winds of countless dying breaths, and a freezing Black Metal mantle. After the rather soothing intro, the music inevitably lunges forth at warp speed, hacking at your ears with a cantankerous feral rancour. Cold, icy Black Metal that plucks its primitive spine from Darkthrone, its vocal bile from Marduk's offerings, and its melodic rhythms from a more modern Satyricon/Emperor. Here, we discover a solid sounding Black Metal album that claws at the innards, cutting deep into the rib cage with its blood peppering Black Metal attack. With tracks reaching
the 7 minute mark, you can either expect a repeating set of riffs hurtling around in circles or a technically composed set of arrangements where guitar riffs swirl in a vicious aural cyclone of depraved intent. It is the latter that applies here, simple brutality cleverly woven within violent compositional intricacies that befoul the air with satanic redolence. Not exactly original, but a definite fix for any corpse like Black Metal fan who drools over barbarous, head mincing ice cold extreme Metal. The band have also recently released a split 7” with Norwegian act Amok through War Arts Productions. Now that’s underground Black Metal for ya. Another fine Italian Black metal act to join the likes of Stormlord, Aborym, Orcrist, Kult, etc. www.scarletrecords.it

Prong - Power Of The Damager (13th Planet Records) By: Joe Florez
	I haven’t paid attention to these guys since Rude Awakening, but did hear their last effort Scorpio Rising and thought that was a dud as well as their live disc and that did nothing to move me. I would have thought that Tommy Victor would have folded this band, but no. This three piece outfit is back on a new label which is owned by Al Jorgensen of Ministry. I wasn't too eager to hear this because their music as of late was watered down and not up to par with their older releases, but a new spark could be ignited, right? Well, let’s hope so for the band’s sake. “Looking For Them” is an explosive opener that reminds me of the good old days with the
trademark guitar sound that is infectious and surely to get you to headbang all night long as well as play air guitar. The drumming is simple, but filled with energy and anger. Tommy’s voice remains intact, but he also adds some grunting which I have never heard before and it’s pretty damn sinister. While this one has certain elements that remind you of the good ol’ days, can the boys keep this slice of industrial heavy metal heaven up to standards or will it crumble? What the hell? This thing just gets darker and more sadistic as we move along. “No Justice” just goes for the throat and refuses to let up. The music is just plain evil and mean and Tom sounds like a blood vessel is about to burst. This is another side of the band that I have never heard of, but I like it. There are some melodies and a shredding solo that will make your ears bleed, but expect no mercy. Things just get more out of control as we progress. “3rd Option” is just fast and furious. You would have thought that the band was given a shot of adrenalin because this is one quick rollercoaster ride with no handle to pull on the brakes. “The Banishment” would be the first true track that would embody all the elements that made the group a fan fav from the groovy riffs to the rhythmic section of the drums and bass and Mr. Victor is more or less singing as opposed to screaming his head off. This is something that could have fitted in on Prove You Wrong. This is a type of album that could warrant an A side and B side because the first half seems like a new side that we haven’t seen before. I think what Tom did was to prove to the many folks out there who hated his last release that he still has it in him and went over the edge with it, but in a good way. The second half is more or less a return to old and many of the followers should have no problem with that. There is something on here for the fanatics of yesterday and today. I am glad that Prong got their groove back and are now out to destroy. I can guarantee that pits will be kicking up dust or concrete depending where they play when this new material is performed. This more than makes the cut and is definitely worth your time and investment. www.thirteenthplanet.com \| www.prongmusic.com

Spike - It's A Treat To Be Alive (Demolition) Review by Steve Green
	As he is always wearing his trademark bandana, I always presumed that the Quireboys frontman was follically challenged. But no, there are two photos on the cover of his new cd to prove me wrong and Jonathan Gray, aka, Spike, not only has hair, but he has a full head of the dark stuff. Anyway, back to the task in hand, the new album from Spike. Having seen both The Quireboys and Spike (solo) in the last year or so, I wouldn't go as far as saying I'm a fan, yet there are times I'm singing some of his songs in my head, with 7 O' Clock being the biggest culprit and when I saw him support UFO last year, I couldn't help but be impressed by the man's stage presence and total professionalism. The last time I
saw him was at the recording session for the dire Saxon documentary in London, and if my memory serves me right, he spent the whole time giggling his head off. With there obviously being at least two sides to the man, I can use that as a good analogy for this album. At times I'm totally blown away with his music. The Faces inspired Be Good To Yourself, the gentle So Far So Good is one to stick in your head for days and the incredibly beautiful She's A Rolling Stone, a song he performed on his last tour, and one which completely bowled me over live and sounds just as good on cd, if not better. On the downside, there are the occasional moments which are a bit slushy for me. Without You is way too whimsical and I'm In Love With You is pure sick bucket material. And it's that side of Spike's material that I can't connect with. But on the whole, this is a good rock album. It's Spike, so you should know exactly what to expect. There aren't really any surprises, although there's the occasional gem, just to brighten up your day. www.spike-online.com

Various Artists - Speed Kills…Again! (Heavy Artillery) Review by Dave Schalek
	Normally, I wouldn’t review a comp since their intent is to either: 1. Promote a label’s roster (usually the case). 2. Put together an album of covers for a specific band (not too many of these being released anymore). However, I’m making an exception in Heavy Artillery’s case. Go back to 1985 with the British independent label Music For Nations. MFN released a lot of stuff in the U.K. that I was able to get my hands on rather easily with American domestic releases. We’re talking stuff on Megaforce and Metal Blade, especially, as well as Combat and the like. In 1985,
MFN released a rather famous comp entitled “Speed Kills” which, I suppose, was intended to compile many of the top-tier thrash, death, and first wave black metal bands into one package for British audiences that may have had some trouble tracking down releases that were readily available to me. All of the big names such as Slayer, Metallica and so forth were featured, as well as a few lesser known acts such as Hallow’s Eve. The album was billed as the very best in speed metal and, indeed, it was. Needless to say, anyone looking to explore the top-tier bands at the time couldn’t go wrong by purchasing that comp since most of the featured bands went on to become household names. Incidentally, I never purchased the album since I had all of the original releases, anyway. Flash forwards to 2007 and the current renewed interest in thrash metal. Not just bands from the past eking out another shot at some recognition with a modern sound, but a new crop of bands copying almost every aspect of 1980s thrash, right down to the production values, album layouts, and “look” of the period. American label Heavy Artillery seems to be leading the charge and a nice introduction to their roster is the aptly titled “Speed Kills…Again”. Six bands each contribute two songs on ”Speed Kills…Again”, and an impression of each is warranted. First up is Merciless Death, probably the best known band from this movement, who contribute two songs not on their debut, “Evil In The Night”. Consisting of a sound reminiscent of old Exodus and some of the lesser known acts of the period such as Exumer, the two tracks compiled here are very similar to those found on their debut. Next up is Avenger Of Blood from Las Vegas with a better production and a sound reminiscent of “Endless Pain”- era Kreator. Sweden’s Enforcer slows down the pace a bit and adds high-pitched vocals that demonstrate how some early thrash metal combined with NWOBHM to produce today’s power metal. Bands such as Exciter and Metal Church come to mind when hearing Enforcer’s contributions. Boston’s Toxic Holocaust, with a debut already under their belt, hits with a blackened thrash approach with some rasped vocals. Hints of Bathory’s first album can be heard although the music is a bit more traditionally thrash oriented. A primitive “proto-blast”, if you will, is featured at the end of their first track. Italy’s Hatred is probably the biggest disappointment of the compilation, with absolutely atrocious sound bringing up negative memories of the bulk of New Renaissance Records’ roster. “Speed Kills…Again” saves the best for last. Los Angeles’ Warbringer comes with the best production and good musicianship. The band has recently made a splash with a debut EP that I will track down after hearing their angry, frenetic thrash reminiscent of early Slayer. Warbringer’s recent signing with Century Media more than hints at the band’s potential. Whether or not the current interest in 80s style thrash metal persists will, as usual, depend upon the quality of the music. Certainly, a few of the bands profiled on “Speed Kills…Again” have potential, but to move the genre forward, ultimately the better bands here will have to provide a unique take on a twenty plus year old genre. If not, thrash metal will just become a nostalgic niche. www.heavyartillery.us