Getcha Rocks Off

ultmetal wrote:

Where's the "Into the Pit" review?

I'll do a real one soon, for Tartarean Desire. I've got five I need to do first.

SUPAGROUP - FIRE FOR HIRE (Rock 'N' Roll)


Never judge a book by its cover, people say. Not a bad suggestion, but generally one that no one adheres to. I've been seeing albums by Louisiana's Supagroup in stores for years now, and I've always figured them to be some weird indie rock band. When I was asked to review their upcoming album, Fire For Hire, I almost just declined the request without a second thought, but there was a link included in the e-mail to Supagroup's latest video "What's Your Problem Now?," so I checked it out. Whoa, now…this isn't indie rock! I thought. "What's Your Problem Now?" was a modern take on old school rock 'n' roll, akin to the almighty AC/DC. The next day I picked up their self-titled album from the used bin at a local music shop. Again, it wasn't indie rock, and I found myself very impressed. Since first checking out their video I've acquired three albums, including Fire For Hire, and each one is a solid slab of good time rock 'n' roll.

So-called "retro rock" has been on the mainstream platter in moderate amounts the past few years, with bands like Wolfmother, Priestess, and Airbourne making waves. Unlike their fellow "retro rock" brethren, Supagroup has been plugging away for over ten years now, releasing their debut album in 1996. It's easy for people to just write off "new" bands when they feel the bandwagon is getting a bit crowded, but Supagroup has put the time in, and if the three albums I own are any indication, Supagroup sits high upon the ladder.

Fire For Hire is introduced with the outstanding old school rocker "What's Your Problem Now?" With an opening declaration that they're here to "kick your ass," you can expect a good dose of the rock 'n' roll clichés and excess. Some will complain about this, but what's rock 'n' roll without a little indulgence—or a lot? "Born In Exile" and "Lonely At The Bottom" step up to the plate next and hit back-to-back homeruns. "Sold Me Down The River" and "Jailbait" infuse some of their southern roots, most evident on "Jailbait," the Winger-esque ode to underage foolery. The album steamrolls along at a steady pace, revealing gem after gem. Among them: "Promised Land", a solid rock tune with a chorus that brings to mind a gospel choir; "Long Live Rock" states the obvious, but in undeniable fashion; and rock lessons are belted out in "Hey Kiddies."

Lead by the brothers Chris and Benji Lee—the former doing his best Bon Scott imitation throughout much of the album—Fire For Hire is twelve tracks deep in solid, old school rock 'n' roll fun. There is nothing outwardly original here, but good music remains such no matter how original it may or may not be. Not so different from Canada's Priestess and Australia's AC/DC clones Airbourne, Supagroup clearly knows how to craft quality rock songs in the spirit of good time rock 'n' roll. Fire For Hire doesn't disappoint.

Rating: 85/100
Website: http://www.supagroup.com
MySpace: http://www.myspace.com/supagroup
Downloads: What's Your Problem Now? (Video), Let's Go (Get Wasted) (Video from Rules)

Eyesore wrote:

ultmetal wrote:

Where's the "Into the Pit" review?

I'll do a real one soon, for Tartarean Desire. I've got five I need to do first.

Cool.

MEGADETH - THAT ONE NIGHT (Thrash/Heavy Metal)


Megadeth mainman Dave Mustaine has been pretty busy with his band as of late. This year alone they’ve released this, That One Night: Live In Buenos Aires, a double live album recorded in 2005, a new studio album in the form of United Abominations, and the career-spanning box set Warchest. Live albums are always a tough lot to sell—at least to me. Very few live albums capture the power and energy of a live show, that magic found while seeing a band play just an arm’s length away. Sometimes it works; Queensrÿche’s Operation: LIVEcrime and Life Of Agony’s River Runs Again are both outstanding live releases, two that manage to harness the intensity of the concert like you were actually there in the front row. There are also epic failures, like Helstar’s completely worthless and unlistenable Twas The Night Of A Hellish X-Mas. Most live releases, however, seem to mingle around the middle of the road, not being terrible, but also not being all that memorable. That One Night: Live In Buenos Aires is one of those releases.

With the evolution of technology, bands are opting to bring live recordings into a studio and do all manner of studios tweeks, from completely re-recording parts to adding effects that weren’t heard live, and generally sucking the life right out of an otherwise great performance. With too much life-draining studio “magic” applied after the fact, That One Night comes off more like a collection of studio takes with crowd noise dubbed in than a true live recording. Though I admit that when the crowd starts chanting along in unison, it does sound very cool, especially when they’re chanting the riffs or singing along to a guitar solo! I can understand why Dave finds these fans so special. That One Night, for the most part, plays like a greatest hits album; and at this point we surely don’t need another hits collection from Megadeth (not that we needed another live album, either). The selection of material stretches back to 1986s Peace Sells…But Who’s Buying” album with “Wake Up Dead” to their latest release at the time, The System Has Failed. Sadly, Killing Is My Business…And Business Is Good is not represented here. The inclusion of “Angry Again” and the heavier version of “A Tout Le Monde” (sans female vocals), however, are both great additions.

Mustaine may not be the greatest vocalist in the world, but he sure is stronger than he was in Megadeth’s early days. The problem is when singing the older, more aggressive material, Dave doesn’t sound nearly as convincing; he’s lost his signature metal snarl and is opting for a cleaner vocal style. This doesn’t work all the time, as Dave sounds horrible singing in a higher register on “Reckoning Day,” and the a cappella “Coming Home To Argentina” is largely worthless to most fans. While I feel like this album fails at being a powerful and engaging live album, it is enjoyable. Maybe having been there would make this more enjoyable; possibly seeing this show on DVD instead of just the audio portion would lend a stronger feeling to the recordings. Or maybe it’s just a bland recording of a concert that meant more to Dave Mustaine and those there that night. That One Night: Live In Buenos Aires is far from bad, but if you already own Rude Awakening, there’s really not a whole lot you haven’t heard here (just the tracks from The System Has Failed). Good, but not essential.

Rating: 65/100
Website: http://www.megadeth.com
MySpace: http://www.myspace.com/megadeth
Downloads: Tornado Of Souls (Live), Symphony Of Destruction (Live)

Sorry, guys, I had to review this one. Haha. I really wish I knew how to write shorter reviews.

JUNKYARD PROPHET (Rapcore)


The rapcore movement in the 90s was pretty short-lived in the mainstream. Similar styles have been around since the 80s with bands like Fishbone and Bad Brains, so there was no level of innovation that brought it to the mainstream's attention. In terms of quality, those that found mainstream success weren't nearly the best of the genre. Bands like Stuck Mojo, Shootyz Groove, and Downset, the band Rage Against The Machine stole their style from, went largely unnoticed, even when signed to a major label. Junkyard Prophet, a Minneapolis band even farther from the limelight than the lesser-known of the genre, has been kicking around for nearly a decade now. This isn't surprising knowing that they've never accepted a major label offer (and, according to their bio, there have been a few, but they were turned down for not wanting to water down their message). Being a rapcore band lends itself enough scrutiny; being a Christian rapcore band all but seals the deal on close-minded music fans. And we have here a Christian rapcore band. Whether Junkyard Prophet's choice to avoid a major label was wise can only be speculated upon. After all, Project 86 and Pillar, both Christian bands, nu-metal and rapcore-cum-alternative raprock respectively, have done well under major labels.

But does a major label make a band relevant? Not necessarily. Instead of a major label forcing a band's hand at lessening that aforementioned message, they may actually help to enhance it. And Junkyard Prophet sure do have a message.

Junkyard Prophet's The Price is an album of extremes. On one hand you've got strong Christian themes, and on the other there's heavy-handed political subject matter. And the band has no qualms here about mixing the two to create one. I'm no Christian, nor am I into politics, but I can see these two things being the band's biggest obstacle, as the messages are strong and overt, oftentimes overbearing. Though I am no Christain, some of my favorite bands are—No Innocent Victim, Pillar, Project 86, Focused, Strongarm, to name a few—so I don't mind lyrics on subject matter not true to my heart. It's when the lyrics take on a tone that implies I am somehow living my life in a manner that is deemed wrong that I have an issue. It's one thing to have strong convictions, it's another to be accusatory and self-righteous with those convictions. Junkyard Prophet, while positive, take on a tone that doesn't always sit well with me, both on the Christian and political front.

The Price begins with "Remember Me," a song that gives respect to those who have given their lives, past and present, for our freedoms, including Jesus, the troops fighting war, and civil rights activist Martin Luther King, Jr., though the message is more universal in scope. The song is actually a really good song, showcasing some outstanding lead work, a solid melody and groove, reminiscent of fellow Christian rapcore alum P.O.D., but the less-than-intelligent use of the English language and convoluted message is detracting. I'm not saying this to be funny; without seeing the video (there is one) the message, to me, is just confusing. Many songs lyrically fall into this category and seem more like meandering propaganda pieces than true solid and positive messages. Under what I find to be a confusing layer of unnecessary words there stirs a good band. The Price is not a terrible album…if you don't listen to the lyrics too closely. Though I have criticisms, "Remember Me" is a catchy tune, "Betta Beware" may even be better, with a solid groove and hook. Other highlights include the tongue-twisting "Meetin' Thy Maker," complete with a shredding solo; the Shootyz Groove-styled rockers "Faith" and "Enemies Of The State;" and female vocals present some depth to the otherwise typical, though with some great lead work, "Why?." But those vocals come off flat and annoying on the double-meaning and cheesy country-tinged love song "One Heart" (presented here in two versions, only two tracks apart, one with rap and the other without). Aside from the lyrical inconsistencies, all doesn't work musically either. "Junkyard Rock" is a funky gem that is ruined by the ridiculous "Go junkyard! Go junkyard! Go!" chorus and "Watcha Want" just comes off a bit messy, though the enjoyable aspects here outweigh the negative. But again, only if you can tune out some of the more overbearing lyrics.

I have no doubt that the guys in Junkyard Prophet have positive intent at heart, especially with their You Can Run But You Cannot Hide ministry work—and it shouldn’t go without mention that any band out there playing styles that are often shunned by the majority deserve respect for having the integrity to follow things through and stay the course—but their overt, force-feeding approach is a little too much at times. The band should take notes from rapcore heavyweights Bionic Jive, a band that blends politics and religion to perfection, never coming off as being preachy, or trying to convert you to three different ways of thinking in a 4-minute song, while doing so with intelligence and style. Another problem with The Price is that it seems outdated. A good chunk of lyrical elements are just a superfluity of words, coming right out of the late 80s, when Run DMC, Beastie Boys, and Weird Al Yankovich's "Fat" had white kids across America struggling with identity crises. It just seems goofy. Overall The Price isn't a bad album, but it's also not one that will likely break out beyond their clearly defined and structured fan base. If bringing their message to a broader audience is important, Junkyard Prophet first need to present a message that is not so seemingly dogmatic, and they need to keep things a bit less abstruse. A little evolution here and devolution there would do Junkyard Prophet well. Maybe that move to a major label isn't so bad an idea. After all, a lessening of one thing (the message) may very well enhance another (the message).

Note: This album also features a second disc that states: "2nd disc contains a message from the drummer, Bradley Dean, on MP3." That "message" turns out to be forty-four separate messages that equate to more propagandized opinions that have no place packaged with a music CD. I can't say I agreed with much on this disc, but in the end it has no purpose being included here. Again, presenting a message that is not so dogmatic in nature would suit this band well. Otherwise I'm afraid they've boxed themselves in very tightly.

Rating: 60/100
Website: http://www.junkyardprophet.com
MySpace: http://www.myspace.com/junkyardprophet
Downloads: Remember Me (Video)

P.O.D. did extremely well on a major label without changing the message.

ultmetal wrote:

P.O.D. did extremely well on a major label without changing the message.

Exactly. This band, however, tours schools and crap, charging $1,500 a show. They do some speaking after the show and whatnot, but I think it's pretty clear that $1,500 a show is a pretty sweet deal. But I didn't want to accuse them of taking advantage of this sort of thing, you know, so I just mentioned how being on a major label doesn't mean you have to change. Also, lessening the overt preachiness could actually strengthen their message, making it reach far more people. Because we all know that anyone that comes off as being preachy is shunned more than not, you know?

I simply think this band has avoided major labels because they're making plenty of money as is. But again, that sort of stuff doesn't belong in a review.

Again, my apologies.

PUDDLE OF MUDD - FAMOUS (Alternative Rock)


Puddle Of Mudd broke out into the mainstream with their third album, and first major label release, Come Clean, in 2001. With the help of Fred Durst (Limp Bizkit) and the “strength” of a sophomoric and juvenile lead single called “Control,” followed by the equally ridiculous “She Hates Me” (both about as thought-provoking as Buckcherry’s recent chart-topper “Crazy Bitch”). Puddle Of Mudd’s third single, “Blurry,” reached a well-deserved #1 spot on the US charts. “Blurry” is truly a great, great song. Unfortunately, Puddle Of Mudd has yet proven to be a band capable of recreating or reaching that level of greatness a second time, on any given song let alone an album. Famous marks their third major label effort, after a four year absence. In those four years, the mainstream music scene has changed; Puddle Of Mudd has not.

Famous offers up the same sort of stereotypical alternative rock found on previous releases. The catchy but pedestrian title track starts the disc and sets the tone perfectly for an album that is equal in characteristics. “Livin’ On Borrowed Time” and “Merry-Go-Round” are very good mainstream rockers, while “It Was Faith,” “We Don’t Have To Look Back Now,” and “Radiate” touch upon what made “Blurry” a hit song, though not quite coming close to that same level. “If I Could Love You” is a solid melodic rock tune, choice for a single; while lead single “Psycho” and “I’m So Sure” deliver lyrical genius on par with Come Clean’s “Control.” Wes Scantlin’s vocals also still remain an obstacle, as his nasally whine can sometimes disrupt an otherwise good tune.

Famous will not likely draw new fans to the band, but it should please fans of previous albums. Puddle Of Mudd don’t have the mainstream backing like they had before Fred Durst became the most hated rap-rocker in the world, but they do still have decent songs to help maintain their waning popularity. They simply lack great songs, save for one. Famous is a decent album, but fame is likely the last thing this album will generate for the band.

Rating: 60/100
Website: http://www.puddleofmudd.com
MySpace: http://www.myspace.com/puddleofmudd
Downloads: Psycho (Video), Famous (Unofficial video)

AESMA DAEVA - DAWN OF THE NEW ATHENS (Symphonic Dark Metal)


Dawn Of The New Athens is the fourth album from Minnesota’s symphonic dark metal band Aesma Daeva. Dawn Of The New Athens is my first experience with the band. Doing research I can see that the band has had a revolving door of musicians, but the foundation of the band from its inception has been guitarist John Prassas. The latest addition to the band is vocalist Lori Lewis, who replaces Melissa Ferlaak, current Visions Of Atlantis vocalist. Ferlaak has proven to be an extremely talented singer, but Lewis’s vocal prowess is simply stunning here. And musically Aesma Daeva—which means Shining One—delivers a topnotch symphonic metal performance.

To describe the music here accurately is next to impossible. Similar comparisons can be made to bands like After Forever (sans death metal growls), but only if they were channeling the classical feel of a band like the outstanding Autumn Tears; or Therion and their recent Gothic Kabbalah album. And that is only scratching the surface. One can’t explain the depths of the ocean in mere words. “Hymn To The Sun” is a fast-paced symphonic metal stroke of genius, while “Artemis” is an excellent piece of atmospheric doom, somber and classical. “Since The Machine” stands out with its thick chants and deep male vocals, a groovy piece of dark metal. The music on Dawn Of The New Athens is dynamic and breathtaking in its depth, but it almost pales in comparison to the sheer power of Lori Lewis’s vocals. Carrying an array of personality and range, Lewis is able to carry the music to an entirely different level. And while this will be utterly hair-raising for some, it may actually push some people away from the music, especially after listening to Lewis’s stunning performance on “D’Oreste,” a metal re-working of a popular Aria from Mozart’s Opera Idomeno.

With such a demanding musical score, Dawn Of The New Athens may be tough for some to swallow. On a basic level the album is simply brilliant; upon settling down and taking it all in, it’s clear that Aesma Daeva have created an epic masterpiece with Dawn Of The New Athens. And after reading reviews of their previous releases, this will likely come as no surprise to existing fans.

Rating: 95/100
Website: http://www.aesmadaeva.com
MySpace: http://www.myspace.com/aesmadaeva
Downloads: Since The Machine (Live Video), D’Oreste (Live Video), Artemis (Live Video)

That one sounds interesting.

ult

I'm still waiting on the ULTIMATUM review on your Getcha Rocks Off Webzine.

:kickbutt:

It's coming! I swear.

Eyesore, Risk was represented on That One Night, I'll Be There is on it.

Chairman_Smith wrote:

Eyesore, Risk was represented on That One Night, I'll Be There is on it.

You're right! How the hell did I miss that?

ENDEVERAFTER - KISS OR KILL (Rock)


For the past few years, the US mainstream market has been giving more and more attention to bands that churn out old school rock music; Supagroup, Airbourne (Roadrunner is reissuing their debut in 2008), Miss Crazy (just signed a three-record deal), even Sebastian Bach (ex-Skid Row) has gotten an unexpected (but deserved) amount of exposure for his latest album Angel Down, considering five years ago it would have largely been ignored. Well, Endeverafter now join the ranks of modern rock bands injecting that old school flavor with their Razor & Tie Entertainment debut, Kiss Or Kill. But while other bands manage to channel their sound completely from that old (and great) era of music, Endeverafter ocassionally struggle with this, hopping from foot to foot, from 80s rock to something more akin to modern alternative rock.

Kiss Or Kill immediately lines up four hefty shots of no-frills, gritty rock ‘n’ roll—with maybe a bit too much sheen. “I Wanna Be Your Man” and “Poison” are both driving rock songs, sometimes bordering on metal with their double bass, galloping riffs, and speedy leads; but their big hooks betray that notion. While “Baby Baby Baby” and “Gotta Get Out” don more traditional garb, mid-paced AC/DC-like anthems. The modern stylings first surface during the chorus of “Gotta Get Out,” touching upon something Blink 182 might have written, but it bares itself full on the ballad “Next best Thing.” While the power ballad was something of a staple in the eighties, here it comes off like a stolen (post-mainstream success) Hoobastank song. It simply lacks the magic of a true rock ballad, leaving much to be desired. But it has radio hit written all over it.

Endeverafter haven’t struck gold with Kiss or Kill, but they’re not far off the mark either. While some songs may sort of lose their identity in a shallow sea of radio pop, they also find redemption every time with quality songwriting, whether showcasing a rock style (“Tip Of My Tongue”), metal (“Road To Destruction”), or the unfortunate (but still decent) foray into pop oblivion (“All Night”). Kiss Or Kill won’t blow you away from beginning to end, but among the good there stands tall a few that are great.

Rating: 70/100
Website: http://www.endeverafter.com
MySpace: http://www.myspace.com/endeverafter
Videos: I Wanna Be Your Man, Baby Baby Baby

Waiting...waiting...waiting...

We need some new reviews here!

Hey...one is good! I've got more in the pipeline. I'm going to do thrash week soon. I've got a few to review.

If ya do a thrash review, can ya mention that Bad Brains had NO INFLUENCE on nu-metal/rapmetal. Even if it's not true, it tarnishes one of the greatest bands ever. Only take that half seriously.

I know Eden from Aesma Daeva, she used to be in "All the Pretty Horses".

I got all the All the Pretty Horses stuff. Not my thing. I'll pass them along to you, K, in our next trade or whatever. You might dig 'em (I know you are into trannies! haha).

SAXON1500 wrote:

I got all the All the Pretty Horses stuff. Not my thing. I'll pass them along to you, K, in our next trade or whatever. You might dig 'em (I know you are into trannies! haha).

You talking to me or your lady? I assume you don't trade with her, though. Haha.

You think Bad Brains influenced these guys?

I would say BB definately influenced whomever that is. I just hate seeing one of my all time fav bands in the same paragraph Korn-Klones.

I actually didn't mind that vid up there. Who is it? I don't get what booty-shakin' has to do with metal, though. I am just old school and am pretty tunnel-visioned about the younger generation. If I saw more unity with these kids (and I have been to plenty of shows with new bands opening for old ones), I would have more respect for thier scene. But it seems to me that a majority of these suburban brats are so self-centered and selfish, they just come off as total posers in every definition of the word. I saw Bad Brains with Hr and with Israel Joseph I, and neither show was anything like what I saw and felt at the God Forbid show. Ya know what I mean? mini-rant complete.

SAXON1500 wrote:

I would say BB definately influenced whomever that is. I just hate seeing one of my all time fav bands in the same paragraph Korn-Klones.

I actually didn't mind that vid up there. Who is it?

That's Skindred, formerly known as Dub War. Killer band.

Quote :

I don't get what booty-shakin' has to do with metal, though. I am just old school and am pretty tunnel-visioned about the younger generation. If I saw more unity with these kids (and I have been to plenty of shows with new bands opening for old ones), I would have more respect for thier scene. But it seems to me that a majority of these suburban brats are so self-centered and selfish, they just come off as total posers in every definition of the word. I saw Bad Brains with Hr and with Israel Joseph I, and neither show was anything like what I saw and felt at the God Forbid show. Ya know what I mean? mini-rant complete.

Most younger fans are horrible. There is no unity, nor respect or passion. That's their problem. It's all about the trend, whether they're following the trend or denouncing it. It's just a trend in reverse. They are posers, and they have no idea.

[quote="Eyesore"]

SAXON1500 wrote:

I would say BB definately influenced whomever that is. I just hate seeing one of my all time fav bands in the same paragraph Korn-Klones.

Quote :

I actually didn't mind that vid up there. Who is it?

That's Skindred, formerly known as Dub War. Killer band.

Dub War sounds familiar i think i had an earache metal compilation release with this band on it with a song called Strike It? I could be wrong..But it was a killer song...

Can you do a review of Helloween's Better Than Raw? I'm thinking of purchasing it used but i'm not sure yet.