New Videos - August 2023!

After reviewing so many albums, it's nice to just check out some music videos.  I've definitely got a mix of rock and metal this time around, with a few surprises along with some familiar faces.  Let's wrap up this summer by turning these songs up!

Taking a break from doing movie soundtracks, Trevor Rabin is coming back to recording vocal hard rock for the first time in decades.  This single is interesting, with a big, anethmic hook and some neat fretwork on both lead and bass guitars.  I kinda wish the production wasn't quite so muddy, especially with the vocals, but it's still pretty different and unique compared to a lot of the AOR that comes out these days.

I don't know what it is about Iron Savior, but they just keep ticking all the right boxes for me.  Otherwise going for a fantasy theme instead of their usual sci-fi, this is business as usual for them: catchy riffs, great energy, and Piet Sielck's excellent vocals.  October can't come soon enough!

Here's another Noveria single full of noodly solos and an anthemic chorus!  This one has a bit of an Arabic twinge, but otherwise, the chunky riffs and epic strings make for a solid track of melodic prog metal.  I'm definitely hearing stuff similar to DGM in this one, and that's a good thing.

While I've featured The Defiants on my blog before, it's been a few years, and I guess they've shifted from their 80s pop rock sound to something heavier and more anthemic.  Not that I mind, of course, it's just surprising to hear them rock this hard.  

The Dust Coda seem to be expanding their sound, this time coming out with a 70s style country rocker.  I admit when I started this song, I wasn't sure if I would like it, as I find country to be a little same-y (not that I've listened to a lot of it).  However, the band brings in some of their unique transitions, letting things build pretty well to a very anthemic ending.

Meanwhile, the Queen of Metal keeps things classic, sticking to some catchy, melodic, old-school metal.  If you've followed Doro at all, there are no real surprises here (though they look like they're having fun with their Mad Max aesthetic), but there's nothing wrong with keeping things simple, and this is about as straight-ahead as metal gets.

New Videos - April 2023!

Man, it's been a busy month.  Still, I found a handful of interesting bands to go over for this set of videos, some new to me, some classic.  I'm covering quite a range of genres with this one, but that doesn't mean they all don't deserve to be played at max volume!

Yup, more Tanith.  This one definitely has more of a mellowed-out 70s jam vibe, with less of the mystery and mystique.  Still, it's a decent rocker that settles into a comfortable space, with some interesting overlapping vocal lines.  I've definitely been looking forward to their album, and I plan on getting to it soon.

Weapon (alternatively known as Weapon UK) is actually an oldschool NWOBHM band that never really got off the ground in the 80s.  But thanks to classic metal bands finding new audiences in the age of the internet, they've had something of a revival in the 21st century.  While I've never heard of them before, this clearly has the band pushing into heavy/power metal territory, and I can't deny that it's rather catchy.  

I admit I haven't played the Soul Reaver games (though I've heard good things), I definitely know good power metal when I hear it.  The song-writing gives me some Blind Guardian vibes, how it goes back and forth between aggressive and melodic passages.  I'll have to catch up with these Finns at some point.

The Dust Coda are back again, and they're starting with another high energy blues rock anthem!  It doesn't seem like they're changing things up much, but I'm okay with that, as their first two albums are some very solid retro rock, and I'll be happy to take a third!

It might be silly to call a nine-minute song a "single," but this is the second one Yes has given in anticipation of their new album next month.  It has some nice melodies and shifts, but it pretty much stays in this chilled tone the whole time, making me wish for a little more punch.

Going from light prog rock to melodic thrash might just be the biggest stretch I've done on a New Videos article!  While I'm not quite sold on their new singer, Metal Church does know how to bring the riffs and the fretwork that inspire a solid, headbang-worthy track.

Anniversary Series - 2017!

Time for another Anniversary Series article!  Much like 2012, I don't have much for 2017, but I do recommend checking out the playlist below, as it has tracks from Beast in Black's and One Desire's debut albums, as well as Antti Martikainen's Northern Steel, which is just incredible symphonic folk metal.  In the meantime, I've got some more reviews for you, which let me catch up on some big bands!

Lovebites - Awakening from Abyss

After enjoying Electric Pentagram two years ago so much that it ended up in my Top 5 for the year, I knew I had to make time to listen the rest of this band's discography.  However, other albums ended up taking priority, so I decided to include their debut album as part of this retrospective.  Unsurprisingly, it's another sonic blast of high speed melodic metal.

Right off, Midori and Miyako are absolutely shredding through this album.  Not only are the high speed riffs quite melodic and catchy, but their solos are generally quite solid, and often feature them trading off back and forth.  Just excellent guitar work.  Haruna and Miho keep the rhythm section right on time, ensuring there is plenty of thrust underneath the guitar work to really let it soar, and Asami's iconic voice soars over it all.  All the Lovebites staples are here.  However, I will say that the songwriting and lyrics don't have quite the same polish as their later work would have.  I'm sure it's no easy feat to be writing songs in another language, but I do think they've clearly improved from here.  Also the songs seems to veer more towards a shred-heavy speedy j-poppy metal rather than the epic power metal of their later material.  It's not a major shift, but I did notice a general difference across the album.

Still, in all honesty, these are nit picks, and there is plenty I enjoyed.  "The Hammer of Wrath" is a solid opener (after the intro track), "Bravehearted" gets pretty epic, and "Scream for Me" has a great high energy riff that gets the blood pumping.  However, the highlight for me has to be the bridge on "The Apocalypse."  The song has a thrashier vibe, but then they change the tempo on the bridge, busting out a Hammond organ and some heavy riffing, making for an incredible breakdown.  While the album might not be a complete winner, there is plenty for a new Lovebites fan like me to sink my teeth into.

The Dust Coda - The Dust Coda

When I discovered this band last year, and found their album to be an outright blast, I knew The Dust Coda were a band I would need to catch up as well.  They style of blues rock has this energized quality that I don't often find in many other retro rock bands.  Checking out their debut album for this anniversary article, I find that it's just as solid of a rocker as their follow up from 2021.

Once again, I enjoy their energetic songwriting and performances.  The guitars have a good balance of crunchy and catchiness, with plenty of rocking riffs and solos.  Tony Ho and Scott Miller provide all kinds of groove with their bass and drum rhythms, ensuring that your head will be banging to more than a few of these tracks.  And once again, John Drake sings his heart out, giving each song the energy it needs, whether it's anthemic, driven, somber, or soft.  His gritty wails are pure classic rock.  If there is a difference on this album from The Mojo Skyline, it's that it is definitely bluesier, giving the songs a stronger Zeppelin vibe, and a few of the riffs gave me 70s AC/DC vibes.  The album also has a lot of dynamics, willing to bring things down for a bit before building them back up, with many of the songs escalating to some nice jams at the end of them.

I don't know if this album is quite as good as The Mojo Skyline, but it certainly shares plenty of it's style and substance.  I quite liked the opener "The More It Fades," with the nice build into the solo.  I had a smile on my face by the end of that track!  "Down in the Valley" was another good rocker that builds well for it's big ending.  "Rock N Roll," "Save Me," "and "When the Tide Comes In," definitely have some of the juicier grooves.  And I even liked some of the ballads, particularly the melancholy "Sweet Love Is Gone," as it really digs into their somber, bluesier side.  Overall, another solid album of hard rock from these guys.  I'm certainly looking forward to a third one, whenever they get around to that!

Sorcerer - The Crowning of the Fire King

Just as with Lovebites, Sorcerer was a band I feel in love with when I finally took the time check them out two years ago, enjoying with their classic epic doom sound.  I knew I would need to check out their back catalog as well, and this anniversary article provided the opportunity to check out their second album.  While, much of what I loved is here, this album does have a distinctly different tone.

Of course, the album still sounds like Sorcerer, as the lineup is mostly the same.  Anders Engberg provides great, theatrical vocals, soaring over all the heavy, plodding riffs.  Hallgren and Niemann tear it up on their guitars as well, with their solos shredding all over the place.  However, I do think there is an overall difference in tone compared to Lamenting of the Innocent.  While that album had a thick sense of haunting and dread made possible by its lush production, this album feels more like a journey, following the story of a set of doomed voyagers (though I don't think it's a concept album).  It also feels like it has a few more elements of traditional metal, as there were times I was reminded of Grand Magus or some of Saxon's slower songs.  As a result, it feels more epic on a classic, narrative sense, like reading Homer or Beowulf.  Songs like "Sirens," "Ship of Doom," and "Crimson Cross" are good examples of this (and are good tracks in general).  "Unbearable Sorrow" was another stand-out track, as it has an interesting sense of melancholy, rather than dread.

I don't think this album is as strong as Lamenting, though I know that one took a while to grow on me, so maybe this one will as well.  I did feel like the album dragged a little at times, but not often.  In any case, these Swedes are still masters of the 80s doom metal style, while making a name for themselves with their incredible guitar work and great sense of epic songwriting and lyrics.

The Dark Element - The Dark Element

Yup, here's another debut album of a band I've been meaning to catch up on.  Featuring Anette Olzon (formerly of Nightwish) on vocals and Jani Liimatainen (formerly of Sonata Arctica) on guitars and keyboards, and Jani's bandmates from Cain's Offerings on bass and drums, they created a symphonic power metal project that feels like a decent fusion of the aforementioned bands with a few extras.

While much of the production is pretty much right in step with the Olzon era of Nightwish, the new element is a greater amount of trance-like synths on the songs, giving them more of an Amaranthe or Metalite feel, both of which were around by this time.  They show up pretty often, but I think they give the songs a bit more breadth, in a way.  "I Cannot Raise the Dead" almost has an EDM vibe.  I actually don't have a problem with this kind of stuff in metal (see my glowing reviews for Beast in Black, for example), but it can be hit and miss on this album.  On the other hand, songs like "Someone You Used to Know," "Heaven of Your Heart," and "Halo" throw in acoustic piano and guitar, so the album does try to broaden the soundscape of the songs.  However, despite all this variety, the songwriting is some pretty cookie-cutter symphonic metal.  While fans of the genre might find something to like, it probably won't be converting anyone new to the style.

There are a handful of good tracks, though.  "My Sweet Mystery" has some solid riffs and symphonic orchestration, and "Dead to Me" fuses all these elements pretty well with good, energetic riffs, both of the synth and guitar variety.  Overall, it's decent, but not amazing.  However, I know that, just from the singles I've heard, the second album really improves the songwriting.  When I get around to that one, we'll see if the band has places to go in the future.

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Well, that's the last anniversary article for the year!  As always, if there is anything you think I've missed, let me know in the comments below.  As for the rest of the year, I've got some albums to catch up on, plus a bit of a holiday surprise, so keep an eye out for that!  Until then, rock on! \m/

Last Played - November 2021 Part Two!

I think I'm going to end up spending a lot of this holiday season catching up on this year's releases.  I know there are a lot of albums I want to get to, but I'm also starting to wonder how on earth I'm going to decide my Top 5.  While I don't know if I've heard any obvious winners, there has been a good chunk of great music this year, and this article is gonna go over some of them.  Here's what I've been checking out lately!

Dream Theater - A View from the Top of the World

After the band stumbled with The Astonishing, they set out to recenter themselves with Distance Over Time, and largely succeeded.  I felt that the album was adequate, with not much really standing out to me.  Now we have their follow up with this album, and their stated intentions to start exploring again, this time with some heavier, 8-string guitars, which I think helped their songs sound very dramatic and broad in their scope.

Of course, Dream Theater going for heavy isn't necessarily anything new (Train of Thought comes to mind), but I think goal here was to expand their dynamics and tones, which has mostly worked.  Right off, the album starts with some very chunky metal riffs, with "The Alien" and "Answering the Call," setting the tone for the rest of the album, with later tracks adding some interesting symphonic elements.  "Transcending Time" is a curious outlier, surprisingly having a lot of AOR rock energy, and I can't deny that I rather liked it.  However, the center piece is clear the 20 minute epic at the end of the album that has the band really flexing their songwriting muscles.  They really explore a lot of moods on that one, shifting from fast to slow, heavy to light, and back again.  (Par for the course, really.)

Overall, I think this is slightly better than their last one.  The heaviness seems to have brought some energy along with it, and the band do some interesting balancing between heavier and lighter sections.  "Answering the Call" and "Awaken the Master" are probably the best tracks, as I feel they make great use of the heaviness without letting the songs go off the rails too much.  That being said, this is still very Dream Theater, and will likely not appeal to anyone who isn't already a fan.  I admit I'm not a huge fan of them, myself, so take my words with a grain of salt.  Nevertheless, it's a solid showing, proving that this band still have a lot of creative energy in the tank.

Beast in Black - Dark Connection

After enjoying their first two albums, I was pretty keen on hearing what Beast in Black had in store this year.  When the singles landed, the clear switch to a very 80s cyberpunk aesthetic was a bit of a surprise, as they dived deeper into their sonic inspirations.  However, the result is clearly more of the same, for better or worse.

The album has a great opener in "Blade Runner," with some great energy and crunchy riffs.  However, from there, it starts to feel like a repeat of previous efforts.  Some songs are poppy, some are more metal, but all stay within the range the band has covered before.  "One Night in Tokyo" is one of the better ones on the poppy side, "To the Last Drop of Blood" is probably the one that balances the two styles the best, and "Revengeance Machine" has a great "Painkiller" vibe that's kinda ruined by some awkward, profanity-laden narration at the start.  There's a general shift toward more mature, suggestive lyrics as well, so your mileage may vary with that.  The band continues to maintain their solid production and tight performances, however, with Yannis Papadopoulos flexing his dynamic vocals once again.  He gets plenty of opportunities to shift between his lighter and aggressive styles.  Oh, and that Manowar cover is pretty fun.

While it's easy to criticize this as being more of the same, I'm reluctant to do so, as I feel this band is still the best as this fusion of 80s pop and heavy metal (which I have dubbed "synth metal").  I know I certainly don't want them to stop.  However, I do think this is a bit of a step down from the previous albums.  In their attempt to shift the content from fantasy to sci-fi, they tried to be more sophisticated with their lyrics and presentation, with mixed results.  While it's nice to have some epic cyberpunk anthems, it's hard to feel like the band is really stretching themselves.  In the end, it's a decent album, with a few great songs, but not as engaging as their previous efforts.

NorthTale - Welcome to Paradise

So this is a bit of catchup before I do their 2021 release, as I wanted to go into NorthTale's new album with some context of what they had done here.  Honestly, I loved what I had heard from the singles, but then the band just kinda fell off my radar somehow.  To be honest, I feel bad about it, as it's clearly the kind of power metal I love, being very influenced by the styles of Helloween and Stratovarius.

Right off, we start with some high speed, double-kicking power metal, and it doesn't really let up.  Oh, sure, there are power ballads in the middle with "Way of the Light" and at the end with "Even When," but they're kinda forgettable (which is also quite like Stratovarius; I love that band, but I could never get into their ballads).  "Everyone's a Star" is also a bit different, a kind of satirical piece of pop metal.

But everything else is excellent power metal.  I loved hearing a bunch of the singles again, like "Higher," "Shape Your Reality," "Siren's Fall," and "Bring Down the Mountain."  As for rest, "Follow Me," "Time to Rise," and "If Angels Are Real" stood out to me.  Vocalist Christian Eriksson is quite good, providing some epic held-notes, and making me think of Jonas Heidgert of Dragonland.  The guitar solos are incredible, with Bill Hudson throwing in some neo-classical chops here and there, and the keyboards by Jimmy Pitts are right there with him, noodling along like Jens Johansson.

Honestly, this could have been a Top 5 contender for 2019.  This is the kind of power metal that bands should be making more of, in my opinion.  I'm not quite sure how to describe it, but I know it's not the over-the-top style of DragonForce nor the heavier power metal of Iron Savior or Primal Fear.  It's that middle ground where Helloween, Freedom Call, and Stratovarius live, and now we have NorthTale representing the style, and doing it very well!  Great stuff!

The Dust Coda - Mojo Skyline

Hey, remember these guys?  I was digging a lot of their singles earlier in the year, and I've finally taken the time to listen to their new album.  While a lot of retro rock bands lean on the styles of Zeppelin or Sabbath, these guys are going for more of an Aerosmith vibe, and do it well!

This album has three things going for it: First, is the meaty riffs.  Clearly leaning on 70s rock clichés, the production gives them a good amount of heft and power.  They also have a good balance of being catchy and simple.  They won't win any shredding awards, but with hooks this good, my head was bobbing all the way through this record.  Second, their vocalist John Drake really lets it all hang out.  He's got a great, straight-forward rock sound, with just the right amount of grit.  He's as subtle as a brick and it's perfect!  Third, these songs have a ton of energy!  Even though it's mostly settled in a nice, mid-tempo rock groove, these are not passive tunes.  I can see them jumping around all over the stage in my mind as they play these songs.

Basically, I'm saying that I really like this album.  I was a little afraid it would get repetitive, but it really doesn't.  They know how to shake it up a little with some different moods, with things shifting even during the song sometimes.  "Breakdown" is a really good example of this, starting at a mid-tempo groove before going full-on hard rock at the end.  Other stand outs include "Limbo Man," the anthemic "Dream Alright," "Best Believe It," and that super heavy riff on "I've Been Waiting."  Overall, it's a plain straight-up rocking album from start to finish, with no brakes to slow things down.

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Well, that was certainly a fun mix of music!  I have one more article coming before the end of the month, and it's gonna be a bunch of videos, so keep a look out for that.  I don't have much else to say, so until then, rock on! \m/

New Videos - March 2021!

Well, now that we have our new look, let's get into some more videos!  Got a nice mix of rock and metal again, all of which have me pretty excited to hear all these new albums.  Rock and metal definitely don't slow down!

I mostly know Myles Kennedy from his work in Alter Bridge, but it sounds like his solo stuff is just as solid.  A rather bluesy hard rock song, it's got a lot of kick and crunch to it that I like.  Also, I enjoyed the fun, paper-craft visuals.  Neat video!

No visuals on this other than cover art, but it's their next single in anticipation for their new album.  Much more poppy and mid-tempo, it's not as dense as their other songs, but that may make it a nice breather on the album.  In the meantime, it works as a nice piece of anthemic metal.

Third single, third time I've shared them here!  I have to say, these guys really do have some great prog metal chops.  Percussive riffs with epic melodic sections.  This one feels particularly like Symphony X, but that's a compliment as far as I'm concerned.  I need to get to this album soon!

The Dust Coda are back with another one, and again, I can't deny their hard rocking groove!  I don't know how they do it, but each song they've put out in the last few months has been solid stuff, with catchy riffs and great vocals.  These guys are doing hard rock right!

After doing stuff with Michael Schenker again, and doing Black Swans last year, it sounds like he's bringing his iconic vocals to a new solo album!  Honestly, it's classic 80s rock with an anthemic vibe, buoyed by McAuley's pipes, which really ring out on this one.  

After recording one of the best albums last year, Lovebites is back with a quick EP (and an anime opening).  While we still get the epic, sweeping power metal, this one really has some strong symphonic elements, which they featured on a few songs on Electric Pentagram.  Still, it makes for some great stuff, so it goes on the list!

New Videos - February 2021 Part Two!

Looks like this winter has been pounding some people pretty hard.  I hope everyone is staying safe.  In the meantime, I've got some more excellent rock and metal videos for you to help you get through whatever hard times you might be having!  Music is always such great stress relief.

Hey, I remember these guys!  Kind of an 80s AC/DC with a cleaner singer, this is all about having fun riffs and a driving tempo.  Great, anthemic hard rock.

Another one from Dust Coda.  They guys have such a powerful, straight-forward hard rock crunch that's very catchy.  I really like the build up towards the end on this, as it really turns up the energy!  These guys are definitely a priority for me this year.

I admit that this is another group I have been aware of, but never really gotten to.  Based on this song, I guess I should expect a lot of musical power, broken up by nice melodic segments.  Then again, given the prog pedigree this group has, I suppose I shouldn't be surprised.  I know a lot of people are excited about them coming back, and this certainly sounds like a promising effort.

Evergrey just seem to be so reliable with these singles.  Plenty of crunchy and evocative vocals to be found with their stuff.  This one has some interesting, almost chiptune-y synths that make this song a little different.  Well, and the head-down riffing section for the bridge.  Great stuff!

More prog metal!  This band was introduced to me by a friend and feature Billy Sheehan and Jeff Scott Soto, both from Sons of Apollo.  Unsurprisingly, it has a very strong Dream Theater vibe, particularly their darker, moodier stuff.  Still, nice riffs and melodies, backed by a few orchestral elements.

Continuing with our prog streak, this is more of a power metal style of prog, a bit Stratovarius, but with more grit like the German bands.  Plenty of melodies, though, making for a pretty solid release.

New Videos - December 2020 Part Two

Well, I barely made it!  I wanted to get this one up before the end of the year.  I've got another interesting mix of bands, all of which seem to show that 2021 will be a promising year for rock and metal.  Check'em out!

Not sure where these guys were hiding, but they have this neat, bluesy hard rock with lots gritty vibes.  I'll have to check out more of their stuff if it's going to have these kinds of riffs and grooves.  Just real straight-forward, crunchy stuff.

Evergrey already has another album on the way, continuing their emotional and crunchy prog metal sound.  I admit I still haven't listened to much of these guys, despite liking their sound.  Maybe I can change that in the upcoming year, and them putting out another album doesn't leave me much room for excuse!

Despite this album's delays, I'm still looking forward to this sci-fi epic from Orden Ogan.  Crunchy riffs, soaring vocals (with neat little glitch effects), and a slick, polished atmosphere in their production.  It's not as strong as their last single, but pretty solid, nonetheless.  

I'm mostly familiar with Glass Hammer through their first two albums with Jon Davison, as I was curious about him when he joined Yes as their new singer.  This song is a rerecording of a track they wrote in the 90s for a special release on their website.  As expected, it has a lot of the qualities of 70s prog rock, notably Yes and ELP.  I know folks have given them a hard time for their kind of derivative sound, but I honestly don't think it's bad thing, and it sounds good here.

Let's finish with something that's clearly aiming for a classic sound.  Pounder is pretty straight-forward metal, calling to mind the likes of late 80s Iron Maiden or Metal Church.  What caught me off-guard was the nice vocal harmonies on the chorus, add an extra touch to some solid riffing.