Empires Of Eden - Channelling The Infinite

Conceived and orchestrated by Australian shredding maestro Stu Marshall (ex-Dungeon), the album features some of the most influential voices in metal. Loaded with 12 tracks of brain-blasting power metal, Channelling the Infinite features killer production and powerful, hook-laden music that will appeal to any aficionado. Each song is carefully crafted specifically to suit the singer involved, and designed to best complement their range and style. From there, the vocalists have complete freedom to write the lyrics and melodies, providing a unique insight into what truly inspires these artists.

In addition to the spectacular vocals, face-melting lead breaks and riffs that could take on a nuclear arsenal. Empires of Eden once again showcases the incredible cover art by L.A based “Alex Ruiz”

Producer Stu Marshall says, “I am overwhelmed by the power and emotion of the vocal performances that these amazing singers have brought to the album. It’s pushed my playing to levels I never thought possible and has created the most well-rounded release I have ever been involved with. Writing for these incredible artists is a dream come true and the finished product has actually exceeded my expectations. Every song is filled with a passion and spirit that immediately grabs the listener; I am very excited for people to hear this album.”

Basically Marshall has brought together ‘THE’ finest collection of power metal vocalists currently plying their trade in the 21^st Century, and I’m mightily impressed at the muther fuckers ‘ little black phone book!’ Stu either has some excellent connections (most likely), or an even more excellent set of seedy negatives (sorry jpeg’s) on all vocalists concerned.

I used to think that I could sing many years ago, but after listening to likes of Bob ’Reach Out’ Rock I realised my career as the next rock god was never going to work. Rock has one of those unmistakeable wails that threaten your hearing and the foundations of your neighbourhood. When matched this with one of the finest metal guitarists around, your ears are in for a treat of the highest order (once the bleeding stops).

The biggest coup was getting UDO to play a part. Now I must admit, UDO’s never been my fave singer (so don’t shout or leave disparaging comments), but as the PR states, the songs have been crafted and tailored to each vocalist and ‘Hammer Down’ fits UDO like a leather studded metal glove!

Sean Peck (Cage) appears the most, on ‘Channelling The Infinite’, and the bonus track ‘Born A King’, and brings together a blend of Helloween and Onslaught at their finest. Italian power pocket rocket Alessandro Del Vecchio (Edge of Forever / Edens Curse and many other projects) appears on ‘Lions For Lambs’ and has proven over the past 12 months to be one of the hardest working and finest vocalists in rock – and he can do it live! Carlos Zema on ‘Cyborg’ has such a range to his vocals, at first I thought it was a duet! That’s sick dude! Vo Simpson tears the place up on ‘As Flames Scorch The Ground’ and is aptly named to match his range and Marshalls frenetic speed.

The last official track is the ‘Stars’ version of ‘Hammer Down’ with vocals being shared by UDO, Rob Rock, Sean Peck, Carlos Zema, Vo Simpson, Ronny Munroe, and is a great way to finish of proceedings.

To be honest with ya, I can’t find fault with any of the tracks on offer here, as all the vocalists brought in, excel to the max and it’s unfair to miss any of them out. Grats to all concerned.

A special mention for Marshall also, as he plays throughout as if his and his family’s life depends upon it. It’s a shred-fest of the highest order. I loved ‘Reborn In Fire’ and Marshall has only gone and bloody topped it.

My only regret is that there’s more chance of Elton John going straight than me getting to see this band of many vocalists in action. C’mon Stu, you can do it!

SCORE : 95/100

line-up:

• Udo Dirkschneider (Accept, U.D.O.)
• Rob Rock (Impellitteri, Driver)
• Steve Grimmett (Grim Reaper, Lionsheart)
• Mike Dimeo (Masterplan / Riot)
• Sean Peck (Cage),
• Carlos Zema (Outworld, Vougan)
• Ronny Munroe (TSO, Metal Church)
• Alessandro Del Vecchio (Edge of Forever)
• Danny Cecati (Eyefear, Pegazus)
• Louie Gorgievski (Crimsonfire)
• Vo Simpson.(Darker Half)

·         Tracklist:

·         1. Cry Out (feat. Rob Rock)

·         2. Hammer down (feat. UDO)

·         3. This Time (feat. Steve Grimmett)

·         4. Channelling the Infinite (feat. Sean Peck)

·         5. Lions For Lambs (feat. Alessandro Del Vecchio)

·         6. Cyborg (feat. Carlos Zema)

·         7. World on Fire (feat. Louie Gorgievski)

·         8. Your eyes (feat. Mike Dimeo)

·         9. Born a king (feat. Danny Cecati)

·         10. As flames scorch the ground (feat. Vo Simpson)

·         11. White wings (feat. Ronny Munroe)

·         12. Hammer down All star version (Bonus) (feat. UDO, Rob Rock, Sean Peck, Carlos Zema, Vo Simpson, Ronny Munroe)

·         13. Born a King (bonus) (feat. Sean Peck)

OSI - Fire Make Thunder

Fire Make Thunder marks the fourth undertaking for the collaborative duo known as OSI (Office of Strategic Influence). Formed in 2002 by Jim Matheos (Fates Warning, Arch/Matheos) and Kevin Moore (Chroma Key, former Dream Theater keyboardist), OSI is a long distance partnership, both musicians typically writing and recording alone and sending song ideas back and forth for further elaboration. Written and recorded throughout most of 2011, this latest release once again reflects the eclectic influences of both Matheos and Moore.

Returning as the band’s session drummer is Gavin Harrison of Porcupine Tree, this time co-writing one of the tracks with the band. All other instruments and programming were performed by both Matheos and Moore, while vocals and lyrics were handled exclusively by Moore.

All of the recording for Fire Make Thunder, with the exception of drums, was done by Moore and Matheos at each musician’s respective home studio with drums being recorded at Harrison’s home in London. Final overdubs as well as some additional writing/arranging was completed in July 2011 in Jamaica, Iowa, where the band mixed alongside engineer Matt Sepanic at Sound Farm Studio and Recording Environment. Mastering was handled by renowned engineer Roger Siebel. The record was produced by both Moore and Matheos.

And what an album this little beauty is! To be perfectly honest with you, if the previous 3 OSI releases rocked your little world, then Fire Make Thunder is tailor made for you. A heady blend of  Rock, Electronica and Progressive Metal, equal parts Dream Theater, Depeche Mode (I know it’s strange), and the likes of Porcupine Tree which all equates to one great big OSI experience. Kevin Moore isn’t the greatest singer. Heck, he probably isn’t the best singer in OSI, but his voice is a perfect fit for OSI’s hypnotic and rhythmic unique sound. This is probably my biggest and only gripe. I just want Moore to let rip a little (preferably a lot!). Jim Matheos has some great riffs laid down, but Moore’s laid back and relaxed vocal style doesn’t get past 2 on the Richter scale. Then again, this is my third OSI album so I really should know better by now. Despite the one gripe, it’s one I and hopefully most of you can live with.

Fire Make Thunder is definitely an album that gets under your skin – in a good way! Broody, pulsating, intriguing, yet mellow and none more so than the opening track ‘Cold Call’ and is a song that typifies the OSI sound from the last 3 albums. The second track ‘Guards’ OSI switch it up a bit. In comes a drum loop, combined with a funky drum beat, and Matheos’ chunky and aggressive guitar riff. Overall is a quite dark affair, but each album sees OSI growing into a band, and not just two blokes with a bit of a side project. Even the slower songs have more going for them than previous, each song proving more enjoyable with each and every listen, what with the interplay between Moore’s delightful and multi layered synth, and Matheos’ guitar. Neither get in the way of each other, and there’s a mutual respect going on for each of their talents to blossom and shine through

OSI after some decent albums, have one in Fire Make Thunder that sticks its head above the parapet for some truly cracking moments. I guess it’s their finest yet!


SCORE : 90/100


 
OSI is:
Jim Matheos (Fates Warning, Arch/Matheos) – guitars, bass, keyboards, programming
Kevin Moore (Chroma Key, ex-Dream Theater) – vocals, keyboards, programming

Steel Panther Interview - Satchel & Michael Starr, Manchester Academy 30.3.2012

See below my interview with the 80s legends that are Steel Panther.

We turned up at the venue,and as is the case, we weren't on the list. Thankfully Matt (tour manager) let us in once we started crying!

Anyway I went armed with some gifts, something I'd not seen done with guys previously, and the rest is comedy gold. I couldn't get a word in edgeways, so we just let the camera roll. Enjoy!

Part 1

Part 2 

 

Me and Michael Starr & Satchel with their gifts!!

Harry (my son) was on camera duty, so he took in his guitar on the off chance and they were more than happy to sign it with some pretty vulgar stuff!!

Steel Panther - Manchester Academy 30/3/12

Don’t even bother travelling to the States this year to see the Van Halen machine, stick to the UK and instead catch Steel Panther in action. They have the songs, the moves and even the skanky girls in attendance. What more could a self effacing rock fan want. Fuck dudes, they even throw in about 20 minutes of pure comedy gold for your £15 admission price.

Sure none of this is new, and it’s all been done before, but that can be said of almost every song written. Here’s a big but - Steel Panther have some of the best riffs this side of 1985, and that’s saying something. If this were 1985, Steel Panther would be one of the biggest bands on the planet. That said, they are certainly out for global domination in the 21^st Century.

Playing to a rammed Academy 1, Steel Panther hit the stage to ‘Supersonic Sex Machine’, and with all guns blazing the Panther guys give the crowd all they’ve got, huge riffs courtesy of Satchel; a front man who I’m sure would turn some of the male audience gay in Michael ‘ Don’t call me Diamond Dave’ Starr; the prince of pound Stix Zadinia; and doing what he does best, and  that’s looking good for the ladies all night long (just so he can put his penis in ladies vaginas-es!).... Lexxi Foxxx. 

‘Tomorrow Night’ my personal fave from Balls Out has a riff that all the bands that take the piss out of Steel Panther would kill their loved ones for. Its that awesome. After the first couple of songs that guys went straight into ‘Comedy’ mode, with loads of banter with themselves and the audience (that’s what makes a Steel Panther gig a cut above the rest, you are definitely a part of the whole experience). Out came the band introductions ‘He’s the best drummer in Steel Panther......Stix Zadinia! And so on.

The audience went ballistic for Fat Girl (Thar She Blows) and had everyone joining in. If you though this was loud, the excitement went way past eleven for ‘Asian Hooker’ and then ‘Just Like Tiger Woods’. Satchels solo spot was up next, and proved that this guy can play, incorporating Rimsky-Korsakov’s ‘Flight of the Bumblebee’ complete with blow job mimes. This guy can multi-task at a much higher level than us mere mortals.

'G.O.L.D.D.I.G.G.I.N.G.W.H.O.R.......E!' Read it like the chorus dudes, was up next and I still cant stop singing it even as I’m writing it up. Stix came down from his drum riser to play the piano on the ballad that is ‘Weenie Ride’ and proves that he can play an instrument other than the drums. The Manchester skanky whore ladies (their words not mine, OK mine also) were certainly in attendance, and the guys got a few of them on the stage for ‘Party All Day’, with one girl in particular who couldn’t keep her tits IN her basque top!




Last of the set list was the anthemic ‘Death To All But Metal’, the song which launched Steel Panther onto us a couple of years ago. Steel Panther left the stage all too soon, and encored with the auto biographical ‘Eatin’ Ain’t Cheatin’’ and the song they just had to play, ’17 Girls In A Row’, and after the show, they probably did.

Steel Panther are one of the hottest bands currently on tour, and as long as you’re not easily offended, you should really check them out, even if you don’t like your metal served up 80s style. They don’t need pyro to assist them, its just 80s cock rocking metal served with a smile and a huge helping of vulgarity. I fucking love this band!

The Answer / The Union with support from Skam, Manchester Academy 2 13.3.12

 

Despite having seen The Answer a few years ago supporting Alter Bridge a few years ago, I was highly expectant of this double header show, together with The Union, and for one review only  (The) Skam.

It was a gig that didn’t deliver by the spade load, it delivered by the TONNE. First band Skam were a mighty fine surprise indeed. Walking into the gig in the middle of their first song, I was hit by a wave of bass guitar and drums turned all the way past eleven. The power 3 piece from Leicester packed more punch into a 30 minute set than a lot of bands can muster in two hours. Bassist / Mentalist Matt Gilmore was an absolute star, rocking the Academy 2 crowd as if every gig he played was as big as Wembley, and he is one of 3 living musicians who still has a valid MySpace page. Guitarist/Vocalist Steve Hill, resplendent in his ‘Wyld Stallyns’ T Shirt, lead the line and delivered with great flair. Kudos as well goes to drummer Ray Peverill who beat seven colours of shite out of his kit. All of the songs caught showed great promise, nor more so than 'Massacre', 'Dead From The Waist Down' and 'No Lies'. Keep an eye out for these guys as they have the potential to do some damage, and to your ear drums!

The Union sauntered onto the stage to a fantastic rapturous applause. Despite a decent generation gap between Morley and Shoulder, you’d swear that this band has knocked years off Luke Morley’s age and you can sense the fun that all the guys are having. Billed as a double headline, The Union, despite the fan base that The Answer brings, have nothing to be afraid of. Their songs, although not in the same DC mould as The Answer, the blues/rock song writing that Shoulder/Morley bring is an absolute joy, and in Shoulder, The Union have one of the best singers I’ve heard in years. He is bloody fantastic! Opening with the powerful ‘Watch The River Flow’ they had the audience in the palm of their hands before the first chorus had even begun.  

When Morley, Childs, and Shoulder weigh in with some harmonies on ‘Black Gold’, the end result is stunning. I wish more bands made use of their talents. The Union were here to push the new album ‘Sirens Song’ and what an album that is! ‘Blame it On Tupelo’ with soloing on guitar from Shoulder, and like Alter Bridge it’s an asset to have a vocalist who is a decent guitarist in his own right and the combination really gives the live songs some oomph. At the midpoint the audience nearly has a whip round for the guys as they were done by the pigs on the way to the gig.  New single ‘Obsession’, ‘Cut The Line’, ‘The Remedy’ and album title ‘Siren’s Song’ all kicked some serious butt.

It won’t be long before The Union are up to the size of gigs that Thunder used to play, if not bigger. Morley certain knows how to pick a singer, and in the case of Pete Shoulder, he’s got a bloke who is right at the top of his game.

The Answer, bang a slightly different drum. High octane rock n roll to be precise. Again like Pete Shoulder, The Answer has the utterly awesome Cormac Neeson. I was expecting The Answer to be playing the bigger Academy by this point in their career, but it’s better to play in a packed A2 that a half filled Academy 1.

 How that voice comes from such a slight frame is anyone’s guess. Once he gets his groove on, Neeson resembles ‘Cousin It’ from the Addams Family! Hitting 60mph from a standing start, ‘New Day Rising’ from their latest album kicks off proceedings. ‘Under The Sky’ set the tone for the evening. With Paul Mahon’s blistering guitar work, a rock-solid rhythm section of bassist Micky Waters and drummer James Heatley in perfect partnership, the Academy 2 was almost levelled; such is the power and ferocity of playing from this quartet.

Again The Answer was here with a mix of both old and new songs. Despite a pretty cool back catalogue (‘Don’t Follow Me’, ‘Too Far Gone’) the new songs really stand out. ‘Vida (I Want You), a reworked and stripped down version of the new single ‘Nowhere Freeway’. 

I always feel that if Neeson gave up his day job he could be a southern Baptist preacher. It’s an appropriate number that in ‘Preacher’ you really believe he could turn people to religion. Halfway through the song he jumped into the audience (wasn’t mobbed) and got everyone within a 5m radius (of which I was one) it sit down all around him. It was a really nice touch and was a great thing to be a part of. You can get away with stuff like this in Manchester.

The Answer finished their set with the majority of songs taken from ‘Revival’.  ‘Tornado’ lives up to its name as a live song, ‘One More Revival’ got everyone in the Academy 2 rocking their arses off. For an encore ‘Waste Your Tears’ was a fitting song to finish off the set and the audience.

For the full house that witnessed this rock n roll extravaganza, it will be talked about for many a year. The was one of the best gigs I will see all year, and it’s still only March

Romeo's Daughter - Rapture

I know most people who visit CRR Towers have never probably heard of Romeos Daughter, and shame on you (mostly) young whipper-snappers for not knowing who they are. Formed in the late 80s, Romeo’s Daughter had a hell of a lot going for them. 

-          Big name producers...check! The ultimate rock producer at the time agreed to produce some of the debut. Robert ‘’Mutt’’ Lange, married to Olga, who was Romeo’s Daughter’s manager, and ‘St. Elmo’s Fire’ singer John Parr.

-          Songs that are so hook laden they had ‘’hook laden’’ running through the middle if you cut them in half.....check!

-          And they had (still have!) a singer with the looks of a runway model, that wasn’t just eye candy and could and still can sing as well as any female rock singer....double check!

So why aren’t they a household name? They certainly are in my household, and most of the 2-300 that have just witnessed them supporting FM only this very week. The sophomore album was as strong as the debut, but it just never worked out. This was ‘93 and Grunge had taken a hold of the music industry. They were highly thought of by their peers, with songs of theirs covered by Heart, Eddie Money, and God forbid…Steps!!!

So fast forward almost 20 years and it turns out Romeo’s Daughter never broke up. They made a successful return at Firefest a couple of years ago and decided to give it another shot. Boy, am I thankful that they did! March 2012 sees their third release, ‘Rapture’ released onto an expectant fan base. Are they, like many other melodic rock bands, here to make up the numbers and try to deliver an album that would be money grabbing and a weak effort, just because its en vogue to do so? Thankfully not!

After seeing the response and success that hubby has seen with FM, Romeo’s Daughter have made the correct decision and come back on their terms and their own label. Fans of the band can look forward to an album that sits very comfortably with the debut and ‘Delectable’.

Thanks to songwriter-in-chief Craig Joiner, he has delivered a set of songs planted firmly in the Romeo’s Daughter mould. It’s as if it were the immediate successor to ‘Delectable’, only 20 years haven’t passed!  Opening track ‘Tripping Out’ contains all the Romeo’s Daughter hallmarks – catchy chorus, great riffs, and the excitable vocals of Leigh Matty (she gets me all excitable!). ‘Bittersweet’ is another that just rolls out of the Joiner song factory and is the kind of song I’d hear all day long on the radio in the states, particularly on some country/rock crossover station. ‘Cannot Be The One is firmly set at mid paced, but is enjoyable all the same. One things for certain, Romeo’s Daughter aren’t here to rock your socks off permanently, preferring a mix of lighter numbers, but the next song, ‘Keep Walking’ falls firmly into this rock-socks bracket and is one of the best songs on ‘Rapture’ by a country mile.

‘Lightning’ is a song that would be welcome on Radio 2 airwaves all day long. If FM can manage this with ‘Hollow’, then ‘Lightning’ should also be a cert for R2 masses. ‘Alive’ is a song I’d imagine Robin Beck singing all those years ago, and it’s a pure AOR sing a long/foot tappin’ track for driving /ironing / shopping / jogging to (delete as appropriate). ‘Fly Away’ makes for one solid first half of an album. Its lightweight, but in a good way, and it doesn’t have to shout from the rooftops to be a good song. ‘Talking Love’ comes straight out of the ‘Colour You A Smile’ school. ‘Mine’ is again as catchy as a baseball glove covered in molasses.

Romeos Daughter and Craig Joiner in particular have something to be proud of here. It was easy for them all to just turn up and peddle some tracks from 1988 that never made the first two albums. Plus no doubt they all have better/other ways of earning income than getting the band back together. Craig’s song writing still stands out, and together with Leigh Matty’s (still) sumptuous vocals they have come up with an album that shows they’ve returned with a vengeance and hopefully a (headlining) tour or two will follow.

For existing fans, it’s a no-brainer. For others it’s not an out and our rock/melodic rock album, but this could help their appeal to a much wider audience this time around. It just exudes quality.

 Just don’t wait 20 years for the next album eh!

90/100

Issued thru RD Records a division of RD Enterprises Ltd

www.romeosdaughter.co.uk

Tracklist
1. Trippin' Out
2. Bittersweet
3. Cannot Be The One
4. Keep Walking
5. Lightning
6. Alive
7. Fly away
8. Make My Dreams Come True
9. Precious Thing
10. Talking Love
11. He's Mine
12. Will Be

FM - Live In Europe DVD

FM have been somewhat prolific since reforming for 2007’s successful Firefest headlining appearance, the ‘Wildside EP’, Metropolis album, from which the single ‘Hollow’ made its appearance on Radio 2, something that guys couldn’t achieve the first time around. They have even been invited to some of Europe’s biggest and baddest festivals the past couple of years – Download (UK), Graspop  Metal Market (Belgium), Rock the Nation (Germany), and a couple of gigs at some decent venues  I didn’t expect to see FM frequent at this stage in their careers, but exceptionally pleased that they have – especially the support for Journey last year in Dublin and Belfast. Plus their own headline gig at the Sala Heineken in Madrid. Its these (successful) gigs that make up the DVD.

Apart from one instance (Bad Luck) FM have avoided the duplication issue by not containing the same song from different venues, which gives the DVD more of a ‘set list’ feel.

Belfast sees FM perform one of their best loves songs, ‘Bad Luck’ complete with the usual high quality harmonies from all concerned. Why can’t more bands all harmonise like FM?

Dublin sees FM play what used to be my fave opener of theirs in the late 80’s, the pulsating and more potent than the CD version, ‘I Belong To The Night’ and their performances are so consistent, the Dublin and Belfast gigs are seamless in quality and continuity. Even the stage clothes are identical. The audience response at the end is one that has the hallmarks of being blown away.

Download are treated to ’Wildside’, probably the most in yer face rocker that FM have ever performed and prove that in 2012 their music is still relevant, and they’re not just a) making a fast buck, and b) here to make up the numbers for Download.

Loreley sees FM use an almost new and pioneering technique for performing the AC/DC riff inspired ‘Flamingo Road’ whereby the video is ‘slowed down’ to an absolute minimum. This new process is called photography! This special section is for those who may suffer from severe epilepsy, and risk having a seizure from watching FM perform at such high speed.

One of the highlights of this Rock The Nation section (for me and possibly many others) is an almost ‘blink and you will miss it’ section of some FM rarities – dodgy 80s pics, poodle perms, Merv’s legendary pink suit, shoulder pads, lamé jackets, ticket stubs (£4.50 !! Before Ticketmaster started taking the piss), magazine articles, album, single and many tour promo posters, and some wonderful gig reviews. They even made the front page of Kerrang! back in the day (29/7/89). Get that ‘pause’ button ready. Wonderful stuff!

GMM (Graspop) has the biggest section on show. Played in front of a small (for a festival) but I must say, a won over and appreciative audience (especially the two metalheads seen on Bad Luck)– they are hit hard with ‘That Girl. Dont Stop, Bad Luck, Burning My Heart Down, and Grapevine’ and is the most professionally shot set of the DVD. 

Other Side of Midnight is taken from FMs gig with DAD at Lisbon (great venue) and as usual FM go down a storm. The final song (That Girl) is taken from their headline show at the Sala Heineken in Madrid on the same night Real played Barca. It’s the stunning acoustical version seen (heard?) on the City Limits EP and is a great closer to the DVD

The various sections all contain little snippets of clips shot in and around the venues, just in case you think its all been made up.

There is also a decent Bonus section, their first appearance in years (20?) at the Hammersmith Apollo. Good times indeed! Aptly named ‘The Hammersmith Apollo Bootleg’ as it’s a gig that looks like it’s been recorded by a camera with ‘home video’ stamped all over it, and with some bass vibration when shot from a distance. In saying that, it’s not Hollywood, but it’s not shabby either. The sound is just OK,and the set is definitely from the ‘hit the audience right between the eyes’ school of set lists. The gig was supporting Thin Lizzy, a band I’ve occasionally thought that FM get their direction from, especially in ‘Face to Face’. Even with the sound from this Hammersmith gig being not so perfect, Overland’s voice still sounds great.

The picture isn’t always brilliant, the audio has one option, but for the price, it makes for exceptional value witnessing a band who 25 years later are still sounding as good, if not better than ever, and is nice to see them enjoying the festival experiences that they didn’t seem to get the first time around.

I just hope the guys had the foresight to record the recent Indiscreet 25 gigs, as that was the best I’ve EVER seen FM. There’s life in the not so old dogs yet. Long may they continue putting out albums and DVDs like this.

It’s still an essential purchase for fans of this much loved institution of British Rock