Rock Music

Over the past couple of weeks, Austin, TX modern psych phenoms The Black Angels and Hanni El Khatib paired up for a May tour that wrapped up in downtown Los Angeles on Tuesday night. The venue of choice was the exotic confines of The Mayan, a revival-style theater of the late 1920s featuring a lobby known as “The Hall of Feathered Serpents” and a large and gaudy chandelier based on the Aztec calendar stone. Think Legends of the Hidden Temple, except not a television set. This place is real…and it’s awesome. Both bands delivered in their own very distinct ways and the second band of the night (we missed the first) Hanni El Khatib had the musical talent, intensity and pop sensibility to easily be headlining a venue the size of The Mayan (if not larger) in the very near future. In only thirty-five minutes HEK of LA left a huge impression and even if you think you don’t know their music, you probably do, unless you don’t own a television (El Khatib’s music is in countless major t.v. commercials at the moment). Be on the lookout for these guys and check out their brand new 2nd LP Head in the Dirt (produced by Dan Auerbach). The Black Angels took the stage right at 10 pm, with members coming out after three minutes of sonic etherea and projections filled the room and slowly eased the crowd into the colorful and jarring audiovisual experience they were about to take in. Starting off the show mostly in the dark (amidst bubbly colors) with “Vikings” (from 2008′s Directions To See A Ghost), the gravity of the evening’s headlining set was quickly established and moments of levity thereafter could be counted on one hand…er finger. “I Hear Colors (Chromaesthesia)” would come next, with perhaps the most fitting lyrics to describe their current lysergic visual display, a throwback to the early days of Acid Rock in the early 60s that woulda done the recently-departed Ray Manzarek proud. The band’s latest single “Don’t Play With Guns” came next and got the biggest response from the crowd of the night. The surfy and upbeat “Telephone” (from 2010′s Phosphene Dream) and dark and heavier new tunes from Indigo Meadow like the title track “Indigo Meadow” and “Holland” were arguably the pre-encore personal highlights of the night. However, the real meat of the show came during a downright stunning encore that sent the packed house off a little more mind-bent then when we arrived. SHOW NOTE: The Black Angels Lead singer Christian Bland made a subtle nod to Biggie Smalls when he versed on “Going Back To Cali” amidst a heavy squall of sound midway through the show. Fans could’ve missed it if they weren’t paying attention at that particular moment. This is the aforementioned single moment of levity from an otherwise mega serious and powerful set of music.

White Wizzard have released a stream of their track Strike The Iron. Hear it below. It’s taken from their upcoming album The Devil’s Cut – and mainman Jon Leon says it’s his favourite among all the White Wizzard tracks he’s ever written. “This song exemplifies everything this lineup is capable of – everyone’s talents really came through on it,” he comments. “It never lets up. We’re very excited to get this one out there live. I expect it to be our opening song for the next couple of years.” The Devil’s Cut is released on June 3 via Earache. Tracklist 1.    Forging The Steel 2.    Strike The Iron 3.    Kings of the Highway 4.    Lighning In My Hands 5.    Steal Your Mind 6.    The Devils Cut 7.    Torpedo Of Truth 8.    Storm Chaser 9.    The Sun Also Rises

Review by Sean Trane — 3.5 stars really!!!Special side-project of Anekdoten guitarist Nicklas Barker; he's here witing and perfoming a soundtrack for Spanish director Norberto Ramos. Although not yet a household name in the Hispanic peninsula's film industry, Ramos has done a few movies, of which Ultimo Fin De Semana ranks as one of his most remarkable. Our Last Week End Together (the English title) is a thriller about four women fleeing everyday's pressure for one week-end on the country's north coast. Despite the limited budget, the movie is well-worth seeing; although I gather that most Hollywood-accustomed movie freak will probably only moderately appreciate it. Getting back to the (instrumental) music, Barker plays almost everything himself, but then again, a large part of it is the Mellotron (a forefront feature of his band's soundscapes) or apparently Tron-simulating synths. Musically this soundtrack is somewhat similar to Anekdoten's other side-project of a few years ago called Symphonic Holocaust, which was a fantasy project of soundtrack to imaginary Italian horror movies. The main difference I will point out between the two affairs is that Holocaust was four musicians making a full symphonic raucous, while Semana is much more intimate solo affair. As I said above, Barker plays almost everything on the album, but he's still joined by Anekdoten buddy and drummer Nordins and family members (wives or sisters most likely) of Nicklas and Doten bassist Bergstrom, for additional strings. As for Nicklas, he's playing the Trons, synths,bass and a Theremin. Obviously the Trons is the music's main ingredient and its melancholic layers provide plenty of tension and sentimental and scary moods (at least when watching the movie)., but in the end, one can't escape its beauty. Most of the music beongs to the rock realm, though a few moments (like the closing track) may sound a bit like village-fair stuff, which distracts a bit the cohesion of it all. Although the soundtrack's music is already plenty poignant enough, you'll easily understand that it gains even more to have seen the movie to appreciate the context of the music. Furthermore, the movie includes an extra-track, one Anekdoten track (from their Gravity album), but that didn't find space on this CD, most likely for contractual reasons. The DVD of the movie also features a Barker interview and a studio video of the soundtrack's most vibrant track. Although the album is very worthy, you might want to directly order the movie, which seels for cheaper if you order it directly from the director himself via his website.

Review by b_olariu — 3.5 reallyFirst album named Zooma of this legendary bassist/keyboardist from ex Led zeppelin John Paul Jones.This is a groovy kind of album where his bass is all over the places, lots of great chops here withplenty of experimental twists and atmosphere. All album is instrumental and on each tune JPJ showthat he is apt to call him one of the best and most influencel bass players ever. Zooma has manygreat moments on pieces like Zooma, Grind or Bass n' Drums. The album overall has a progressivedirection and the arrangements are intricate and well performed. This a a fairly solid album thatwill please most of the experimental instrumental albums with crunchy bass parts. very nice one. 3.5stars.

Painkiller: Rob Halford Judas Priest frontman Rob Halford has swapped his Harley motorbike for a wheelchair as a result of a back problem. But he says it’s a temporary issue and he’ll be fighting fit very soon. Halford tells Eddie Trunk: “It’s not as evil – well, it is evil. I’m in agony right now. But it’s just a back injury; it’s going to be fixed. The Metal God will be bouncing back and everything will be great.” The band have just released Epitaph, the live movie shot during the world tour of the same name, which was planned as their last large-scale world trek. It features new guitarist Richie Faulkner, who replaced KK Downing, and who’ll also appear on the band’s next studio album. View a new clip from the DVD below. Priest have been forced to cancel the movie premiere which was planned for London’s Forum on Friday. They explain: “We’ll be holding a screening at the Soho Hotel, London, at 8pm on Friday. Tickets already issued will be honoured and those attending will also receive an advance copy of the DVD. Alternatively, a full refund will be offered by Ticketmaster. We are very sorry for any inconvenience this may cause.”

Beginner mode: O’Keeffe with Airbourne Airbourne frontman Joel O’Keefe admits he can’t play his own song in Guitar Hero – and he was bested by his four-year-old nephew when he tried. His band released new album Black Dog Barking this week, and O’Keefe has taken the opportunity to discuss what his instrument means to him. Asked to name the worst guitarist he’s ever heard, he tells GuitarTV: “It’s me on Guitar Hero. I can’t fucking play that thing. I’m the shittest at it. I couldn’t play my own song on the thing. “I went home for Christmas ages ago and one of my cousins was there. He was only four, and he could play not only my song, but all the Guns n’Roses ones, the Metallica ones – and I couldn’t even play my own, which is the easiest of all.” When it comes to his top influence O’Keeffe cites Rolling Stones icon Keith Richards.  “I watch Keith play guitar and there’s something about his playing, I don’t know what it is, but it’s so cool,” he says. “The notes he picks, the feel, the way he goes down low and his over-the-shoulder thing. “When I was young it was Angus Young and Keith Richards and I didn’t know which way to go. The riffs like Satisfaction and Jumpin’ Jack Flash – so cool.” And asked which axe hero he’d most like to meet, the Australian replies: “If I could have a conversation with Hendrix I’d really love to do that. I’d love to figure out what he’s thinking. I know he’s on another planet doing what he does, but I’d like to have a jam with him. I’d do the rhythm – I’d be too nervous to fuck up in front of Hendrix. “I’d love to talk to him about rock’n'roll – he knew something that none of did, and none of us can figure out.”

Revival rumour: John Fogerty John Fogerty is not against reuniting with the surviving members of Creedence Clearwater Revival, despite the negative comments some of the band have made in the past. He says: “I think it’s a possibility in the future. It’s not something I’m actively seeking – but I’m not totally against the idea either. It just seems like I always hear that’s not going to happen.” [Radio.com] Neal Schon and Steve Perry haven’t spoken since the ex-Journey singer appeared with his bandmates for their Hollywood Walk of Fame induction in 2005, but the guitarist says it’s just a scheduling issue. “I say nice things about him and he says nice things about me,” Schon comments. “I have ultimate respect for the man and the voice he has. I wish him the best, but he haven’t quite gotten around to speaking.” [Something Else Reviews] Queen guitarist Brian May has slammed TV talent show The Voice. “It’s the dullest, dumbest, most depressing show,” he insists. “Every time I catch a glimpse of young singers busting their guts trying to win somebody’s attention, who’s rudely sitting with their back to them, I feel sick. I hate seeing the great Tom Jones shoehorned into this scenario.” Hawkwind have announced four UK tour dates in November: Nov 6: Wolverhampton Wulfrun Hall Nov 7: Glasgow ABC Nov 8: Sheffield Academy Nov 9: Liverpool Academy Rush frontman Geddy Lee says the band’s appearance at this year’s Sweden Rock is a “test case” for more festival shows. “We’ll see how this one goes,” he comments. “If we like the end result I think we might start doing more of those, because we can play to more people and shorten the show a little bit, and hit more countries that way. That’s what’s at the back of our minds: maybe we can go to countries we haven’t visited yet.” [Blabbermouth] Big name producer Nick Raskluinecz has named his top albums of all time. He says: “This is hard because I have three that are tied for the number-one spot. Kiss’ Alive, Ozzy Osbourne’s Randy Rhoads Tribute and Ratt’s Out Of The Cellar. But if I had to pick one for the desert island, it would be Out Of The Cellar. I was in seventh grade and I saw the Round And Round video on MTV. Immediately, I fell in love with the song, and I begged my mom to buy the record for me. I couldn’t stop listening to it. To a kid in Knoxville, Tennessee, living through Hit Parader and Circus magazines, it was absolutely magical.” [MusicRadar] Festivals audiences are older than ever on average, new research suggests – and it’s all down to money. MSN says 60% of 18-24 year olds can’t afford the costs associated with attending the events, which now averages £423 for a weekend including ticket, accommodation, food and drink. As a result, the average age at Glastonbury is 36 and at Reading and Leeds it’s 35. The Answer will release their fourth album, New Horizon, on September 30. They tour the UK and Ireland in October, followed by an appearance at Hard Rock Hell in Pwllheli on November 30: Oct 11: Limelight 2, Belfast Oct 12: Whelans, Dublin Oct 17: Academy 3, Manchester Oct 18: Wulfrun Hall, Wolverhampton Oct 19: Cockpit, Leeds Oct 20: Corporation, Sheffield Oct 22: The Garage, Glasgow Oct 23: O2 Academy, Newcastle Oct 24: Rescue Rooms, Nottingham Oct 25: Electric Ballroom, London Oct 26: The Thekla, Bristol Oct 27: Concorde 2, Brighton Former White Zombie drummer Phil Buerstatte was found dead at the weekend. While no details have been revealed, his bandmate in Last Crack, Paul Schluter, says: “We are sorry to have to announce that our musical brother Phil Buerstatte has passed away. He will be greatly missed by his many friends, family and fellow band members. The remaining members of Last Crack are discussing doing a tribute show

Review by b_olariu — The last hurrah album from 1994 named Division bell is to me another worthy album from theircatalogue. No weak moments here, they keep the Pink Floyd sound and is better then anything theyreleased after The wall even in same place with The wall for me. Again I'm not agree that this is abad album pieces like What do you want for me, Cluster One, Poles apart, Take it back or High hopesstand as proving greatness. Good vocal lines, smooth and elegant instrumental arrangements, so whatmore, to me this is Pink Floyd all the way. 4 stars easy, I really like since it hit the shelvesalmost 20 years ago. Nice cover art.

Review by b_olariu — Momentary laps of reason from 1987 was the first prog album I've ever heared in my life, it was in1988 and I didn't knew who was Pink Floyd - I was only 11 years. After years and years I begun toreally catchy the past prog music and who was Pink Floyd in musical history and in prog aswell.Well, maybe I'm biased here but to me this is a fairly good album, ok doesn't have the magic of themasterpices they released in the '70, but is ok and enjoyble for sure. So, Waters is long gone topursue a solo career and Gilmour done a good job here, his guitar and voice is particulary strong,I have no complains. Pieces like Learning to fly, the beautiful sad On the turning away to me aregood pieces, the rest are also ok minus A new machine part 1 and 2 who are forgetable and pointless.So, decent towards great in places, I don't find the missing links here, this is a Pink Floyd albumand sounding miles away better then other albums from that period ( Invisible touch comes in mindright now) coming from a legendary prog rock band from the late 60 - early 70. 3.5 stars easy I likeit no matter what other say about.

Review by bonestorm — Just for something a little different, it's a Tori Amos review! I'm delving into this one as it'san album I love, even if the prog credentials are a little shaky.There is an exquisite atmosphere on this album, crafted by Tori's haunting lyrics and theaccompanying melodies. I've never been a rape victim, or a girl trying to reconnect with hermother, or any of the other scenarios presented by the 12 tracks on this album. But thanks to Amos'masterful delivery of these songs, I'm able to step into these roles for just a few moments andexperience what it might be like. That's how powerfully the ideas are conveyed on this album.Track 5, "Winter", is one of the saddest songs I've ever heard. It achieves this through sincerityand a sense of being genuine, rather than the typically contrived methods employed in your averagepop song. "Winter" never fails to elicit a response from me when I hear it. It is told from theperspective of a young girl who lacks belief in herself and a father who is trying to instil itwithin her. It is beautifully phrased with an unforgettable piano melody, without doubt the albumhighlight.There are many other great tracks on the album but I'll single out "Me and a Gun" for specialmention. The only instrument used is Amos' voice. Set against the confronting lyrical idea of awoman's desperate thoughts as she is being raped, this is certainly a song that sticks in the memory.As far as I am concerned this album is the pinnacle of Tori Amos' career, and I still enjoylistening to it 20 years later.8.5/10