by Robert 'Unlce Prog' Brady | Nov 18, 2016 | Reviews
Rik Emmett (Triumph) & RESolution9 | RES9 (2016)
Label: Rockit Records/Mascot Label Group
Release Year: 2016
Country: Canada
Genre: Classic Rock/Blues/AOR
Band Members
Rik Emmet – Lead Guitars/Vocals
Dave Dunlop – Guitars
Paul Delong – Drums
Steve Stingley – Bass
Guest Musicians
James Labrie – Dream Theater – Vocals
Alex Lifeson RUSH – Guitars
Track Listing
Stand Still
Human Race – (Alex Lifeson)
I Sing – (James LaBrie)
My Cathedral
The Ghost of Shadow Town
When You Were My Baby
Sweet Tooth
Heads Up
Rest of My Life
End of the Line (Alex Lifeson & Jame LaBrie)
Grand Parade (Gil Moore & Mike Levine) (Bonus Track)
Contact Links
Rik Emmett Official Website
Rik Emmett Official Facebook Page
Rik Emmett Official Twitter
Rik Emmett Official YouTube Channel
Rik Emmett Official Mascot Group Label Profile
Mascot Label Group Official Website
I can still remember my first introduction to Triumph. It was at the US Festival at Devore California in 1983. My main listening at that time was the NWOBHM bands like Iron Maiden, Def Leppard, Saxon, Diamond Head and even some Ozzy Osbourne. So when I discovered I was going out to the US Festival with my parents to the Rock & Metal Day I had this preconceived idea that was going to watch and even listen to old geezer music. To my shock and surprise it was one of the very best concerts I have been to.
This was Day #2 and the following played on the bill that day. Judas Priest , Mötley Crüe, Ozzy Osbourne , Quiet Riot, Scorpions, Triumph, Van Halen. The one thing all this bands and artists had in common was in the vocals. The vocals on all this acts were up in the high rent district with towering soprano like styles. Besides Rob Halford in Judas Priest which was obvious of his insane range at the time, another one really stuck out at me. That being Triumph’s Rik Emmett. It was almost mandatory to have a vocal style like that in those days with this music.
Coming out of the same area about the same time as their contemporaries RUSH, Triumph would forge another path for Toronto, Ontario Canadian AOR/Arena Rock. What RUSH did to the progressive hard rock, Triumph would do for a new upcoming sub genre called Melodic Metal/AOR. Rik Emmett’s towering vocal style would also become both a mainstay on FM radio and the new medium of the day MTV. Like RUSH, Zebra and ZZ Top who were all three men outfits, Triumph would also find some satisfactory success on MTV. Songs like Lay It On The Line, Magic Power, Follow Your Heart and Fight The Good guaranteed that Triumph was much more than just the flavour of the month at the time. They were mainstays throughout the majority of the latter 1970’s through to the middle to latter part of the 1980’s.
Fast forward now to 2016. I am still discovering new depths and different sides to Rik Emmett. He returns with a powerful, knity grity style of stripped down almost blues hard rock AOR with Rik Emmett & RESolution9 – RES9. If you think for a moment this is just another Triumph style big arena rock/AOR/Melodic Metal sound you are in for somewhat of a shock, but a good shock nevertheless. Rik Emmett explores many sounds and depths of guitar oriented rock with this new album. Rik Emmett has also tapped into the rich Canadian rock pedigree to enlist the likes of Dream Theater’s James Labrie, RUSH’s Alex Lifeson, Dave Dunlop , etc … for Rik Emmett & RESolution9 – RES9.
On Rik Emmett & RESolution9 – RES9, we see Rik Emmett really strip down to bare bones straight up bluesy AOR rock. It is also amazing to see how he employed two people more known for their prog rock prowess in Alex Lifeson and James Labrie on a very fundamental straight away blues rock and how their individual talents totally fall in line with great precision on both time and range. Now a little breakdown of Rik Emmett & RESolution9 – RES9.
Stand Still begins with a very straight forward stripped down blues chord progression. It is almost that Texas southern fried rock made better known by ZZ Top. Lyrically it tells the story of all sorts of characters. The rhythm section is partially blues with light jazz elements you would find in a Zydeco joint in New Orleans. The guitar solo’s are nasty in nostalgia yet with a wonderful modern elemental sound. This track is the perfect setup for the bluesy buffet ahead.
Human Race (feat. Alex Lifeson) begins with a very familiar opening passage on guitar by Alex Lifeson. This is the very sound a riff playing we have come to know Alex in RUSH. This time it is acclimated more towards a bluesy passage more than a progressive one. Rik has totally built a Toronto Ontario, bloodline throughout this album and it starts on this track.
[youtube https://www.youtube.com/watch?v=gT1_GyBoBkc]
Video Courtesy of (Mascot Label Group Official YouTube Channel)
I Sing (feat: James Labrie) Lyrically this is a classic tale of the life of a working musician going in and out of the trials and tribulations of life. James Labrie comes in quite subtly on vocals and takes over in certain parts. Both Rik and James do a great job playing of the rhythm section. Particularly the drum/bass rhythm section. This track also features another side to James Labrie many do not see in Dream Theater, that being a ‘Classic Rock Vocalist’.
My Cathedral is a very introspective track of people making proclamations of what faith and life mean. Is it God, music, whatever people find peace of mind and spirit in. This is really has some American southern fried roots in the chord progressions. Rik allows both the lyrical and instrumental narrative to carry this track into the middle and more experimental tracks of the album.
The Ghost Of Shadow Town starts off with thunderous drums to set the rhythmic tone with a almost steel guitar vibe. The guitar solos throughout this track add more of a accent to the rhythm section narrative. Rik also employs more of a semi spoken word semi melodic vocal to tell the story.
When You Were My Baby starts out much in a Southern Texas Stevie Ray Vaughn style guitar passage. There are some nice isolated elements throughout to showcase both the instrumental and lyrical portions of the song. This is almost sounds like he and his band did this one live in studio and went back and did vocals later. The guitar solos are organically nasty and fluently blues.
Sweet Tooth is a little love ballad that is done in a 2:12 time frame. Kind of short and sweet , no pun intended. It is almost has a later 1960’s blues soul vibe about it. The lyrical content is how the individual listener receives it.
Heads Up starts out with with a straight away rock passage. This track is probably the closest the traditional Triumph fan will enjoy. This is probably the most AOR track on the album in its anthemic nature.
Rest Of My Life begins with a smooth acoustic guitar passage along with a very harmonic vocal melody. Rik cuts in with a solo vocal isolation in the middle of the beautiful vocal harmony. This track has very rolling guitar oriented rock chord progressions. A lot of Rik Emmett’s vocal register over the last 40 years really flourishes in this one.
End Of The Line (feat: Alex Lifeson & James Labrie) displays the full Canadian rock element over the last half a century. Rik has written towards the strengths of both Alex Lifeson & James Labrie while maintaining the original blues objective he has for the album. This track is very heavy on the Classic Rock and AOR elements. This is the essential song that is very appropriate for both sub genres. There is a beautiful nastiness in the guitar passages throughout the track. The solos are big and so are the rhythmic elements. The solo’s are huge and you can hear both Rik Emmett’s signature style and Alex Lifeson’s signature style within the context of the main narrative.
[youtube https://www.youtube.com/watch?v=8NJUS7737GM]
Video Courtesy of (Mascot Label Group Official YouTube Channel)
Grand Parade (feat: Gil Moore & Mike Levine) {Bonus Track} sees Rik Emmett reunited with his Triumph band mates. This is a very subtle track. The guitars and vocal harmonies progress towards an apex where the the track takes some subtle drops and begins to build in between passages. It also does not depend on the verse/bridge/chorus format in the lyrical narrative.
I will say this about Rik Emmett & RESolution9 RES9, this was a very unexpected gift to music in 2016. In a year plagued by many losses in the music world this is one of those albums that brings home what traditional ‘classic rock’ and AOR are about. It also continues to solidify Rik Emmett’s legacy as one of the best Canadian songwriters and musicians of our time.This album also has confirmed in me the maturity and appreciation for music outside my heavy metal and folk rock and progressive rock/metal roots. Rik Emmett & RESolution9 RES9 gets a 4.75/5 .
Making Of Rik Emmett & RESolution9 RES9 Video
[youtube https://www.youtube.com/watch?v=_rkwInU5HPc]
Video Courtesy of (Mascot Label Group Official YouTube Channel)
by Robert 'Unlce Prog' Brady | Nov 5, 2016 | Reviews
Melodic Revolution Records Feature Band | November 2016 (Pt 1)
Sunshine & Bullets | Triangulum Mechanism 2014
Label: Melodic Revolution Records
Release Year: 2014
Country: USA
Genre: Alternative/Hard Rock/Indie Kill Metal/Female and Male Fronted
Band Members
Rich Keane Jr – Vocals/Guitar
Amanda Hamers – Vocals/Bass
Kyle Wolfram – Drums
Track Listing
Escape From Andromeda
…Go
Down
Accusation
Vilify
Give Them Hell
Pulse
Heartbeat
Don’t Fade Away
Truth Is
Risk
Now Or Never
Feel Good
Missing Pieces
Believe
Time
Forget
The End
Untold Stories
The Mechanism
Contact Links
Sunshine & Bullets Official Website
Sunshine & Bullets Official Melodic Revolution Records Profile
Sunshine & Bullets Official Facebook Page
Sunshine & Bullets Official Reverbnation Profile
Sunshine & Bullets Official Twitter
Sunshine & Bullets Official YouTube Channel
Melodic Revolution Records Official Website
Melodic Revolution Records Official Store
Florida has had a very rich musical lineage over the last 50 years or so. First in the later 1960’s to early 1970’s the band that really put Florida on the map originally was Lynyrd Skynyrd out of Jacksonville. They would later go on to influence something called ‘Southern Rock’. Soon bands such as Allman Brothers Band and .38 Special would follow road Lynyrd Skynyrd laid. Although ‘Southern Rock’ would be plagued with great loss and grief that did not stop the metamorphosis of the Florida music scene.
Meanwhile in the world of jazz and fusion another well developed jazz bassist Jaco Pastorius better known for his legendary work in Weather Report, Pat Metheny and Joni Mitchell. Jaco is still considered by many to this date the ‘Godfather Of Jazz Bass’ and that merit really can not be disputed. Jaco would later influence the likes of Flea, Joni Mitchell, Sting, Wayne Shorter, Herbie Hancock, Geddy Lee, Bootsy Collins, Carlos Santana and even Metallica bassist Robert Trujillo who produced a film documenting the life of Jaco.
In the 1980’s the musical history of Florida would become a little richer in its heritage. This time in the realms of heavy metal music. While the United Kingdom and Los Angeles California were able to boast about their respective metal scenes, so would Florida on two metal fronts progressive power metal with bands such as Crimson Glory and Savatage. However Florida’s biggest metal export would be the late 1980’s to early 1990’s ‘First Wave Of Death Metal’. In the ‘First Wave Of Death Metal’, bands like Brutality, Obituary, Deicide, Morbid Angel and Chuck Shuldiner’s DEATH would all give birth to the modern global death metal movement still going today. But there always seems to be newer artists and music movements in Florida.
One such band at the forefront of what I call Melodic Post Alternative Hard Rock is Sunshine & Bullets. In as much as the previous mentioned bands I spoke about within Florida’s rich musical history, I feel Sunshine & Bullets have an approach and unique distinctive sound that we will look back on 20 to 50 years from now and place them at the top of some rock family tree maybe not as much pioneers as they will be seen as innovators of music.
Florida seems to produce quality original bands in style, genre, approach and presentation. They never produce watered down clones that exist for the case of just existing. Sunshine & Bullets are a true originals in style, genre, approach, sound and presentation. With only three members in the band Rich Keane Jr – Vocals/Guitar , Amanda Hamers – Vocals/Bass, Kyle Wolfram – Drums, the band has seemed to carve their own way instead of following and produced their own unique and distinct sound that really can not compare to any of their modern day contemporaries.
Formed in 2010 the band has certainly seen its share of growing pains however have always had a way of falling right back on their feet and continue with growth and maturity for such a young band. The band’s official 2014 debut release Triangulum Mechanism proves that very fact. In a musical climate where the industry has a handful of producers creating cookie cutter crap and in a industry way too dependent on useless algorithm’s, Sunshine & Bullets really worked hard to form their own unique sound. Triangulum Mechanism is one of the most powerful yet professional modern debuts I have heard in the last 15 years.
On their 2014 debut Triangulum Mechanism the band truly has this less is much more post rock style atmosphere. They have removed most of the overdubbed tracks that some people think are needed with a band their size. I get this impression that they play live in studio during the recording process and later going back to do the vocals separately. This approach is also brilliant meaning that it provides the band with the confidence needed to perform what they do in studio out on a live setting on the stage. Amanda and Rich’s vocals not only play off the stringed narrative but also hit in the necessary places on the rhythm half of the music as a whole.
The band seems to put out the sound of a seven piece band with only three members. Although stripped down in size, Sunshine & Bullets manage to produce a huge and powerful fury within their chord progressions. A lot of this has to do with the seven string guitar played by Rich with the thunderous fury and grace on the bass from Amanda. Time and time again on the 20 tracks on Triangulum Mechanism the band manages to go outside the typical three chord progression 4/4 time signature and play and produce forth much fuller chord progressions that carefully ride the line between modern prog rock and modern post rock/metal.
Triangulum Mechanism is a conceptual/thematic album meaning their is not a central plot or conceptual story going on, it is more a common topic and theme of science fiction throughout the 20 tracks on the album. With 20 tracks it is a clear indicator of the great detail and care given to the album. This album is more crafted and recorded instead of just written and recorded. There are some wonderful segues between some tracks that are usually missing in the modern alternative post rock/metal circuits. The band totally displays a clear vision and carefully carries the vision to its final fruition. None of the tracks sound like the same thing over and over again. This album guarantees that the listener gets absolutely no time to get bored. There is something always changing up on a sonic level.
Triangulum Mechanism also is an open window into the band’s potential to not only write songs to appeal to the modern rock audience but also appeal to those who like their music heavier and extreme. This will be far more discussed in the other half of this band feature of the month when I go in and review their new full conceptual story EP titled “The Centauri Conspiracies: Part 1”.- (The Awakening ) . The EP “The Centauri Conspiracies: Part 1” – (The Awakening) is far more heavy and brutal. You can go to “The Centauri Conspiracies: Part 1”- (The Awakening). As for Triangulum Mechanism I give this a 4.5/5 for careful attention to detail.
[youtube https://www.youtube.com/watch?v=g-As5knGjaQ]
by Robert 'Unlce Prog' Brady | Nov 5, 2016 | Reviews
Melodic Revolution Records Feature Band |November 2016 (Pt 2)
Sunshine & Bullets | “The Centauri Conspiracies: Part 1“ 2016
Label: Melodic Revolution Records
Release Year: 2016
Country: USA
Genre: Alternative/Hard Rock/Indie Kill Metal/Female and Male Fronted
Band Members
Rich Keane Jr – Vocals/Guitar
Amanda Hamers – Vocals/Bass
Kyle Wolfram – Drums
Track Listing
Everyone’s Watching
You Wanted A War
Heads In The Sand
Divided We Stand
Paralyzed
Let The Giants Sleep
Contact Links
Sunshine & Bullets Official Website
Sunshine & Bullets Official Melodic Revolution Records Profile
Sunshine & Bullets Official Facebook Page
Sunshine & Bullets Official Reverbnation Profile
Sunshine & Bullets Official Twitter
Sunshine & Bullets Official YouTube Channel
Melodic Revolution Records Official Website
Melodic Revolution Records Official Store
When I last left off with my review to Sunshine & Bullets Triangulum Mechanism, I gave a detailed history into the musical heritage in Florida and how it had a influence on Sunshine & Bullets. It seems that Florida is a area of musical pioneers or innovators that pride themselves into maintaining a uniqueness about themselves. Sunshine & Bullets are certainly every definition to this and by no means an exception to this rule.
This time they go full on with Part 1 of a two part conceptual (EP) series titled “The Centauri Conspiracies: Part 1“ (The Awakening). Part 2 of this series will see a release sometime in 2017 along with the full album of both parts on one offering. “The Centauri Conspiracies: Part 1“ (The Awakening) is far more heavy and brutal than Triangulum Mechanism. This offering sees the band really tapping more into their alternative metal side along with all the brilliant post rock elements they employed on their debut Triangulum Mechanism.
The style, sound, delivery and presentation of “The Centauri Conspiracies: Part 1“ (The Awakening) also is continual proof that Melodic Revolution Records refuses to be pigeonholed into the genre or selection of talent they scout. While appealing to the older progressive rock/metal purists they also go into the area of modern rock and metal. IF I had to compare Sunshine & Bullets to any band I would say think Disturbed meets Shinedown with a twist of Flyleaf and The Letter Black without the grunts or growls.
However that comparison there does not tarnish the utter brutality that “The Centauri Conspiracies: Part 1“ (The Awakening) contains therein. Although this only has six songs it is the perfect set up for the full concept that will be released in 2017. The Centauri Conspiracies: Part 1 – (The Awakening) is a passionate album inspired by the propaganda imposed on us by the media and leadership. As usual, we hope to enlighten and help you get through turmoil but see through the distractions. Now without any further delay I would like to point out some highlights to “The Centauri Conspiracies: Part 1“ (The Awakening) with a track to track analysis.
Everyone’s Watching opens up with a sequence of sound and effects giving the listener the illusion that a television set is auto tuning. The band really does a creative job depicting this very effect with the instrumental tools at their call. The instrumental narrative really hooks the listener at the first not preparing them for a lyrical narrative that is truth meets sarcasm. I think whoever listens to this one will be able to identify with this track as a collective.
You Wanted A War stays on point with the conceptual narrative of the world being so interconnected yet with all the technological advances and communication their is still a present ignorance. The extremely tuned down rhythm section will appeal to Generation X and Millennials under the spell of its sonic discourse. The vocal harmonies are both beautiful and creative. The vocals give the illusion of Amanda and Rich delivering them through a megaphone from time to time like a call to action.
Heads In The Sand opens up with a blistering rhythm section compounded by some , at times, almost prog rock time signatures. The harmony between male and female vocals both allow for the listener to experience this track both from a masculine side and a feminine side. The vocal harmonies are tight. The lyrical narrative explores mankind’s complacency in the face of enlightenment.
Divided We Stand begins with a heavily psychedelic element before the blistering rhythm section kicks in. Amanda has this uncanny ability to use her bass both as a melodic instrument or percussive instrument to perfectly compliment Kyle’s wicked drum work. There is almost a NWOAHM or New Wave Of American Heavy Metal vibe about this one. The sweetener to the track is the spoken word narrative in the middle.
Paralyzed is probably the most nostalgia driven track. It sounds like a 1980’s alternative or a heavier New Wave chord progression in the vein of INXS and U2 meets modern hard rock. The band does a great job bringing all the older rock elements and putting a more relevant and modern flavor to it so it appeals to a younger listener.
Let The Giants Sleep opens up with a brooding tuned down rhythm section. Kyle – Drums and Amanda – Bass really do a great job interchanging between melodic rhythm progression to a all out assault with a more percussive rhythm narrative. At times chord progressions remind me of later Lacuna Coil.
After listening to Sunshine & Bullets “The Centauri Conspiracies: Part 1“ (The Awakening) and after experiencing Triangulum Mechanism the first half of this feature, I am convinced that Sunshine & Bullets are at the forefront of another significant musical movement coming out of Florida. I believe that they are perhaps a tour or a festival away from placing Florida again on the ‘Musical Map‘. With such youth within the band they display such a veteran presence both in the delivery of the instrumental and painting the picture lyrically within the senses of the listener. Sunshine & Bullets “The Centauri Conspiracies: Part 1“ (The Awakening) does not get a rating yet. In the interest of fairness I will reserve a rating until the entire album and other Part 2 is released.
by Robert 'Unlce Prog' Brady | Oct 30, 2016 | Reviews
King Diamond | Fatal Portrait 30th Anniversary Retrospect | Halloween Edition
Label Original Release : Roadrunner Records
Release Year : 1986
Country: early-Denmark / later-USA
Genre: First Wave Of Black Metal
Band Members – Original 1986 Fatal Portrait Line up
King Diamond – Lead Vocals, All Vocals & Guitars on ‘From The Past
Michael Denner – Lead Guitars
Andy La Roucque – Lead Guitars
Timi Hansen – Bass Guitars
Mikkey Dee – Drums
Track Listing
The Candle
The Jonah
The Portrait
Dressed In White
Charon
Lurking In The Dark
Halloween
Voices From The Past
Haunted
Contact Links
King Diamond Official Website
King Diamond Official Webstore
King Diamond Official Facebook Page
King Diamond Official Twitter
King Diamond Official YouTube Channel
Andy La Rocque Official Facebook Page
Mikkey Dee Official Facebook Page
Metal Blade Records Official Website
Metal Blade Records Official King Diamond Profile
Roadrunner Records Official Website
Back in 2005 I had discovered one of the absolute best documentaries called Metal : A Headbangers Journey. It was done by a new Canadian anthropologist and filmmaker Sam Dunn. Throughout the course of this documentary Sam Dunn went into very great detail on the history of heavy metal by creating a heavy metal family tree. This family tree not only spoke of the origins to heavy metal music but also the evolution of metal. The family tree was fractured into 26 sub genre’s of heavy metal. He would soon create a docu-series on 12 of those 26 sub genres and call it Metal Evolution.
As I was watching this docu-series I noticed a few artists made the list within this family more than once. Some were credited with be a pioneer in one or more genres. I totally agree with Sam Dunn’s assessment. One artist that really stood out more then some that were featured on multiple branches of the family tree was none other than the subject to this retrospective, Mercyful Fate’s own King Diamond.
King Diamond would make the list under the sub genres of ‘First Wave Of Black Metal’ in Mercyful Fate and ‘Shock Rock/Metal’ as King Diamond. Back in those days to even be considered as a pioneer in a only one sub genre was a huge deal but to actually make two sub genres looking back on it is a outstanding accomplishment all its own. Not even the forefathers of heavy metal such as Black Sabbath, Led Zeppelin, Deep Purple, Judas Priest members can boast of this in the way King Diamond now can. However not to bore anyone with further history, I am here in hopes many will join me in celebrating the 30th Anniversary of King Diamond’s first ever solo effort away from Mercyful Fate titled Fatal Portrait.
Coming with King Diamond on Fatal Portrait were Mercyful Fate original’s Michael Denner – Lead/Rhythm Guitars and Timi Hansen – Bass. To round out the lineup were Andy Larocque – Lead Guitars and Mikkey Dee – Drums. It was released on February, 17th 1986. Ever since its release there have been reissued and remastered versions of this album across various formats. My focus however is the classic 9 tracks from the original pressing issue. See above in track listing.
When I first heard King Diamond it was in fact Fatal Portrait. I was attracted to the animated Cleopatra female face on the album. In those days album art sometimes made the album or broke it. The cover of the vinyl jacket caught my attention and I looked on the back of the jacket and tripped a bit in horror. The face paint on King Diamond totally was Sir Arthur Brown, Alice Cooper and Kiss taken to a whole other dimension. I knew I was about to have my ass handed to me when I placed this on the turntable platter.
King Diamond’s voice was like none had even heard till that time. He took what Rob Halford, Robert Plant, Ian Gillan up to a level of falsetto soprano to the ionosphere. It would also help inspire either directly or indirectly singers like John Arch – Fates Warning or Midnight – Crimson Glory in progressive metal or even black metal contemporaries such as Kronos of Venom, Tom Warrior – Hellhammer/Celtic Frost or Quorthon of Bathory to name a few. This sounded like going to a opera house to see a horror opera on stage and King Diamond the main character. For 1986 this was pretty scary for the time and at times controversial due to the lyrical content.
Fatal Portrait also set another standard especially within the ‘First Wave Of Black Metal’ and later on with ‘Norwegian Black Metal’ and that being Black Metal’s first thematic or concept album depending on how the audience and listener received it. Unlike the bands that would come after Mercyful Fate/King Diamond whose vocal styles were practically screams, shrieks and more acquire audio pallet, King Diamond would maintain a clean operatic vocal style. King Diamond also set a monumental higher standard on the stage than most artists to come before or after him.
Before Dimmu Borgir and Cradle of Filth made a high quality visual video of the listener for black metal, King Diamond was doing this in the theater of the mind of the listener on Fatal Portrait and his other conceptual works to follow such as Them, and Abigail’s 1&2. King Diamond had incredible vision for the conceptual side of metal and music in general. His vision was like a soundtrack to horror and suspense films that have not been made or filmed yet. Now we can explore a few highlights of Fatal Portrait by song/track.
The Candle opens up with a very eerie atmosphere with a slight touch of a hand bell. The intro is very haunting almost like the opening to a sheer horror film set to metal music. It is very intense from the first note and passage. Soon you hear a coven like gathering for a possible seance. The chant narrative is very wicked and haunting. It sounds like it is possibly being held in a church as you hear this thunderous atmospheric Hammond Organ sound painting the very walls of the mind of the listener. It is like a wicked invitation from some apparition. The title The Candle is very appropriate title for the first track as well. It is somewhat a metaphor for a person lighting a candle to see where he or she is going within the album itself. It soon takes off in a more thrashy speed metal direction. This is the one of the first times you hear a sort of double blast beat that would become commonplace in future black metal in general. This is also the early stages of voice transitioning from a scream style shrieks to a clean vocal .
The Jonah also starts with the chant effect of a coven or seance happening before it goes into something metal had very little with at that time and that is the use of a choir style of vocal. King Diamond keeps his enigmatic and sinister allure about him by ensnaring the listener more into the story. This is where reading the lyric sheet obviously comes into play. The incredible overdubbed vocals expanded the sound full of majestic atmospheres. The bad also is actually playing real guitar solo’s, something that would be partially lost in future in some black metal bands.
The Portrait begins with a seriously deep down tone effect before it enters into a almost NWOBHM style of galloping guitar and rhythm section of bass/drum. Once again King Diamond displays more and more possibilities with how to execute vocals in this fairly new format of metal. In this you also here a stringed section acting like a stringed section instead of the tuned down guitars that you would had with black metal’s rival death metal. Some of King Diamond’s vocals were not just a vocal but were also used as an instrument, always have and always will. He was pushing the proverbial vocal envelop further out of its comfort zone.
[youtube https://www.youtube.com/watch?v=lDs-N1YV8Ls]
Dressed In White on the instrumental side is a completely total shredfest , still a new element to this new sub genre called black metal.You also see King Diamond really becoming a serious force vocally to be reckoned with as this has at this time never been done as a solo act with help.
Charon is a brutal rhythm laden thrash over toned track with King Diamond still executing the vocals both as an instrument and a narrative. The vocal even emulates the illusion of a full choir going on about it that would later be heard in bands like Dimmu Borgir, Cradle Of Filth, Enslaved, Agalloch and Summoning. The wicked little giggle serves as something of melodic horror legend. The twin guitars pull off one of the very best guitar solo’s I have heard not only in just black metal but metal in general.
Lurking In The Dark has a brutal wolf style call effect as if this part of the story were taking place off in the woods. The beautiful vocal overdub sounds like something of a classical musical hall legend with an acoustic choir carrying it. The guitar solo’s are nothing but a thing of beauty and perfection in a format still very young.
Halloween continues to see King Diamond really coming into his own wicked persona. Even more so than when he was in his first band Mercyful Fate. The character is evil, wicked, diabolical and will stop at nothing to produce the most amount of fear in a person’s soul and blister the listeners ears with some serious guitar riffs. He is really wanting to rip somebody’s heart and soul out with melodic malice.
[youtube https://www.youtube.com/watch?v=kehDsnCWxzg]
Voices From The Past is a brilliant instrumental as if somebody is running for their very lives through a set of woods or down a lonely street. This simulates much of how the human psyche can real take fear with very little.
Haunted lyrically lives up to its name. After running for your melodic life in Voices From The Past King Diamond really lays sheer horror within you. The guitars are offset to create a echo and bone chilling effect throughout this track. The solos are just as detailed as the rest of the recent eight tracks are. This album places the whole project into the perspective of being haunted, looking over your shoulder and in fear. King Diamond and band serve as instruments fear a melodic sticks and rods to further provoke that fear.
[youtube https://www.youtube.com/watch?v=f50l1KXwhpI]
by Robert 'Unlce Prog' Brady | Oct 29, 2016 | Reviews
Petri Lindstrom Project | Hail To Sabbath
Label: Melodic Revolution Records
Release Year : 2016
Country: International
Genre: Doom Metal
Band Members
Petri ‘Lemmy’ Lindström – Guitars, Bass & Keyboards
Special Guests:
Blake Carpenter – (The Minstrel’s Ghost, Voice of The Enslaved, Corvus Stone) Vocals
Juha-Matti Koppelomäki – (Wolfhorde) Solo Guitar
Janne Ahonen – Drums
Track List:
My Time Is Now
Fall Into Hands of Reality
Lost Children
Get Away
Keeper of the Gates
Seaso
Contact Links
Petri Lindstrom Official Website
Petri Lindstrom Official Melodic Revolution Records Profile
Petri Lindstrom Project Official Facebook Page
Melodic Revolution Records Official Website
Melodic Revolution Records Official YouTube Channel
When it comes to Black Sabbath tributes you always hear about a multi band and multi song album full of Black Sabbath covers. Most notably the albums Nativity In Black 1&2 or NIB A Cover To Black Sabbath have really been the major Black Sabbath cover albums. While cover albums like those certainly help the posterity of both the band and the music they created, they have not really addressed the very essence of the music. Most of those cover albums we see the band taking the Black Sabbath track and making it their own with their own signature sounds uniquely.
I have always asked myself what if a band or artist were to write and record an entire album of originals with the very tuned down doom sound Black Sabbath basically created Heavy Metal with. After almost 27 years since this thought first hit me there is now a album that now has done that very thing. Petri Lindstrom Project Hail To Sabbath is a album of six original songs written by Petri Lindstrom himself that really dive into the very essence of the sound of Black Sabbath. Thus making Hail To Sabbath a very appropriate title to this new release on Melodic Revolution Records.
It is albums such as this as to why I do special features on Melodic Revolution Records artists. Nick Katona and staff never fail to impress or amaze the listener with unconventional find and sign acts such as Petri Lindstrom Project. It is albums like this and the first half of this monthly feature from NeverWake that display originality and the fact that Melodic Revolution Records refuses to be pigeonholed or typecast to who or what genre they sign and present to the world. This is what makes a record label a quality buffet of various sounds and flavours throughout the world.
Petri Lindstrom Project’s new doom laden Hail To Sabbath is the ultimate irony as it contains Blake Carpenter – Vocals – The Minstrel’s Ghost, Voice of The Enslaved, Corvus Stone , Juha-Matti Koppelomäki – Solo Guitar – Wolfhorde , Janne Ahonen – Drums . This is also a testament to both label and artists that there is a melodic family atmosphere. There seems to be a tight knit community within Melodic Revolution Records where its individual artists continue to work with one another much like a fraternity or sorority. They are not just so called “side projects” these are whole other bands with whole other combination of artists about them.
As for Hail To Sabbath, this album stays very true to the origins of not only just Black Sabbath but the very spirit that gave metal its birth, ‘Doom Metal’. To my surprise Blake Carpenter does a fine job transitioning his vocals with great versatility between various genres, sounds and band participation he has been involved with vocally. This project is no exception to that rule either. Petri does a wonderful job channeling both his inner Tony Iommi and Geezer Butler transitioning in and out between guitars and bass. The way this whole project has been written, recorded and produced show the listener the clear vision all participants have paying such original homage to Black Sabbath.
Petri Lindstrom has managed to bring together four world class musicians that clearly looked at his vision and to see it through. I hope Petri Lindstrom’s Hail To Sabbath will inspire future projects to pay very unconventional tributes with original standards and songs to bands they were influenced by and loved. Petri Lindstrom’s Hail To Sabbath takes tribute albums into uncharted territory I hope is explored more in the future. Petri Lindstrom’s Hail To Sabbath gets a 4.5/5 for very original content and courage to carry it out.
[youtube https://www.youtube.com/watch?v=W8Gso9bVFw4]
Video Courtesy of (Melodic Revolution Records Official YouTube Channel )
