Posts Tagged “Guitar Solos”

The official lyric video for the song “Alive” from GHOST SHIP OCTAVIUS, the new progressive metal band formed by lead guitarist Matt Wicklund (GOD FORBID, HIMSA, WARREL DANE), drummer Van Williams (NEVERMORE, ASHES OF ARES, PURE SWEET HELL) and vocalist Adōn Fanion, can be seen below.

The band’s sound features technical and groove metal elements, highlighted by Adōn‘s powerful clean vocals, Van‘s tasteful rhythms and Matt‘s melodic and intricate guitar solos.

GHOST SHIP OCTAVIUS has finished writing material for its as-yet-untitled debut full-length album and is currently working with Grammy-winning producer Neil Kernon (NEVERMORE, QUEENSRŸCHE, CANNIBAL CORPSE, HALL & OATES, NILE).

In order to get this project off to a great start, GHOST SHIP OCTAVIUS is reaching out to fans to help fund the album by use of popular crowd-funding site Kickstarter. The campaign has been launched and offers pre-sales of the album, merchandise and many other perks, including one-on-one Skype video lessons, guest performances on your band’s album, being drawn into the band’s album artwork, and more. Pledge here, but hurry, the pledging period ends in 30 days.

Guitarist Christopher Amott (ARMAGEDDON, ex-ARCH ENEMY) last year announced his departure from GHOST SHIP OCTAVIUS in order to focus entirely on making a new ARMAGEDDON album.

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Linkin Park: game for it

Linkin Park have been locked in the studio working on a new studio album, and it looks like it’s packing a few surprises.

The band announced earlier this year that they were getting cracking on the follow-up to 2012′s Living Things, with Mike Shinoda recently suggesting that we might see it surface by the time they rock up to Download in June.

Now guitarist Brad Delson says that shred-happy LP warriors (erm, are there any of those?) will be very satisfied with the way the new opus is turning out.

“There’s a lot of guitar solos on the album!” he tells Music Radar. “And this is from someone who was quoted early on as saying I hated them. Not that I hated them as a listener; I just don’t want to play any; I shirked guitar solos. Early on, I felt as though the songs we were making aesthetically didn’t want them. This new batch of songs, to me, always want solos. I feel like every song has one.”

Brad also explained why the band decided to drop a new single so soon after announcing that they were in the studio, noting: “We wanted to get music out sooner than later. The timing just felt right with this song. We finished two songs relatively early in the process, and Guilty All The Same seems to inform the spirit of the record. For us, it’s the perfect lead offering to set the tone for the album as a whole.”

Expect that album to land around summer time. In the mean time, catch the rock heavyweights playing their seminal Hybrid Theory debut in full at Download in June.

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When you think of pissed-off albums, BLACK FLAG‘s “My War” is at the forefront of them all. That, and MINOR THREAT‘s “Out of Step”. Every so often an album distinguishes itself in the metal and punk sanctions as authentically pissed-off. Considering there’s so much artifice in disguise of angst these days, when you hear the real McCoy, it’s enough to cause shivers.

Leave it to one of metal’s most revered screamers to outdo himself. Phil Anselmo has always been at the forefront of hostility in PANTERA, SUPERJOINT RITUAL, VIKING CROWN and to lesser latitudes, SOUTHERN ISOLATION and DOWN. There’s sure to be a widespread case of metal euphoria from listeners stepping up to Phil‘s new crunch posse, THE ILLEGALS. Their debut album “Walk Through Exits Only” is as severe as Anselmo‘s perturbed expression on the cover.

Suffice it to say, it’s no secret Phil Anselmo has weathered his fair share of adversity over the years. Even while exiling himself for a brief time until he felt ready to resurface in the music scene, there’s something about “Walk Through Exits Only” that sounds as if everything Anselmo was harboring in isolation has only just now fully climaxed.

This spells outrageous volume, menacing crunch chords, dizzying parlays between double hammer and slithering tempos, plus jacked-up guitar solos to match Phil Anselmo‘s ear-splitting bombasts. In short, “Walk Through Exits Only” is the most pissed-off album anyone’s released in quite some time.

THE ILLEGALS, made up of Marzi Montazeri (guitar), Jose Manuel Gonzalez (drums) and Bennett Bartley (bass), create the heaviest, most insane tones Anselmo‘s ever decked himself out with, no disrespect intended towards PANTERA. The latter had tons of groove to counter the tremendous execution, while THE ILLEGALS are a different beast, focused explicitly upon maximum carnage. There’s little restraint held by Montazeri, who rips bloody arpeggios at will on the slashing title track that only lets up in the slower final section. Even then, Montazeri and Bartley pour out riffs in massive chunks.

Montazeri is a motherlovin’ monster on this album, peeling off high-pitched fret shrieks galore, most notably on “Battalion of Zero” and “Irrelevant Walls and Computer Screens”. Those with pets are advised to keep them clear out of the room when this dude’s jerking out his solos, which come in serious heaps amongst “Irrelevant Walls”‘ twelve-minute running time.

Phil Anselmo, more than ever, rips his throat clean out while his band alternates between slow march patterns and random thrash or grind intercuts. The scheme is repeated all throughout “Walk Through Exits Only”, yet despite a lack of dynamics, the eruptive experience is filled with precise mayhem and enough dirtiness to keep the album at a constant fever pitch. Perfect din scapes for Anselmo to bellow “Insult!” and “Revolt!” like shoved-out mantras on “Betrayed”, “Tantrum!” on “Bedroom Destroyer” and “Rant!” on “Usurper’s Bastard Rant”. Onstage, it’s a guarantee Anselmo will have his audience wailing “(We are) going…going…gone!” from “Battalion of Zero” back at him.

While Anselmo has a bio book on the way, consider “Walk Through Exits Only” a blistering preview. This is a noisome portal into his tortured id that was obviously wrung out to bits during his brief sojourn from music. “Bedroom Destroyer”, “Betrayed” and “Bedridden” gives listeners a candid view of depression via Anselmo‘s wolfing tirades and confessionals. He also sounds off about the dumbing down of man in the digital age with “Music Media is My Whore” and “Irrelevant Walls and Computer Screens”.

Remarkable that Jose Manuel Gonzalez can play both in whiz-bang mode and more tempered rhythms, yet spill as much sensory overload that’s not already hijacked by Marzi Montazeri and Bennett Bartley, much less Phil Anselmo‘s imposing outcries. Put together, “Walk Through Exits Only” is seriously busy as it is seriously fierce.

If Henry Rollins was a walking time bomb on “My War”, Phil Anselmo is likewise here, only he’s set on a much shorter timer.

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Megadeth frontman talks essence of guitar solos, claims Chris Broderick is the best guitarist he’s ever played with.

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Unique Leader Records has announced the signing of ALTERBEAST to a multi-album deal.

ALTERBEAST is a technical death metal band hailing from Sacramento, California, formed in 2011 under the name GARY BUSEY AMBER ALERT (GBAA). ALTERBEAST quickly began writing songs, combining influences from favorites such as THE BLACK DAHLIA MURDER, NECROPHAGIST and SPAWN OF POSSESSION, along with numerous other classic death metal acts like DISSECTION and MORBID ANGEL. After a year of dedicated writing, ALTERBEAST released a demo in the winter of 2012 and played countless shows alongside such greats as DEICIDE, DYING FETUS, TESTAMENT, REVOCATION, EXHUMED, SEVERED SAVIOR and many others. They soon began gaining momentum in the death metal community and became known for their intense riffs, blistering drums, elaborate guitar solos and a very developed stage show.

One year after releasing their demo, they entered Augmented Audio at Sound Temple Studios to record their debut album, “Immortal”, with former THE BLACK DAHLIA MURDER bassist Ryan “Bart” Williams engineering. After recording at Sound Temple, the band acquired Gabe Seeber (THE KENNEDY VEIL) for drum duties. Deciding that it was a must to have Gabe‘s talents on this record, ALTERBEAST booked time at Castle Ultimate with engineer Zack Ohren to record drums and mix and master.

Due in early 2014, “Immortal” will consist of eight tracks of extreme, melodic, brutal, and uncompromising death metal.

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The Front Row Report recently conducted an interview with guitarist/vocalist Michael Sweet of Christian hard rockers STRYPER. You can now listen to the chat in the YouTube clip below.

STRYPER‘s new album, “No More Hell To Pay”, will be released on November 5 in North America via Frontiers Records. The effort will be made available in two formats — standard CD and deluxe digipak featuring exclusive video content. Produced by Michael Sweet himself, the set features some of STRYPER‘s strongest and heaviest material ever.

Commented Sweet, “‘No More Hell To Pay’ marks our 30-year anniversary and what a journey it has been! It’s our eleventh studio release since our first album in 1984 (‘The Yellow & The Black Attack’) and it’s quite possibly our best record to date. Why? It’s everything you might expect from a STRYPER record — high-octane vocals, layered vocal harmonies, guitar solos galore, driving drums and bass and an energy that hasn’t been achieved since our glory days. The message is equally as powerful as it offers hope and inspiration to anyone listening. If you’re a STRYPER fan, it’ll make you proud to be one. If you’re not, listen with caution as you may actually become one.

“We’ve been waving the striped flag for 30 years and we’re proud to say that it’s an honor to still be making music with you and for you. The best is yet to come and it’s coming November 5th!”

“No More Hell To Pay” includes STRYPER‘s cover version of “Jesus Is Just Alright”, a gospel song written by Arthur Reid Reynolds. STRYPER guitarist/vocalist Michael Sweet said, “It rivals our cover of EARTH, WIND & FIRE‘s ‘Shining Star’ — riffs!”

“Jesus Is Just Alright” was first recorded by Reynolds‘ own group, THE ART REYNOLDS SINGERS, on their 1966 album, “Tellin’ It Like It Is”. It was later covered by THE BYRDS and THE DOOBIE BROTHERS.

“No More Hell To Pay” track listing:

01. Revelation
02. No More Hell To Pay
03. Saved By Love
04. Jesus Is Just Alright
05. The One
06. Legacy
07. Marching Into Battle
08. Te Amo
09. Sticks & Stones
10. Water Into Wine
11. Sympathy
12. Renewed

Regarding the musical direction of STRYPER‘s new material, Michael Sweet told Screamer Magazine: “The song ‘God’, which is on ‘The Covering’; if you took that song along with ‘Bleeding From Inside Out’ and ‘Blackened’ [from ‘Second Coming’], and you put it on the same album, that’s a pretty good indication of where we are going and where we are at right now. But at the same time this album is all its own.”

He added: “Every song has a hooky guitar riff. Everything is in minor keys, so it’s a little darker sounding and a little tougher. It’s definitely our heaviest record and I think people will be pleasantly surprised.

“The people who do like the poppier side of STRYPER, like ‘Calling On You’ and ‘Holding On’, this record isn’t going to really give them that. There are a lot of vocal hooks and melodies going on, but it’s a little darker, and a little edgier. To reference, there is less songs like ‘Calling On You’ and more songs like ‘To Hell With The Devil’. It’s more in that vein than the poppier vein.”






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With a metal band carrying the moniker POTENTIAL THREAT SF, you can place a safe bet you’re coming straight to a hub where the famed Bay Area thrash scene is celebrated. POTENTIAL THREAT SF was originally formed in 1986, in the midst of the San Fran slam uprising. Thus you’ll forgive them if they come off like doppelgangers of METALLICA, HEATHEN, DEATH ANGEL, EXODUS, FORBIDDEN and TESTAMENT. Sidebar, it so happens bassist Damien Sisson splits time here and in DEATH ANGEL.

POTENTIAL THREAT SF‘s latest record, “Civilization Under Threat”, has only one thing going against it, and it has nothing to do with an unabashed retro thrash feel, nor the fact Mike Noble coughs up a ton of James Hetfield and even a little Chuck Billy from his wrangled pipes. All of that is mostly welcoming and well-played. As sharp as the execution is on “Civilization Under Threat”, the songs are too damned long, clocking at an aggregate six-and-a-half minutes. A couple marathons might’ve been acceptable, but all the constant extension does for POTENTIAL THREAT SF is to let them bombard their listeners with every riff, slide and blitz pattern that’s been churned out of their native turf.

“Civilization Under Threat” sounds like a Bay Area tribute album that doesn’t want to quit, albeit what’s presented does make for some happy headbanging. Each song is crammed with power grooves, mosh marches and speed metal jerk-outs along with tasty guitar solos from Daniel Sheridan, Mike Noble and guest shredder Mehl Meinhardt. While nothing emitted by POTENTIAL THREAT SF is ever spectacular, there’s constant aptitude and overall tightness despite some low-key production.

What’s going to stick out like a sore thumb on “Civilization Under Threat” is Mike Noble‘s uncanny Hetfield duplications. On “Written in Blood”, he sells the illusion with such convincingness along with the rest of the band it sounds like a METALLICA track still in the making, albeit it has its foot planted in the right era. “The Threat of Things to Come” likewise carries a METALLICA nuance, though it comes more from a chunkier attack within a framework centered around “Death Magnetic” and even “Blackened”. Finally, the quasi-ballad “Behold the End” is sifted from the ashes of “Fade to Black”.

On the flipside, “Edge of Sanity”, “Destroy and Dominate” and the hammering “Beneath the Surface” hoist as much from late Eighties EXODUS as they do from METALLICA. By now you get the picture. POTENTIAL THREAT SF makes no pretentions about who they are and what they’re out to achieve. Damien Sisson is both showcased and drowned, while drummer Kenny Noble lays down some gnarly tempos, even if he hooks his bass drum out of whack in a few spots. Thus “Civilization Under Threat” is nowhere in the league of its contemporaries, but it is a lot of fun if you can overlook its ceaseless platitudes and protracted song intervals.

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French progressive technical death metallers GOROD have parted ways with drummer Samuel Santiago. The band states: “The reasons for this split up only concern Samuel and GOROD. No others statements will be made about this.

“The few gigs booked for the end of the year are confirmed and will be done with a temporary drummer. These gigs will be the the last concerning ‘A Perfect Absolution’.

“In the following weeks, GOROD will focus and start to compose for a new album… and, we have few ideas, will search for a new drummer. More news soon.”

GOROD‘s fourth full-length album, “A Perfect Absolution”, was released in the U.S. on May 8, 2012 via Unique Leader Records (March 2012 in Europe through Listenable Records). The CD was mixed by producer Frédéric “Elmobo” Motte, who oversaw the recording of the drums, bass and vocals, while all guitars were tracked by GOROD‘s mastermind Matthieu Pascal at his Bud Records Studio. The mix and the mastering were done at Elmobo‘s Conkrete Studio by Pascal and Elmobo.

The lyrical concept of “A Perfect Absolution” is based on the history of Kievan Rus during the 10th century.

In the year 945, Igor, King of Kiev, was killed while collecting a “tribute” when he visited a neighbor pagan tribe (the Derevlians) who lives in the forest. He left a widow, Olga, who avenged him in an extremely harsh manner before converting to Orthodox Christianity.

“A Perfect Absolution” features guest guitar solos by Christian Muenzner (OBSCURA) and Mike Keene (THE FACELESS).

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The official lyric video for the song “Revelation” from Christian rockers STRYPER can be seen below. The track comes off the band’s new album, “No More Hell To Pay”, which will be released on November 5 in North America via Frontiers Records. The effort will be made available in two formats — standard CD and deluxe digipak featuring exclusive video content. Produced by frontman/guitarist Michael Sweet himself, the set features some of STRYPER‘s strongest and heaviest material ever.

Commented Sweet, “‘No More Hell To Pay’ marks our 30-year anniversary and what a journey it has been! It’s our eleventh studio release since our first album in 1984 (‘The Yellow & The Black Attack’) and it’s quite possibly our best record to date. Why? It’s everything you might expect from a STRYPER record — high-octane vocals, layered vocal harmonies, guitar solos galore, driving drums and bass and an energy that hasn’t been achieved since our glory days. The message is equally as powerful as it offers hope and inspiration to anyone listening. If you’re a STRYPER fan, it’ll make you proud to be one. If you’re not, listen with caution as you may actually become one.

“We’ve been waving the striped flag for 30 years and we’re proud to say that it’s an honor to still be making music with you and for you. The best is yet to come and it’s coming November 5th!”

“No More Hell To Pay” includes STRYPER‘s cover version of “Jesus Is Just Alright”, a gospel song written by Arthur Reid Reynolds. STRYPER guitarist/vocalist Michael Sweet said, “It rivals our cover of EARTH, WIND & FIRE‘s ‘Shining Star’ — riffs!”

“Jesus Is Just Alright” was first recorded by Reynolds‘ own group, THE ART REYNOLDS SINGERS, on their 1966 album, “Tellin’ It Like It Is”. It was later covered by THE BYRDS and THE DOOBIE BROTHERS.

“No More Hell To Pay” track listing:

01. Revelation
02. No More Hell To Pay
03. Saved By Love
04. Jesus Is Just Alright
05. The One
06. Legacy
07. Marching Into Battle
08. Te Amo
09. Sticks & Stones
10. Water Into Wine
11. Sympathy
12. Renewed

Regarding the musical direction of STRYPER‘s new material, Michael Sweet told Screamer Magazine: “The song ‘God’, which is on ‘The Covering’; if you took that song along with ‘Bleeding From Inside Out’ and ‘Blackened’ [from ‘Second Coming’], and you put it on the same album, that’s a pretty good indication of where we are going and where we are at right now. But at the same time this album is all its own.”

He added: “Every song has a hooky guitar riff. Everything is in minor keys, so it’s a little darker sounding and a little tougher. It’s definitely our heaviest record and I think people will be pleasantly surprised.

“The people who do like the poppier side of STRYPER, like ‘Calling On You’ and ‘Holding On’, this record isn’t going to really give them that. There are a lot of vocal hooks and melodies going on, but it’s a little darker, and a little edgier. To reference, there is less songs like ‘Calling On You’ and more songs like ‘To Hell With The Devil’. It’s more in that vein than the poppier vein.”




stryper-no-more-hell-to-pay_600

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“Dead Can See”, the new video from EVIL UNITED — the Austin/San Antonio, Texas-based band featuring Jason McMaster (WATCHTOWER, DANGEROUS TOYS, BROKEN TEETH) on vocals, a double guitar assault of T.C. Connally (PB/DC, CULT TO FOLLOW) and John Valenzuela (PB/DC, URIAL) as well as the brutal rhythm section of Don Van Stavern (RIOT, S.A. SLAYER) on bass and “Shakes” West (MURDERDOLLS, NEUROTICA, SEBASTIAN BACH) on drums — can be seen below. The song will appear on the band’s sophomore full-length album, which is currently “in the mixdown phase.” Connally says: “We can’t wait for people to hear the new material.”

EVIL UNITED instantly delivers what fans expect and demand from the Lone Star state: intricate, heavy, pounding rhythms, screeching guitar solos and over-the-top power-screaming vocals. The band was described by Lior “Steinmetal” Stein of Metal-Temple.com as “fresh with an old-school orientation.”

EVIL UNITED‘s self-titled debut album was released in September 2011 via MVD Entertainment Group.

McMaster previously stated about EVIL UNITED: “I think there are a lot of bands playing this type of metal right now, but I believe that EVIL UNITED has something different about it. There is a wide range of influence, lots of peaks and valleys to explore, without losing any of the extreme.

“It’s a pleasure to work with Texas metal alumni such as these guys; they shred but they are paying attention to the thrash and power as well as the melody.”

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