Reviews MAI 2019

Ab 5. Mai bin ich im Urlaub bis ENDE MAI.Fehlende Reviews werden nachgeholt!

 

Entombed – Clandestine „LIVE“

Release: 17.05.2019

INFO-Auszug

A unique Entombed experience with original members Nicke Andersson, Uffe Cederlund and Alex Hellid performing their second album “Clandestine” for the album’s 25th Anniversary.

Threeman Recordings now presents Act 2: The Entombed performance – A concert in two acts based entirely on the Swedish band’s acclaimed album „Clandestine“ from 1991. It is a unique concert where the pioneering album is played from beginning to end. From the opening „Living Dead“ to closing „Through The Collonades „.

In the first act, the Malmö Symphony Orchestra and Choir performs Clandestine, arranged for orchestra by Thomas Von Wachenfeldt (Wachenfeldt), with the original members from Entombed sitting in as part of the ensemble. In the second act, the band performs the entire album live in the original version for the very first time.

– It is amazing to experience the musical journey with an orchestra and we really enjoyed the
experience, says Alex Hellid

– Allowing Entombed’s suggestive music to meet Symphony Orchestra and Choir is a very creative and exciting concept. Composer Thomas Von Wachenfeldt’s arrangement contains challenges for both orchestral musicians and for me as a conductor, as the starting point has been to interpret the „Clandestine“ in a classical, symphonic format, rather than plank the music outright, says conductor Josef Rhedin who will conduct the concert.

Entombed
Entombed was inducted into the Swedish Music Hall of Fame in 2014 with the following motivation:
„Hard rock is just as typical of growing up in medium-sized Swedish towns as football and mopeds. Hard rock is Swedish folk music with studded wrist bands instead of tasseled garters.

After two decades of Anglo-Saxon hard-rock a Swedish band, Entombed, became one of the world leaders in death metal. A subculture that has spread throughout the world, mutated in various forms, and after 20 years continues to be just as vital. Entombed is part of the heavier internationalization of Swedish popular music – all categories.“

The band was founded in 1987 under the name of Nihilist. With its catchy, versatile but still rock hard music Entombed pioneered Scandinavian death metal, which was different from its American counterpart mainly by the characteristic, chainsaw-like guitar sound. The special sound they got by tuning down their guitars three full steps (to C or less), by using a maxed out Boss HM-2 Heavy Metal pedal, in combination with a guitar running through a Boss DS-1 Distortion Pedal.The debut album „Left Hand Path“ was released in 1990 and followed up the following year with“Clandestine“.

For the 25th anniversary of Clandestine original members Nicke Andersson, Uffe Cederlund and Alex Hellid performed the album from start to finish together with the perfect fitting Robert Andersson (Vocals) and Edvin Aftonfalk (bass) of Morbus Chron. The evening also saw the Malmö Symphonic Orchestra featuring Entombed perform Thomas von Wachenfeldt’s stunning arrangement of Clandestine for orchestra.

7 von 10 Punkte


EMIL BULLS – Mixtape

Release: 24.05.2019

INFO-Auszug

„I’m a survivor, I’m gonna make it. I will survive, keep on survivin‘!“ Unsterbliche Zeilen, die jeder aus Destiny`s Childs größtem Hit „Survivor“ kennt und die längst auch zu fortgeschrittener Stunde auf jeder anständigen Metal-Party mitgesungen werden. Auch die Emil Bulls könnte man als waschechte „Survivor“ bezeichnen. Als Überlebende, die sich nun schon seit zweieinhalb Dekaden erfolgreich im harten Musikgeschäft behauptet haben und immer konsequent ihren Weg gegangen sind. Was läge da näher, als diese Überlebenshymne selbst nachzuspielen? Mit ihrem brandneuen Album beweisen sich Emil Bulls erneut als eine der wandlungsfähigsten und im positiven Sinne unberechenbarsten Bands ihres Genres: Auf der Cover-Sammlung „Mixtape“ hat das Quintett seine ganz persönlichen Lieblingssongs aus Rock und Pop einer metallischenFrischzellenkur unterzogen und zu nackenbrechenden Heavy-Versionen umgebaut!

Ohne sich irgendwelchen schnelllebigen Trends anzubiedern, hat die Truppe um Frontmann Christoph von Freydorf ihren sofort wiedererkennbaren Signature-Sound immer weiter verfeinert und sich in den vergangenen Jahren den Status einer der eigenständigsten, beliebtesten und erfolgreichsten Formationen innerhalb der Metal-Szene erarbeitet – auch weit über deutsche Grenzen und irgendwelche stilistischen Tellerränder hinaus. Nach Abschluss der beiden restlos ausverkauften Touren zu ihrem letzten 2017er Studioalbum „Kill Your Demons“ haben sich Christoph von Freydorf (Gesang, Gitarre), James Richardson (Bass), Stephan Karl „Moik“ (Gitarre), Andy Bock (Gitarre) und Fabian Füß (Drums) nicht etwa auf ihren hart erspielten Lorbeeren ausgeruht. Stattdessen bleiben die Emil Bulls ihrer liebgewonnenen Tradition, ihre Fans zwischen den regulären Veröffentlichungen immer wieder mit außerplanmäßigen Releases wie einer Akustik-Scheibe, einer Best-Of-Compilation oder einer Live-DVD zu überraschen, auch 2019 treu. Nachdem die Band in der Vergangenheit immer wieder die eine oder andere augenzwinkernde Coverversion auf ihre Live-Setlist schummelte, erscheint nun mit „Mixtape“das aller erste offizielle Tribut-Album von Emil Bulls! „Wir müssen uns zwischen den Alben immer noch auf andere Arten austoben, um unsere überschüssigen Energien abzubauen“, so Shouter Christoph von Freydorf über die Entstehungsgeschichte zu „Mixtape“. „Also haben wir uns dazu entschieden, einerseits die Songs nachzuspielen, die wir in unserer Jugend in den 80er und 90er Jahren gehört haben und die uns auch auf gewisse Weise dazu inspiriert haben, selbst Musik zu machen. Andererseits wollten wir uns aber nicht nur auf die prägendsten Songs unserer musikalischen Sozialisation beschränken, sondern haben uns die Freiheit genommen, auch moderne Bands und Künstler mit einzustreuen.“

Aus über gesammelten 300 Vorschlägen blieben am Ende schließlich die 14 größten Lieblingslieder übrig, auf die man sich nach langem Auswahlprozess einigen konnte. Auf „Mixtape“ unterzieht das Quintett nun mehr als ein Dutzend handverlesene Songs einem knackigen Heavy-Make-Over im typischen Emil-Bulls-Stil: Angefangen bei millionenfach geklickten Hits von angesagten Acts wie Rap-Ikone Eminem feat. Ed Sheeran („River“), The Weeknd („The Hills), Bruno Mars („Grenade“) und Urban-Pop-Shootingstar Billie Eilish („You Should See Me In A Crown“) bis zu Klassikern wie „Rebel Yell“ (Billy Idol), „Where Is My Mind?“ (Pixies), „Every You Every Me“ (Placebo) oder „We Built This City“ (Starship) – Namen, die man im ersten Moment wahrscheinlich nicht im selben Atemzug mit den Emil Bulls nennen würde. Doch genau darum ging es der Fünfertruppe von jeher:Musikalische Grenzen zu sprengen und für eine Metalband auch ungewöhnliche Wege zu beschreiten. „Früher habe ich mir für lange Autofahrten immer selbst aufgenommene Mixtapes zusammengestellt“, fährt Christoph fort. „Eine bunte Mischung aus allen denkbaren Stilen und Künstlern. Genau diesen Abwechslungsreichtum wollten wir auch mit diesem Album transportieren. Es ging darum, die musikalische Sprache anderer Künstler in unsere eigene zu übersetzen. Die größte Herausforderung war dabei, etwas Eigenes zu erschaffen, ohne den besonderen Charakter des Originals aus den Augen zu lassen.“

Eine Gratwanderung, die die Emil Bulls gemeinsam mit ihrem bewährten Produzenten Benny Richter (Caliban, Moonspell)auf „Mixtape“ perfekt vollzogen haben. Im Rekordsommer 2018 verbarrikadierte man sich gemeinsam für einige Wochen in einem Ferienhaus im tiefsten Saarland, um ganz in Ruhe an seinen Neuinterpretationen zu feilen. Eine extrem lehrsame Erfahrung, wie Christoph von Freydorf berichtet. „Obwohl es ein ganzes Stück harter Arbeit war, hat es uns allen riesigen Spaß gemacht. Wir haben wahnsinnig viel über das Songwriting anderer Künstler herausgefunden und viele Dinge ausprobiert, die wir vorher noch nie gemacht haben.Mit hörbarer Spielfreude leben die sechs Metaller auf „Mixtape“ ihre gemeinsame Leidenschaft für Rock und Pop aus.

Angefangen bei Billy Idols treibender Rock-Hymne „Rebel Yell“, die die Emil Bulls zu einer atmosphärisch brodelnden Heavy-Ballade mit jeder Menge Metal-Swag entschleunigt haben. Und auch den Songs „Mr. Brightside“ von den Killers,MGMTs Megahit „Kids“ und Taylor Danes 80er-Jahre-Klassiker „Tell It To My Heart“ hat die Formation ihren deutlichen Stempel aufgedrückt. Und mit dem Remake von „Where Is My Mind?“ von den amerikanischen Indie-Ikonen Pixies haben sich die Emil Bulls selbst an einen der wohl meist gecoverten Alternative-Rock-Kulthits aller Zeiten gewagt, dem man mit seiner Mischung aus psychedelischer, bombastisch in Szene gesetzter Härte und cleanen Vocals trotz allem noch ungehörte Facetten entlockt.

„Ich habe das Lied als Jugendlicher zum ersten Mal im Schulunterricht gehört. Klammheimlich, auf dem Walkman. Ich war sofort hypnotisiert von dieser seltsamen Machart. Wir haben uns lange überlegt, ob wir uns diesem fast schon tot gecoverten Song tatsächlich stellen sollten. Doch so wie wir ihn spielen, hat man ihn noch nie vorher gehört!“ Komplettiert wird das bandeigene „Mixtape“ von einem Tribut an die amerikanischen R`n B-Superstars von Destiny`s Child und ihren 2001er Welthit „Survivor“. Für die Emil Bulls mehr als nur eine Coverversion, wie Christoph abschließend erklärt. „Der Text handelt davon, immer seinen Weg zu gehen und niemals aufzugeben – die Aussage passt in meinen Augen perfekt zu uns als Band, die nun schon fast 25 Jahre im harten Musikgeschäft überlebt hat. Wir sind unglaublich dankbar, dass unsere Fans uns schon so lange loyal auf diesem Weg begleiten. Mit `Mixtape` sorgen wir nun für einen weiteren, unerwarteten Soundtrack zu dieser gemeinsamen Reise und laden alle ein, wieder ein Stück mit uns zu gehen.“

FAZIT

Ja…es ist mal eine „nette“ Idee mit diesem Album…Und die Songs sind auch gut umgesetzt und sehr nah an den Originalen…Aber brauch ich das wirklich?Hmmm…

6,5 von 10 Punkte


FLESHGOD APOCALYPSE – Veleno

Release: 24.05.2019

INFO-Auszug

Italian grandmasters of orchestral death metal FLESHGOD APOCALYPSE are finding spontaneity rewarding on new album, »Veleno«. Over the past four albums – previous album, »King« (2016), floored fans and critics alike – the Francesco Paoli-led trio have planned every step, discussed every note, and ensured every salutation to Paganini, Bach, and Mozart was met with an equally brutal death metal equivalent. On »Veleno«, which is Italian for ‘venom,’ they needed a change of approach (and pace). To achieve this, FLESHGOD APOCALYPSE distanced themselves from distraction – line-up changes, tours, and the frustrations of day-to-day life – unboxed the songwriting process, and let the inspiration flow freely. As a result, the group have matured, blended more efficiently their musical vision, and walked away with 11 songs that sound like a new band with an unsatiable prey drive on »Veleno«.

“»Veleno« is the most spontaneous album we’ve ever done,” says FLESHGOD APOCALYPSE’s multi-instrumentalist Francesco Paoli. “We’ve always been super-honest with our music, but being honest doesn’t mean you are completely spontaneous. For instance, we’ve never recorded a single note without being 100% sure it was the right one to our ears. But letting your inspiration flow freely, without any kind of time/schedule/sound/line-up restriction, is totally another story. I mean, we definitely experimented with some songs in the past but sometimes it’s almost like you feel the need to censor yourself, so to speak. Some days you come up with a really great idea but, for some reason, you think it’s ‘too much’ for your music and you toss it away. So, the lack of limits, full experimentation, an unavoidable process of rediscovering our roots… all this led us to the most beautiful music we’ve ever produced. I’m sure people will love »Veleno« as much as we do.”

Formed in 2007 in Perugia by Paoli, bassist/vocalist Paolo Rossi, guitarist/vocalist Cristiano Trionfera, and drummer Francesco Struglia, FLESHGOD APOCALYPSE quickly set off a firestorm of interest after releasing their only demo, »Promo ‘07«. After a short stint on Dutch indie Neurotic Records, the group signed a deal with Candlelight Records for Europe and Willowtip Records for North America. The result of the deal was debut album, »Oracles«, in 2009. Based off the first track alone – ‚In Honour Of Reason‘FLESHGOD APOCALYPSE were hailed as Europe’s finest newcomers. But it was follow-up album, »Agony« (2011), where the Italians became maestros of orchestral death metal. Through the use of woodwinds, brass, strings, and percussion, FLESHGOD APOCALYPSE transformed their technical death metal, effectively widening the sonic palette. Albums like the mega-epic »Labyrinth« (2013) and the ultra-ornate »King« (2016) followed, ramping up the group’s penchant for Bach– and Beethoven-inspired overtures combined with savagely brutal death metal.

“When we founded this band, we had clear in mind that we wanted to do something important with our music and everyone was kind of prepared that it wouldn’t be easy,” Paoli says. “All the beautiful memories I have now from the past few years and all the expectations from what’s to come make this journey unique and our lives very special. And it’s great to make all these considerations having in our hands not just a ‘fifth album,’ but the best album in our career. It shows that both our working formula and the idea that what we achieve is never an end point, but a new starting point, are working well. This has also been perceived as a sign of true commitment by the fans. We feel a constant progress as artists and human beings, which makes me really proud of who we are and what we deliver.”

But there’s one key difference between »King« and »Veleno«. That’s the absence of guitarist/vocalist Cristiano Trionfera and vocalist/guitarist Tommaso Riccardi, both of whom predate the »Mafia« EP (2010). Trionfera and Riccardi left the group in 2017 for personal reasons. Their departure has re-shaped FLESHGOD APOCALYPSE, however, with Paoli jumping from the drums to assume the role as vocalist/guitarist. Stepping in to fill the gaps are drummer David Folchitto (STORMLORD) and guitarist Fabio Bartoletti (DECEPTIONIST), two musicians with a long history in the various extremes of Italian metal.

“David and Fabio are great musicians and persons and they’re doing a killer job live,” says Paoli. “It’s a first step, we just need more time before adding someone new to our formation. It’s like getting married again and you want to be sure everything’s working fine. Let me be clear: they are not fill-in musicians, they are definitely part of the family. We are just taking it easy before announcing a new line-up officially.”

The “metal part” of »Veleno« was recorded in Rome at Bloom Recording Studio and Kick Studio with long-standing collaborator Marco Mastrobuono, while the “orchestral part” – the ensembles – were tracked at Musica Teclas Studio in Perugia. FLESHGOD APOCALYPSE then took the effort over to Grammy-nominated Jacob Hansen at Hansen Studios in Denmark for mixing and mastering. The entire production of »Veleno« took, according to Paoli, about three months.

“This was the second time recording with Marco,” Paoli says. “We are longtime friends as well, so we know each other very well. He helped us to push beyond our limits once again, explore new fields and discover inner abilities we didn’t even know to have. Also, this time we had the opportunity to record in one of the best studios in the country: the Bloom Recording Studio in Rome, which is renowned for high-end mainstream productions and movie scores recordings. We recorded almost everything there, except for some stuff we tracked afterwards at Marco’s Kick Studio. It has been the best recording session I’ve ever done for FLESHGOD APOCALYPSE, and I think it’s been the same for the other guys. For the orchestral and choir recordings, we worked with our friend Daniele Marinelli, who is an expert when it comes to recording classical instruments and choirs. With all the stellar productions Jacob has delivered throughout his career, we thought he could have been the right producer for such a complex and demanding task, which requires technical skills, taste and intuition. He outdid himself. We really hope we can work with him again in the future, as he’s not only one of the best metal producers around, but also a really humble and kind person.”

With the best possible production job, real orchestral ensembles – a full string quartet, a classical percussionist, and a baroque choir – and guest musicians in the shape of Maurizio Cardullo (FOLKSTONE) and Daniele Marinelli playing uilleann pipes and mandolin, respectively, »Veleno« is FLESHGOD APOCALYPSE’s masterwork. From the tense opening barrage of ‚Fury‘ through the scenic vistas of ‚Monnalisa‘ to the brooding if heroic ‚Embrace The Oblivion,‘ »Veleno« encompasses the greatness of the albums prior but opens up whole new opportunities – sonic and aesthetic – for FLESHGOD APOCALYPSE. In fact, it’s an album that will have dedicated fans frothing (‚Worship And Forget,‘ ‚Carnivorous Lamb‘) to evangelize FLESHGOD APOCALYPSE to new hordes, while introducing critics to the group’s now-fully realized score-like qualities (‚The Day We’ll Be Gone,‘Monnalisa‘).

“Some things come with time and experience,” says Paoli. “The more we go on as composers, the more we learn and develop. If you work hard you can improve your abilities forever and I bet all our fans can feel a gradual and constant progress in balancing all the different elements of our music. I mean, musical taste is totally subjective and everyone can have a favorite FLESHGOD APOCALYPSE album, but I think the improvement in composition technique is more than evident and objective. We go farther on this aspect album after album. Our dream remains to collaborate one day with a full symphonic orchestra. With all the support and interest we are receiving by fans and the music industry, it looks like that day is not that far anymore.”

As for what’s next, FLESHGOD APOCALYPSE are beyond excited that »Veleno« isn’t just their best album to date but that it’s a paradigm shift for the Italians. That it includes a multi-faceted lyrical concept, direct (and important) cultural ties to their home country, and a deeply symbolic cover painting by Travis Smith (OPETH, OVERKILL) make for a splendid coda, the likes of which have yet to be experienced on a FLESHGOD APOCALYPSE album. Look for the Italians this summer at festivals across Europe, a world tour, starting this fall in Europe. As famous Italian poet Dante Alighieri once wrote, “From the little spark may burst a mighty flame.” »Veleno« is that mighty flame.

FAZIT

Death Metal aller ERSTER Sahne!So macht es mir auch SPASS das ganze zu hören!Wenn ich mir da anderen Death Metal anhöre…ohje…da wird mir ehrlich gesagt „übel“!So aber nicht hier!Hier ist wahrlich ALLES wohl durchdacht und nicht einfach so hingerotzt!KLASSE!!!

10 von 10 Punkte


D-A-D – A Prayer For The Loud

Release: 31.05.2019

INFO-Auszug

Endlich ist Dänemarks größte Rockband D-A-D mit einem neuen Album zurück!

Acht Jahre. So lange ist es her, dass die wohl bekannteste dänische Band um die Gebrüder Binzer ihr letztes Studioalbum veröffentlichte. Aber nun hat das Warten ein Ende. Der Countdown zu „A Prayer For The Loud“ kann gestartet werden.

Mit dem neuen Album besinnen sich D-A-D auf das, was sie am besten können: vier Jungs, die mitreißenden Rock gepaart mit wilder, ungezügelter Energie spielen, deren eingängige Songs sofort ins Ohr gehen und die alle mit ihrer Hingabe anstecken. „A Prayer For The Loud‘ hat einen klaren musikalischen Bezug zu den klassischen D-A-D-Alben und steht so ganz in der Tradition von „No Fuel Left For The Pilgrims“ und „Riskin‘ It All‘.

Aus einem schier unerschöpflichen Pool konnte der Dänen-Vierer genau die Songs auswählen, welche Bassist Stig Pedersen als „Creme of the Crop“ bezeichnet und die als reinste D-A-D-Esszenz destilliert wurden. Alles Überflüssige wurde verworfen und der Sound und Ausdruck der Band bis auf den Kern reduziert. Das Ergebnis sind elf Tracks, die mit stampfendem,adrenalingetränktem Rock, großen Balladen und Mid-Tempo-Songs, die von starken Melodien getragen werden, begeistern.

D-A-D sagen über „A Prayer For The Loud“:“In der Vergangenheit sind wir manchmal neue Wege gegangen, um Dinge auszuprobieren, die ziemlich weit vom Kern dessen entfernt waren, was wir normalerweise tun. Es hat viel Spaß gemacht, aber diesmal haben wir versucht, uns auf das Wesentliche zu beschränken.

Diesmal sind wir einfach nur das, was wir wirklich sind. „A Prayer For The Loud‘ ist eine Platte,bei der der Fokus auf Melodien und Energie liegt. Wir haben uns große Mühe gegeben, wenn es darum geht, die Chöre zu arrangieren, und es sind einige großartige Songs entstanden, bei denen wir die Details sorgfältig behandelt haben, ohne jedoch die unverfälschte Rohheit und pure Energie zu verlieren.“

Drei Jahre ließen die Musiker sich für die Arbeit am neuen Album Zeit und unterbrachen diese nur, um zu touren. Für die Aufnahmen begaben D-A-D sich wieder in die vertraute Umgebung des Grapehouse Studio in Kopenhagen, wo die langjährigen Weggefährten Nick Foss und Rune Nissen Petersen die Produktion übernahmen. Mit dem Resultat wird nicht nur die Band mehr als zufrieden sein.

Frontmann Jesper Binzer sagt: „Vor allem sind wir stolz darauf, dass wir elf phantastische Tracks abgeliefert haben, die auf unserem Status Quo basieren. Das war kein Schuß ins Dunkle, das kommt direkt aus dem Herzen.“

Kürzlich waren D-A-D auf einer kurzen Arena-Tour, die sie in die drei größten Städte Dänemarks führte. Im Anschluss an dieVeröffentlichung von „A Prayer For The Loud“ wird die Band auf großen Sommerfestivals in Dänemark, Schweden,Norwegen, Finnland und Deutschland auftreten. Den kompletten Tourneeplan findet man hier: www.d-a-d.dk/tour

„A Prayer For The Loud‘ wird am 31. Mai auf AFM Records veröffentlicht.

8 von 10 Punkte


SOTO – Origami

Release: 24.05.2019

INFO-Auszug

SOTO, the modern Heavy Metal / Hardrock group featuring acclaimed vocalist Jeff Scott Soto(Sons Of Apollo, Trans-Siberian Orchestra, W.E.T., and ex Yngwie Malmsteen, Talisman,Journey) recently announced the signing of a new worldwide deal with InsideOutMusic for their third album “Origami“, set for release on May 24th, 2019.

SOTO originally started out in 2015, derived from the idea of Jeff Scott Soto wanting to return to his heavier roots. So far they have released 2 albums, ‘Inside The Vertigo’ (2015) and ‘DIVAK’ (2016), taking a short break while Jeff embarked on the supergroup Sons Of Apollo,alongside Mike Portnoy, Derek Sherinian, Billy Sheehan and Bumblefoot.

Now SOTO have arrived under the same umbrella as Sons Of Apollo, signing with InsideOutMusic for the release of “Origami“, whose material will continue to expand and move the band towards new heights while following up with their brand of Power Rock.

‘Origami’ includes 10 tracks of modern, melodic, and eclectic Hard Rock and Metal with tons of memorable hooks and riffs. “BeLie” is driven by pounding drums and grinding guitars with Jeff Scott Soto’s powerful vocals delivering the track’s brilliant melodic hook, while the title track is an aggressive fast-paced straight forward dive into the metal side of the group set alongside dynamic vocal harmonies. The collection’s opening track “HyperMania” mixes some electronic and darker elements with a punchy and uplifting chorus.

‘Origami’ will be available as a limited Digipak-CD with a set of 3 stickers and a bonus track(“KMAG”) as well as on 180gr. vinyl with the LP including the entire album (and additionaltrack) on CD as bonus. The album features elegant artwork by Gustavo Sazes (Machine Head,Amaranthe, Arch Enemy).
SOTO will be touring throughout 2019 following the release of “Origami“, so look out.

Websites:
www.sototheband.com
www.facebook.com/SOTOofficial
www.twitter.com/SOTOtheBand
www.facebook.com/JeffScottSoto
www.twitter.com/jeffscottsoto

FAZIT:

Nachdem die letzten 2 Alben für meine Ohren etwas schwächelten,finde ich dieses hier schon echt Klasse!Allein der Gitarrensound,der,so finde ich,um einiges aggressiver daherkommt,macht dieses Album aus!Über das Gesangliche Können von JEFF SCOTT SOTO muss man nun keine Worte verlieren.Das ist,wie bei den meißten Songs,der Hammer!Alles in Allem hat man mit diesem Scheibchen 2 bis 3 Schippen draufgepackt.KLASSE!

10 von 10 Punkte


FIRST SIGNAL – Line Of Fire

Release: 17.05.2019

INFO-Auszug

In 2010, a marriage in made in melodic rock heaven was consummated between Canadian rock vocalist Harry Hess (Harem Scarem) and German producer Dennis Ward (Pink Cream 69, Khymera) under the First Signal name. The seeds of this union were plante that same year when Frontiers President Serafino Perugino presented Hess some melodic rock songs which had the same vibe and magic as Harem Scarem, whom at the time were on a hiatus.

The debut album was greeted with high interest and excellent reviews from the Melodic Rock faithful, so even when Harem Scarem rebooted to record an excellent comeback album, “Thirteen”, Hess was still keen to record some more excellent melodic rock songs that he had gathered from various songwriters under the First Signal banner.

So, the idea of another First Signal album continued to float around and with the help of Swedish producer Daniel Flores (FIND ME, THE MURDER OF MY SWEET, etc.), the second record started to take shape. Once again, the inspiration behind the songs were the first two harem Scarem albums, two absolute Melodic Rock classics, but, as with the debut, some new twists were thrown in with songs coveringeverything from AOR to Arena Hard Rock.

The second album was also greeted with much excitement from the Melodic / AOR fanbase, especially in Europe. With that kind of reception, recording a third album was a no-brainer. With songs provided by Stan Meissner, Harry Hess, Henrik Hedström, Lars Edvall, Anderz Wrethov, Andreas Johansson, Carl Dixon, Bruce Turgon, Sören Kronqvist, Morgan Jensen, Hal Marabel, Daniel Palmqvist, Ulrick Lönnqvist, Nigel Bailey, and production duties handled again by Daniel Flores, “Line of Fire” is another awesome slab of great AOR/melodic rock for the 21st century!

7,5 von 10 Punkte


The Brink – Nowhere To Run

Release: 17.05.2019

INFO-Auszug

At this point, there is simply no disputing that hard rock is flourishing in the United Kingdom. British hard rock appears on the verge of a re birth that years and years form now will viewed as a turning point in music history. Living in the here and now, these are exciting times to be a rock fan! Frontiers already has some pack leading British hard rock bands in it’s stable like Inglorious, Wayward Sons, Doomsday Outlaw, and Bigfoot and is now proud to add The Brink to that list. Influenced by classic hard rock bands of both past and present, but with a modern rock sound in the mix, The Brink, aka Tom Quick (vocals), Alex Bittles (lead guitar), Izzy Trixx (rhythm guitar), Gary Connor (bass guitar), and Davide DRAKE Bocci (drums), truly breathe new life and energy into the British hard rock scene.

The Brink’s vibrant, new, 21st Century form of balls-to-the-wall rock n roll is on full display on there full-length debut, “Nowhere To Run”. Weaving delicate harmonies, both vocal and instrumental, together with hard driving rock riffs, they have created a fresh style of their own, enticing fans from a variety of rock genres, not just hard rock.Fans of ‘80s hard rock AND Warped Tour style rock will both find much to love here. The debut album showcases fist pumping anthems and epic ballads built for the stadium stage, but that also make sweat drip off the walls of the clubs.

Their rock ‘n roll journey started in Wisbech and Cambridge and they have worked their way up the ladder to headline in places such as London, Manchester, Newcastle, Sheffield, Nottingham, and Lincoln! With two E.P.s under their belt, their debut album on the horizon, and much more to come, the future looks bright and the road long.

7,5 von 10 Punkte


Restless Spirits (Tony Hernando) –  Restless Spirits (Tony Hernando)

Release: 17.05.2019

INFO-Auszug

Lords of Black guitarist Tony Hernando is one of the most talented and prolific musicians in the European hard rock scene today. His new solo album, under the moniker „Restless Spirits“, sees Tony stepping away from the metal musical style Lords Of Black is known for and features different singers on an array of songs covering the melodic hard rock genre.

Guest vocalists include a who’s who of the current melodic and hard rock scenes: Johnny Gioeli (Hardline, Axel Rudi Pell), Deen Castronovo (Revolution Saints, ex-Journey), Dino Jelusic (Animal Drive), Kent Hilli (Perfect Plan), Alessandro Del Vecchio (Hardline), and Diego Valdez (Dream Child). Deen Castronovo also plays drums on the entirety of the album.

“Restless Spirits” not only highlights Hernando’s talents as a musician and songwriter, but the album also showcases some of the most outstanding vocal talents around. A must hear for fans of melodic hard rock!

Line-up:

Tony Hernando: All Guitars Bass

Deen Castronovo: Drums

Alessandro Del Vecchio: Backing Vocals

Diego Valdez: Backing Vocals

Victor Diez: Piano and Keyboards

Leif Elhin: Keyboards

7,5 von 10 Punkte


Crazy Lixx – Forever Wild

Release: 17.05.2019

INFO-Auszug

Swedish hard rockers Crazy Lixx are back with another sleaze metal gem that harkens back to the best of ‘80s rock, while also keeping a foot planted in the 21st century. “Forever Wild” further cements Crazy Lixx as one of the leaders of the Scandinavian led ‘80s hard rock revival.

With huge choruses, memorable hooks and riffs, wailing, emotive guitar solos, and massive production by Danny Rexon and Chris Laney, this album is sure to resonate with old fans and new listeners alike.

The band explores a wider range of styles than ever before on “Forever Wild”. From the hard rocking and anthemic opening track “Wicked” to the AOR inspired upcoming single “Silent Thunder” to songs like „Eagle“ that sound like they came off a Bon Jovi album circa 1986, Crazy Lixx manage to blend a love and reverence for ‘80s rock with their own stamp on each track.

With “Forever Wild“, Crazy Lixx have set the bar very high against their own revered and celebrated catalog. Their best album yet? We’d say so!

Don’t miss Crazy Lixx while they’re on the road in support of the album either, as their live shows are a sight to behold! Dates to be announced soon.

FAZIT

Aus Skandinavien kommen viiiele Gute Bands,bei denen das Songmaterial so „einfach klingt“ und gut rüberkommt,das man das ganze RICHTIG gerne seinen Gehörgängen antut!So auch bei den Crazy Lixx,die mir ihren Hard Rock da in den Schädel ballern!

8 von 10 Punkte


 Whitesnake – Flesh & Blood

Release: 10.05.2019

INFO-Auszug

Fresh off celebrating their 40th anniversary, rock legends Whitesnake return with their latest studio album, “Flesh & Blood”. This album follows the 2011 critically acclaimed studio album “Forevermore” and 2015’s “The Purple Album”, a reimagining of Deep Purple classics from Whitesnake mastermind’s David Coverdale’s time in that band. The 13 original, visceral tracks on “Flesh & Blood”, the band’s 13th studio album, are,luckily for you dear reader, “all killer, no filler”, as the saying goes.

But would you expect anything less from the ’Snakes?

Since joining the band four years ago, and just in time for the aforementioned “The Purple Album”, Chicago native Joel Hoekstra has really come into his own, not only as a highly impressive axe-slinger, but also as a very accomplished songwriter too, co-writing six of the songs for “Flesh & Blood” with singer David Coverdale. Of course Joel’s talents are hardly surprising, considering he’s the son of two classical musicians.

Guitarist Reb Beach, who originally joined Whitesnake in 2002, has stepped up to become the group’s bandleader and guides the band to implement Coverdale’s musical vision. As well as bringing his impressive musical chops to the band, Reb has co-written five songs on the new album, the fourth studio album he has appeared on, commencing with 2008’s highly acclaimed “Good To Be Bad”.

It was the  “Good To Be Bad” follow up, “Forevermore” (2011), that saw the debut of bassist Michael Devin. The New Englander’s four-string-depth-charge-bass-bombs definitively underpin and drive the sound of Whitesnake in the 21st century.

Rounding out the rhythm section is David’s longest serving ’Snake,the renowned drummer and unstoppable percussionist Tommy Aldridge, who has been with Whitesnake in some capacity for 30 years. Tommy made his debut with Whitesnake way back in 1987 in the ‘Still Of The Night’ video, becoming a mainstay behind the kit for successive albums and tours.

Last, but certainly not least, the band is completed by the inventive keyboards and vocals of Italian maestro Michele Luppi, who made his live debut in 2015, as documented on “The Purple Tour” live CD/DVD (2018).

The current incarnation of the band carries on the long and unwavering tradition of mainman David Coverdale being surrounded by cream of the crop players who go all in to bring fans the best hard rock humanly possible. 40+ years into their existence, the ‘Snakes fangs have only grown sharper and are ready to inject fans with more of that rock ‘n roll venom they crave.

FAZIT

Naja…WHITESNAKE und erst Recht nicht David Coverdale muß man niemandem mehr GROßARTIG vorstellen!Ich persönlich mag so ziemlich alles des o.g Herrn.Da gibt´s wenig Stuff,der mich nicht anspricht!

Und auch dieses Album ist Klasse!Reb Beach und David Coverdale-das funktioniert mal Richtig gut!Denn auch die Gitarrenarbeit des Mr.Beach ist genial.Dazu noch die Voices…PERFEKT!

Natürlich garnieren Joel Hoekstra(Guitars),Michael Devin(Bass),Tommy Aldridge(Drums) und Michele Luppi(Keyboards) das ganze auch noch mit ihrem können!

Aber…ohne Mr. Coverdale zu nahe treten zu wollen:Ich hab etwas das Gefühle,das da die Kraft der Stimme des Mr.Coverdale etwas „weniger“ geworden ist…

Trotzdem-TOLL!

8 von 10 Punkte


JACK SLAMER – JACK SLAMER 

Release: 03.05.2019

INFO-Auszug

Verstaubt? Denkste! JACK SLAMER spielen ihren 70’s geprägten Rock mit einer ordentlichen Prise Gegenwart – und da ist das Quintett gerade so richtig angekommen. Mit Platte im Koffer, SRF-3-Best-Talent-Würdigung in der Tasche und unzählige Gigs im Rucksack: Inspiriert von den ganz Grossen wie LED ZEPPELIN, DEEP PURPLE, RIVAL SONS, MONSTER TRUCK oder DEWOLFF haben die fünf Freunde aus Winterthur in den vergangenen Jahren den entscheidenden Schritt zu einer Band gemacht, die mit dem Lebensgefühl von früher dem Zeitgeist von heute mit einer spielerischen Leichtigkeit mitten ins Gesicht springt.

Live sind JACK SLAMER noch besser, als man es erahnen könnte. Sie leben den Rock’n’Roll bis zur letzten Faser aus und lassen niemanden und keinen unberührt in der Menge stehen. Und zusammen sind sie das, was die anderen gern sein würden: das heißeste Zukunftsversprechen des 70er-Jahre-Hard-Rocks.

Die ersten zehn Songs des selbstbetitelte Album JACK SLAMER wurde während einer zweiwöchigen Aufnahmesession in den Neuwerk Studios in Lahr (D) mit dem Produzenten André Horstmann aufgenommen. Ein Augenmerk dieser Zeit, war das Bandgefühl, und den charakteristischen Sound der Band zu stärken und diesen einzufangen. Ein wichtiger Schritt hierfür war, dass sich die ganze Band im Studio einquartierte und neben den intensiven Recordingsessions auch dort wohnte, kochte, oder sich beim Pub um die Ecke Biere zapfen lies. Hinzu kam die unmittelbare Chemie zwischen der Band und Horstmann, unter deren Rahmenbedingung nur ein einzigartiges Rockalbum entstehen konnte.

Eine weitere Aufnahmesession folgte später in den New Sound Studios. Hierbei wurden zwei weitere Songs eingespielt. Unter Aufsicht von Tommy Vetterli zeigte die Band, dass sie weiterhin experimentierfreudig ist und trotz einer klaren Idee ihrer Musik, neue Facetten zum Vorschein bringen kann.

Seit Beginn der zwölfjährigen Bandgeschichte schreiben JACK SLAMER ihre Songs immer noch auf dieselbe Art und Weise. Zu fünft, im Bandraum, mit ordentlich aufgedrehten Amps entstehen aus Ideen und einzelnen Teilen Songs, die einen meist langen Prozess durchlaufen, bevor sie auf der Bühne bestehen müssen.

www.jackslamer.com/

www.facebook.com/jackslamerband

FAZIT:

The 70s are back…allesdings im modernen Sound unserer Zeit.Intensiv und ausgefeilt  dringt dieses Album in meine Gehörgänge ein.Die Mehrheit der Songs sind Radiotauglich,so das sie so ihre Präsenz bekommen und verdient haben!KLASSE!

10 von 10 Punkte


Schandmaul – Artus

Release: 03.05.2019

INFO-Auszug

Mit ARTUS demonstrieren Schandmaul einmal mehr ihr über die vielen Jahre organisch gewachsenes Können. Dabei hilft vermutlich auch der ungewöhnliche Umstand, dass der Kern der Band noch immer aus seinen Gründungsmusikern besteht, zu denen Sänger Thomas Lindner, Birgit Muggenthaler-Schmack als Spezialistin für alte Blasinstrumente, Saitenmann Martin Christoph „Ducky“ Duckstein und Stefan Brunner am Schlagzeug zählen. Doch selbst „Neuzugang“ Matthias „Hiasl“ Richter am Bass ist schon seit dem Jahr 2002 mit von der Partie. Einzig Violinistin Saskia Forkert trat erst im Jahr 2018 die Nachfolge von Gründungsmitglied Anna Katharina Kränzlein an, nachdem die Band sich ein Jahr lang mit befreundeten Gastmusikern wie Ally Storch (Subway to Sally), die große Teile der Geigenarbeit auf ARTUS übernahm, behalf.

FAZIT:

SCHANDMAUL beweisen mit diesem Album einmal mehr,das sie ES können.Und wieder liefern sie ein Album ab,das nicht nur Tanzbar ist,sondern auch den ein oder anderen zum Feiern anregen wird.Denn das hat die Band definitiv verdient.

9 von 10 Punkte


MATT MITCHELL & THE COLDHEARTS – MATT MITCHELL &THE COLDHEARTS

Release: 31.05.2019

INFO-Auszug

MATT MITCHELL started out singing and writing songs in his late teens learning his craft in several bands early on, he then found himself as the voice of AOR band PRIDE who released two albums in the mid 2000’s on EMI Toshiba and Point Music.

FURYON was MATT MITCHELL‘s next project. Formed out of the demise of PRIDE a heavier style evolved, with much love and praise from The likes of CLASSIC ROCK & METAL HAMMER magazines. FURYON had a great run touring UK/Europe and performed at several major festivals including DOWNLOAD, BLOODSTOCK and Poland’s gigantic WOODSTOCK festival. Not long after the release of the second album the band was put on ice so thatthe band members could spend more time song writing and considering their future.

At this point MATT MITCHELL joined LITTLE ANGELS guitarist Bruce John Dickinson forming the much lighter bluesy sounding COLOUR OF NOISE. A good two year run was had with the band. An album was released,followed by lots of touring and yet more major festival slots.COLOUR OF NOISE were to leave things on a high in 2017 and with one door closing another soon opened in the shape of MATT MITCHELL‘s solo project with guest players – MATT MITCHELL & THE COLDHEARTS.

THE PROCESS of Matt Mitchell & The Coldhearts
Song titles came first. And a clear vision of what I was writing about. I felt quite free at the time to write whatever I felt like. ‘Just make sure it felt good’ was what I thought. And…It did at the time. I would write and demo a track playing everything in the best shape I could. I had quite a lot of demo love with some of the tunes, where others were so scruffy and rough I was forever apologising for them.

I had been so busy for the previous 10 years writing, recording, playing many shows and skipping in and out of slightly different styles of rock music it seemed that I wasn’t quite sure exactly what I was going to put together, style wise.

There were around twenty songs including some from a previous project which I chose not to use in the end.Twelve songs ended up on the album and an extra two were also recorded. Those being an acoustic version of one of the singles and a live stripped down piano version of another.

The band were fantastic and chosen well ( I would say that ofcourse ) They all had the three things I wanted, needed, and it was a must for me.

1) To play well
2) To have mutual respect and enjoy each others playing
3) To not be a right @%**!

We held pre production rehearsals in a few different places scattered across Sussex. The earlier ones being just myself, drummer Matt and bassist Dom. Mauro on guitar and Stevie keys joined the fold soon after. One pre prod rehearsal I remember was on a boathouse which had been turned into a rehearsal space, which was pretty cool.

The whole ship was pretty tight by the time we were heading to Wales. ( Pardon the pun ) When it came to thinking about recording studios I knew where I wanted to go. I had met engineer Nick Brine whilst recording at the iconic Rockfield Studios in Wales a couple of year previous. We had hit it off and I liked the way he worked. His dog, The famous ‘Kenny’ is so cool. He must’ve sat in so many recording sessions. He seemed to enjoy ours anyway. Infact he features in some photos on the Coldhearts website.

So at Rockfield it was The Quadrangle studio I chose. They have two working studios there. This studio in the courtyard area was made famous by many bands, but one that stands out is Queen, and the piano that Freddy Mercury recorded Bohemian Rhapsady on is still there and still sounds amazing. And .. Is all over this Coldhearts record too.

We stayed there in the Welsh country studio setting and worked 15 hour days for 5 days. As I was Producing this record myself It was a new experience for me to be fully tuned in to everyones takes. I was focused on everyone but myself at Rockfield. This was mainly because I planned to track the remaining acoustics, guitars, vocals and some extras elsewhere.

That elsewhere studio was my friend Chris Daniels studio. Chris has a studio in Brighton… well ( Hove actually ) and I have tracked with him many times in the past. With him knowing the way I like to record we are quick and efficient together.Chris works mainly as a mix and mastering engineer these days but is a good all round studio engineer.

There were 3 other musicians who played on the record and all feature on the same song. The guitar, vocals and drum had been tracked live at Rockfield for this however the Cello, Lap steel and trumpet were tracked elsewhere.

I had a few ideas and options on who to mix the record. Sam Miller had mixed a previous recording project and I liked his approach. His mixing background is quite diverse and I think it shows in his work. Like most mixes there was a little back and forth but we always stayed on the same page and he’s done a stirling job mixing this record.When it came to mastering Chris Daniels wanted to do it. There were a couple of different masters, however I went with Chris at UKMastering on this one.

MATT MITCHELL & THE COLDHEARTS ( THE ALBUM .. THE SONGS )
I’m aware that sometimes an album is just for the love of rock n roll and I do love that. It’s on my agenda. It could be a song about a car, or thunder and lighting. However …the main stories on this album are all about people. The people that have been part of my life, the people that have loved, cared, nurtured, hurt, inspired,broken, stayed strong, lost themselves, found themselves. Family, friends, honestly, dishonesty, music and the music business, integritiy and faith. The songs in this self titled album are inspired by all these things.

The bulk of this record was written in 2017/ 2018. Late night writing sessions that turned quickly into allnight demoing. Striking whilst the inspiration was hot and honest instead of a forced and un natural process. It’s what I needed it to be. I wanted to tell some stories and put them into song form.Here is my spin on the songs on this record. And although these songs have meaning to me as a writer, I’m well aware that as soon as they are out into the big wide World they take on different meaning for different people.

And I love that. I believe not every song has to leave the nest with this big prolific meaning. Sometimes it can go find a meaning with someone else.Talking about the songs feels like I’m having to explain myself, or open up about something that has been hard to put into words. But here we go.. here is how each song took form.

Black Diamonds – is about an inevitable ending. ’Black Diamonds’ itself is a metaphor for the loss of beauty/light/energy that occurs in the theoretical final stages of some stars life cycle ( Black Dwarf ) There were a lot of changes occurring around the time of the writing and demoing stages of this song. It started out as a song called ‘I hope you find what you’re looking for’ though after a re write session it morphed into the song we now know, being ‘Black Diamonds’.

Home – is a song about making it back. Taking the punches, and getting back onto your feet. Making it to the other side, and taking on the experience whether it be good/bad or ugly. Going the distance and then making it back home again.

On & On – had been hanging around as an idea for a while and came together in a live setting. It was always seen as an album track to me with guitar and hammond organ solos back to back. Maybe a little self endulgent or a guilty pleasure track. The lyric focuses on how someone has unconditional love for you. And, how being able to love back can be a hard thing to do at times.

Dare you to watch – had actually been penned and demoed some years back and was a song I wrote on acoustic guitar one Christmas eve. It actually touches on mental health issues and in particular OCD. A story about someone feeling stuck and not being able to let go as their held back with their own fears.

Kings & Queens – a romantic scene this one. The moment when two people fall into each other and it’s all that matters for that moment in time. A relationship that seems to come and go in the blink of an eye. One that was maybe the wrong place at the wrong time. One that got away perhaps. A story about two creative souls that collide. Saving each other almost, but ending as the two paths just needing to go their different ways.Unavailable – this is a song about making the right decisions. Although it sets a scene where two people are finding comfort in each other when really they are totally unavailable. Unavailable because they are lost in the
past. Still caught up in the throws of another relationship or just lost in themselves and don’t really have anything to give at that time of life. The excitement of the ‘in the moment’ night out is clearly a wonderful escape from the real world that awaits.

Do you wanna be my God – totally inspired by the music business. The doors that open, and the doors that don’t.‘We were waiting for a train, I swear I saw you chasing the last thing’ is that observation of seeing your peers/yourself morphing into different styles, shapes and sizes to suit. The rat race. The chase.The all or nothing. The passion, the highs and lows and reality of it all.

The chorus line being a twist on ‘ **** off **** off .. Do you wanna be my God? ‘is because we praise it so much, we put blind faith into it. And … sometimes it gives you nothing but heartache. And sometimes with hardwork and faith it gives you something absolutely amazing!! The big machine. One must do it for the love of it.Old enough & ugly enough – a song about two people moving on. Questioning how many times One can feel that intensity of falling in and out of love. A feeling of giving it all away so there is nothing in reserve. But as life goes on, things can seem to work out. Life’s lessons.

Wave Goodbye – Is a song about letting go of the negative. So many of us feel ruled by something that isn’t a positive experience. So you cut it off. So many people are stuck in positions where they cannot seem to move as it could have deperemental effect. Be this a job, or a position within an important group. However, being bullied or abused is not something to tolerate. So it must go.Everything to you – This song was written and demoed a little earlier in 2016 and I never thought it would be on an album.It’s inspired by a friend that moved country to pursue a dream. Not only this but fleeing from family life and the deep seated issues that they were entwined in.

Keep me safe – This song was a dream. I woke up one morning and had the words and melody going round and around my head. So I got up, wrote and demoed it and went back to sleep. It was at a time where I felt very let down. However the love and care of family and friends continued to call be back.

Waiting for the sun – this song came from watching the news and feeling helpless. A girl tells a story of her loss and prays for change in the World. The stories of the people / families caught up in the middle of the sadness that wars create. Just seeing things unfold before our eyes on the news we are given. It inspired me to write ‘Waiting for the sun’. A new day, a hope for change.

http://mattmitchellmusic.com
https://www.facebook.com
https://twitter.com/mmitchellonline
https://www.instagram.com/mmitchellmusic

8 von 10 Punkte


DOGFACE – From The End To The Beginning

Release: 29.05.2019

INFO-Auszug

Ungefähr 1998 hatte Gitarrist/ Produzent Martin Kronlund einige Songideen mit einer Basis im 70er und 80er Hardrock-Sound gesammelt. Thin Lizzy waren Martins Haupteinfluss; aber auch Deep Purple und Rainbow. Mit ein paar Freunden, die ähnliche Musik mochten, schrieb er einige Lieder, die die Basis für Dogface bilden sollten. Danach kontaktierte der Gitarrist Anders Skoog, mit dem er schon vor Gypsy Rose in einigen Bands gespielt hatte. Anders besaß eine Hammond C3 – die perfekte Wahl für den Sound von Dogface. Patrik Engelbrektsson und Stefan Egeman stießen als Schlagzeuger und Bassist zur Gruppe hinzu. Die Aufnahmen für das Debütalbum begannen 1998, aber trotz des Ausprobierens von ein paar Sängern fehlte noch etwas. Martin kontaktierte Mats Levén, mit dem er auch bereits an mehreren Projekten gearbeitet hatte.Mats kam ins Studio und nahm ”You’re taking me down” als ersten Track auf. Es klang großartig und seine Art,Hardrock zu singen und seine Glenn HughesEinflüsse passten perfekt.

Dank Magnus Söderqvist unterschrieb die schwedische Band einen Plattenvertrag beim deutschen Label MTM Music. Im Jahr 2000 erschien dort mit „Dogface Unleashed“ eine CD, die von vielen Rezensenten als bestes „europäisches Hardrock-Album“ des Jahres bewertet wurde. Später im gleichen Jahr begannen die Aufnahmen für das zweite Werk „In Control“. Kronlund hatte gerade ein neues, großes Studio eröffnet und auch in ein klassisches SSL 4000E Mischpult investiert. Mats Levéns neue Kurzhaarfrisur trug zudem zum neuen,frischen Anfang für das zweite Dogface-Album bei. Nach dem VÖ des Zweitwerks folgte eine größere Pause, bis 2013 das Album „Back On The Streets“ erschien. Kronlund und Levén waren die einzig verbliebenen Originalmitglieder. Eine remixte und remasterte Version von “Dogface Unleashed” erschien 2018 unter dem Namen “Dogface Releashed” bei Melodic Rock Records. Danach löste sich die Band auf. Dogface kommentieren dies wie folgt: „Wir sind sehr stolz auf das, was wir erreicht haben, und möchten uns bei den Fans für die großartigen Jahre bedanken. Die neue VÖ “From the end to the beginning” ist eine Best Of mit dem Material, das unseren Sound am besten repräsentiert. Wir hoffen, ihr denkt genauso!” FO-Auszug

FAZIT:

In der tat ein Album,das man im Sound der 70er/80er umgesetzt hat…Die Einflüsse sind unverkennbar und werden insgesamt gesehen/gehört sehr interessant und kompakt dargeboten.Das macht RICHTIG SPASS!Hier sind Leute in der Band und am Mischpult,die eine fantastische Arbeit abgeliefert haben!Meiner Meinung nach ist da alles in allem aber noch Luft nach oben!

8 von 10 punkte


PECTORA – Untaken

Release: 03.05.2019

INFO-Auszug

From the country that gave us bands like King Diamond, Pretty Maids and Volbeat comes the newcomers of hard hitting melodic Danish heavy metal: Pectora.Since the formation of the band in 2013 Roskilde based Pectora have released the demo ”Burgeon Of Hate” in 2014 and the EP ”Redemption” in 2017. All of them leading up to their bombastic debut album ”Untaken” to be released through Mighty Music in May 2019.

”Untaken” is produced by the band and mixed and mastered by one of Germany’s leading produceres Orden Ogans Sebastian ”Seeb” Levermann (Orden Ogan,Rhapsody Of Fire, Riot V & Brainstorm) in Greenman Studios.

It’s an album rich on full blown heavy metal from start to finish. Wrapped up in a modern and big production. Pectora shows that heavy metal, in 2019, still is an active force, where old school and new school heavy metal collides and melt together in the best possible way.

The 8 tracks on ”Untaken” showcases a band that knows how to write powerful songs with strong riffs, memorable melodies, harmonies and bombastic sing-a-long choruses, that stick to your brain.If you are a fan of classic metal, thrash, power or hard rock and if you like your music fast, heavy and slow – Pectora is what you are looking for!

Pectora will tour Sweden as support for US metallers THEM in May 2019 as well as playing shows in Denmark and Germany. See full tour below (more shows TBA).

”Untaken” will be released on CD, LP & digtial on May 3rd

FAZIT

Das Ganze klingt schon etwas nach ACCEPT…Aber nur etwas…Schlecht ist das nicht,was mir da in die Gehörgänge kriecht.Aber so wirklich kann mich das nicht überzeugen.Leider langweilt mich das hier nach ein paar Songs.Der Gesamtsound könnte etwas fetter sein.Ich werde die Band mal im Ohr behalten.Denn potenzial ist aufjedenfall vorhanden…

6 von 10 Punkte


Prins Svart – Inte här för att stanna

Release: 10.05.2019

Prins Svart are back with the brand new album, ”Inte här för att stanna” (eng.: Not here to stay)! This follow-up to their critically acclaimed debut from last year and will be released on May 10th 2019 on gatefold vinyl and digi-sleeve CD!

With musical experiences from playing with greats such as Uriah Heep, Michael Schenker, Bernie Marsden, Don
Airey, Grand Magus, and The Poodles, the band has carved out a niche for themselves by combining Classic rock
sounds with Swedish lyrics The music is, as always, rooted in the 1970s and bands like Led Zeppelin, Deep Purple, and Black Sabbath, but with influences from the early 1980s and bands such as Dio, Whitesnake, Rainbow and Ozzy Osbourne. The lyrics deal with existential topics such as death, transformation, and love.

The production was handled by Dino Medanhodzic (”Hardcore Superstar”, ”Kill the Kong”, ”The Poodles”, ”Smash
Into Pieces”) and Rickard Nilsson (”Avatarium”) played Hammond organ.Prins Svart are: Stefan Berggren, vocals; Henrik Bergqvist, guitar; Sebastian Sippola, drums; Tomas Thorberg, bass

Tracklist:

1. Maskinen (4.14) (the Machine)

2. Jag kommer hem (6.04) (I’m coming home)

3. Under mina sista dagar (4.52) (In my final hour)

4. Vargen av oss två (5.33) (The wolf out of us)

5. Melandi (1.13) (Melandi)

6. En eftermiddagsdröm (5.46) (A soon forgotten dream)

7. Så verklig (3.37) (So real)

8. Stridens larm (6.26) (Into the
breach)

6,5 von 10 Punkte

 

 

 

 

Translate »