Tag Archives: Melissa Campbell

Klone-Here Comes the Sun

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Klone is one of those bands that is difficult to categorize. They originally branded themselves as a metal band but with each new release of music stray further from what one may consider metal to be. Their latest album Here Comes the Sun (Klonosphere/Pelagic Records) is their most progressive and psychedelic sounding yet although it still holds on to some metal sounds.

It is interesting that the band decided to name the album after one of The Beatles’ most well-known songs considering they do not cover a Beatles song. However, it does tell the listener that they should leave their idea of what metal is behind and prepare for a more surreal or ethereal sound. Overall, the album is mellower than what one would expect from a metal band.

Opening track ‘Immersion’ throws some saxophone in to show that Klone is not one’s ordinary band. The instrument could have sounded out of place in a metal band but instead blends in well enough to come as a nice surprise. Most of the album stays on the lighter sounding side of things, but eventually becomes more epic. A prime example of this is ‘The Last Experience’ which sounds like something grand is coming to an end.

Other highlights include ‘Nebulous’ and a cover of George Gershwin’s ‘Summertime’ from Porgy and Bess. What makes ‘Nebulous’ great is how it encompasses everything that the album, and arguably the band, is about. There is a balanced blend of psychedelic and heavy metal sounds. ‘Summertime’ is one of the most covered songs from musical theater, but Klone is able to own it. The sadness that is not evident in some covers of the tune becomes clear in Klone’s interpretation. The band deserves much credit for being able to pull it off and for creating yet another album that shows off their evolution.

7.0/10

MELISSA CAMPBELL

 


TAPED – [Empires]

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TAPED is a metalcore/hardcore band from a place in the world rarely considered when it comes to heavy music: Lichtenstein. For a group that comes from such a small country, they have grand ambitions. [Empires] (Redfield Records) is their attempt to reach a bigger audience.

Opener ‘New Chapter’ is a piece that is meant to pump up the listener and slam into the next song ‘Turn the Page.’ The energy dies off after a while though and it all starts sounding like any average American band in the metalcore and hardcore genres. One wishes that ‘Turn the Page’ was a twist on Bob Seger’s classic instead.

This mood continues throughout most of the album. The interludes: ‘Rise’ and ‘Head Up’ are the most engaging part of it all. They have the most energy of all the tracks. ‘Convictions’ is closer to the end of the album and serves as a break from the monotony of everything else; it offers a glimpse at what could have been. The guitars and vocals sound balanced and infused with spirit. Overall, it is the most developed sounding song. With the next track, ‘Behind the Mask,’ it goes back to the same noise. It feels as though the album was uninspired and that nothing different is being done.

Credit should be given to TAPED for even attempting to break out of their small corner of the world. They would feel right at home in the hardcore American scene, but that is not a good thing when it comes to being noticed. [Empires] may be interesting to those who are looking to expand their hardcore and metalcore tastes beyond America. Otherwise, it may be better to look elsewhere.

3.0/10

MELISSA CAMPBELL

 


Shroud Eater – Face the Master

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Hailing from Florida, Shroud Eater is bringing new ideas as to how music can be consumed in both sound and how it is released. Over their six year career they have released limited CDs, special singles, and full albums on a variety of formats. The group is currently touring the east coast for their latest EP, Face the Master (Primitive Violence Records).

The first track ‘Face the Master’ is nothing too deep, but is enjoyable. Use of a movie sound clip to start it all off suggest that the EP is a miniature concept album. Harmony of all three members’ voices creates a trance like charm. Shroud Eater definitely knows what it is doing when it comes to playing metal. The vocals sound similar to Tony Foresta of Municipal Waste but with less thrash and more hardcore influence.

‘House of Endings’ doesn’t grab the listener quite as much but is still high quality. There is more variety in the sound of the track with buzzing guitars cutting in at some points and a more extended solo at the end. The only complaint is that the EP does not seem to come to a definitive end with this track; it seems like there is a missing third track.

Overall, the two song EP is enough to get listeners interested especially if they are already sludge metal fans. The sound is tight, professional, and has replay potential. Shroud Eater may sound similar to other sludge metal bands such as Kylesa but are still their own group. They are the future of sludge metal.

9.0/10

MELISSA CAMPBELL

 


All That Remains – The Order of Things

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Massachusetts natives All That Remains have steadily remained in both heavy metal and mainstream music circles for over the past decade. They have had success on the Billboard chart with their past few albums they made with Killswitch Engage’s Adam D as producer. However, they decided to hire Josh Wilbur who has made albums with Lamb of God and Gojira in pursuit of a fresher sound on The Order of Things (Razor and Tie).

Album opener ‘This Probably Won’t End Well’ captures what the band’s staple sound is: a meeting between softer, more accessible metal and Massachusetts bred hardcore. It is in its own way iconic. There is something ballsy about starting off a new record with a song title like that. Unfortunately the depressing prediction comes true. The following song ‘No Knock’ is less iconic. One cannot help but feel that it could be any Massachusetts hardcore band that came up with it.

‘Divide’ shows more promise of the band heading towards the direction they set out in. It is very catchy and perfect for shows. The chorus sounds like it was written to be sung along to and it achieves that goal. Why it has not been released as a radio single, where it would do well, is a mystery.

‘For You’ is the heartfelt relationship song that one has come to expect from the band’s albums. This is not a bad thing, but it is not groundbreaking for them either. Anything new about the album dies off around ‘A Reason For Me to Fight’. All of a sudden it sounds like the band slipped back into their old territory. The closing song title ‘Criticism and Self Realization’ sounds more promising than the actual tune. Changing producers did have a small effect on the album but perhaps not what the band had hoped for.

5.5/10

 

MELISSA CAMPBELL

 


Laika-Somnia

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Canadian death metallers Laika are a rather underground act, but their sophomore album, Somnia (Filth Regime), is something that deserves to at least be brought to the attention of the genre’s fans. The songs sometime fall into the trap of sounding too generic, the album has some great moments.

‘Restless Mind’ is a beautiful opening featuring a piano and then blasts right into the next song, appropriately titled ‘Escalation of Terror’. Some of the songs feature great guitar parts by Ian Garraway and Alex Kling as heard in ‘Caligae A Galea’. Too often the songs sound the same but ‘Dream of Nothing’ is a refreshing break about halfway through the album. Just like ‘Restless Mind’, it is an instrumental. ‘The Immortal’ provides the band an opportunity to change the sound of the album but it unfortunately comes too late.

What the album has going for it is that the songs are full of power, energy, and metal assault; they are sure to get any pit going. Sadly, Somnia fails in that there is not enough diversity in its sound. Laika are still stuck in their comfort zone but one still hopes that they are able to overcome their fear of stepping out and come back stronger next time.

5.0

Laika on Facebook

 

MELISSA CAMPBELL

 


Zodiac- Sonic Child

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German based hard rock and blues band Zodiac are fairly new to the music game but are already getting some recognition for recalling classic sounds. Sonic Child (Prosthetic) is their third album and where they really start to find their footing.

The intro ‘Who I Am’ is interesting in that it encompasses all the different sounds and feelings the listener recognizes in the rest of the album. It falls nicely in between spacy and bluesy.

Although the songs in the beginning of the album are good, the group finds its real groove in the later half. ‘A Penny and a Dead Horse’ is more country, not only in lyrics, but also instrumentation. It eventually becomes more rock oriented. One can hear the Pink Floyd influence. “Good Times” is reminiscent of Led Zeppelin’s early work, especially in the lyrics. Vocalist and guitarist Nick van Delft evens sings “Good times, bad times.” Another blues trademark appears in ‘Just Music’ is where the obligatory “sold my soul” claim is made. Finally, ‘Rock Bottom Blues’ is exactly what the title suggests: a heartfelt blues song with hints of Pink Floyd’s Darkside of the Moon.

Sonic Child is a great album for those looking for a newer blues influenced act to listen to. Zodiac are at an advantage in that they will attract both the hard rock and the blues audiences.

 

7.0/10

Zodiac on Facebook

 

MELISSA CAMPBELL


Anthrax-Chile on Hell

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There is a reason why Anthrax has stayed around as long as they have and are considered one of the big four bands of thrash metal despite all their lineup changes. For those who have never seen the group live, their latest concert DVD, Chile on Hell (Megaforce), shows why.

Nothing seems to be glitzy in honor of it being a filmed performance and is therefore an accurate portrayal of an Anthrax concert. As soon as the band comes out to ‘Among the Living’ the audience starts moving. The next song, ‘Caught in a Mosh’ is appropriate and proves that Anthrax knows their fans well. As always, Joey Belladonna runs around the stage and interacts with the audience as though he is still in his twenties. Lead guitarist and newest member Jonathan Donais is a bit more stationary than the other band members although this changes as the show progresses. Thankfully the set is a good mix of old classics and newer standout songs.

After a short clip of the band arriving at the show beforehand, the filming gets a little more creative with the use of split screen and more movement with the camera. There is a more interesting clip after ‘A Skeleton in the Closet’ is played where members can be heard and seen talking about how the band has been around for thirty years. Judging from all the shots with fans, the band realizes just how much they owe to the metal community for their continued success.

Around the halfway point of the film, there is footage from the celebrations of the band in New York including interviews with David Ellefson of Megadeth and Anthrax drummer Charlie Benante. Although the interviews are not very long, they are sincere. Ellefson shows much respect for the band and Benante expresses his gratitude when talking about achieving his dream of playing the Garden in 1991.

Closer to the end of the concert is where the band seems to have the most fun by playing ‘I’m the Man,’ the opening from Slayer’s ‘Rain in Blood,’ ‘Madhouse,’ and ‘Antisocial.’ The group has kept up with the energy throughout the entire show and so have the fans.

The documentary aspect was interesting and made it more than just a performance based DVD but there was not enough of it to make sense. The best guess is that the DVD is supposed to be a celebration of their thirty years as a band. A better choice would have been to establish a more concrete concept around the concert parts. Because of this, the DVD would be most worth a purchase for those who are specifically fans of the band. Not a whole lot is revealed about the band, but it is a nice way to celebrate their longevity.

6.0/10

Anthrax on Facebook

 

Melissa Campbell

 


Animals As Leaders-The Joy of Motion

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One of the most talked about progressive metal bands in recent music history, Animals as Leaders, is back with another great album The Joy of Motion (Sumerian Records). The group is known for being musicians for the sake of making music. As such, they are a fairly accessible band and can appeal to listeners outside of the metal and hard rock genres. As the album title suggests, there is much movement to felt in the music.

 

Listeners are grabbed by the first track, ‘Ka$cade’ right away despite the possible allusion to Ke$ha in the title. One gets the sense that there is no disappointment waiting in this album. It is the type of album that one can jam to no matter the mood or circumstance.

In particular there is some great guitar work to be observed in ‘The Woven Web’. One can imagine a spider crawling around its web and catching prey just by listening to how the song changes from being on the quieter side to erupting into full metal mode about half way in. Another attention grabber is ‘Mind = Spun’. It starts off sounding eerie and recalls the 8-bit music used in classic horror videogames. Then the spinning begins and so does the journey.

 

Some who are listening to the band for the first time and have little experience with the progressive metal genre may be put off by the fact that there are no lyrics. No words are necessary however; the instruments speak for themselves. In each song, one can sense the thought and passion that went into making the album. Much of its value lies in the fact that it can be played on repeat without boredom. There is something new to observe with every listen.

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8.0/10

Animals As Leaders On Facebook

 

MELISSA CAMPBELL


Red Dragon Cartel-Red Dragon Cartel (Japanese Edition)

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Former Ozzy Osbourne guitarist Jake E. Lee got his newest band, Red Dragon Cartel, together last year and their eponymous debut album (Frontiers Records) shows that there is some great potential. The album features others who are well-known to metalheads such as Maria Brink of In This Moment and former Iron Maiden singer Paul Di’Anno on some of the tracks.

 

The second track ‘Shout It Out’ could very well be the next anthem at sports games. If not that, it can certainly get the crowd going as an opening song. It has the crunching guitar sound that many metalheads desire as well as singer Darren James Smith yelling “Who’s your master?”

 

Brink on ‘Big Mouth’ is a welcome change in the male dominated sound of the album. Her singing style goes well with the band’s sound. It is a song that both fans of Jake E. Lee and In This Moment are sure to enjoy.

 

The finale of the album, ‘Exquisite Tenderness,’ is a bold move for a heavy band. It shows that Lee is more than just a talented guitarist. He had written the piece at the age of six when he was being trained as a classical pianist. It’s a perfect way for someone who has been praised for his guitar work to give listeners a bit of a surprise.

 

The bonus track on this edition of the album is an acoustic version of ‘Feeder’. This version is better than the one that actually made it onto the album. It is more interesting to listen to the acoustic guitar solo because it is a break from most of what the album sounds like. There is also more of Lee’s piano chops to be heard here.

 

Overall, the album seems to suffer from sounding a little too generic. It is disheartening to say that about a guitarist who has played with some big acts. However, ‘Exquisite Tenderness’ and the acoustic version of ‘Feeder’ prove that Lee and the rest of the band still have a few tricks up their sleeves.

 

6.0/10

Red Dragon Cartel on Facebook

 

MELISSA CAMPBELL

 


Stealing the Show- Dominique Persei of Stolen Babies

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Stolen Babies are one of the most unique bands out there right now. They have been on tour with big names Pop Evil and Stone Sour to start 2014. What separates them from their touring partners is the fact that they have a female vocalist, Dominique Persei, who just might be the greatest accordion player in rock music. Persei sat down with us for a rare interview.

“I had more training in accordion than vocals” explains Persei. “When I was about nine I wanted to take voice lessons. I remember going to see this guy and he had his students sing for me to just show what I could do and what he did with pupils. I always had issues with anxiety and I had a panic attack. I ran out and that was my attempt at voice lessons. When I began screaming I went to see a coach just to make sure I wasn’t hurting anything.”

Her other musical training experiences were less frightening:

“Accordion lessons, I did take when I was about 16 or 17. I took piano lessons when I was really young but stopped. I’ve had a history of on and off music lessons”.

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Part of Persei and Stolen Babies’ interesting sound may come from the range of influences. “When I was younger I was influenced by Raffi the folk singer. I liked musical theater. There were certain musicals I really loved and I would make my toys put them on. I would study the Cats’ makeup and draw on their faces. I built a theater out of a cardboard box. I don’t really like rock musicals like Rent but Andrew Lloyd Webber and Sondheim. Out of the bands that I listen to, Faith No More was a big influence. I remember seeing them when I was a kid and Babes in Toyland opened for them. They left a huge mark on me too. I wanted to play bass and I played for a while but I met Rani [Sharone] and stopped”.

The group has had their share of memorable concert experiences. One of them was right after they took a hiatus. “There was a show when we started touring again two years ago in Denver and it was our first tour in a very long time. I thought I wanted to start a song off a capella and to everyone’s surprise the audience came in and sang it with me. It was a pretty crazy moment.”

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Another one was on a tour with the Dillinger Escape Plan, whom drummer Gil Sharone played for.

“In 2008, we toured Europe with the Dillinger Escape Plan. There was like a Metal Mania Festival in Poland and we headlined the second stage which was mainly the hall, but it was huge. All these people knew who we were and they were going crazy. We use to cover this Polish song which was this huge drinking song. It was an old Stolen Babies song so we just did a little bit of it and it was the most surreal thing. They just went nuts and I swear there were people floating. Afterward I told the guys not to get used to it. You can get spoiled by that kind of thing.”

Besides their accordion driven sound, Stolen Babies is known for the theatrical presence onstage. They actually got their start as a theatrical/improv music group, from which their current band name was derived. Persei elaborates upon these crucial elements of their performances: “I never knew it was so important until tonight. I think it’s just part of what we do and we can’t not do it. Tonight I didn’t really dress up. This is just a plain black dress, it’s cold out there, we had a rough day and the show last night got canceled. We’re sort of drained but I never don’t put the makeup on. Tonight I felt a little bit like something’s kind of off and I think I do need to dress up. It was kind of this accidental experiment. I guess we have this inherent theatricality.”

Stolen Babies very recently became a three piece with the departure of guitarist Ben Rico. It has proven to be both a beneficial and disadvantageous shift. “It’s a good thing because it is a new thing and scary. I think that’s a good thing to be always pushing boundaries for yourself. You have this energy and the audience picks up on it. The drawback is that we don’t really fit in. People go to a metal show and want to see like five dudes onstage. We have all these elements that people aren’t familiar with. I think it can confuse people a little bit. A good thing is that we all have to play more. Rani is starting to sing more, I’m playing percussion a bit more, and Gil is starting to play more melodic instruments like a glockenspiel. All three of us are stretching ourselves out.”

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Owing to the fact that the band has played with diverse acts from death metal, to hardcore, active rock and only occasionally finding some common ground with tour mates, definitely sees them challenging audiences. Like every band, Stolen Babies has played for tougher crowds, including on this tour. “Standing on that stage and every night on this tour so far you look out into the audience like ‘Are they staring? Do they get it? Rani said he saw on Twitter or on Instagram that someone posted a picture of us like ‘What the fuck am I looking at right now?’. We get a reaction whether it’s good or bad. People will remember us, even if they hated us. It’s better than being forgettable”.

Persei sees the bands uniqueness as very positive, especially in the long term. “It seems like it’s always been good and bad. I think it’s always good if you do what you do naturally. Maybe you want be a millionaire but you want to do it your way. In the end I want to feel that I expressed myself in the most honest way I could. I want to know that I put out a product that represented me.”

There was a six year gap between Stolen Babies’ last two albums, leaving fans to wonder if they will see another release any time soon. “We were supposed to be working on it and didn’t plan to tour until March or April before we were offered this tour. We have new songs that were so excited to play and one of them we wanted to play on this tour, but it just didn’t work out. However, the answer is yes”.

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Stolen Babies on Facebook

Melissa Campbell

Live photos by Evil Robb Photography