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The Chimpz EP “Who Can I Trust” – My Review

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Posted by :Matt Buell On : March 7, 2012

Category: Articles, Music, Reviews

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When I heard that Yvonne had picked this band up to add to her repertoire, it was a surprising and quite refreshing bit of news that I embraced wholeheartedly. Chalk up another smart move. She then asked me to write up a review for this band’s 5 track EP, “Who Can I Trust”. The rap/rock style of music has had a huge number of fans throughout the years, and it is not too often that we get to partake in listening experiences of unsigned bands in this genre, being there are so many, and pick out a select few that we really like jamming to. The Chimpz are the exception. They are not just “another band trying to cash in on the genre.” They have a truly defining sound that separates them from most in that their focus is on the music as a whole, not zeroing in on just the rap part of it, not zeroing in on just the rock part of it, but giving each different sound life by mixing it together and delivering it all with fair and unabashed passion.

If you have not heard of The Chimpz yet, let me give you a small crash course. They are based out of L.A., have had songs on shows such as Bam’s Unholy Union (every episode), Bam’s movie “Where the Fuck is Santa”, and an episode of Sons of Anarchy (season 3, first episode). They have three records out – “Home Invasion” (7 tracks), “On Parole” (13 tracks), and the most recent, an EP named “Who Can I Trust” (5 tracks and the meat of this review). They have several notable sponsors including Anarchy Eyewear, Outlaw Threadz, Sabian Cymbals, Schecter Guitars, and the almost medicinal Jagermeister. And, have shared the stage with national acts such as Disturbed, Avenged Sevenfold, Hellyeah, and Halestorm on the Rockstar Uproar Festival in 2010. The 5-piece band consists of the musical maestro Artimus Prime on lead vocals and rhythm guitar, Chuck P rapping his ass off as MC (and coming from my current state of residence for the past 29 years – New Mexico), Scary Cary jamming great riffs into us all as lead guitarist, Sonic and his talent bring his bass playing and an integral part of the whole sound, and Sean Topham (who has his own accolades – All Access Magazine’s Best Drummer in 2007 and his own company named Topham Drums) who is quite obviously their drummer. From everything I found on The Chimpz, this is the same lineup that started in the beginning  (with the addition of Chuck P. in 2005). That is impressive, as is the music.

‘Victim’ kicks off the EP and showcases the instrument wielders immediately – an eerie lead speed guitar solo riff by Cary backed by Topham and his double bass skills. Sonic is quite impressive in this song in keeping the bass flowing so well. We get to hear Artimus at about 0:19 when only his voice, the bass, and some cymbal work are going. Toward the end of the verse, the other instruments and sounds slowly come into the song. MC Chuck P brings his skill on the mic in at about 1:51 and flows it right into the whole rhythm of the track. ‘Corrupt’ starts out with a very good hard rock guitar riff from Cary. The drums and bass kick in, and it’s on. Awesome introduction before Prime’s unique voice carries us into this obvious southern rock influenced jam. The band gives a killer performance with the backup vocals to ‘Corrupt’ and Chuck P’s rapping intermixing with everything. 1:46 sees Scary Cary sweetening up the tune with a badass solo.

The next song is called ‘Killing Me’. It is quite a bit more toned down until the chorus kicks in. The bass playing by Sonic is definitely in the forefront of the instruments during this track, especially when Prime is laying it down. Again, great backup vocalization and an awesome solo. Another flowing rap by Chuck P comes in at about the 3\4 mark. Because of the ease of the song, his rap gave me chills. The title track, ‘Who Can I Trust’, comes in the fourth spot of the EP. Some funky synth work at the beginning of this one along with some cool cymbal work by Topham. Prime shows some of his rapping skills in the beginning before breaking into an unexpected growling scream. Blew me away. After the chorus, Chuck P knocks out the second verse. Listen for Sonic’s bass playing throughout the song. It is amazing. My favorite on the album. ‘Mr. 44′ is the final track. This song starts out much like the first two tracks in that the instrument usage is speedy, in your face, and lets you know these guys mean business. It is a very high octane song with every aspect of this band, and what they are about, coming at you – including Chuck P bringing the first verse hard. A fully complete track.

What I really love about “Who Can I Trust” is everything I spoke of in the first paragraph of this article, plus the fact each song gives us a truly skillful lead guitar solo (rare in this day and age), and that each instrument – vocalists included – are so prominent throughout the whole record. Sometimes things get lost in the mix, but they do not with The Chimpz. The band knows their sound. They know exactly how to bring every element of their sound into the listeners’ ears. The Chimpz Nation is growing, folks, and I suggest becoming a part of it.

(Update: I stand corrected in the statement where I mentioned the lineup being the same as in the beginning. This is NOT the complete, original The Chimpz lineup, but it is the same group of guys that recorded this EP. I apologize for this mistake)

Facebook Page / Website / Twitter

The Chimpz – Mr. 44

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(The Chimpz will shortly be releasing a new video for the title track)

Exploding Horse’s “The Great Mechanical Pig” – A Review

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Posted by :Matt Buell On : March 5, 2012

Category: Articles, Music, Reviews

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From a well-received band review/introduction, and now reviewing their debut album, I am honored to have Exploding Horse as my “test subjects” for my first Carolinas death metal album review. Thanks dudes. Now, onto way more important things, as in giving the readers my interpretation (as a fan) of a truly raw and destructive album from another great band out of North Carolina. They were once called Zeus but have since decided to go way more metal with the name Exploding Horse. As long as they change NOTHING but the name, that is fine by me. These eleven songs are all explosions of sorts put together on a deathly straightforward and bone-crushing journey into their minds – and our own minds alike.

Like a double-strength Red Bull to your ears, Exploding Horse and their debut album, “The Great Mechanical Pig”, awaken you violently with its powerful ability to make you NOT want to stay seated. The album was made two years ago at Basement Recordings with Jamie King at the helm. Due to financial woes, it was not released until January this year…finally. I believe I described previously about Brennon Campbell having “a mutant throat made of iron.” I stick to that after hearing this album. Sam Fleming and Adam Lane grind out the destructive guitars, Karlon Grant plays bass, and Ricky Culp beats out the powerful drums in each tune.

‘Blonde Moustache’ and its introduction consist solely of the sound of a beer being cracked open before the band breaks in with its aggression. Out of the gate, the listener gets to feel the strength of the band in all aspects. At about 2:02, they kill all the instruments except for the bass for a couple quick pieces of solo work. The intensity is also signified in ‘Turbo Tommy’ with no introduction, just the band hitting everything right off the bat into a chaotic blend of instrumental speed and sound. 0:47 in and the rhythm of the song takes an awesomely dangerous-sounding turn. The guitar riff changes and Campbell’s vocalization goes deep into an impressive gutteral tear, then chaos again ensues less than a minute later. We get a lot of different sounds from each instrument throughout the song that really does showcase what each member thrashes best at, especially at about 3:31 when all voices are focused together. Very killer tracks.

‘Queen of the Parasites’ starts with a very quick intro into how hard the song will smack you in the face. There are some very badass parts where some speedy lead guitar solo work synchronize with Campbell’s voice in a somewhat melodic death dance. It’s awesome. Possibly the hardest and fastest track on the entire album, ‘C.A.C.’ (see below video) is the new name of the track stemming from its last name…Exploding Horse. With the ferocity of the song, either name works tremendously. This brings me to ‘Decomposition’ and its acoustic start. So very different than what you get with the first four songs, this introduction is a cool, fresh design that, at 1:29, brings the listener right back into their signature sound. Awesome unexpectedness. Throughout the track, a double shot of raging vocals are heard with a classic deep growl mixed under a terrorizing, rage-induced scream. 6:30 into the song, a very eerie and almost synth-sounding guitar comes in and tones down the speed some. Then, a beautifully played lead solo, lasting as long as several old school classics, comes in. When that is over, the speed and destruction comes back. As the longest track on this record, it is definitely my favorite.

‘Land of Manatees’ has one of the better guitar riffs, steady drumming, and killer bass playing. Keeping with the steady, rhythmic creation of the song, it takes you into how well everything this band does and how that it is done with such intensity and skill. ‘An Unspoken Remembrance’ is an all acoustic instrumental ease into the band’s chilled side. Featuring Soilwork’s longtime lead guitarist, Peter Wichers (1995-2005, 2008-now), it will give a lot of insight to the difference between what you expect and what is truth about the band. They can do it all. In its whole 2 minute length, it says tons. The title track, ‘The Great Mechanical Pig’, gives us all an immediate push back from the last song, snapping us back with a huge jolt. Another song with some killer chaotic parts, it also keeps a person headbanging throughout. The song fits the record perfectly – an intense and somewhat “mechanical” powerhouse. The final two tracks, ‘Frozen Head’ (featuring rhythm guitarist for Between the Buried and Me, Dustie Waring) and ‘Sam Kinison’s Death March’, both finish out this debut album as powerfully as the album starts, with pure aggression, intensity, and every single skill and sound the band is so good at.

The diversity in which the band delivers the music to the listener is apparent, as almost every song is a death metal lover’s dream – or nightmare – whichever works best. Eleven complete songs coming from a devastating band, who have a unique way of projecting their music to us. I dig the hell out of these guys. From hearing the record, you may think that these guys all might need some professional help in the mental department, but that would be an extremely huge falsehood. Check out the below video, and you will understand what I am talking about. They are about having fun doing what appeals to them and nobody else. Exploding Horse are as good as they sound and deserve to be noticed.

Rating: 9.5/10

5 out of 5 Metal Horns Up \m/\m/\m/\m/\m/

Exploding Horse – “C.A.C.”

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The Black Keys – El Camino

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Posted by :Josh Bash On : February 3, 2012

Category: Indie Rock, Music, New Releases, Radio Rock, Reviews

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The Black Keys need no introduction. At least not in 2012 they don’t. Back in 2009 it is possible that the casual music fan would not have been blessed enough to hear this fiery, passionate band’s take on the blues, the alternative, and of course – rock ‘n roll. Then their album Brothers came out, the lead single Tighten Up exploded, and the rest is of course history. Just this past December, they released a quick follow-up to Brothers, entitled El Camino. For reasons unknown to me, it did not seem to receive the same amount of hype as Brothers at all. Their lead single, Lonely Boy, did pretty well for itself, but they didn’t appear to be steamrolling down the same road in a tank destined for universal domination anymore. It is interesting to me how easily one might snatch up this or that year’s trendy band, be it the Black Keys, MGMT, Muse, or even the White Stripes when they blew up, yet they hold onto a single song or two and seem to care little about what else the band has done. They will rock Tighten Up, Kids, Uprising, or Fell In Love With a Girl all day, but when the band strives to prove their capabilities, and constantly demolish the boundaries of what indie or alternative or even rock ‘n roll can mean, the “fans” don’t take notice, and carry on with the same ole’ song and dance night after night. It is a very telling sign of the times. Many have seen this happening for years, but the album is becoming a thing of the past. The single is unequivocally where it’s at. The Black Keys do not care. Whether anyone is listening or not, their new album, El Camino, is here, and it wants – nay! – demands your attention.

The Black Keys have progressed plenty since their bluesy garage-rock beginnings. The White Stripes-Black Keys comparison was more plausible then, even beyond the comparisons of being a two-person blues-based rock band. While both bands have progressed plenty in their own right, the Black Keys have really strayed away from the blues dominance, and it is more just an influence now than anything. But where the blues has been put away for safe keeping and historical reference, out at the forefront is the beautiful sound of a blistering, soulful alternative rock band. That is simply the kind of band they have become now. It poked its bright shining face out on 2008′s underrated Attack & Release album (first one produced by Danger Mouse – a big influence that is easy to hear) and came out guns a-blazin’ on Brothers. Dan Auerbach sang with more gusto and soul than any time before, using falsetto as a major weapon for the first time, and Patrick Carney continued and improved upon his pummeling, yet precise attack on the drum kit. It especially worked to their advantage on the absolutely killer opening track, Everlasting Light. The album as a whole was very good, and boasted a lot of unique, soulful tracks that really had an impact. Where it suffered though was in length. It was just too long and far-fetched. They went balls to the wall and there were a lot of great, inspired ideas on the album and when it worked, it was fantastic. When it didn’t, it became boring and long-winded. I think the Black Keys learned from that, and on El Camino they really focus their abilities and have eliminated just about all filler (with the exception of Stop, Stop, the ugly duckling of the album, to be entirely cliche), and have put out what could be the most consistent album of their young yet prolific career.

The opening track is the lead single, Lonely Boy. From the initial feedback to the first crunchy guitar riff, you can get a sense for what kind of album this is going to be. The accompanying video that was released along with the track paints an absolutely perfect picture for the album.

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Everything about the video is musical purity. There is no bullshit. There is no fluff. There is no excess. It is just one dude, rockin’ a song he digs, and gettin’ down. When it comes to music, or life really, what is more pure than that? You hear the notes, you hear the melody, you feel the groove, and all you can do is groove along with it. It gives you a sense of what is to come on the rest of the album. It is much more stripped down, straight forward, and even anthemic than any previous album of theirs. They didn’t reach on this album. They knew exactly what they wanted to do, and they did it. Granted it is not going to change the world, it is a rollicking blast of an album that desires your undivided attention and affection. The Black Keys – whether they approve or not – are carrying the torch for modern rock ‘n roll. There are few bands at their level of fame that strive to make the best album they can while pushing the boundaries and maintaining their integrity as musicians and artists. The Black Keys do exactly that. They are at the forefront of a rock ‘n roll (r)evolution that will hopefully bring the creativity and integrity of the alternative, to the prosperity and popularity of the mainstream.

Standout Tracks: Dead and Gone, Sister, Little Black Submarines, Hell of a Season, Run Right Back

Final Score: 8.9\10

From ZEUS to EXPLODING HORSE-Another Badass Death Metal Band from the Carolinas

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Posted by :Matt Buell On : February 2, 2012

Category: Articles, Music, Reviews

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Let me start off by saying anybody who can project their vocals in that manner has gotta have a mutant throat made of iron. There is absolutely no doubt from me that headbangers who dig old school death metal (stuff I grew up with) – Deicide, Cannibal Corpse, Vengeance Rising, Malevolent Creation, Obituary, Death – and get into how the progression in death metal is in today’s industry, will definitely be enthralled with Exploding Horse. A 5-piece band started in 2006 and hailing from North Carolina, the band brings a devastating and destructive sound worthy of any death metal fan taking notice.

The band consists of Brennon Campbell, the man with the mutant throat. His vocals absolutely destroy some more well-known death band vocalists. His transition from the “deep within your soul” growls to the higher pitched mix of growl and scream, he is a complete talent in this style of music. Sam Fleming and Adam Lane have created some of the deepest, terrorizing, and hardest riffs I have heard in a while. The skills they possess (along with total possession of their instruments) are heard clearly in each solo, too. Ricky Culp’s intensity behind his drum set would keep most normal people at home for a few days to recover. He destroys and kicks the hell out of the bass drum, all the while keeping the snare and cymbal work just as speedy and precise as the guitarists. Former bassist for the band, Deucy Wayne, did all the work for their album and it is who you will hear in the tunes on their Facebook or Reverb pages. They have since acquired a new musician to take over those duties in the form of Karlon Grant. I am sure by how in tune the band is that this decision and direction is a good one.

Exploding Horse is not for the weak of heart, for the simple-minded, or for anybody who does not want to totally fuck their neck up, and it does not matter the reasons behind their recent name change. Do not be thrown off by some of the titles they have given their songs – Blonde Mustache, Turbo Tommy, The Great Mechanical Pig – for these names do not dive into the music deeply enough. You have to listen to each of them and feel all the passion, rage, and disturbing similarities to ourselves to truly know where these guys come from. The Carolina’s metal scene is for sure alive and well, and the music I had lost touch with for so many years has come back into my life with the exact sound that Exploding Horse brings to my mind when thinking of where the aura of death metal had gone. Much appreciation and respect for these boys. Rock on.

Facebook Page / ReverbNation

Check out Exploding Horse on January 22nd doing a little practice session. Hardcore metalheads, but goofballs otherwise.

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Sound of Cancer’s “No Vampires in Gilroy”-My Review

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Posted by :Matt Buell On : January 31, 2012

Category: Music, Reviews

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It is no secret I will listen to anything rock-related and beyond for a different sound and take on any genre. Coming from a guy who grew up close-minded to all but one style of metal, and have since “grown” into a more open-minded adult – especially when it concerns anything from rock to death – my review of the Alexx Calise and Dennis Morehouse (collectively known as Sound of Cancer) album, ‘No Vampires in Gilroy’, is that of praise and regard. Morehouse is Calise’s drummer in her solo work, and they came together to bring a little darker sound to shed light into their already highly regarded skills – Calise as a singer/songwriter/guitar queen and Morehouse as a gifted and talented drummer, who is also no slouch in his writing abilities, has the songwriting accolades to boot, and can play bass, guitar, and piano/keyboard. What a listener gets from ‘No Vampires in Gilroy’ is a different experience from what they might be used to being a fan of Calise and Morehouse, but you get every aspect of exactly what you have come to expect from two wonderful musicians and human beings. With the album being touted as “for fans of Portishead, Pink Floyd, Peter Gabriel, and Nine Inch Nails”, its appeal far exceeds fans of only those artists. Trust me.

“Darkarnival” immediately grabs your attention. You get little, evil laughing children in the background, creepy carnival music, Calise’s vocals turned to the “dark side”, Morehouse screaming bad intentions to you at the chorus, and in my opinion, a dark feel that if anybody decided to do a remake of the 1932 classically controversial movie “Freaks”, this song would and should be the primary focus around the characters. Fantastic sound without losing any feel of what SOC was looking for putting this as the first track and setting the tone for all the different influential music direction in the rest of the album. “Abyss of Your Kiss” and “Vamp” truly bring forward the absolute and unmistakable sounds of both these artists meshed together – the “rocktronica” beauty of Calise and the semi-darkness Morehouse is so attuned to and known for. Their ideas and backgrounds melt immediately into the introduction to each song. There is no doubt Calise’s vocals are a wonderful center point to what else is going on musically. Morehouse keeps the piano playing throughout “Abyss” to keep that creepiness (I don’t know what it is about the piano in the background for me, but it works so well. Subconscious issues? Maybe). Credit for playing bass on “Vamp” goes to a Keith Brinkely. He does a great job in keeping with the whole aura of the album. Killer work.

If you want to hear a couple somewhat slower tracks to ease a stressful day, then take a listen to “Love” (which has a great guitar solo starting at about 2:30 and goes to about 2:46 and keeps a more uptempo beat through the rest of the song), “Confusion”, and “Need Someone”. Each song features Calise’s one-of-a-kind vocals and the impressive range she can belt out, and each song produces the skills at the piano, keyboard  (and all creepy sounds), and drums that Morehouse proves himself at. The trio of tracks will also bring breaks – about two thirds through on each – either with guitar solos and coming off acoustics, going electric from nothing, or bringing each instrument a little quicker beat with Calise’s vocals pushing everything along at the pace she designates. Wonderful songs.

“Say” is just a pure rock song, with very little when it comes to electronics, and credit for the acoustic guitar going to a gentleman named Scott Williams. Williams is also credited for playing bass on “Abyss of Your Kiss”, “Love”, and “Stripped Me”. The song “Stripped Me” gives the listener the best of all worlds when it concerns instrument use and difference in styles. You can expect some speedier and louder tempos breaking into slower beats. It has a very “island” feel to it. “Tasting You” is a very cool take on some deeper, grungier guitar playing. The electronic electric guitar is an evident fixture when they get into the chorus especially. Oh yeah, and it sure sounds like there is some xylophone being played, too, which adds to the album and idea behind it as a whole. Last, but not least, the final track, “Now That You’re Gone”, is complete ballad. Calise’s voice, an acoustic guitar, and some background synth work to keep in line with how this album was done is all that you hear, and that is all you need. No matter the details of any situation, the death of a loved one can inspire anybody to express themselves in whatever way works best for them. This song truly feeds those feelings, but it also can give a person going through a hard time in a relationship some hope.

No album is perfect. No album has everything that everybody wants. No album appeals to all people. But, if any album expresses itself soundly to all, brings forth every aspect of musicianship it wants to show, and is a stand-out amongst like-genred albums…this one IS absolutely perfect. Each and every instrument is seemingly played out to its last possible working note, and each song is unique in its own way. Sound of Cancer have created a wonderful piece of art, both members have shown us what they are capable of in skill, creativity, and trust in each others abilities, and the direction they wanted ‘No Vampires in Gilroy’ to take. These facts alone are what stand out with me. I highly recommend it.

Rating: 9.9/10

Follow the links below, and please check out their recently-released video for Abyss of Your Kiss.

Sound of Cancer Website / Alexx Calise Website / Dennis Morehouse Website / Sound of Cancer FB Page / YouTube / Twitter

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Trying to Make a Name in a Tough Texas Metal Scene and Beyond: Five Eyes Wide

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Posted by :Matt Buell On : January 16, 2012

Category: Articles, Music, Reviews

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Hailing from Kingwood, TX, Five Eyes Wide, like any band getting started, want to be known and heard for what they love to do, the style and skill in which they do it, and want everybody to feel the passion they convey through their instruments. As a 5-piece band, they have a complete corps of guys to cover each instrument necessary to bring the metal with every song they play. Vocalist Chris Conley has a soothing voice with a skill to turn it into a well-oiled growling machine, all to express his lyrics even more to those listening. The guy can sing. Stan West playing the lead guitar is amazing. His speed, intensity, and solo work are things to really listen to and at. Paul Montenegro compliments West’s guitar playing in a way that is more noticeable to the average listener. Where a rhythm guitarist may get somewhat lost in the music, Montenegro’s obvious ability to change tune and hit the riffs for each song so hard is very apparent. Alan O’Bar’s bass blasting can be heard and felt throughout each of their five songs. Each song, at some point, slows enough to be able to hear O’Bar’s “almost lead guitar” sounding electric bass coming through. Very talented individual. Rounding out the band in a powerful way is drummer James Lawler. From the intros to each song to the end, Lawler is a loud and hard-hitting guy with a great skill to keep a listener intrigued throughout. He can double bass with the best of them, and keeps the snare and cymbal work extremely active throughout each song and keeping in line with the guitars. Killer.

Each of the five songs they have bring a listener something different. “8MM” intros you immediately into Lawler at the drums to bring in the rest of the guitars and hits you with the metal this band is so good at. Conley shows all vocal talents throughout the song. “No Escape” and “Aftermath” bring a little slower, yet just as good, sound to the band’s character. Everything you still expect and hear with the faster songs, are incorporated into these “power ballad-esque” pieces of great musicianship. “Burn” and “Lock and Load” hit the listener hard with the intensity this band brings you from deep within. They let out their emotions in the most powerful way they can and like to do.

Many great heavy metal bands have come out of the state of Texas. I’m not here to name any of them off, but one thing people should be very aware of is that Five Eyes Wide have every sound necessary, every skill needed, and the drive to be a big name in this industry and genre. Everything is bigger in Texas, including this band’s clear cut love for their craft and art. We all would be wrong to dismiss this as just another shitty pipe dream, for Five Eyes Wide can make it and plan to do so. Five guys. Ten eyes – 5 of which stay in the now – the other 5 eyes widened to a bright future, all eyes equal to a dream that they will work on to make happen.

Visit the band at the links below:

ReverbNation / Facebook / Twitter

Back From Ashes “261″- A Review

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Posted by :Matt Buell On : January 13, 2012

Category: Music, Reviews

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(Contributor’s Note: Jason Hobel, vocalist for Back From Ashes, gave me his time last year to talk with him about a number of different subjects. I imagine he is as great in person as he was on the phone. His pride in Back From Ashes is unparalleled, and the respect he has for all their fans and his band mates knows no bounds. This band is a metalhead’s dream in the difference it brings to a tough music industry)

Back From Ashes and their second full-length album, “261″ (released late 2010), bring you thrashy and beautifully melodic riffs from guitarists Mike Butikofer and Anthony DeJesus, killer basslines provided by David DiGilio, excellent skill on the skins from a few different names: Dan Johnson, Jimmy Bones, and Dwayne Dedrick (I believe the band is looking for a more permanent drummer), and one of the most well-ranged and passionate vocalists in Independent music today, Jason Hobel. You wanna know how their second album is? Check it out.

‘When You Fall’ starts off with a nice, easy acoustic guitar session for about 15 seconds, some cymbal work, double bass playing, and rhythm guitar bring you into a badass lead solo before hitting you with the whole band exploding into this song’s thrash-like sound. Hobel growls his way into a powerful first lyric with backing vocals from the rest of the guys. “I cannot take the weight of the World…on my shoulders.” The band gets real gritty going into their second verse, with a killer sound that can only remind me of Kreator. Awesome lead-off song if there ever was one. ‘Walk Away’ pretty much hits you in the face. You can feel the speed influence flinging the listener into how intensely they want you to feel them. Incredible guitar playing by Butikofer and De Jesus. This song gives you a taste of what Hobel is capable of doing behind the mic with his range. Headbanging to this one feels almost mandatory.

‘Tightrope’ feeds your ears with a little bit different sound at the very beginning, with some drum and bass work then Hobel giving you a very quick growling lyric about hanging from a tightrope before the whole bands smacks the shit outta you to bring you into their sound. Just when you think one of their songs might sound alike with any of the others, this song will make you realize each are unique and absolutely their own with many descriptions being said that they cannot be put into one category. At about 2:37, the music slows, Hobel gives a background growl/slash yell while the rest of the band members are bringing the listener another slap. “This is my life. I feel nothing. This is my life. I feel nothing.” A different influence to their music is heard in the form of ‘Truth’. There are subtle sounds of some background synth, and a lot of sound of some of the heavier ’80s bands being heard. The whole song brings a smoother hard rock sound infused with the hardness BFA knows how to do. At about 3:16, a beautifully melodic guitar solo is played. Very cool.

Then you get ‘The Suffering Within’, a new age version of what I would personally call an extreme power ballad. You get all the essence that an old school power ballad brings – soft vocals with breaks into great growls and screams, slower rhythms, acoustics with breaks into hardcore jamming. Another way BFA can show and prove their dedication to each and every form of music that influenced the band members individually. ‘Pull The Trigger’ gives the listener what sounds like a couple of the band members getting a taste behind the mic growling their vocals. It hits your eardrums hard right off the bat and keeps that feeling through the whole song. “Pull the trigger. You’re already dead to me. There’s no more falling down again” pretty much sums up what I’d say to an ex.

‘The Verge of Consequence’ is a 1 minute 41 second soothing, synth-induced instrumental laced with some churchy, yet creepy, bells that all lead up to ’20/20 Blind’. All metalcore means to me is thrash metal in the new millennium. I grew up fully encapsulated with thrash metal. ’20/20 Blind’ brings all that old school thrash into the metalcore genre and how true HEAVY metal should sound. You get every single instrument blasting you hard and ferocious vocals ripping you apart in every good way imaginable. Excellent musicianship. The momentum and strength of ’20/20 Blind’ flows and brings you into an immediate heavy-hitting song called ‘Misery’. One of my personal favorites on the album (it’s hard to pick ONLY one), the guitar riffs are absolutely amazing, and the anger with which Hobel projects his lyrics is intense to the very last note of the song. If none of the other songs have brought any feeling to you, this one will. Amazing.

‘Welcome To Me’ and ‘Seed’ round out this “metalhead’s dream” of an album. ‘Welcome To Me’ hits you with everything the whole album has been doing – beautiful and killer guitar riffs and basslines, out of this world percussion, and intense vocals. A complete mix of everything the band does right, does together, and does well. “Welcome to me now. Welcome, welcome to my hell.” Fuck yes. The band’s finale on “261″ takes a dramatic turn. ‘Seed’ is a completely unexpected sound. I say this from the perspective of it being a fucking fantastic way for this band of badasses to show that they can turn it down a notch, but still hit you with what they feel in a totally different way than what the rest of the album sounds like. Two thumbs up from me on this song. Starting you off with some acoustic guitar, and then you hear Jason Hobel, a softer Jason, who comes in almost not sounding like the same vocalist. You might even think, “No way.” But, oh hell yes. They put an echo after he sings each line that adds to the song’s message. At about 39 seconds, a piano comes into the mix, giving the listener more reason to really listen. “Would you really wait for…a sick man whose only as sick as you make him, sick of you making him. Wandering lost with your claws in his side, and your words in his head. He’ll soon be a memory.” Absolutely beautiful. After this lyric, the whole band goes electric with an orchestra playing in the background. Hobel still sings softly, but you get some back-up vocals from the other band members. Their voices blend so well into the whole sound of the orchestra. The only growl you get is at about 4:17, near the end of the song, the final words of it, “The sickness is your SEEEEEEED!”

From beginning to end, “261″ is a raucous, ass-kicking, metal throwdown to those of us who can appreciate where we came from and how it is being played in today’s music. Back From Ashes knows the best way to do this – with similar backgrounds as most of us, listening to what is exactly right to them, and an affinity to put music out that all metal lovers will dig the hell out of. Like several Independent bands, BFA have a loyal following but deserve a broader range of listeners. Check out some of their accomplishments: 2009 LA/Phoenix Music Awards – Winner of Producer’s Choice Modern Rock Band Of The Year award and Video of the Year award (Suffering Within), Best Hard Rock/Heavy Metal Band of the Year, nominated for Best Rock Band of the Year. A Grammy nom in 2010. The list goes on.

The band is currently working on their third studio album (they are constantly working on new material of course), as of yet unnamed and nothing confirmed, but I am in extreme hopes this baby comes out this year. I need some more writing material, and this is one band I enjoy and am honored to write about, even if it took so long to review it.  Purchase the album from their website by clicking here, and please be sure to “SPREAD THE ASHES!!!”

(Update: Since this writing, Jason Hobel was on a radio broadcast on renegaderadio.net and brought up a couple other things happening with the band. One thing is that they have possibly signed a deal with Avenged Sevenfold’s label out of Japan, an OFFICIAL video for their song “Welcome To Me” is going to be premiered at the beginning of an upcoming Hollywood movie, and their producer, Ryan Greene, wants them to cut a new single and release it within the next couple months. Congratulations to the whole band, Ryan Greene, and Yvonne Laughlin for all this awesome news)

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Against Tolerance’s “Undefined”: My Review

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Posted by :Matt Buell On : December 6, 2011

Category: Music, Reviews

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If you have never heard of Roger Martinez and a Christian death metal band from the late ’80s/early ’90s called Vengeance Rising, you would never know how much I am reminded of that time when I hear Sao Paulo, Brazil’s Against Tolerance and the very similar vocal stylings between the two lead singers. Martinez’s voice was once described as sounding like he was “gargling razor blades”. He brought a passion to what he was vocalizing that you could hear. The difference with the lead singer of Against Tolerance? He brings a passion to what he is vocalizing that you can FEEL. Decio Thomas brings his point loud and hard, in your face, and without remorse. It is beautiful to those who can appreciate the messages. Stefano Manzano and Vitor Curi bring you the hardcore guitar, which with Decio’s vocals, hit you hard with both skill and aggression. Hugo Bispo plays bass and assists Decio on vocals at times. There is not a bassist from the old days in this genre that can bring in his sound with this intense style of music that Hugo can. It is quite impressive. Biel Astolfi is as fast and hard-hitting of a drummer as I have ever heard. The speed at which he goes at the skins makes one wonder if the drums are sped up. Of course, they are not.

Against Tolerance released the album “Undefined” back on July 25th. Upon publishing a small article about the band, they approached me about doing a review of it. How many bands approach such a small, “mostly music-based” website to give an opinion on an album? This band did. To me, that says a shitload about who this band really cares about. I listened to “Undefined” several times in awe of how they want their political messages to be heard. The music is extremely hard and heavy, the projected messages are heard, and the complete album is definitely felt.

“Undefined” gets kicked off with the song of the same name of the band, ‘Against Tolerance’. This song defines the band and sets the tone for the rest of the album. By hearing it, you will decide to love the band or hate it. No matter what you decide, you will never deny their power. It is not just noise. Listen to the opening sequence. Basically, the song is telling you they won’t take any shit and will fight with all they believe. Wonderful beginning song.

‘Cold Hearts’ and ‘I Have Lost You’ both begin strong with a great listen at how precise and crisp the guitar playing is and bring you beautiful riffs that parallel the bass and drum lines with a ferocity and skill not felt in as much of today’s music. ‘Cold Hearts’ showcases Hugo’s bass playing as I described before, especially at about 2:02 into the song. It breaks into a killer solo featuring his talents. The beginning of ‘I Have Lost You’ sort of reminds me of the beginning of several Static-X songs, but then hits you in the face with only the band’s own sound. There are two breaks into a badass sung chorus (although I am not sure who sings them), but it brings the listener something a little different. Very enjoyable.

‘Memory and Redemption’ is exactly about that. The band wants you to remember the oppression in history, then come back to the now and fight for redemption to not let history repeat itself. This song has one of the absolute best riffs on the whole album and the first real guitar solo that sounds like a cross between an electric guitar and a Star Wars laser gun. You then get ‘Prelude #1′, a 2 minute 25 second acoustic guitar instrumental song that will more than likely throw you off as it sounds influenced from some classic southern rock band. Very cool and quite the ease back into their true sound. The acoustic guitar in ‘Prelude’ carries into the beginning of the next track but sounding more native to Brazil and some beautiful cymbal work by Biel, ‘The End of History’, another smack in the face about how some of the horrors of history have shaped too much of the negativity shown in today’s society. Decio’s rebellious and vicious vocals dominate in his lyric of “We shall, as social individuals, face our historical burdens. Save us from Hell! We will not surrender!”

Finishing up the album I received are ‘Try Again. Fail Again. Fail Better’ and ‘Welcome to the Desert of the Real’. Both songs being a mix of how we can get our liberation from the past and how to bring it into our reality of today’s world. ‘Try Again…’ is the longest song on the album and comes in at 4 minutes 43 seconds. They want their message to be heard in short bursts of powerful musicianship, in your face vocals, and lyrics to speak to all that may feel oppressed but want to break free.

Against Tolerance has put their political and social beliefs into an album they want to share, in their own way, as powerful as possible, and in a genre of music that already gets a bad rap even still in our day and age. They solidify their message in “Undefined” with each and every song. It is a damn good and complete album that will make you wonder how much more they can do to get a point across because they do it so well here. Rock on.

Rating: 9.7/10

5 out of 5 Devil Horns Up \m/\m/\m/\m/\m/

Official Welcome to the Desert of the Real video

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Against All Will’s “A Rhyme And Reason”: My Review

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Posted by :Matt Buell On : November 25, 2011

Category: Music, Reviews

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(Contributor’s Note: I had the privilege of interviewing Against All Will lead vocalist, Jeff Current, a few months back and was immediately impressed with how he came across in his passion for the fans, their music, and his great sense of humor. I knew I needed to eventually do a review of their 7 track EP. Of course, by request of their publicist Yvonne, I am finally getting to write this up and listen to the album again…over and over and over. I gotta ask, “When is a full-length coming?” From the opening track to the final cut, it’s one of the best EPs I have heard from a Hard Rock band in a long time. Upon listening to it the very first time, the writing just came to me, and here I am, putting the final touches on it. Any other listen I have given the EP has been only on my own accord. Enjoy and rock on)

‘Swept Away’ became the band’s second song to get extensive air play on Sirius Octane with its release earlier this year. Coming off the huge popularity of their first two singles, it immediately gave music industry experts, and fans alike, another piece of what this band is great at. Being the first track on the EP, it gets your ears wanting more. Breaking in with the great guitar playing of former Puddle of Mudd guitarist, Jimmy Allen, and after a few seconds you get a taste of former Soulfly bassist, Cello Dias, and Steve Wilson (formerly of t.A.T.u and Dead Kennedys). Wilson has since been replaced by former Instinct of Aggression drummer, Phillip Gonyea, as of March 2011, but that does not take away from the impact Wilson’s drumming had with this EP. If you had never heard of Jeff Current from a band out of Dallas, Seven Story Drop, you would think he came out of thin air. Jimmy could not have brought in a better vocalist for the sound he wanted. Current has one of the best “rock voices” going right now.

Right off the bat, ‘Discard You’ lets you hear how well the band meshes with lead and backing vocals getting you ready for another hard rock hit. Listen closely to the lyrics, and at 2:56, Current hits you with the words, “I discard you”, sung four times with rising intensity, truly makes you believe you can overcome anything negative in your life. Right after, Allen gives you a 22 second solo, Current comes back in with the chorus, and AAW together ending it powerfully. Great song.

“I like your cute, little ass. I like your stuck-up smile. I like your new t-shirt. Baby, I like your style. Yeahhhh, but there’s someone else. You’re sorry to say. You’re leaving me. It’s just better that way” are the starting lyrics on ‘All About You’. If those are not rock lyrics, I don’t know what is. Just wait until you hear the rest of the song. I hate making comparisons with bands of old and the new sound of hard rock, but this song has a little Crue-ish undertone with it but brought to you only how Against All Will can bring it. That’s right. I said it. One can’t deny a great hard rock sound, no matter what era it comes from. A home run. ‘The Blue’ gives the listener the same feeling of a mix of “old school” rock feelings blended with how the hard rock genre of today can snap you into bobbing your head and singing along with the music. So good.

‘The Drug I Need’ is the band’s first song that was insanely popular on Sirius/XM Octane’s Big’Uns weekly countdown. The weekly show features songs voted on by fans and played in descending order from 15 to 1. With the successful run on there and in the active rock radio top 50, the song gave them more exposure than ‘All About You’ did on just rock radio. Most can relate to what is being said in having all the negative feelings in the world toward somebody, but you can’t get away because of being hooked on maybe one or two things that person might have. You try to get rid of everything given to you from them, but they stay on your mind anyway. There are just some deep-rooted feelings one can’t dispose of. ‘The Drug I Need’ completely feeds on these situations. An addictive song if there ever was one.

‘Nothing Good Anymore’ brings you a somewhat softer side like any good rock band will do. It takes nothing away from the musicianship this band has. ‘Let Go’ rounds out the EP with everything the first 6 songs do – guitar playing at its best, great lead and backing vocals, drum skills at their finest, and bass stylings by one of the best. It’s a complete song, at the end of a complete EP, by a complete band. Killer track.

About 25 minutes of great hard rock in its best form most aptly explains “A Rhyme & Reason”. Against All Will do have a couple other singles that were not placed on “A Rhyme and Reason”, and hopefully, they will bring those back to the forefront someday. Look out for songs entitled ‘Tomorrow and Today’ from 2007 and ‘You Can’t Change Me’ from 2008. Please also listen for a couple songs coming down the pipe…’I Hate’ and ‘The Devil Made Me Do It’. Whether you are jamming this record on a killer sound system or on some shitty laptop speakers, it still brings you good music and a sound that is totally and utterly hard rock at its best.

Rating: 9.8/10


Razer’s “Dark Devotion-Expanded Edition”: My Review (Track-By-Track)

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Posted by :Matt Buell On : July 29, 2011

Category: Music, Reviews

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(Contributor’s Note: I recently had the privilege of being able to conduct an interview and had an awesome conversation with Phoenix, Arizona’s own resident badass bassist, Chris Catero. I gave him a stern warning near the end of it, telling him that I was going to do a review of their expanded edition of “Dark Devotion”, which came out on July 19th on all major online retailers for download. Eh, “warning” is a strong word. I made sure to “pass along the news” that I was going to be doing one. Is it somewhat partial? Of course. Will I give my honest opinion on each track? Hell yes. I’m a fan of the band and will continue to be. So, I got the album. And, I love the album. So, here I am. And, here you go. Rock on)

Phoenix, AZ-based heavy metalers, Razer, added 4 tracks to their previously released album “Dark Devotion”. Being called an expanded edition only raises eyebrows as to what else these five were going to be adding to what was an already awesome debut. In case you didn’t know, the band members are as follows: Chris Powers (Vocals), Chris Catero (Bass), Jeromy Graves (Guitar), Paul Sullivan (Guitar), and Eric Bongiorno (Drums). The band is as straightforward as they come in that, when you hear them, you know what they are about…great Heavy Metal.

Razer’s most recent single, ‘Do You Want It’, leads off this 16-track beast of an album. It is the first of the four new tracks on the re-release. Powers’ vocal stylings often make you wonder throughout the song, “When will he falter?” Well, he doesn’t. As quoted by Catero, “Chris is a natural.” Sure thing. Verse after verse, line after line, he brings his range to the masses. ‘Do You Want It’ was in Octane’s Big’Uns Countdown for the complete month of March and into April for a reason. The song epitomizes what metal should sound like in this day and age.

‘Superpaun’ was the band’s first single (and the song I first heard from them that made me notice) and was the first song on the original “Dark Devotion”. What a great way to explode into nationwide satellite radio. Yes, Octane jammed the hell out of this one also. You know from the introduction to ‘Superpaun’ that this is signature Razer. Powers keeps the vocals deep throughout the majority of it, and you absolutely feel Bongiorno’s drums beating your chest. At about 2:20, you get a small break being able to hear Catero’s playfulness with the bass and a devilish whisper from Powers, just as the guitarists bring you back into swing of things. Truly awesome.

The third track, ‘What I Say’, is what I would call a power ballad. Some of the best songs ever done have fallen under this category, and this one is no exception. The band’s true camaraderie is showcased, as one can hear and feel each and every member playing their respective instruments in what turns out to be a synchronization of skills. You have Powers bringing his beautiful range to tell the story, Graves and Sullivan feeding off their combination of melodic leads and power chords, Catero’s bass and Bongiorno’s drums keep the rhythm section feeding the beauty of the song. Keep an ear out for the great backing vocals.

There is no lead up intro to ‘Cold War’ as you get to hear the strength of Powers, the double bass skills of Bongiorno, and get a feel from the guitarists (Graves and Sullivan) right off the bat. The song then quickly rips into its “metalness”. You get to hear background growls from Catero, leading into each chorus, echo into Powers’ powerful statement of, “This cold war’s over.”

With ‘Never Understand’, you get a little harder “power ballad” that really brings the guitar stylings to the forefront. This is one of several songs off the album that if one took Powers’ vocals out, it would be a badass anthem to damn near anything. Not a horrible song, but it was not as crisp as ‘What I Say’.

Next is the title track. ‘Dark Devotion’ gives you the want to keep listening to everything else they do. One feels during, and even after it is over, that going on is absolutely essential to find out what other superb musicianship the band is capable of. You know no song is going to be even remotely close to any of the others. ‘Dark Devotion’ takes you to that place. Really listen to the solo that starts at about 3:05. Amazing. If I remember right, I do believe that is the vocalist himself doing it. Oh yeah, you know it.

‘Right Kind of Evil’ is just that. From the opening introduction, you KNOW it’s going to be hard…and good.  The feel of it is menacing in itself, then Powers comes in with a growling whisper you do not want to hear in your head; yet, you want more. The rhythm and main guitar leads kill it and keep the song flowing. The skills of Catero in keeping with, and at times, pushing the song even harder are very apparent. Great jam.

You get a good, solid dose of the rhythm section in the intro to ‘Fall From Grace’ for the first 12 seconds with a touch of somewhat quiet solo work to lead into the what you feel throughout the rest of the song. Powers comes in at about 0:44 with a really cool ease into what he can do behind the mic. You get the same awesome metal from them, but there is a cool focus on how well the backing vocals and Powers coincide with all else going on. It brings that same feel of teamwork between these guys.

The whole power ballad feel you get from ‘Frozen’ is that of some truly dedicated guys, who want to make nothing but music that is completely their own. What I dig from this one is the great back and forth, 5-6 second switch between only hearing an acoustic-sounding guitar, bass, and slow-tempo drums, and then them breaking into the electricity that is Razer. You get to hear this ballet throughout the whole song. It’s cool as hell.

Do you all see what is happening here? Every song is unique in its own way; yet, they are completely the band’s sound. The rest of the record is just as good. You get Heavy Metal that is what good music is all about from a group of guys utterly honed in on their craft. ‘Falling in Line’, ‘Save the World’, ‘Cut and Paste’, and ‘The Broken’ bring you all these great aspects of a band looking to put out something that would make people listen to the whole record in one sitting and go back to listen to it again. I have listened to it 6 or 7 times myself. Not just to write this review up, but to be able to listen to something that does not only put out a few good songs to jam to.

The next two songs are covers and are two more of the extra cuts on the album. Yes, damn good covers. The first one you get to hear is a cover they did of Led Zeppelin’s ‘When the Levee Breaks’. Now, and I will be surprised if I get no flack from this statement, but there are only a select few Zep songs I will listen to-this being one of them. I am a huge fan of covers, and there are a numerous amount of them I am impressed with. I give no exception here. You get the ’70s feel (almost like Zep were in-studio with them) but with the modern sound that is Heavy Metal today. Killer job from Razer to prove that justice can be added to what is an already good classic rock song. Kudos. The next cover you get is something completely unexpected. Not only do you get the lead singer’s guitar skills in the main guitar riff throughout, but you also get a classic funk-fueled disco song brought into our millennium. Ever hear of Hot Chocolate and a song called ‘Every 1′s a Winner’? I never really gave it much thought until Catero said I would recognize the song once I heard their version. Sure as shit. You absolutely need to listen to the original and immediately kick this one on. Soooooo good. Again, justice is served.

The final song on the album is the fourth addition to the edition and is a live version of the song ‘Frozen’. Makes me want to see them live even more.

People who might consider themselves true metal fans SHOULD absolutely love this album, but all opinions vary, so I cannot say the whole world will love it. Read what I wrote and check out the album. Agree. Disagree. Whatever. Just go get it and truly tell me any of the songs sound the same. It is a metal fan’s album. This metal fan especially. Killer album.

Rating: 9.9/10

4.75 out of 5 Horns Up \m/\m/\m/\m/\m


Initial Impressions of the New Pop Evil Album: “War of Angels”

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Posted by :TheDrunknMonk On : July 7, 2011

Category: Music, Reviews

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The first single released off this album, “Last Man Standing” had been taunting me since last year! This album had been ready to go for months, but the band experienced problems with their previous record label. I don’t know all the details, but apparently after months of getting jerked around, the band signed on with a new label and voila: “War of Angels” is now on store shelves.

I never really paid much attention to Pop Evil’s first release. I enjoyed the songs on the radio, including “100 in a 55″ but never felt the urge to delve into it any further. Well, the first time I heard “Last Man Standing” on the radio, I was very impressed and immediately asked “Who IS this?!” After using the wonderful program “Shazam” to search who the artist was, I was very surprised to discover it was “Pop Evil”! The song is straight up rock, with in your face lyrics and a great beat. With the constant delays and no specific release date, each time I’d hear that song, it built up my curiosity. Finally after months of anticipation and a killer release date price of $7.99, I jumped on “War of Angels”.

The album starts out with “Last Man Standing”, which is by far and away the best song on the whole album. After that, it seems to go downhill and the best way I can describe it is “meh”. It’s not bad, but a lot of the songs are slower, and have a more mellow radio rock sound to them. Some of the tracks are faster and have a harder sound, but they don’t have much power lyrically. “Epitaph” and “Daisy Chain” come to mind. Of the ten tracks, I counted four ballads, including “Monster You Made”. However I do really like that song and I’m pretty sure that has been getting radio play recently. I’m curious what long time “Evil” fans will have to say about the album? Based on what I’d heard from songs off their first album, I have a feeling they will enjoy this release. I guess part of my problem is “Last Man Standing” created an expectation, or “hope” is probably a more accurate adjective, that the rest of the album would be more like that. In a way that’s unfair to the band, but that’s part of what happens when fan anticipation mounts for months (nearly a year) and their thirst is not quenched. To be fair, I will give it some more ear time and see what grows on me. Like I said, it’s not bad, there are a couple other tracks that are alright, like “Broken and Betrayed”. Ultimately I probably would have been just fine purchasing the two radio songs and bypassing the rest. I guess I was just looking for something harder and heavier.
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New “Black Stone Cherry” Album- Quick Spin & My Initial Impressions

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Posted by :TheDrunknMonk On : June 1, 2011

Category: Music, Reviews

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Yesterday I was hungry to check out some new music, so after work I headed out to patronize my local Best Buy. One album of interest was the new one from Black Stone Cherry titled: “Between The Devil & The Deep Blue Sea”. This is the first B.S.C. purchase for me. I’m not a huge southern rock fan, but I’ve enjoyed some of the cuts played on the radio from past releases and since contributing to this website, I’ve been inspired to further broaden my horizons.
Just a heads up, I have only listened to it once. I listened to it all the way through, but I’d popped it in last night while I was kinda working on some things. It’s gonna take at least another one to two listens to fully and fairly assess it, but since it’d just come out, I wanted to share my initial impressions.
There are 12 tracks on this new album. It starts out with the single they’ve had on the radio the past few weeks: “White Trash Millionaire”. I don’t know what it is about this song, but I love it. The lyrics aren’t anything deep or inspiring, but just simple and fun with a rockin’ beat. Seems like it’d be an appropriate anthem for Joe Dirt. After that it slows down a bit. There are a couple other tracks that aroused my ear as far as faster, uptempo rock including “Bringing on the Boom Boom” and “Change”. Another song caught my attention that tells a story, albeit a melancholy one: “Such a Shame”. Along the lines of a young girl who’s passed away, although I wasn’t able to focus on all the lyrics so I can’t comment on the strength of the story telling. Seems to me there was a fair amount of slower, more mellow songs with a couple ballads thrown in. I really wasn’t sure what to expect, but in that regard I was somewhat disappointed, especially since “Millionaire” sets a different pace. Not that there was anything bad about the slower tunes. I’m looking forward to giving it another listen today to analyze it further.
In summation, after the initial quick spin, for only $7.99 it’s worth checking out. It’s definitely nothing mosh pit inspiring. Probably the most intense inspiration it gave me, after listening to “White Trash Millionaire”: was make a trip to wal-mart, pick up a case of PBR and pack of Pall Malls, drive to the trailer park (which is conveniently located across the street from wal-mart- go figure!) kick in the door to someone’s double wide, steal their couch and set it in the yard, then make a large bonfire from their weathered 1970′s era lawn furniture, kick back on the couch with some friends and indulge. I get the feeling it’s an album to kick back and jam to, but nothing too intense (other than the trailer park scenario). If it were priced at $10 or higher, I might say hold off until I can delve into it further. I’m curious to hear thoughts from long time Black Stone Cherry fans and how it compares to previous work. If you’re looking for new music, heard and like “Millionaire”, and $8 won’t break the bank, pick this album up.

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