Be Good. Be Gracious. by Boy Jumps Ship (Self-released EP)

Boy Jumps Ship takes a giant leap towards the stratosphere with their third EP entitled Be Good. Be Gracious. Based out of Newcastle Upon Tyne, Boy Jumps Ship presents indie pop rock and roll gems in the grand tradition of Taking Back Sunday and Death Cab For Cutie. The four tracks found within are destined to acquire Boy Jumps Ship a good deal of attention worldwide. Expect new fans to hop on board once they encounter the massive tunes these talented UK lads has to offer.

Be Good. Be Gracious kicks off in a glorious way with the dynamic and thoroughly infectious Black Hearts Don’t Beat – an all-out anthem that has considerable hit single potential. The thrilling aural sensations continue with the victorious inflections of Better Days, with its swirling chorus that will remain in your head for ages.

Fugitive is up next, unleashed with a grand sense of vibrant passion and urgency. And then closing out the EP on a stunning note is a slice of indie rock perfection entitled Let Me In. Although the sonic exhibition ends way too soon, there are more than enough reasons to go back and listen to the tunes all over time and again – and at maximum volume!

The resourceful Boy Jumps Ship lineup consists of Si Todd on vocals and guitar, Jonathan Douglas on guitar and vocals, Jonny Rob on bass and vocals, and Gav Gates on drums and vocals. A wonderfully exhilarating EP that would even launch the most jaded of music critic into a blissful state of appreciation, Be Good. Be Gracious. is an exciting collection of songs well worth seeking out. Expect Boy Jumps Ship to hurdle their way into the big leagues with this one – the third time will indeed the charm!

(Review by Kenneth Morton)

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Never Was An Angel by Murder Bay (Eonian Records)

Contained within are the two sessions recorded in 1990, one by Eric Valentine (Queens of The Stone Age, Third Eye Blind) and then some unreleased material the band did with Rob Beaton (Guns N Roses, Sammy Hagar). Now merged together as one sensational album, Never Was An Angel is a heaven sent collection of sonic bliss that should have been all over the radio airwaves.

Never Was An Angel kicks of with Land Of Plenty, a big rock and roll anthem instantly demonstrating Murder Bay penchant for absolutely killer hooks and clever lyrical content. Then the rollicking Honey Child is up next, an infectious slab of rock and roll goodness that possessed the makings of an all-out classic. Outta Line continues with the memorable melodies and fist shaking choruses.

Ultraglide is gritty and bluesy while Simple Man shows just how inventive and resourceful Murder Bay could be like a power ballad. Dirty Work brings on the party in a big and glorious way, followed by ominous, bluesy inflections of the title cut Never Was An Angel.

What’s Good For You is highlighted by down and dirty vocals and a wildly infectious chorus reminiscent of many of the big league bands of the time.  Long Time Comin’ is guaranteed to have any listener shaking it up and singing along to it’s wonderfully groovin’ refrains. Keep Me In Mind is inviting and memorable while Got No Business contains a rowdy bit of irony that may involve a rocker and his rather jealous, unamused girlfriend.

Around Again shows the band delivering inspiration and passion even with a slower paced tune. And then closing out Never Was An Angel is the mega infectious strains of Song?, a grand finale that will leave you wanting to hear a whole lot more.

The quartet that presented the skillful Murder Bay melodies consisted of Paul Trombetta on lead vocals. Michael Karafilis on guitar and vocals, Bobby Reid on bass and vocals, and John Link on drums and vocals. Bringing back the glory days of high-energy hard rock and roll, Murder Bay could still liven up any party with their exciting good time tunes! Be sure to play this one loud and let the world know all on the explosive musical conspiracy known as Murder Bay!

(Review by Kenneth Morton)

Eonian Records Official Home Page

Self-Titled by Rattleshake (Eonian Records)

With the coming of Nirvana and the infamous grunge movement, promising hard rocking outfits like Rattleshake pretty much had to end their journey towards the big leagues. Based out of the legendary San Francisco music scene, Rattleshake were active in the early 90’s, gaining a fairly sizable following in the Bay Area and beyond. Epic hooks and infectious melodies were rampant, appreciated by fans of acts such as Motley Crue and Skid Row.

Languishing in obscurity for over twenty years, the Rattleshake songs may be heard once again thanks to the always-commendable Eonian Records. This Self-Titled EP was recorded, mixed and produced by Rob Beaton, whose own brilliant career has included working with the likes of Sammy Hagar, Santana, and Guns N Roses! Bringing back an amazing musical era with an all-out vengeance, the seven songs contained within were recorded over the Summer of 1989.

The party begins with the wildly rambunctious Shootin’ Whiskey, a heavy slab on in-your-face groove guaranteed to get you in the mood for a hot night on the town. Gypsy Queen is haunting and enticing with its dynamic progressions and riveting music interludes. Take Me Down is gritty and trashy, with its exhilarating chorus that surely inspired sing-alongs when performed live.

Mudbone Delight has a bluesy, swampy feel very reminiscent of The Black Crowes, showing a thrilling diversity within Rattleshake’s musicianship. Then Jump On Me slams into your face with its dark yet thoroughly aggressive vocals and tasty guitar licks.

Rattleshake definitely strikes venom in the power ballad department, as Never Say Goodbye is a potent standout that should have been all over the radio airwaves.  The disc closes out with the wild and dirty sounds of Rattleshake Boogie, once again demonstrating the strong knack the band possessed for truly great, kick ass rock and roll!

Once again, Eonian Records delivers the goods, showcasing fantastic bands from a much-revered era. Trends may relentlessly come and go with the winds of time, but hard rock will always leave the most lasting impression in the hearts of many of music fanatic. Here’s hoping for a grand return of the wild and deadly Rattleshake – in the meantime, check out their lethal hard rockin’ anthems, now available for the first time!

Rattleshake:
Don McBee – vocals
Ralph Longo – guitars and backing vocals
Mark “Freeze” Freseman – guitars and backing vocals
Bryan “Coach” Lujan – bass and backing vocals
Steve Fletcher – drums and backing vocals

(Review by Kenneth Morton)

Eonian Records Official Home Page

The Essence Remains by L’Alba Di Morrigan (My Kingdom Music)

Imaginative and mesmerizing, The Essence Remains by L’Alba Di Morrigan is sure to enchant fans of bands such as Anathema, Katatonia, and The Church. Even Katatonia’s keyboardist Frank Default makes a guest appearance on the album, weaving a mystical web of intrigue throughout the proceedings. The haunting reveries contained within are sure to leave a lingering impression on all who venture upon this wondrous endeavor. My Kingdom Music has once again presented a thoroughly profound underground act to the world. The Essence Remains is a treasure trove of sonic delights, sure to secure a place within the hearts and minds of all who enjoy roaming through surreal yet brooding soundscapes.

The Essence Remains starts off on with the dreamlike Snowstorm, a pensive yet enchanting work of artistry whose haunting vocals and hypnotizing guitar interludes are absolutely entranching. The Fairies’ Circle has a jarring introduction before merging into a composition of desolate yet romantic fascination. Then Silence brings a warm and thoughtful reprieve to the journey.

Lilith is wicked and powerful, with its stunning guitar work and evocative lyrical meanderings. An ascent onto Holy Mountain Part 1 & 2 is up next, a stunning aural adventure of epic proportions. 24 Megatons is an exhilarating instrumental excursion showing just how grandly inventive and resourceful the L’Alba Di Morrigan collective is.

The title track The Essence Remains possesses a fine mixture of melancholy and progression that is sure to captivate the senses. The grand finale arrives with the magnificent strains of Equilibrium, lengthy and cinematic within its majestic instrumental tapestries.

The main trio of musicians who inhabit the luminous world of L’Alba Di Morrigan are to be commended for such an ambitious work of obscure artistry. Ugo Ballisai unleashes a charismatic sense of mystery and intrigue with the contemplative vocals, while coloring in the compositions with serene yet elaborate guitar work. The rhythm section is positively first rate, consisting of Alessio Caruso on bass and Luca Costanzo on drums. Adding in Default’s keyboard wizardry and Helder Pedro amazing artwork, The Essence Remains by L’Alba Di Morrigan is dark rock and metal excellence of the highest order. Do whatever is required to secure your own copy of this ominous masterpiece.

(Review by Kenneth Morton)

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What Will Become Of Us by DreamScar (Self-released

When so many bands of today copying whatever the current trend may be, it is beyond exciting to encounter a visionary collective like DreamScar taking on the music industry on their own terms. Based out of the thriving Las Vegas music scene, superficial comparisons to Slipknot and Marilyn Manson don’t even begin to do justice to the cinematic heaviness DreamScar has in store for the audience at large.  One finds the intensity of European metal acts such as In Flames and even Dimmu Borgir, and at other times there is a strong sense of melody that will surely remain within a listener’s head for ages to come.  What Will Become Of Us is DreamScar’s third full-length magnum opus, a dazzling collection of 11 songs showing a resourceful band at the very height of their creative prowess.

The metallic assault force begins with Pushed Away, where the vocalist Patrick Crisci screams in menacing tones lyrics such as “I’m so sick of everything, I wish I could change all of this” and “I’m at the edge of my nerves” before merging into the melodic clean vocal chorus that is sure to hook the listener in for even more DreamScar devastations ahead.  Falling Apart furthers the musical journey of coming completely unhinged with a relationship ended on disastrous terms. The spooky fun then slams into high gear horror rock when the mighty Zombie Whore is unleashed. This track would make for a scandalously terrific video.

DREAMSCAR 2012 Photo Copyright: Gerald Fill - Lucky Stars Media (Las Vegas, NV)

See Your Fear is intensive and dramatic with supreme musicianship and sonic dynamics throughout. Not Listening Anymore is a super effective metal duet where rage is the name of the game, featuring former DreamScar co-vocalist Danielle Schrudder leaving a lasting impression. The thrilling progressive strains of the Overture then collides into the sweeping force of the title cut What Will Become Of Us.

If You Were Real is haunting and ominous, with emotionally charged vocals, chilling keyboards, and pulsating drums rendering this one a standout. Where She Belongs is harsh and cathartic, followed by the prevailing sense of urgency conveyed within the remarkable Open Your Eyes. What Will Become Of Us concludes with the striking Let Me Be, containing a compelling sonic spectacle and unease that is near mesmerizing. “You can’t bring me down or beat me to the ground” is the explosive reprieve, following by some grand guitar heroics that leave the listener reveling in a moment of personal triumph.

The artists involved within DreamScar weave their own magic and wonder throughout the proceedings, making for an exciting tapestry of sound. The musicianship is first rate and imaginative, consisting of the charismatic Patrick Crisci on vocals, Harvey Thibault on guitar, Cody Barnett on guitar, Marissa Rusch’s superb work on keys and synth, Justin Williams on bass, and Trent Gouveia on drums. The third time is the definite charm here, as DreamScar has discovered a thoroughly compelling dynamic that should gain the band notice well beyond the infamous City Of Sin. Moody, at times gravely solemn yet ultimately inspiring, What Will Become Of Us by DreamScar is an earthshaking reverie well worth checking into.

(Review by Kenneth Morton)

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Bikers Welcome Ladies Drink Free by Buck Satan and the 666 Shooters (13th Planet Records)

Hearing the new album from Al Jourgensen (here going by Buck Satan) reminds me of the Blues Brothers movie when the band ends up at the backwoods hick club where they play both kids of music: country and western.  The band somehow pulls off satisfying the customers by playing the short list of songs that vaguely relate to country music.  Now imagine industrial rock godfather Al Jourgensen, frontman of Ministry coming up to a few rock’n'roll friends and saying “I’d like to put a country band together.”  Well, Al, I mean Buck, got his wish.

Bikers Welcome Ladies Drink Free is a title that sets the mood for a bunch of songs that go from sounding like a country version of Ministry to an honest to god honky tonk band.  Buck recently had surgery on a longtime health concern, then went to rehab. He’s lived a long and hazardous life and the songs are all about drinking and drugs and screwing and having fun, the man knows what he’s singing about.

Buck sings in a slight twang about heroin and cocaine in opening song Quicker Than Liquour, Mike Scaccia plays a killer guitar solo.  There’s some nice banjo picking at the beginning of What’s Wrong With Me and throughout, Buck growling about how he’s never fit into society.  Drug Store Truck rides on a double time drum beat as Buck croons about the life of a trucker who must have the busiest life imaginable: the head of the KKK, a nighttime DJ, a firefighter, etc. There’s a wonderful bit of violin sawing in there too.  The Only Time I’m Sober is When You’re Gone is a pitch-perfect swinging number with twangy vocals, twangy guitar and dirty violin that will put a smile on your face and a dance in your step.  Cheap Wine Cheap Ramen is an anthem for poor musicians waiting for their royalties set to some amazing banjo and guitar playing, Buck bellowing about his record label woes.  Friend of the Devil, while containing a stupid fast beat, contains smooth violin backing, well-placed guitar fills, banjo and a nostalgic feel like listening in on grandad’s favorite radio station.  I Hate Every Bone in Your Body Except Mine is another song that wouldn’t sound out of place being played at the Palomino Club in the late 70′s, a slow rocker with gang-vocals and jokey lyrics that will have you downing your beer to get out on the dance floor.

Bikers Welcome Ladies Drink Free ends with Take Me Away, Buck sounding like he’s ready to go if the Big Guy says so.  He’s died a few times and lived a full life, finally doing the album he’s wanted to do for a long time now.  The 666 Shooters features guitarist Mike Scaccia (Ministry, Rigor Mortis), guitarist Rick Nielsen (Cheap Trick) and bassist Tony Campos (Static-X).

(Review by Bret Miller)

Reimagined EP by Jamie’s Elsewhere (Self-released)

Jamie’s Elsewhere from Sacramento is a band in transition. After their recent departure from Victory Records, one could only assume the worst. However, it appears that the band has been on the verge of a creative renaissance – especially if the six songs heard on Reimagined are indicative of things to come. Musical trends certainly come and go, yet good songwriting stands the test of time.

With Reimagined, four songs from their final Victory release They Said A Storm Was Coming are given a whirlwind of reinterpretation, and the results are pretty impressive. Two new compositions are also included, showing a deeply introspective side to the band’s creativity. This collection is sure to surprise longtime fans as well as endear them to newer converts – and perhaps even another record label.

First off on Reimagined EP is I’ll Make My Peace, And Sink, a dark yet inspiring reinvention of The Mapmaker that really makes the listener stand up and take notice. Let’s Pretend That We’re Giants aka Giants Among Common Men is epic and swirling, with its grand wall of sound and wonderfully expressive vocals.

One Foot In The Present Day is a haunting rendition of One Foot In The Grave, and works wonders in this format. Fan favorite Prodigal Son is renamed The Prodigal, and is tremendously effective as an ominous testament to exploration and perseverance,

The last two tracks are stark and emotional, showing just how potent Aaron Pauley’s vocals are. Heavy Eyelids, Heavy Hearts and Out Of Love feature deeply personal lyrically, and definitely leave a lingering impression.

So what’s up next for Jamie’s Elsewhere? Will they pursue the musical direction explored on Reimagined or put the pedal to the metal as in their past releases? Whatever this collective decides to do in future days, there is little doubt that Jamie’s Elsewhere will continue on their compelling journey of musical rediscovery.

At present, the Jamie’s Elsewhere lineup consists of Aaron Pauley on vocals, Matt Scarpelli on guitar, Mike Spearman on keys and Chance Medeiros on bass. The voyage continues on – it will be exciting to see what new musical shores the band commences upon.

(Review by Kenneth Morton)

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Reimagined on Itunes

Yes In the Present – Live From Lyon (Frontiers Records)

In December of 2009 Yes recorded a soul-stirring show in Lyon, France with recent addition: vocalist Benoit David.  I’ve had the pleasure of seeing Yes from this same period and the In the Present recording is a fitting document of what an intense and wonderful experience a Yes show can be.  David conducts himself admirably, this is the band he was fated to join after fronting his own band and a Yes tribute band for many years.  His voice and style fits in beautifully in such songs as I’ve Seen All Good People and Yours is No Disgrace and catches fire towards the end of the set for the bluesy Heart Of The Sunrise.

Siberian Khatru begins the set in a playful mood, the highlight Steve Howe’s intricate guitar picking and Oliver (son of Rick) Wakeman’s keyboard melodies.  A rollicking good time is had for the instrumental break on I’ve Seen All Good People as the audience claps along.  Yes slows things down for Onward from 1978′s Tormato.  A pretty song centered on Howe’s tight guitar motif and David’s uplifting singing.  Bassist Chris Squire shines on Astral Traveller, as does Alan White who is given a drum solo to wow the audience.  Mystery and intrigue is to be had in South Side of the Sky as Wakeman plays some shadowy keys and David and Squire join with chanted wordless vocals, building to a dramatic conclusion.

Machine Messiah starts out promisingly enough, like a soundtrack to a dystopian future, Howe belting out metallic chords accompanied by Wakeman and White at their most evil.  But then a positive vibe changes things and the song gets a bit too hippy dippy yet the song is fun nonetheless.  The opening of Heart Of The Sunrise is proof that Yes can kick out the jams with a bluesy soul and vigor, Squire’s muscular bass playing takes center stage, Wakeman’s minor key stabs accentuating things to come.  The members twine their instruments together, rising and falling, rising and falling, then a pleasant vocal midsection then the most rocking duel goes on between the guitars and keyboards that after a few minutes of fireworks, you don’t care who wins the battle the players are so exemplary.

Every time I hear the opening of Starship Trooper I get gooseflesh.  David puts some grit and soul into his voice as the song beautifully travels from rolling highs to a rocking second half, wrapping up the show with Wakeman’s epic synthesizer story and a jazzy lead from Howe for a rousing climax that will leave you breathless.

(Review by Bret Miller)

Dead Son Rising by Gary Numan (Machine Music Ltd)

Dead Son Rising is the 16th album by the iconic Gary Numan, and is perhaps his most experimental and remote recording to date. It may take a few listens to fully appreciate the various intricacies presented, but the eventual rewards are vast. Fans of the previous efforts Jagged and Pure are sure to revel within the bleak yet intoxicating masterworks.

First up is the instrumental Resurrection, where the artist is allowed to rise from the grave of abstraction. An ominous reverie that whets the appetite for the shadowy glories ahead.  Big Noise Transmissions emerges with its driving beats where the artist eerily speaks of “walking in the shadow of my death.” A potent cut with a grand chorus and some particularly aggressive singing by the Maestro Numan.

The title track commences, where the world-weary narrator cites the marvels he has witnessed, concluding with the mystifying strains of, “And I’ve seen the dead son rising.” The bleak visions continue on an inward spiral with the mesmerizing When The Sky Bleeds He Will Come. “Something falling from heaven, looks like a nightmare, coming to haunt to me,” the lyrics reveal with a horrific sense of unease and regret.

Photo Credit: Ed Fielding

For The Rest Of My Life is an impassioned composition expressing loss and heartbreak that is exquisite and profound. The isolation continues with the somber reprieves of Not The Love We Dream Of, with Numan’s sorrowful vocals and desolate keyboards weaving a poignant tapestry that is absolutely heart wrenching.

The Fall has heavy duty, synthetic dance beats and searing guitars as Numan intensely inquires, “Do you fall like tears on the ocean? Drowning in rage like a poison emotion.” Numan is at his most effective lyrically and vocally, while the song is sure to become a staple in his live set for the distant ages to come.

We Are The Lost is bleak and primal, presenting a sense of chaos and hopelessness.  For The Rest Of My Life (Reprise) follows, containing an even more bleak and desolate rendering of the song. Into Battle is an instrumental that leaves a lingering, otherworldly impression on the listener.  Dead Son Rising concludes with Not The Love We Dream Of (Piano Version), sending the recording into memory on a dramatic, intriguing note.

The perfect companion for the darkest and manic of nights, Dead Son Rising is a menacing work of artistry that will linger within your psyche long after the disc arrives at its solemn conclusion. Another triumphant collaborative work of Numan and Ade Fenton.

(Review by Kenneth Morton)

Gary Numan Official Home Page

In Abstraction by A Hope For Home (Facedown Records)

A Hope For Home has always been an intensely unique collective, even before they were signed to Facedown Records. It has been exciting to witness the band mature throughout the years. And now with their third full-length album In Abstraction, the Portland, Oregon based group has presented a work of artistry and magnificence. In addition to the wondrous musical compositions, there is a DVD, which accompanies the album featuring not only videos of the songs, but some fairly introspective interviews as well.

The dark post rock tapestries commence with the metallic sounds of Calm, an impassioned track that grabs the listener by the throat and then lulls itself into an intriguing state of grace. Out Of Ruin, Misery follows, with its marvelous lyrical complexities and soaring melodies reaching into the stratospheres of sound.

Firewind is ambient and haunting, an ominous bit of serenity before exploding into its thunderous climax. Tides is hypnotic and ethereal, featuring dazzling guitar work and pensive vocals that transport the listener far beyond the mortal confines of their stereo speakers.

The House While You Were Born continues on with the melancholic reveries of deep contemplation, presenting a palette of sound that is sure to stun as well as haunt all whom encounter its compelling refrains. Weaved possesses even more of a dreamlike stance, channeling the great shoegaze bands such as Ride and Slowdive.

Closing out In Abstraction is a 9-plus minute masterwork entitled Everything That Rises Must Converge. A staggering tune demonstrating just how heartfelt the A Hope For Home experience is, one exits the recording feeling a grand sense of enlightenment, ready to face the daunting challenges of the turbulent times ahead.

The 58-minute DVD is a perfect companion piece, where a greater understanding of In Abstraction is achieved. The direction and editing was conducted with an imaginative flair by AHFH guitarist Matthew Ellis, presenting both thoughtful interviews and astonishing imagery. The brilliant cinematography is courtesy of AHFH keyboardist Eric Gerard.

In Abstraction presents A Hope For Home in their finest hour – a thoroughly ambitious and triumphant work of sonic art that will remain in the listener’s head long after the disc spins to its riveting conclusion.  A fantastic way to conclude the year in music!

The A Hope For Home lineup consists of Nathan Winchell on vocals, Matthew Ellis on guitar and vocals, Tanner Morita on guitar, Dan McCall on bass, Eric Gerrard on keyboards and programming, and Lance Taylor on drums.

(Review by Kenneth Morton)

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