Dream Theater: Black Clouds & Silver Linings (2009)

–DREAM THEATER: Black Clouds & Silver Linings (2009)

One may most accurately dub Dream Theater some of the mightiest Energizer Bunnies in metal. The legendary prog-heavyweights from New York have been creating some of the most passionate and technically proficient heavy rock since 1985, when fellow Berklee College of Music students John Petrucci (guitar), John Myung (bass) and Mike Portnoy (drums) formed the band. What began as a modest Rush and Iron Maiden cover project quickly evolved into one prolific and powerful, if not quite mainstream, band of musical geniuses.

Yes, Dream Theater are THAT good, but if you’re reading this you doubtlessly know that already. I still hold fond memories of picking up their second and breakthrough Images and Words album in Christmas 1992, marveling at this new band’s incredible display of musicianship, power, melody and emotionally-resonant songwriting. This was quite a marvelous revelation for an introverted high school junior and budding metalhead, and the enigmatic lyrics to songs such as “Surrounded” proved to be quite the provocative subject for a poetry analysis assignment in English class, prompting Miss Cocetti (who indeed enjoyed melodic metal from bands like DT and Queensryche) to declare that “these guys must have been on drugs when they wrote this stuff.” Possibly, but knowing what DT are capable of, drugs and booze would have just stood in the way.

Of course, the band has since continued on to release string after string of amazing progressive metal masterpieces, never faltering in quality even while continually branching out their dynamic and diverse soundscape. That’s not to say that I have enjoyed all of DT’s post-2000 material equally. After the glorious prog-metal triumvirate of Metropolis Pt. II: Scenes from a Memory (1999), Six Degrees of Inner Turbulence (2002), and Train of Thought (2003), I thought DT faltered a bit on their last two releases. Now, my issues with Octavarium (2005) and Systematic Chaos (2007) are numerous, but I could best summarize them by saying that I thought the former was pedestrian and a retread of old musical ideas, while the latter was basically an excuse for 70 minutes of overbearing, self-indulgent soloing and technicality without any sense of emotion or purpose. So, needless to say I was reticent of spending any money on the new DT disc, but its glowing accolades eventually became irresistible. Besides, redemption is always possible from musicians the caliber of Dream Theater.

In a nutshell: Black Clouds & Silver Linings returns DT to their former glory. Regardless of the level of musicianship and technicality of any band, I believe great music first is about creating great songs. The Ramones wrote incredible songs despite their rather limited playing abilities, yet so did the uber-talented DT on their many outstanding releases. Basically, DT wrote six REAL songs for Black Clouds, and the stellar playing once again works to complement the songs rather than serve as a reason for them. The complex instrumental passages on tracks like “A Nightmare to Remember” and “The Shattered Fortress” flow seamlessly within the strain of the songs’ main musical themes, while the mellower refrains of “Wither” and “The Best of Times,” a moving tribute to Portnoy’s late father, are haunting and gorgeous. Sure, Petrucci and Jordan Ruddess’ (keyboards) dizzying solo forays are still present in abundance, but it never feels superfluous or meandering here. James Labrie’s voice sounds solid too, and the lyrics are pleasantly diverse and free of overused heavy metal cliches. This is just a heavy, dynamic and emotionally powerful collection of Dream Theater songs, not excepting the epic finale of “The Count of Tuscany.” The melodies underlying the final confrontation in the last verse may just be some of the most memorable of DT’s entire catalog, and the songs haunting concluding refrain places a definitive stamp on a triumphant return to form for DT.

I’m not sure how I would rate this album against some of DT’s greatest releases, as Images and Words and Metropolis Pt. II still hold major sway for me. But this one is right up there. So get it ASAP, and “Turn the key/walk through the gate/the great ascent/to reach a higher state.”

–Tracklisting: 1. A Nightmare To Remember 2.) A Rite Of Passage 3.) Wither 4.) The Shattered Fortress 5.) The Best of Times 6.) The Count of Tuscany

Manilla Road: Mystification (1986-87, 2000)

–MANILLA ROAD: Mystification (1986/87, 2000 reissue)

Manilla Road is one of those classic metal bands that has slipped through the San Andreas-sized cracks of the mainstream, yet somehow they have maintained a tiny but loyal worldwide following. This cult metal band from Wichita, Kansas is highly revered by some; several of my fellow metal fanatic email correspondents have long extolled the virtues of Manilla Road’s mystical lyrics and melodies all while their albums were nearly impossible to find. Often invoking the literary and poetic muses through Mark “The Shark” Shelton’s thought-provoking lyrics and unique voice, my e-metal friends worshipped The Road from their own makeshift air-guitar altars.

That being said, I never quite “got it” about all the Manilla Road fuss. I had heard a few of the band’s songs on mix tapes, but I thought the band’s music was fairly average traditional metal with some pleasant melodies. It was certainly nothing special compared to all the Maiden, Savatage, Iced Earth and Helloween CDs that I adored during high school and college. Seeing The Road live at the Classic Metal Festival in 2001 only reaffirmed my ambivalence; although the music was tightly-played and well-presented, the pedestrian nature of the material left me feeling underwhelmed. However, the handful of Greeks in the audience, who had traveled all the way to Kalamazoo, Mich. just to see the Road, certainly begged to differ with their incessant chants of “Manilla, Manilla, Manilla!”

The persistent battle cries of the E-Roaders eventually left their mark, and I ended up picking up this reissue of Manilla Road’s 1987 Mystification album a few years back. Mystification was originally released on Black Dragon Records but was severely marred by sub-par mixing and nonexistent distribution in the U.S. Denis Gulbey of Sentinel Steel Records has done a great job remixing and releasing this album, which many Manilla Roaders regard as one of the band’s top-three releases behind the “O” albums, Open The Gates and Out of the Abyss. This is the first Manilla Road album I heard, so I obviously can’t respond to that comparison. But I will say this album is a surprisingly exciting and powerful listen, and I am slowly-but-surely warming to the notion that Manilla Road is something more than just an over-hyped cult band.

In fact, I assert that Mystification is a fine collection of 1980s heavy metal with a decidedly mystical lyrical bent. There isn’t a weak track on the slab, while the standouts are particularly memorable. Musically, there’s plenty of speed metal attack in the dynamic guitarwork of Shelton and double-bass pyrotechnics of drummer Randy “Thrasher” Foxe. The music’s razor-edged aggression is always tempered by Shelton’s nasally-but- pleasantly-clear-throated voice and catchy, melodic songwriting. Lyrically, this is Edgar Allen Poe celebration to the max, with no less than five tracks based on works of the classic American bard. While I find Shelton’s literary bent intriguing, I’d rather headbang to the infectiously speedy riffs and revel in the gloriously melodic choruses than obsess over lyrical nuances. As for highlights: “Children of the Night,” with its haunting intro guitar line and gorgeous chorus, the speed metal crunch and compelling vocal line of “Masque of the Red Death,” the mystical semi-ballad “Dragon Star,” and the album’s centerpiece title track with its arpeggiated clean guitars and beautiful vocal melodies. Mystification is truly a mystifying metal song for the ages: “An art revealed to no one/Some say insanity/A lesson from The Baron/Master of mystery/I’m mystified.”

Sentinel Steel’s website says this CD, which includes bonus instrumental “The Asylum,” is temporarily out of print. But fear not, brethen, and keep your eyes peeled for this and other classic Road albums for sale online. You know I will be.

R.I.P. Curt Meisner, Manilla Road fan No. 1 and a true “Master of mystery.”

–Tracklisting: 1.) Up From The Crypt 2.) Children Of The Night 3.) Haunted Palace 4.) Sprits Of The Dead 5.) Valley Of Unrest 6.) Mystification 7.) Masque Of The Red Death 8.) Death By The Hammer 9.) Dragon Star 10.) The Asylum

Coffin: Five-Song EP (2008)

–COFFIN: 5-Song EP (2008)

New Jersey “unholy” thrashers Coffin delivered the devastating goods with this solid five-song ep from 2008. Independently produced and released on their own Carrion Crawler Records (also the home of related brutal black metallers Immolith), Coffin’s debut ep sounds like a strong amalgamation of all the great aggressive thrash metal bands of the late 1980s-early 90s. I hear many different influences here, from the aggressive down-tuned riffing and chaotic leads of Slayer, to the warp-speed freneticism of 1980s British thrash lords Sabbat, to even some slower and crunchier groove parts that recall vintage Death Angel or Anthrax.

The band’s lyrics and artwork are centered on all things evil and unholy, whether it be Satan, witches, corpses, Lucifer, the Underworld or Satan. Coffin’s overriding dark theme may not be original or unexpected, but it works well with this style of metal. Plus, vocalist Morgue, aka Rich McCoy (Happy Birthday Rich, btw!), delivers very decipherable thrash shouts that recall the forcefulness of Tom Araya (Slayer) or the gravelly rasp of Cronos (Venom). The production job is raw but well-balanced, and the songs are catchy even as they focus on the aggressive end of the metal spectrum. As for highlights? Opener “Altar In Black” with its Slayerish “Angel of Death” type of speed and intensity is a great blueprint for Coffin’s future.

Check out the highlighted links for more info.

–Tracklisting: 1.) Altar In Black 2.) Before The Cross 3.) The Burial Ground 4.) Forsaken Angel 5.) Witch

Updates: Arch Enemy review, more Raptor School on the radio

Hi guys, how’s it going? It’s time for a much-needed site update, as I admit it’s been a bit quiet on here lately. But I just posted my full-length review of  Arch Enemy’s new release of re-recorded older songs, The Root Of All Evil. I’ve still got plans for brief reviews of Coffin, Manilla Road and Alice Cooper, so please stay tuned.

Also, my band Raptor School has received some more radio airplay! First, “Unbalanced” was played on the “Black Night Meditations” radio show on WSCA 106.1fm in Portsmouth, New Hampshire on October 13th. Then the German-based Internet metal radio show “Metal Cry Radio” played the title track to our Redefine CD this past week. This is exciting news for us, and we certainly are looking forward to more reviews and airplay.

End shameless plug time. Keep it loud and enjoy all the great music everyone!-JB

Arch Enemy: The Root Of All Evil (2009)

–ARCH ENEMY: The Root Of All Evil (2009)

I’m not sure if Swedish melodic death metal legends Arch Enemy really are at the root of all things evil. But they sure sound like they’ve met the darkest lords of Hades head on and have emerged triumphant with horns raised and exuberant fists-a-flying. Arch Enemy’s music is simultaneously violent, hyper-melodic, aggressive, harmonious, and–ultimately–triumphant. Listening to an Arch Enemy album is like undergoing an exorcism of all things dark and painful, with the listener emerging from the sonic therapy session reinvigorated and reborn. This is musical catharsis at its best.

Arch Enemy has been crushing/illuminating fans since the late 1990s, though most American fans have been sadly unaware of the pre-Angela (Gossow, vocalist) era. Until now, that is. Motivated by the fact that most North American audiences have not had the chance to hear material from their first three albums with original vocalist Johan Liiva, the band decided to re-record select tracks from those albums so they could play them for the younger fans in their concerts. That’s what this new The Root Of All Evil CD is: the best of Arch Enemy’s first three albums re-recorded with a fresh twist. At once faithful to the original versions and a modern re-imagining, the album is sheer joy incarnate and a total triumph!

Now, my little brother and I were among the relatively few lucky Americans who knew Arch Enemy’s music back in their early years. Back in 1998, Century Media Records sent me a promo copy of Arch Enemy’s second album Stigmata to review in my Kollnot Music fanzine. At first spin we were immediately taken in, and headbanging, to the band’s unique blend of thrashy-speed and aggression, technical dual-guitar interplay and extremely melodic songwriting. Liiva’s strident growl/shout was a bit of an acquired taste for a couple of (then) traditional metal elitists like ourselves, but the music was eons more inspired and exciting than the hordes of ubiquitous melodic power metal bands brewing in Europe. Century Media sent me their third album Burning Bridges a year later, and it was an even more melodic platter of the band’s extreme brand of musicality. We later picked up their excellent 1996 debut Black Earth, and by the end of the decade the quintet of the guitarist brothers Amott (Michael, ex-Carcass, and Chris) bassist Sharlee D’Angelo, drummer-extraordinaire Daniel Erlandsson and Liiva had well-earned their position as one of our favorite bands.

Fast forward to 2001. German-born-and-bred Angela Gossow had replaced Liiva as vocalist, and Arch Enemy’s road to heavy metal success had been paved with the Wages Of Sin album. The attractive blond was not only a fiery frontwoman, but she possessed an infernal, raspy scream that was as captivating as it was unnerving. As a pre-Angela fan, it’s been personally fulfilling to see Arch Enemy rise to top of the international metal scene with each successive album and tour. But it was also a bit disappointing to know that those first three incendiary albums remained locked away in security, and so the band rarely performed any of those old songs live in America. That’s what makes The Root Of All Evil so especially fun and refreshing.

Produced by the band and mixed by audio engineer guru Andy Sneap (also ex-Sabbat guitarist, WAY back in the late 1980s), the album provides a welcome preview of how these songs will sound live with Angela at the helm. The production job is powerful but not overwhelmingly-mastered, which is a nice contrast with some of these overly-loud modern recordings (Death Magnetic anyone?). I do not feel qualified to dissect these new versions on a track-by-track basis, since it’s been quite awhile since I’ve regularly spun those original albums. But the changes here are subtle: a lusher or altogether new guitar harmony here, a slightly heavier or modified riff there, and a positively commanding vocal performance everywhere. Angela’s higher-pitched, black metallish/Carcass snarl has always been more palatable to my ears than Liiva, and she absolutely crushes these old songs with her intensity and passion. Certainly, longtime fans shouldn’t get bent out of shape over any major changes. Songs such as “Beast of Man,” “The Immortal,” “Pilgrim,” and “Silverwing” still are as infectiously melodic as they are exhilaratingly speedy. Others, like “Diva Satanica,” “Dead Inside” and “Transmigration Macabre” still will grind you into a bloody, bulbous pulp. And the epic closer, originally the finale of Stigmata, still delivers the ultimate juxtaposition of controlled-chaos and aggression with orgasmically- sweet guitar harmony.

It’s all real, it’s all life-affirming emotion and it’s all Arch Enemy. And that’s all one could ask for.

–Tracklisting: 1.) The Root Of All Evil (Intro) 2.) Beast Of Man (Stigmata) 3. The Immortal (Burning Bridges) 4.) Diva Satanica (previously unreleased on album) 5.) Demonic Science (Burning Bridges) 6.) Bury Me An Angel (Black Earth) 7. Dead Inside (Burning Bridges) 8. Dark Insanity (Black Earth) 9.) Pilgrim (Burning Bridges) 10.) Demoniality (instrumental) 11.) Transmigration Macabre (Black Earth) 12. Silverwing (Burning Bridges) 13.) Bridge Of Destiny (Stigmata)

Playing catchup for this week: 10/18-10/24

Hi folks, just a quick site update. I guess time slipped away from me a bit last week with everything I had planned to review, so I’m hoping to catch up a little bit this week with some of those promised reviews. Without a doubt, I will definitely review the new Arch Enemy The Root Of All Evil CD, as well as try to catch up on some of those review briefs. I’d like to review the new Dream Theater album as well, but that just have to wait another week.

Now it’s just three weeks until the long-awaited Metallica concert at Van Andel Arena here in Grand Rapids, Mich. I can’t frickin wait! You can expect a full review afterwards too. Ahh, life is sweet! Catch you all later.-JB

Paw: Dragline (1993)

–PAW: Dragline (1993)

Everyone has those favorite albums from their teenage years that live eternally in our hearts and minds, even if the music is long-forgotten by the general public. Most of us have one or a few cherished records that, despite maybe not exactly conforming to the confines of our primary musical tastes, struck a chord exactly because of their unique beauty and charms. Those rare recordings are the ones that truly stand the test of time, that keep us coming back for just one more listen, one more glorious reminiscence of special music that healed us as it rocked our buttocks off. I believe that everyone has their own Dragline.

I can still remember when I first heard the now-obscure Kansas hard rockers Paw. It was sometime in 1993, I was 17 years old and sitting in my room watching Headbangers Ball on a Saturday night, just like every weekend. At one point, the always strident and annoying host, Ricky Rachman, introduced a video by a brand new band, “Jessie” by Paw. Sandwiched between the omnipresent Anthrax and Danzig videos, this crunch-rocking, gorgeously melodic ode to a boy’s lost dog immediately left me transfixed. This music could not be accurately categorized or labeled. It had this crushingly metallic main riff, a charmingly catchy, crooning vocal line in the chorus and a PEDAL STEEL guitar solo atop pounding, distorted guitar chords. Yes, this was sorta like metal, but yet it was also pop-rock, and a little country, and a fair dose of grunge. It was, well, I think “Paw” sums it all up pretty well.

Needless to say, I purchased Paw’s debut Dragline CD pretty quickly thereafter at my local Denver-area Best Buy store. The musical enigma that is Dragline struck me immediately like a runaway freight train, especially the glorious first five tracks. The rest of the album eventually grew on me too, though that infestation took a bit longer to ferment in my metal-obsessed ear. Paw was hitting its full stride at that time, spawning five singles and receiving moderately-heavy airplay on rock radio from their A&M Records debut. This quartet from Lawrence, Kansas was being lumped in with the whole “grunge” movement that had reached its peak by that time, but to me Dragline was a whole bunch more. It was a ferocious headbanging session under the headphones; it was a quiet stroll through the woods surrounding grandpa’s Northern Michigan farm; it was being a four-year-old city boy again steering the tractor while sitting on grandpa’s lap; it was driving a speeding pickup truck through middle America while downing cans of Bud Lite and blasting Neil Young & Crazy Horse tapes on the stereo–I never did this, but I imagine Paw probably did.=)

Dragline invoked all these all these images and more. It is metal, or rock, or country-metal, or hillbilly psycho-metallo-grunge. It is the soundtrack for a displaced Midwesterner who likes his country music rocking, not twanging. It is raw love and passion. The original Paw lineup of Mark Hennessy (vocals), brothers Grant Fitch (guitar) and Peter Fitch (drums), and Charles Bryan (bass) created one fine dynamic slab of countrified metallic grunge (okay, I kinda like that one). Chock full of aggressive palm-muted riffs, cascading waves of crashing wall-of-sound guitar chords and Hennessy’s raspy, somewhat Eddie Vedder-like vocals, Dragline is a consistently powerful and rollicking affair. But it’s also loaded with sentimental and melodically tender moments, such as the acoustic guitar interlude in “Sleeping Bag,” the timeless chorus and hauntingly-gorgeous pedal steel solo in “Jessie,” and the dynamic use of clean arpeggios throughout to set a brief mellow mood.

Now, I’m not one to normally make a huge fuss over lyrics, but Dragline’s are especially varied, passionate and, oftentimes, tender. They are words that resonate with you for a lifetime. In “Sleeping Bag,” Hennessy is in mourning and worrying about his out-of-control “only brother” who is severely injured in an auto accident: “Why’d you go and do that to your head? Are you so goddamned miserable/You’d feel better off if you were dead?” In the end, the narrator hates his brother’s recklessness even as he mourns his imminent loss, “Someone call a doctor!/Hey, you’re dying and you don’t know/Hey, you make me hate myself/’Cause you’re my only brother/And I can’t say, ‘I love you’/And this is pretty hard/Aww, you’re not around, so I can’t hold your hand/So I crawl/I crawl inside your sleeping bag/Oh and I, don’t think he’s gonna make it/Make it home alive/Please, make it home alive.”

“Jessie,” the band’s biggest single and the album’s centerpiece, seems to simply denote a boy’s straight-forward love for his lost dog: “I lost the dog/ It broke my heart/Please stay with me, and play with me, stay with me.” But the chorus reveals a deeper sense of sorrow and loss, for the boy is a runaway who wants Jessie to stay home and protect himself from the impending life of hardship and pain on the streets. “Aw, but Jessie/It’s cold outside/And I’m not coming home/I don’t know where I’ll be/Oh, when the mornin’ comes/And Jessie, you’re a good dog/Please don’t follow me/Just go on home.” This infectious tune is as moving and sad as it is catchy, and this thread of sweet pain runs throughout the album.

“The Bridge” describes small-town love gone wrong in an ironic manner: “So kiss me again/Oh, before you lie to me,” while “Lolita” seems to follow the plotline of incest and jailbait from Vladimir Nobokov’s iconic 1955 novel of the same name. The rest of the album runs the topical gamut of insatiable lust (“Veronica”), alcoholism (“One More Bottle”), and drug-addicted young women in “Sugarcane”: “I’m just so sick Of watching pretty girls/Doin’ ugly things.” But perhaps the most touching lyrical moment of all occurs in the title track, when Hennessy sings about a boy relishing his most cherished moments with his beloved father: “Hey Papa, ‘Dairy Queen sounds good to me.’”

Indeed. And so does Dragline.

–Tracklisting: 1.) Gasoline 2.) Sleeping Bag 3.) Jessie 4.) The Bridge 5.) Couldn’t Know 6.) Pansy 7.) Lolita 8.) Dragline 9.) Veronica 10.) One More Bottle 11.) Sugarcane 12.) Hard Pig

This week on Kollnot RNM Reviews: 10/11-10/17

Hey guys, it’s time to kick off another week of rock and metalling pretty quick here. I hope you all have been enjoying all the great new releases that have been coming out this year, but please don’t forget to keep dusting off the classics. Remember, if we neglect our history, the present is rendered out-of-context and meaningless. I believe this as much true with music as in any other aspect of life. So keep cranking the great heavy rock, whether 30-years old or brand spanking new!

This week I plan to span the last four decades of heavy rock, with full-length reviews on an unsung 1990s grunge/hard rock classic from Paw as well as the new disc of re-recorded classics by the mighty Arch Enemy. Also, expect review briefs on vintage Alice Cooper, cult U.S. metallers Manilla Road and New Jersey thrashers Coffin. Thanks, have a blast and KEEP IT LOUD!-JB

Kiss: Sonic Boom (2009)

–KISS: Sonic Boom (2009)

“Give me life for the taking/ Give me love till I’m shaking/ Give me rules just for breaking/ Because it’s never enough/ Never enough/ Never enough”

On track 3 of Sonic Boom, Paul Stanley succinctly summarizes the KISS philosophy. Here it is in a nutshell, all contained in one chorus: embrace life, live it to the fullest, love passionately and be an individual. That has always been at the crux of the rock’n’roll attitude, the artistic mindset and the KISS Army battle cry. Here, more than 35 years after KISS began saying “It’s never enough,” Sonic Boom pounds an emphatic stamp on that inspiring legacy. Yes, KISS is back, they’re doing the things they want, the way they want to do them, and they want YOU along for the ride.

Sonic Boom is a surprise on multiple levels. Of course, it’s almost shocking that there is a new KISS record at all, given that the band has been on recorded hiatus since 1998’s universally-maligned Psycho Circus, the last to feature the original lineup (in theory anyway, given that Ace Frehley and Peter Criss barely played on the album). Since then, the original core of Gene Simmons and Stanley have released the cult-favorite flick Detroit Rock City, toured sporadically with guitarist Tommy Thayer and former/returned replacement drummer Eric Singer and participated in various reality TV entertainment endeavors. But the fact that Sonic Boom is such a solid, invigorating and inspirational record in the classic KISS style is refreshing and not just a little bit awesome. Is it the best KISS record ever made? Probably not. Is it perfectly fit to have followed monsters like Love Gun or Creatures of The Night in the KISS catalog? Absolutely. And that’s more than enough for this dedicated KISS soldier.

Those looking for gushy love ballads or dismal and depressing modern dirge-rock garbage won’t find it on Sonic Boom. No, this is uplifting, melodic, motivational, anthemic, hard-rocking music, nothing more or less. Gene, Paul, and the new guys Thayer and Singer want the listener to grab life by the cajones and enjoy every single moment of it. The lyrics reflect that positive tone, whether it be the rampant sexual bravado run amuck (“Russian Roulette,” “Yes I Know (Nobody’s Perfect),” “Hot and Cold”) or the anthemic, never-say-die theme of tunes like “Never Enough,” “Stand” and “Say Yeah.” These latter three tracks are my favorites from the album, all featuring uplifting lyrics and infectious choruses. In “Stand,” Stanley promises “Stand by my side–I’ll be next to you/Stand by my side and we’ll make it through,” while “All for the Glory” heralds the legions of KISS Army members and good people everywhere that “We’re all for one and we’re all for the glory.” On “I’m An Animal” Simmons takes a different tack, reprising the old “God of Thunder” primordial macho persona and monstrous riffing but also delivering a motivational call to his supporters to take their own reins in life: “Let others take the road that leads nowhere/Stand up, raise your fist up in the air.”

Musically, Sonic Boom is mostly a solid, powerful collection of classic-sounding KISS tunes. Although the production values are decidedly modern, this is definitely old-school KISS in the songwriting and riff department. The guitar riffs are typical crunchy rock’n’roll, and several times while listening I raised my head perplexed as to which ‘70s KISS song a certain new riff sounds like. This disc is an approximate re-creation of the sultry grooves and snaking riffs on Destroyer or Love Gun, with Simmons’ propulsive, dynamic bass lines often stealing the show on tracks like “Russian Roulette” and “Yes I Know (Nobody’s Perfect).” Surprisingly, Thayer’s guitar leads are nearly an exact Frehley facsimile, complete with Ace’s trademark bluesy string bends and tasty melodic licks. If anything, what Sonic Boom lacks is better vocal melodies and hooks in the choruses on some tracks. The record does not leave the sort of commanding instant impression of Frehley’s new Anomaly, but perhaps that could have been remedied with some catchier hooks on tunes like “When Lightning Strikes” and first single “Modern Day Delilah.”

Make no mistake, though. You wanted the best, and with Sonic Boom we’ve got the best of KISS circa 2009. Buy it and crank it! The album is a three-disc set, which includes a 15-track bonus CD of re-recorded KISS classics and a mini-live DVD from Buenos Aires, Argentina.

–Tracklisting: 1. Modern Day Delilah 2.) Russian Roulette 3.) Never Enough 4.) Yes I Know (Nobody’s Perfect) 5.) Stand 6.) Hot and Cold 7.) All for the Glory 8.) Danger Us 9.) I’m an Animal 10.) When Lightning Strikes 11.) Say Yeah

The geniune genius of Gene Simmons

Hello everyone, hope you all are enjoying your Thursday afternoons. I’ve just been enjoying the unholy heck out of reading Gene Simmons’ recent interview on Billboard.com. He once again demonstrates his ultimate genius (no, I’m NOT being facetious here–Gene Simmons is a GOD!), discussing all things KISS, the aggregious sin of illegal downloading, professionalism, his business acumen and just about anything else you could ask for. He’s offering us free rock-god classes here, folks. Better take your notes!

Also, blabbermouth.net features announcements about the new Slayer release and a preview of the new Rage (legendary German band, of course, NOT Rage Against the Machine) CD, due out in 2010. Looks like another great year of metal is in the works, and I’m definitely looking forward to trying, in vain, I’m sure, of keeping up with it.

The Sonic Boom review will be posted in just a matter of time. Stay tuned, and please keep on rocking!-JB