36 Crazyfists - The Tide and Its Takers, Ferret Music
The third full-length album from Portland band (by way of Anchorage), 36 Crazyfists, doesn’t see these guys breaking any new ground. Once again, they use their tried and true formula of harshly shouted verses/singing choruses - but the effort comes across a little tired. This disc is plagued with everybody’s favorite metal-core standby: the chugga-chugga breakdown - hell, there’s one 15 seconds into first track, “The All Night Lights,” right after a leftover As I lay Dying guitar riff. Although this is a truly talented band, they seem to be going for that “just barely too hard for the radio,” frat-boy, Ozzfest crowd. What keeps this album from being just another beer coaster is tracks like party anthem lead-off single “We Gave It Hell” and A Life Once Lost-tinged “Clear the Coast.” The Tide and Its Takers is just further proof of why these guys are always on the big tours as an opening band. Good enough but not great.
(D.J. Ivie)
Klimt 1918 - Just In Case We’ll Never Meet Again, Prophecy Productions
Have you ever wanted your Sigur Ros just a tad peppy? Or your Snow Patrol to have more sonic masturbation? If so, then Klimt 1918 could be the band for you. On Just In Case We’ll Never Meet Again, simplistic string synths intermingle with distorted guitars and breathy vocal melodies to create a spider web of soft/loud/louder dynamics. Sure, vocalist Marco Soellner could work on the enunciation of his English lyrics, but that’s only part of the melancholy charm. Brother Paulo’s drum acrobatics on first track “The Breathtaking Days” will leave you in awe, all the while filling your ears with layers of some of the best shoegaze Italy has to offer. Even the few up-tempo songs - such as the title track - transport you to a Gus Van Sant film set in a late afternoon springtime meadow. With an elephant of an album like this, hopefully we’ll soon see a Klimt 1918 tour here in the states.
(D.J. Ivie)
KORN Live at Montreux - 2004, Eagle Rock Entertainment LTD
Recorded in 2004, this show from Montreux captures one of the last appearances by Brian “Head” Welch as part of KORN before his departure in early 2005.
The band’s performance is almost flawless. From a technical perspective, the music very closely matches the studio release, which is no small feat. If there is a weakness, it lies with the lead vocals but you’ve gotta cut Jonathan Davis some slack since he’s often required to go from a high note to a growl to a whisper. Not all can do what he does night after night.
The video production is also high caliber. At any given time, the image on the screen is worthy of framing. All in all, this DVD is a “buy.”
(John M Flores)
Celtic Legacy - Guardian of Eternity, Eternal Legacy Records
Celtic Legacy’s members are talented and capable. On Guardian of Eternity, the musicianship is high, and the band has a tight sound. Vocals are equally good, although harmonies don’t quite work on some songs.
Overall, this CD is very 1984, easily pegging bands that made 80’s rock what it is - er - was. Iron Maiden, Queensryche, Judas Priest, Dio - the gang’s all here. Granted, there are parts of the globe where this genre of music remains fresh and, though many of us are children of the 80’s, at some point we all move on. Highlights include “Afterworld,” “For Evermore,” “Absent ‘Friends’” and “Guardian of Eternity”
(John M Flores)
Ascension of the Watchers - NUMINOSUM, 13th Planet Records, El Paso
NUMINOSUM is a great addition to the collection of those with diverse musical tastes. Though there’s nothing to thrash to, it’s very interesting and thoughtful with depth and texture. Members of this super group are vocalist Burton C. Bell (Fear Factory, Ministry), guitarist Edu Mussi (Still Life Decay, Echoes and Shadows), keyboardist, John Bechdel (Fear Factory, Killing Joke, Murder Inc.), and the late Paul Raven (bassist, Prong, Ministry, Killing Joke). Of note: 13th Planet is Al Jourgensen’s studio. CD highlights include “Residual Presence” (bringing to mind The Cure), “Mars Becoming,” “Like Falling Snow” and “Cannon for my Beloved.”
Incidentally, the sound bite in “Ascendant,” .is there anyone on the air?.. was used on Pinback’s “Boo.” It’s perhaps a funny coincidence for something so obscure.
(John M Flores)
Mojave Ocean - Self-titled, Self-recorded
If you didn’t know Mojave Ocean was from Dallas, you’d never be able to tell. British influences abound on this eponymous release. The sound is a unique blend of 60s British invasion, Pink Floyd-esque mid-tempo prog, 80s new wave and early Genesis.
Vocalist/guitarist/keyboardist WiL Wesch’s melancholy baritone is reminiscent of Robert Smith, Ric Ocasek and Roger Waters. Bassist/vocalist Tommy Stewart and guitarist/vocalist Bren Piranio weave a textured sound atop Paul Kosary’s wide, breathy drumming style. Highlights include “Get There,” “Somebody’s Watching” and “Ghost.” Mojave Ocean offers one of the most original local sounds to come around in a while. (Kevin White)
Voodoo Witness - First Spell, Self-Recorded
Cool, laid-back bluesy melodies are the order of the hour for this local release. Combining intricate guitar work from vocalist/guitarist Terry Humphries with a liquid bass line from Vernon Jones and lively, energetic drumming from Kelly Scroggins, Voodoo Witness brings to mind the simple pleasures in life. This record feels like a cool ocean breeze, a piña colada and an after-dinner smoke. Aaahhh… (Kevin White)
