Interview with HEDON CRIES (Greece)

 

Hedon Cries is a very unique melodic death/doom metal band hailing from Argos, Greece.  This ensemble is certainly no stranger to the game, as their latest offering, “The End of the Path is Nigh…”, is their third full length album. 

It’s also free to download.  Get it here:

http://www.hedoncries.com/

This is some great stuff, so be sure to take them up on their gracious offer of FREE, GOOD music.  Also, check out the following link to get a sample of what Hedon Cries’ latest release is all about:

http://www.youtube.com/watch?v=A3ibykkLk_w

Hedon Cries were also nice enough to take the time and have a brief chat about the band and “The End of the Path is Nigh…”.

SoB:  First off, thank you very much for doing the interview!  Can you fill us in on the history of the band?

We would like to thank you for this opportunity to be featured in your zine! Hedon Cries was born back in 2001 and two years later our debut album “Hate Into Grief” was released through Sleaszy Rider Records. It was followed by several gigs with bands like Saturnus and Mourning Beloveth and then in 2007 it was time for our second album “Affliction’s Fiction”. At that time there were some line up changes,  Gregory and Andreas left the band and were replaced by Stathis and Christos with the addition of Thanos in keyboards. We decided to break the contract with our label and continue the path based on our own forces. We had to build our own studio and after a long recording process finally “The End Of The Path Is Nigh…” is out now!

Congratulations on the release of “The End of the Path is Nigh...”, I love the atmosphere and harmony created by the guitar work.  How do you guys think you’ve progressed musically since your 2003 release, “Hate into Grief”?

“Hate Into Grief” was our first album and 8 years have passed since then. The main differences or signs of progress, call it what you like, are reflecting in the structure of our songs. We now prefer to have a variety of sounds in each song. In 4 minutes or so you can hear death metal riffs followed by melodic doom melodies instead of having a pure death metal song and a pure doom song. The sound of the band now is more personal and this comes as a result of getting older and “wiser”, you know what I mean. I want to believe we have managed to blend our influences with our personal sound in a much better way.  

Can you describe Hedon Cries’ song writing process? 

As I told you before, we now have our own studio and this is where everything begins. We have plenty of time to create, record and edit our ideas in order to present the best possible result. We record some guides first and then we experiment with the ideas that come after that. All guitars and bass are recorded in our own studio and this gives us the benefit to have all the time we need. We are in no hurry of several deadlines and I believe that when you are in your own place without any sign of pressure the result comes more natural. Mixing and mastering follows in another studio. This time we did it here in Greece but there are thoughts for our next releases to travel abroad in a well-known studio for the final touches of our albums. But these are only thoughts and will be considered at the appropriate time. 

When will the new album, “The End of the Path is Nigh…”, be available on vinyl?  

I can’t give you a specific date for that yet. We are all fans of vinyl, we think it represent in a better way the artwork of a release and we want the best possible result in sound quality so we have to be sure that the factory we will choose will be the right one. There are many cheap ones but we seek quality. Hopefully it won’t take too long. But till then everyone can download our album in good quality through our Official Homepage!

Has it been relatively easy to stay together as a band?  Seven years is a long time for a band to stay together.  Sometimes two weeks is too long.

It hasn’t been easy at all as the members of the band live in different cities and the distance is the major difficulty we have to face. But the fact that we are all friends helps. We are not a band based on the musician’s skills primary. What matters the most is the character of each one and that’s why things keep going. 

What bands are you guys currently listening to?  

As a band we have a variety of listenings. But I will speak for myself. I currently enjoy the new My Dying Bride EP that just came out and it’s very different but still sad and bitter! Other than that, no particular bands, just good music!

How is the metal scene in Greece?  Are there gigs a-plenty or is it slim pickings?  

Some years ago there were only a few gigs and people used to complain about that. Now we have plenty of gigs but people don’t seem to follow them all. They prefer the major metal bands and I think that has to do with the very expensive tickets here and our bad financial status as a country at the moment. 

Have you guys ever done any touring outside of Greece?

No and I don’t think this will be possible at the moment due to our jobs. Only some gigs here in Greece.

What’s on the horizon for Hedon Cries?  Are you guys going to stay on the path of independently releasing your music or are you looking to get picked up by a label?  

Going independently is the path we are into and we will stay on that for sure! We’re kind of fed up with labels and I really don’t think they have many things to offer you in our days apart from some gigs. We don’t play gigs so why should we be in a label? Our previous experience wasn’t that good so we prefer doing everything by our own.

Anything else you’d like to add before we wrap up?

I would like to thank you for the opportunity to be presented on your page and for your support. And of course, once again, our new album is available as a free download through our homepage so guys just give it a listen and tell us what you think about it. Greetings from Hellas!

Thanks again for taking the time to do this interview.  The new album sounds killer and Steel on Bone wishes you guys all the best!

http://www.hedoncries.com/

Interview with Korey from BURNING CASKETS (Canada)

http://www.burningcaskets.com/

http://www.facebook.com/burningcasketsofficial

Korey Arnold, singer for Canadian death metalers, Burning Caskets, graciously had time for an interview with the Sound of Steel on Bone.  He expounds on some band history, their influences, and what we can expect from Burning Caskets in the future.  Their initial offering, "To Burn a False Prophet", totally rips.  Fans of Deicide, Cannibal Corpse, Slayer, Suffocation, and Bolt Thrower will eat this one alive.   Be sure to pick this one up at http://www.catacombscds.com/band/Burning_Caskets.html.  

And now, the interview...

SoB:  Can you fill us in on the beginnings of Burning Caskets?

Korey:  When Burning Caskets was originally started it was with myself and a guitar player from my old band Rotting, Mike. Just for fun we did some home recordings with myself on vocals and Mike on Guitar, Bass and drum machine. We never had any intention to go further with it then post some tunes up on Myspace but it went over really well and started an actual band with it.

Was it a difficult process finding actual members to join the ranks of Burning Caskets?

Where we live in Southern Ontario there is a ton of Metal bands (maybe not all good but they are there).  So we had a few people to choose from. Had a few line-up changes but the line-up we have now is solid. We all get along great even though we are all individuals with different musical tastes and basically different people in general.  Makes things more interesting.

How is the EP coming along slated for a late 2011 release?

The EP planned is scrapped for the time being. Probably going to do a split with someone in summer 2012. Right now focusing on the next full length CD.

Great!  Making progress with the full length?

For the next recording we have 3 songs in total finished and working on a bunch more. Really looking to have 10 to 12 songs for the next release.

  
Do you guys have a particular band or musician that really inspired you to begin creating music of your own?

This band is all over the place with influences to be honest. I don’t want to speak for anyone else in the band but for me the second I heard the band Autopsy I knew I wanted to play Death Metal.

Who are you guys currently listening to?

Myself the last little bit I've listened to a lot of Obscura, Iron Maiden, Devourment, Six Feet Under's ''Haunted'', Amorphis, Gutted, Fleshgrind, among other stuff.

As an American, I’m not too “in tune” with what’s happening in Canada.  I know of great bands like Cryptopsy and Martyr, but can you expound a bit about what’s happening in the Canadian scene right now?

To be blunt everyone should look out for the band Horde of Worms ( Editor's Note:  Check them out here at http://www.hordeofworms.com/ )!! Been around for years and they fucking rule!! Another few bands people should be checking out are Left Hand Creation, Disgust and Serene Molestation.  Some great bands coming from this country right now.

Any plans to do some touring in Canada or America in support of the full length? 

Tour wise? Would love to just gotta see what the future holds right now for us.

Any shows that you guys played so far stand out as particularly special?

As of now we have actually only played 12 shows. Every show has had highlights but our most recent in our hometown of Cambridge Ontario was pretty sick. It was about 140 degrees on stage…getting us ready for HELL.

 http://www.burningcaskets.com/

http://www.facebook.com/burningcasketsofficial 

Burning Caskets is:

Korey Arnold - Vocals
Deni Guenard - Bass
Mitch Di Venanzo - Lead Guitar
Braedon Sharpe - Rhythm Guitar
Dan Harrison - Drums

Interview with Slime from COFFIN DUST (Philly)

http://www.stereokiller.com/CoffinDust

http://coffindust.bandcamp.com/ 

http://www.facebook.com/CoffinDust

SoB:  First off, thanks for doing the interview!

Slime:  No problem, thank you for wanting the interview!

Anyways, when did Coffin Dust first come together? 

Coffin Dust came together a little under a couple of years ago, however the idea came together between Slvt Slayer and I way before that.  We wanted to do a death metal band with thrash and old-school hardcore influence. So we built some instruments out of some bones that we had dug up months prior and started jamming. We then brought our friends Reek and Eerie Geary into the equation, and before you know it we had a band of grave stomping ghouls.  We recorded the demo, Reek and Geary decided they had to leave, and then we brought Disgustor and Eerie Steve into the equation. 

What/who inspired you to start grave robbing and blasting thrash?

Grave robbing is a simple addiction that started awhile ago for us.  It appeases the Batphomet.  As far as music, we were always fans of old school death metal and thrash metal, like Death, Cannibal Corpse, Vio-Lence, Sepultura, etc.  I wanted to write music that incorporated those influences, plus whatever else we feel like adding to the mix.  Misfits are definitely a big influence on my songwriting. 

It looks like you guys played a slew of southern dates on the Eternal Rampage Summer Tour.  How was it?  Any crazy stories?

The Eternal Rampage tour with Tombstalker was absolutely devastating.  It ruled.  We played a bunch of killer fucking shows with some killer fucking bands, we got to hang out with old friends (and make new friends), we got to drink lots of beer and smoke lots of weed.  What more can we ask for? Not to mention that touring with the ghouls in Tombstalker was one of the most fun experiences I've ever had.  Those dudes are some of our closest friends, they fucking rule.  

How do the local scenes down south compare to the Philly metal scene?

The Philly scene is very strong, and I sense this strength in a lot of other scenes down south as well.  One word dude.  Atlanta.  

I feel there is a bit more melody (e.g. the thick harmonies on March of the Machete Militia) on the Ancient Rites EP.  I’m really a sucker for the twin guitar stuff.  It sounds great, by the way.  How do you guys think the band/music has progressed during the time between the Unimaginable Horror split (2010) and the Ancient Rites of Buried Evil EP (2011)?

Thanks dude! I believe the music has matured a great deal since the demo.  The music has already matured a great deal since the AROBE EP as well.  Lots of people talk a lot of shit when death metal bands use melody and whatnot.  I think melody is a great thing, as long as it's used tastefully. As far as melody goes for us, i try to focus on writing hooks that are more 'spooky' than melodic.  Sinister, and spooky.  We are almost done writing the full length, and you can bet your skull that the album is going to be full of horrific spooky splendor.

Something that really strikes me about your music is the thickness of the guitars.  Is that a trade secret or can you expound upon that crunch?

We carved our half stacks out of bones and grave stones. 

The artwork for both the split and EP is awesome.  Who is doing your covers? 

Again, thank you! I do all of our artwork.  I do artwork for a lot of bands, actually.  

I see that you’re currently working on your first full length with Chris Grigg.  How is the process coming along so far?

We are going to start recording in early January, of a course of three weekends.  The writing process is almost complete.  I have a feeling that recording this album is going to be a lot of fun.  Chris knows exactly what we are going for, and he knows exactly how to record us and mix so that it sounds perfect.  He is great not only to work with, but just as a dude in general.  I highly recommend anyone to him for recording. 

I notice that there are some tunes from the split and EP listed on the new project.  Do you plan on making major changes to the material (rearranging, new solo here, blast beat there) or just rerecording for purely technical reasons?

There are a couple small changes, but nothing to drastic.  We just wanted to re record some old tunes simply because we like them, and a couple of us feel that the demo didn’t do them justice.  Plus, the album is a concept album (AROBE EP was a lead up to the album), and one of the songs is incorporated in the story.

I was checking out your tunes on http://coffindust.bandcamp.com/ and noticed you can “name your price” when downloading the tracks.  How is that working out for you? 

I don’t know, I barely check the bandcamp.  I usually check the stereokiller.  I could care less about people paying to download our music. I just want them to listen to it.

Do you plan to take a similar route with your upcoming full length, or are you looking at getting picked up by a label?

We are hoping that a label is going to want to help us out with putting it out.  We really want to have it out on 12".  I think that's the proper release for this album.  Maybe I have high expectations, but I think our first full length is going to be epic, for lack of a better word.

Where can we catch Coffin Dust live?  Any tours in the works for the near future?

We only have a couple of shows set up.  We are playing with Exhumed at the Mojo 13 in Wilmington Delaware Nov 11th (I have to sell tickets so if anyone is interested please hit me up!!!! 6please6die6now@gmail.com).  We will be doing a record release show when its out, and in June we are going to play Goregon Massacre Fest III in Portland with a bunch of RAD bands.  We may do one or two other shows here and there in between.

Thanks again for doing the interview.  Before we wrap up this treatise in thrash, is there anything else you’d like to add?

Thank you for the interview! It's greatly appreciated.  Anything I'd like to add? hmmmmm...Check out the bands Spewtilator, Living Decay, Tombstalker, and Mangled.  Get your hands on the new Blood Freak album, and the new Cannabis Corpse album. 

Thank you to all who have supported us and who continue to support us, and we hope to pummel some bone yards with you all soon!!!!

CRUSH THE SKULL, SNORT THE DUST!

http://www.stereokiller.com/CoffinDust
http://coffindust.bandcamp.com/ 
http://www.facebook.com/CoffinDust

Album Review: Joey Tafolla - "Out of the Sun"

While creeping around a basement vinyl shop, perusing through the Scorpions and Thin Lizzy sections, impressed by the discovery of Brand X records (Phil Collins is an AWESOME drummer...) and disheartened by the exclusion of Malmsteen, I came across something I've been meaning to get for a long time...Joey Tafolla's "Out of the Sun".  I checked the record and it was in great condition.  Then, and most importantly, I checked the price and it cost something like $2.00.  So, needless to say, I walked out the shop "Out of the Sun" in hand.

Joey's first record for the Shrapnel label, "Out of the Sun", is one of the best instrumental shred albums money can buy.  Part of what makes this album so great is its illustrious cast of characters...Tony MacAlpine on keyboards (he also had a good deal to do with melody composition and "producing" this effort), Wally Voss from Yngwie's Rising Force on bass (who sadly passed away at a young age, I believe from leukemia), and Reynold Carlson on drums (who was Joey Tafolla's partner in crime in metal legends Jag Panzer).  And, offering a slew of guest solos, Paul Gilbert on guitar.

A great way to describe the feel and atmosphere of "Out of the Sun" is that it is the greatest video game soundtrack of all time that never was.  The album's emphasis is on melody, melody, and melody.  Joey (and no doubt MacAlpine) came up with some really great melodies that give each tune an IDENTITY (which is something I feel is lacking in contemporary times).  Following closely behind "Out of the Sun"'s focus on catchy melody is its focus on relentless virtuosity (...which is to be expected, this is a Shrapnel release).  Joey rips some great leads, but is often in danger of being eclipsed by the sweep-picking-demon-shadow of Paul Gilbert.

Both Joey and Paul play some leads of exceptional note on "Stalingrad".  Solo Order:  Joey, Paul, Joey, Paul:

http://www.youtube.com/watch?v=aAK04UVZhbE

You can tell Paul is definitely NOT holding back, and this just makes for a better album.  I commend Joey for not having an ego.  He lets everyone tear it up (even though, like I said, the sidemens' shredding excursions  threaten to outshine the leader).  Wally Voss is also all over the place, in a good may mind you, with lots of bass tapping solo features.  Drummer Reynold Carlson turns in a surprisingly excellent performance (this album was my first exposure to his playing), and MacAlpine, of course, crushes on the keys like none other.

I've read some other reviews of Joey Tafolla's "Out of the Sun" where he is critiqued because he "hasn't found his voice yet" and for "...patterning himself after mentor Tony MacAlpine (who does exactly the same thing, but better, on his albums), Tafolla copies everything right down to the melodramatic song titles".  True...yes.  This statement is undeniable, but it doesn't mean the music suffers.  And, which I think is important to note, MacAlpine is given credit for his compositional contributions.  This is a great shred album, only slightly below the lofty musical heights attained on MacAlpine's "Maximum Security" and Becker's "Perpetual Burn".  Joey Tafolla's "Out of the Sun" is a must have for fans of the genre.  If you can find this one for two sawbucks in the local record shop, consider yourself lucky.

Rock on Joey, Tony, Wally, Reynold and Paul.

Here's the first track off the album, "Eternity's End":

http://www.youtube.com/watch?v=EyJg3-vKULY

"Out of the Sun" (Shrapnel Records, 1987)
Track listing:

1. Eternity's End
2. Out of the Sun
3. Zero Hour
4. The Summon
5. Stalingrad
6. Truce With Kings
7. Fire in the Lake
8. Samurai
9. Nine Tomorrows

Credits:

• Joey Tafolla - guitar
• Tony MacAlpine:  keyboards, production, additional melodies
• Wally Voss - bass
• Reynold "Butch" Carlson - drums
• Paul Gilbert - additional guitar solos on tracks 3, 5, 6, 9

Underground Spotlight: DEUS OTIOSUS (Denmark)

Deus Otiosus - "Murderer" (Denmark)

Danish death metalers, Deus Otiosus, offer a ripping blend of old school death metal and classic thrash on their debut album, “Murderer” (released via American Line in South America and on FDA Rekotz for the rest of the world).  Everything grooves as only old school death can, and the vocals are quite intelligible, especially when you consider this particular style.   Deus Otiosus lists Death, Morbid Angel, Obituary, Possessed, Deicide, Asphyx, Pestilence, Entombed, Grave, Slayer, and Bolt Thrower among their influences.  This listener definitely gets a pungent waft of the aforementioned artists (especially vintage Morbid Angel, Death, Pestilence) from “Murderer”, but also the acidic, coppery scent of burning thrash metal, a la “Ride the Lightning”...and that’s a good thing.

Deus Otiosus is refreshing in the sense that their music retains an organic feel throughout their debut.  Instead of bland technicality (or Pro Tooling all the life out of the music), the Danish metalers primarily focus on maintaining a slamming groove, which really works in their favor.

And what is Deus Otiosus currently plotting for the future?  Guitarist, Henrik, says:

"Right now we are busy working on the songs for our second album. We already have some material written, which is being rehearsed and arranged right now. I think our second album will be a quite natural continuation from "Murderer" further emphasizing it's strengths - a strong character and recognisability in every song and a good variation in the dynamic and atmosphere in between the songs. We'll be sure to send you our next album as well.  Thanks for the support!"

Highlights include the infectious riffage of “Wall of Violence” (with a special cameo appearance from JACK himself:  “Gimme the bat, Wendy”…you’ll know what I mean) and the uber death metalish “No Life”. 

Go here to check out their music: 

www.facebook.com/deusotiosus.dk

www.myspace.com/deusotiosus

http://www.reverbnation.com/deusotiosus

Line-up:

Anders Bo Rasmussen - Vocals
Henrik Engkjær - Guitars
Peter Engkjær - Guitars
Jesper Holst - Bass
Søren Bentsen – Drums

Album Review: Trouble - "The Skull"

"Nothing is more beautiful than a guitar, save perhaps two.”
- Fredric Chopin

We're very familiar with Smith and Murray, Tipton and Downing, and Gorham and Robertson (or Moore or Snowy White or Sykes).  But what about Wartell and Franklin?  It seems this guitar tandem remains in a realm more obscure.  Perhaps a lot of people would think of this duo as "B-listers".  An undeserved grade, I assure you, and disrespectful to boot.  Their riffs crept along like lumbering gods, invoking images of Lovecraftian doom and darkness.  In contrast, their dual guitar harmonies floated above the riffage, triumphant while still retaining an ominous air.  Wartell and Franklin are perhaps the band's most valuable asset, creating the peak musical moments on Trouble's solid sophomore effort, "The Skull".  

As mentioned before, "The Skull"'s highlights are mainly the guitar work (the harmonies in particular), but it would be silly to overlook the rest of this talented Chicago group.  Of exceptional note is vocalist, Eric Wagner.  He has an extremely unique and identifiable voice.  This works in the band's favor a majority of the time, but (like a good deal of vocalists and beer in general) it's not hard to see how this can be an acquired taste.  The rhythm section of drummer Jeff Olson and bassist Sean McAllister do a fine job of providing ample support for the bludgeoning doom.  They really don't take a bake seat to the rest of the music, but they are not inclined to showboat either.

Trouble is known as a great band of the "doom metal" style, a genre which is characterized by down tuned guitars, a fat, slow burning groove, the almighty RIFF, and shameless Black Sabbath aping in general.  This may be personal taste, but I feel some of  "The Skull"'s best moments happen above 90 bpm.  When they decide to take a departure from the doom and pick up the pace (e.g. the second track, "Fear No Evil"), everything just really, really clicks.  Perhaps it's personal taste, but the album would be even stronger with some more uptempo tunes.  

All in all, you can't go wrong.  Trouble is definitely a classic band and worth checking out.

< Below are two youtube video links of Trouble performing live on public television in 1982.  The two songs are off their first album, "Psalm 9" (which is also excellent).  I know this is a review of their second album, and it would make sense to include videos which feature some tracks off "The Skull", but I don't care.  These videos are just too awesome.  Also, it shows just how good these "doom" metalers can rage at a brisk tempo (Assassin). >

Trouble picking up the pace on "Assassin" 

Title track off their first album, "Psalm 9" 

"The Skull" (Metal Blade Records, 1985)
Track listing:

1. "Pray for the Dead" – 5:54
2. "Fear No Evil" – 4:12
3. "The Wish" – 11:35
4. "The Truth Is, What Is" – 4:37
5. "Wickedness of Man" – 5:46
6. "Gideon" – 5:10
7. "The Skull" – 5:50

Credits:

• Eric Wagner - vocals
• Bruce Franklin - guitars
• Rick Wartell - guitars
• Sean McAllister - bass
• Jeff Olson - drums

Highly Recommended: Dark Moor, Mercyless, and Toxik

Dark Moor - The Hall of Olden Dreams (Arise Records, 2000)
An excellent release from Spanish power metalers, Dark Moor.  The album is heavy on great songs and very light on filler.  "The Hall of Olden Dreams" features great playing all around, but the M.V.P. is easily vocalist Elisa Martin.  I'm surprised she hasn't become a bigger name in the metal world.  Like I said, the music is great, but she really takes things to a whole other level.  From what I gather, she has since left Dark Moor along with a couple other members featured on the album and has formed a new band, Dreamaker.     

Dark Moor - Somewhere in Dreams




Mercyless - Abject Offerings (Vinyl Solution, 1992)
French death metalers, Mercyless, caught be by surprise.  A friend recommended the group to me (in particular their debut album, "Abject Offerings").  When I first heard the band, I thought they were a contemporary group doing an "old school death metal" throwback type of thing.  Wrong!  "Abject Offerings" is of the old stock, released in ye olde 1992.  Killer songs and riffage, with guitarist Stephane Viard busting out some great leads in particular.  

Mercyless - Abject Offerings





Toxik - World Circus (Roadrunner Records, 1987)
Now this is some crazy stuff.  I first came across this band in the book "Mean Deviation" by John Wagner.  In a nutshell, Mr. Wagner had a little blurb in his book about Toxik, citing them as one of the tech metal bands around in the late 80's with really over the top guitar solos, courtesy of Toxik shredder Josh Christian.  It's over the top and then some.  Vocals kind of remind me of Alan Tecchio on Watchtower's "Control and Resistance".  Toxik's music, however, is a little more straight forward and slamming.  "World Circus" has been recently reissued on Metal Mind Records with some spiffy new packaging and bonus tracks.

Toxik - World Circus

Some of the Best Dave Mustaine Stories Ever Told

Check out this interview with former Megadeth guitarist, Chris Poland.  He recounts some crazy times with Megadeth main man, Dave Mustaine.

http://www.4shared.com/audio/tXU3n4F_/5-6-10_-_Interview_with_Chris_.html

DragonForce/Demoniac's Sam "Madsam" Totman

I recently came across this article on the web and thought I would share...

Let's Not Forget Those Who Give "Shred" a Good Name

I recently came across a blog written by the great guitarist, Alex Skolnick (Testament, Alex Skolnick Trio), in which he makes a case against the latest "shred" epidemic.  It is a very well written piece and you can read it here:

http://www.guitarplayer.com/default.aspx?tabid=63&EntryId=5

< Side Note:  Check out Alex Skolnick's jazz trio here:  http://www.alexskolnick.com/store/.  They are an amazing group. >

While I do agree with the timeless adage of "speed/technique is nothing without taste and musicality" (...my paraphrased version of the timeless adage anyway), maybe it's fun to tear it up just because you can.  If anything, I think I'm more harsh on the "shredding", triggered double bass drumming which runs rampant in modern metal than on guitar wankery.  At least there is some tonal variety with the six-string. 

Anyway, the following gentleman are very, very far from relying purely on soulless musical skullduggery: 

Tommy T. Baron
Guitarist of the mighty Swiss metal trio, Coroner, Tommy has a great melodic and compositional sense (in addition to some serious chops).  I was introduced to the group and Tommy's soloing ability through Coroner's "Mental Vortex" (which is a killer album through and through).
 
This is the tune "Semtex Revolution". Dig Tommy's solo at 2:37

Marty Friedman
This choice is a no-brainer, but the man is incredible and deserves to be mentioned.  Marty has an extremely identifiable sound and style.  His unique incorporation of "exotic" scales and phrasing was on full display during his tenure with metal titans, Megadeth.  Prior to joining Megadeth, Marty released the incredible "Dragon's Kiss" on Shrapnel Records (with an all time favorite, Deen Castronovo, on drums) which is highly recommended. 

Perhaps the most famous solo Marty ever threw down.

Andy LaRocque/Pete Blakk/Mike Denner
Andy AND Pete's (Pete usually, and unfairly, gets left out...hence the emphasis on AND) solo and duel guitar playing with King Diamond, to this day, remains peerless for its ability to conjure pure Gothic atmosphere.  The harmonic invention is what strikes me the most about these three (and their penchant for using pinch harmonics at exactly the right time).  The best examples of their talent can be found on the King Diamond albums "Abigail" (featuring Andy LaRocque and Mike Denner) and "Them" (featuring Andy LaRocque and Pete Blakk). 

"Welcome Home"...a perfect sampling of what Andy and Pete have to offer.

Sure to put a smile on your face...dig the guitar at 2:15.

Chris Poland
More Megadeth alumni!  Chris Poland is kind of the odd man out here in the sense that he is more of a (self-professed) jazz-fusion guitarist (the New Yorkers with Gar Samuelson before Megadeth, OHM), but his ability to play aggressive, extremely original leads is undeniable.  After his stint with Megadeth, Poland released the excellent instrumental album "Return to Metalopolis" with his brother, Mark Poland, on drums.  Chris is currently raging with his jazz-metal-fusion group, OHM, as well as collaborating with members of Umphrey's McGee in OHMphrey.

"Club Ded".

Death's "Human": The Fusion Connection

With the re-release of Death's seminal "Human" right around the corner, it's interesting to look back and examine what REALLY made this album stand out.  What was it about Death that set them apart from their Morbid Angel and Cannibal Corpse peers at this time in 1991?  I believe the answer lies solely on the shoulders of drummer extraordinaire Sean Reinert. 

Looking at the liner notes of Death's "Human", we see the thank you's of Death main man Chuck Schuldiner and Steve Digiorgio (killer, killer bassist of Sadus).  Nothing really out of the ordinary.  Next we examine the thank you's of Paul Masvidal and Sean Reinert (both on "loan" at the time from legendary progressive metalers Cynic).  Now, to the untrained eye nothing seems unusual.  But, to someone with a slightly keener eye and a somewhat broader pallet of musical taste, we see some very interesting names. 

Vinnie Colaiuta.  Allan Holdsworth.  Tony Williams.  Jimmy Johnson.  Gary Husband.  All are thanked by Paul and Sean for providing inspiration.  All are giants in the realm of jazz and fusion music (I would say mostly at the "fusion" end of the spectrum.  These players, save Tony Williams, didn't really become famous for their straight-ahead jazz playing).  Sure, we can hear a bit of Allan Holdsworth in Paul's soloing, but we can really, really hear the Vinnie Colaiuta and Gary Husband in Sean Reinert.  Listen to Sean's skittering ghost notes (a note played to be more felt than actually heard) during the intro of "Flattening of Emotions".  I don't believe anyone else was using ghost notes to this degree in death metal at the time.  Sean's cymbal work throughout the course of the album was extremely original and highly dynamic.  I would hasten to say that Sean set the standard, approach, and sound for future Death drummers Gene Hoglan and Richard Christy (both amazing players).  And in doing so, seriously revolutionized extreme metal drumming.

For it's time, and even to this day, it is death metal of the highest order.  It's rhythmic feel and flow are still remarkably original thanks to Sean Reinert's strong fusion influence on the album (and also thanks to Chuck Schuldiner's song writing abilities and open mind.  What if he didn't welcome and embrace the jazzy flow?).  "Human" remains possibly Death's most pivotal album.  Death with finesse.

LOCKJAW: A Treasure Trove of Metal Rarities

You should really do yourself a favor and check out this site:

http://lockjaw-yappy.blogspot.com/

LOCKJAW is an awesome blog with a ton of metal rarities available for download.  There is some super, super obscure stuff on the site as well as demos and live recordings of more established acts like Kreator, Venom, and Morbid Angel.  If your looking for Watchtower rehearsal tapes from the late 80's or looking for Spawn of Possession's "Church of Deviance" demo, you'll find them here.

Through the Myth and the Madness: Weakling's "Dead as Dreams"

Few albums have been spoken about with such a sense of hushed awe as Weakling’s “Dead as Dreams”.  The very utterance of this work is sure to provoke nods of approval from many a metalhead.  “Dead as Dreams” is held in high regard universally it seems, and rightfully so.  It is a masterful work of United States black metal (or, as I’ve seen it called…USBM). 

My interest in Weakling initially started because Josh Smith (the Fucking Champs) played guitar in the group.  Somewhat intrigued, I consulted the youtube to determine if it could possibly be up-to-snuff with Josh’s work in the Champs.  It only took about 36 seconds of listening to the title track to know that I’d stumbled upon something much, much greater than I could have ever anticipated.  You can dig it here:

http://www.youtube.com/watch?v=JxZU-vRbvcg

Weakling was comprised of group masterminds John Gossard (Guitar) and Josh Smith (Guitar), and the brooding, creeping, pummeling rhythm section of Sarah Weiner (Bass) and Sam “Little Sunshine/Blood Eagle” Foster (Drums).  “Dead as Dreams”, recorded in 1998 at Tim Green’s (also of the Fucking Champs) Louder Studios, is their only album.  The album carries a hefty price tag because of its scarcity (I still believe it’s out of print), but seeking it out is well worth the effort.

Below are links to two very informative and often hilarious interviews with Weakling’s John Gossard.  Within these two interviews, John expounds on much of the myth, legend, and lore that surrounds Weakling and their lone masterpiece “Dead as Dreams”, as well as going into a bit about the Bay Area scene in the late 80’s, early 90’s.  Great interviews. 

  

http://hubsterblog.blogspot.com/2007/04/interview-with-john-gossard-weakling.html

http://www.earth-dog.com/lounge/viewtopic.php?p=138893 

Racer X's "Street Lethal" Album Review: A Gem of Shred

<- - - - - Here's a link to amazon.com if you'd like to support Paul Gilbert and the rest of the Racer X gang by picking up a copy of "Street Lethal".

My dad's friend let me borrow this one on cassette.  I plopped it in the cassette player and let the first song, "Frenzy", roll.  It was probably the only time my jaw ever dropped from listening to music.  I had never heard a guitar played like this in all my years.  This was something beyond Eddie Van Halen's "Eruption" (no disrespect to the guitar revolutionizing solo).  This was just an incredible and seemingly inhuman display of cataclysmic sweep-picking fury by Paul Gilbert. 

The rest of the album consists of up-tempo (and some mid-tempo) Judas Priest-ish riffing and unbelievable shred.  The songs are solid (I can definitely see how someone might need some getting used to Jeff Martin's vocals, however).  It is 80's shred metal, and may I place extra emphasis on "80's" and "shred"...but also the "metal".  There are some cheesey lyrics, but I really don't care.  This album still rocks and if you come for the shred, you'll be more than satisfied.  Also, there is some really great bass playing by John Alderete (now a member of the Mars Volta).  John isn't featured all that much on the album (save for the excellent "Y.R.O.", definitely an album highlight)...but keen ears will detect his great lines throughout "Street Lethal".  Other standout tunes include "Blowin' Up the Radio", "Loud and Clear", and the title track, which features one of the greatest intro riffs of all time (in my opinion).

Trivia-ish facts about the album:
"Y.R.O." stands for "Yngwie Rip-Off".  This came about because Shrapnel label head, Mike Varney, thought the song reminded him of Yngwie's "Black Star".  I can see where Mike is coming from for sure, the tempo and groove are very similar...that's about it though.