Periphery: Clear [EP]

Ever since Periphery stirred up the metal community with their ground-breaking debut album, Periphery, it has been hard to not talk about this band because of what they’ve done and all of the other projects that they are involved in. For example, the bands Juggernaut, The Mothership, and The Haunted Shores all contain some of the members of Periphery and have also worked extensively with bands like Sky Eats Airplane, Tesseract, Veil of Maya, Stray from the Path, and Animals as Leaders, further gaining a mutual respect amongst many of the modern progressive metal bands.

The band have gone through many lineup changes before the first album even came out and have never stopped refining their sound. Even some of the EP’s that have come out in between records have allowed for some experimentation for the next record (I talk as if there were more than one example, but I’m really just referring to the Icarus EP and now this I guess). I think the Clear EP, is a healthy way of allowing every one in the band to express themselves creatively, while still putting it under the Periphery banner, as opposed to taking time off and making solo records. With the exception of the “Overture,” the entire EP contains just one song in which one member of Periphery was the main songwriter. This allows for some interesting interpretations and re-imaginings of Periphery‘s sound.

The first song on the EP is “The Summer Jam,” which was written by guitarist and programmer, Jake Bowen. Right off the bat, I thought this was a much brighter side to what this band are capable of and yet, still very heavy. “Feed the Ground” was written by drummer Matt Halpern and I think it is widely considered to be everyone’s favorite on this EP. It’s one of the heaviest songs that Periphery have put their names on and is much more direct and straightforward than some of their other songs that have more progressive song structure. “Zero” was written by Misha “Bulb” Mansoor, who writes most of the music in general, which is probably why I didn’t particularly care for this track. It’s an instrumental, which I don’t mind, but I felt like I had already heard the song and wasn’t really going anywhere for me. Still an absolutely heavy track with all the hallmarks of a Periphery song. “The Parade of Ashes” was written by vocalist Spencer Sotelo and is the one that I think really goes out in left-field as far as what this band have done in the past. It’s much more electronically driven, which is a little new for Periphery and has a pop-like, almost “dancy” chorus to it. The next track is “Extraneous,” which was written by Adam “Nolly” Getgood, who usually plays bass, but played guitar on this track. This is an instrumental as well and to me, also sounded like a Periphery-by-numbers kind of song and didn’t really excite me like some of the other tracks. The final song on the EP was written by other guitarist Mark Holcomb and is called “Pale Aura.” This song also plays with different song structures, Spencer does some new vocal tricks, and is a fitting end to a very interesting and well-rounded EP.

I think an EP is the only way one can get away with doing something like this and I think many fans will be very receptive to this. This is a very healthy way of allowing everyone’s creative voice to be heard, while still keeping it in the Periphery catalog, and I think this will help to further influence the song-writing on the next record.

Luke Helker

Against Me: Transgender Dysphoria Blues

If any of you have been fans of Against Me before, then you should all know the story of their lead singer, Laura Jane Grace. For those of you that don’t know, the title of this new album should tell you everything that you need to know. If not, do your homework.

Against Me have always sang about their confusions and frustrations of the music business, punk rock ethos, sexual orientation, etc. and have never stopped being a brutally honest band. This album definitely is within the same vein of what this band have done in the past musically, but I think lyrically, we’re seeing a shift back to some of the older Against Me records. This is also the record that Grace needed to make. This is the first record that has been released since Grace came out as transgender and this album is used to further come to grips with this new life. As a result, we have a record that is raw, independent, and honest in a very confused way in which Against Me are further trying to figure out their place in the world.

The first two songs “Transgender Dysphoria Blues” and “True Trans Soul Rebel,” are Grace’s way of confronting sexual identity and then figuring out what the next step in life is. “Drinking with the Jock” also harks back to the days of school where one tries so desperately to fit in and be considered part of the “in crowd.” Some may see it a little sophomoric to still be singing about that, but to me it seems only natural to go back to these old themes since the first couple of songs reflect on that. I think putting those songs on some of the older records might not work as well, but the message is very clear on this record.

I’ve always just been a casual friend of Against Me, but I think this band have really struck gold here. It’s one of their more honest records that I’ve heard and I also thought every song was an anthem in its own way and as soon as I finished listening to the album for the first time, I wanted to listen to it again. It attacks the social issues of being a transgender from all angles as well as using other themes to confront how people crave acceptance, despite being confused internally. It’s a very personal record, but I also think the songs themselves are strong enough that even if the album doesn’t draw any parallels with you lyrically, you can still appreciate the consistently strong songwriting and will most likely really enjoy this album.

Luke Helker

Suicidal Angels: Divide and Conquer

Greek thrashers, Suicidal Angels recently released their fifth full length studio record Noise Art/Napalm Records. Similarly to how I approached the Legion of the Damned album, this is very much a thrash band striving to stand out in a sea of copy-cats.

It’s very difficult for thrash metal bands to appear relevant in today’s market. You need something to make you stand out and in the past decade, I think the only band we saw with the potential to change the game for thrash metal and make it accessible again in the way that Metallica and Slayer did was Evile and they faded away almost as soon as they have exploded back in 2007 (and shit, no one in America seems to pay enough attention to Machine Head, who have written this generations Master of Puppets in my opinion with The Blackening, which tells you all you need to know about the state of thrash metal in our country). Now we have the old guard releasing some decent records every now and again and some new bands trying to go somewhere, but not being able to progress on the old formula. There will always be the underground audiences however that will never stop supporting bands like this, but at the same time, I doubt that this album (or any that will follow) will have the strength to push the band into the next level and because of that I see Suicidal Angels on the same plane as Legion of the Damned. Not bad, but most likely not getting any more exposure in the U.S. than they’ve had in the past.

In a more positive light, I thought the album was still really enjoyable. “Seed of Evil” and “In the Grave” are great songs and the band have all the hallmarks of a classic thrash band. The riffs and solos will most definitely melt your face and the drums will trample you into the ground with the force of a crash of rhinos. The incorporate a small string section to open up the song “Control the Twisted Mind,” which I thought was a cool thing to do and “White Wizard,” the album closer, clocks in a blistering 8 minutes and 50 seconds.

Overall, I thought it was a solid mid-way record, but due to the reality of the world we live in, most likely won’t be able to propel the band any further.

Luke Helker

Skull Fist: Chasing the Dream

After some financial and personal setbacks, Canadian heavy-metal band Skull Fist have just released their second full-length record. The band have been making waves since 2006 when lead-singer/guitarist Jackie Slaughter released the first EP entitled No False Metal. Since then Slaughter has released Heavier than Metal EP (2010) and Head of the Pack (2011) and has experienced many lineup changes since the bands inception. The band have also become important amongst this new 80s metal influenced revival that has been dubbed the “New Wave of Traditional Heavy Metal” and bands such as White Wizard, Cauldron and Enforcer also fit into this bracket. Bear in mind, however, that bands like 3 Inches of Blood have existed for years and have also maintained a “Trad-Metal sound” so I don’t know exactly how legitimate this “NOTHM” movement is, but it seems to be the general consensus.

Nevertheless, Skull Fist are an absolutely kick-ass group. You’ll be singing these songs all the way to the bar where you’ll then pick a fight with someone twice your size thanks to your newly found confidence. Chasing the Dream is packed with killer riffs, shredding solos, memorable choruses, and an 80s production that transports you back to those good ol’ years. After the release of Head of the Pack in 2011, the band were about to enter the studio again only to find to their surprise that they didn’t have enough money to record yet. This, in turn, pushed the album’s production by another two months. Then (if you follow the band closely you’ll remember this) Jackie was in a small skateboarding accident and really did a number on his body, which further setback the record by another month. The pay homage to this by adding a short sound clip of a man riding a skateboard and then falling in the beggining of the final track on the album “Mean Street Rider.”

If you were ever into 80s metal like Iron Maiden, Motley Crüe, or even Steel Panther (which are a more tongue-in-cheek modern hair metal band), then there is no reason that you shouldn’t be listening to this record right now.

Luke Helker

Andi Deris & The Bad Bankers: Million Dollar Haircuts on Ten Cent Heads

Andi Deris made a name for himself as being an extremely powerful vocalist when he fronted power/speed metal pioneers, Helloween. His distinct voice can be recognized a mile away and has become a prominent figure in metal vocals. He has been working on solo projects outside of Helloween since the late 90s and Million Dollar Haircuts on Ten Cent Heads is the third album with his backing band known as the Bad Bankers.

With the exception of perhaps the very first three Helloween records, most of their best material was in the late 90s when Deris was the vocalist. By this point Helloween had made their everlasting mark on metal with their Keeper of the Seven Keys Part 1 and 2 albums and Deris brought a new life and energy into the band. However, I felt that after the Keeper of the Seven Keys: The Legacy that the band recorded with Deris in 2005 was the last great thing they’ve done and have since released three very bland, stagnant records that all sounded alike.

This album, apart from being ridiculously titled, sounds like an FM Radio-metal band that is very heavy-blues-rock influenced…but with no good songs whatsoever. The album kicks off with “Cock,” which is just rude for the sake of being rude and doesn’t really mean anything. Then there’s “Will We Ever Change,” a silly attempt at a ballad, along with a few other tracks on here like “I Sing Myself Away.” The there’s “Don’t Listen to the Radio”… which is the single that they specifically released for radio. I just don’t get what they’re trying to do (if anything) and don’t think any of the songs are memorable or catchy in the least.

Deris as a frontman is still solid. He’s singing on the record as if he’s fronting Helloween, which is fine, but since the Bad Bankers don’t really offer me anything else musically, I’d rather just listen to The Time of the Oath or Master of the Rings. The riffs on this record are sometimes heavy, but more often not and the lyrics are just ridiculous.  I mean, the new album has Deris smoking a cigar while holding a burning hundred-dollar bill. What’s up with that?

Overall, I don’t think there’s anything redeemable on this record and to me all it all boils down to the fact that there aren’t any songs on this record that I can sing after the record is over.It’s very disappointing to say this about someone who has been involved with a very influential power metal band. It sounds like someone on his pension; just making half-assed music for a consistent paycheck.

Luke Helker

De La Tierra: De La Tierra

2014 seems to be off to an international start. Former Sepultura guitarist Andreas Kisser has founded a new band with former members of South American bands A.N.I.M.A.L., Maná, and Los Fabulosos Cadillacs. They released their debut album under the moniker De La Tierra, which means For The Earth.

I think the fact that they sing completely in Spanish (It could very well be Portuguese, but I’m not 100% sure) makes them stand out much more. The music itself isn’t really special or groundbreaking, but it’s great to see much more representation from South American music this year and I think people that follow Sepultura closely will be interested in what Kisser is up to these days. The rest f the band consists of Alex Gonzalez (Maná; drums & vocals), Flavio Cianciarulo (Los Fabulosos Cadillacs; bass & vocals) and Andres Gimenez (A.N.I.M.A.L.; vocals & guitar). 

The riffs are heavy, the vocals are melodic, but it’s not very easy to sing along. Not to use this band as the model, but Rammstein have somehow found a way to combine heavy riffs and melodic singing in a way that is still somewhat singable and I think few bands that sing in different languages can get away with that in the way Rammstein can. Other bands like the black metal bands of Scandinavia rely on a hardcore fan base that will follow these bands to whatever end, but I’m not sure how this band will hold up in the US. They’ll get a lot of attention because of Kisser and hopefully will play a few American metal festivals because I think people would dig it.

Check out the band’s newest single “Maldita Historia.” I think we’re going to hear a lot more good music from South America this year.

De La Tierra’s self-titled album is being released via Road Runner records. 

Luke Helker

Dum Dum Girls: Too True

The Dum Dum Girls are an all-female dream pop band from L.A. …where dreams come true. It is the bedroom project of Dee Dee Penny, and all though she seems to have a revolving door situation with backing members, I think she has an incredibly solid group of women backing her up (Jules, Sandy and Malia).

Too True will be the third full-length release from the band through Sub Pop records. The band have been going strong for a few years and are just starting to garner some critical praise for their music. The production on this record has also come a long way since 2009, when the group first signed to Sub Pop. That’s because Dee Dee has been working close with Richard Gottehrer (who is responsible for writing “I want candy” and “My Boyfriend’s Back”) since 2010 and Sun Rose Wagner or Raveonettes fame has also joined in the production of Too True so if that isn’t credibility for you then I don’t know what is.

The album itself oozes U.K. college rock and 1980s synth-infused neo-psychadelia. It’s very trashy, poppy, and filled to the brim with catchy, easy-going tunes that will surely be summer favorites at the festivals this summer. While Dee Dee often sites Siouxsie and the Banshee’s as a primary influence, there is little of that actual influence on this record and more along the lines of Chrissie Hynde and the Pretenders.

Overall, I think it’s a vibrant record that’s very easy to fall in love with.

Luke Helker

Mogwai: Rave Tapes

Scottish post rock outfit, Mogwai have recently released their eighth studio album, Rave Tapes. On this album we see a drastic departure from the band, adding extra synths and “danceable” elements to their music. While the album title and track “Remurdered” (released on October 28th, 2013) suggest that there will be these elements all over the record, we should remember that most of the album and song titles don’t really mean much when it comes to Mogwai‘s music.

“Remurdered” is definitely a highlight for the album, other tracks like “Hexon Bogon” and “The Lord is out of Control” are also killer tracks. “Repelish” was an interesting track with a vocal track of a man talking about the satanic references in Led Zeppelin‘s iconic masterpiece, “Stairway to Heaven.” “Blues Hour” also contains some ambient vocals throughout. I think it’s a very solid record and while I understand some controversy have arisen from this new direction, I don’t think it detracts from the fact that the songs are still great and still deserve your attention.

I applaud the band for making a departure at this stage in their career. They’re keeping one foot in the core of their music and another foot in the new year.  This is a band that is aging like fine wine and I don’t believe will they have any intentions of slowing down in the future.

Luke Helker

The Scarlet Son

Most of you will remember when I covered a band called Andare. This is going way back in the archives, but they were a great band from Pittsburgh and one of their members, Kris Litman, has started a new project called, The Scarlet Son. As far as I know right now, I think all of the instrumentation and production is done by Litman, which is quite impressive.

To get 2014 started, The Scarlet Son have released their debut single, “Consumed” via their band camp. I don’t want to make too many comparisons to Andare because the music of these two groups is really different beyond the fact that are both fairly heavy acts. Andare though had a lot of scream singing while all of the vocals in The Scarlet Son are clean and super melodic. He does a good job of creating a lot of space while simultaneously filling it up with loads of instruments in the mix. It’s definitely a good track that reminds me of late Coheed & Cambria at points.

Right now they  just have the one single out, but I predict that before 2014 is over, we’ll have a full-length record by the group.

Check lout the track “Consumed” here at http://thescarletson.bandcamp.com

Luke Helker

Bruce Springsteen: High Hopes

Bruce Springsteen‘s 18th studio record is a collection of throwaway tracks from the 2002 The Rising sessions, and in my opinion should have stayed in the trash. Where 2012’s Wrecking Ball provided a more direct cry of rage towards the global crisis, High Hopes is meant to look back through Springsteen’s career over the past decade and serve both as a reflection and as closure so that he may keep one foot forward.

My biggest problem with this record is that I think it was rushed. The songs may have already been there, but it was all recorded on the road, so right away that explains, the scattergun approach to the production. If he had waited a few more months after touring Wrecking Ball to attack the production of this record in a more coherent fashion, then I honestly think that might have made all this difference. There aren’t any songs here that I would want to see at a Bruce Springsteen concert in 2014. There are some songs on here that simply don’t quite have the same meaning or message as they did when they were first conceived. “American Skin (41 shots)” was originally written in response to the NYPD shootings of Amadou Diallo and rededicated on this album to Trayvon Martin. When you think about it, a lot of what he preaches on High Hopes isn’t quite as relevant now as it was then. Springsteen has also cited ex-Rage Against the Machine guitarist Tom Morello as a muse for most of the record and the two have joined forces, which most likely explains some of the shredding that you hear on this record, that you’ve really heard before (i.e. “The Ghost of Tom Joad”). Morello is the reason this album sounds as fresh as it does, but I think at the same time he’s also the reason why it doesn’t quite play like a Springsteen record.

Bruce Springsteen has always been the rock ‘n roll hero for the blue-collar working man and still has the ability to sing about the death of blue-collar America with such intense rage and still be fresh and resonant. With a career spanning forty years now, some fans who have loved him since the very beginning will probably love this record, just on the strength of that fact that it’s another Springsteen record.  I just can’t get past how inconsistent and incoherent this record is and how it doesn’t sound or play like a Springsteen record. I just know that Springsteen is capable of better work and I saw that with Wrecking Ball and I think he rushed to get High Hopes out.

Luke Helker